I really don’t know what to do about this Zuda thing.

actioncomics1.jpgDC’s online comics initiative, Zuda, have posted their creator contracts online. Following along with Joey Manley, I will at least congratulate them for being transparent, though much of that transparency probably came because of the yelling and screaming that went on… they kind of allude to that in the second paragraph on the site there, actually.

So I’ve gone through the contracts to the best of my ability, and looked at all of the stuff that’s been written about them–both publically and privately–and I’m kind of at a loss what to say here. Most importantly, it’s a contract that I would never personally sign, I’ll say that much at least. But I don’t really know what else I can say to communicate that this… really isn’t very good… without coming off like a nut, or a ‘hater’, or whatever.

“[The] thing that jumps out at me is that if you’re still up in the air about whether this company’s offers matches your own standards in terms of basic rights and obligations, you may be better off thinking about things in greater detail — and discussing it with that lawyer — than reading about it. There’s not likely to be easy consensus anywhere you look. Further, creators rights issues in comics are a close second to retail issues in comics when it comes to inspiring demented rhetoric. Discussion gets strident and defensive really, really quickly. You’re going to run into everything from angry jeremiads about big companies being unable to [not] screw anyone with whom they come into contact to exhortations that it’s okay to subject yourself to a crappy deal because you can always think up new stuff (after all, Jerry Siegel co-created Superman and Doris Evans), or, as it’s usually put, if you can’t think of more than one idea, you have no business being a creator. Stuff like that. So be careful.”
– Tom Spurgeon, The Comics Reporter.

I don’t particularly want to get into the middle of another ‘thing’ about this, but… yeah. I don’t understand why someone who is smart and talented enough to create an idea from whole cloth, an idea that will be decreed as ‘good’ by both a large publisher AND the public at large, and not have the faith in it to see it through, wait for the ‘big money’ that could be down the line. It’s nice to be paid a page-rate for your work and all, but that $14,000 salary cap ($1000 purchase price plus 52 weeks @ $250/strip) seems to be pretty limiting, in terms of the potential revenue that could be generated off of a successful webcomic. It’s not bad money I guess, but here’s the thing… It’s less than the money you would make doing a half-page of comics art at DC or Veritgo even, and it also involves selling off the intellectual property for your work for an unlimited amount of time (seriously, at $500 a year, Time Warner could quite easily afford to pay you that fuck-off money forever). The idea that you should fully own what you fully create? It’s a good one, and one that I feel should be taken seriously. I also personally feel that every time someone takes a very bad deal like this, it makes it that much easier for publishers to OFFER very bad deals.

The one thing that everyone agrees with, even Zuda, is get a lawyer to look at the contract before you sign it. Hell, before you submit anything. The deal–to me–has a very “Siegel and Shuster 2.0” kind of a vibe, where those fellas sold the idea for Superman for a weekly paycheck and a pat-on-the-back. Except this time I don’t see the industry rallying around you to be properly credited for the work, whether you “own the Copyright” (but not the Trademark or have any real power) or not.

Would you sell off Superman for $14,000?

– Christopher

Mature Manga: I missed this as I was in Japan

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From Dirk Deppey at Journalista:

[Commentary] Christopher Butcher declares that scanlations are wrong and even the mildest of snark is unacceptable in a Comics Journal blog. Duly chastised, I also learned something else: Recommending Fanfare/Ponent Mon releases earns you fewer critic’s-choice points than, of all things, Taiyo Matsumoto’s flashy but shallow Tekkon Kinkreet.

Dirk pretty-much missed the point, as he is wont to do anytime anyone takes the argument to him. I like his writing and he seems like an affable enough guy, but he certainly does like to pout when when anyone calls him on anything. So for the record: Scanlations are not wrong; scanlations are the wrong suggestion for a journalist looking to recommend mature manga on a newspaper’s website. As for the critic’s-choice points? Completely besides the point, again, as it isn’t about which work is more indy or arty than which, but what’s going to open up the market for similar work; The one just solicited prior to release, or the one thats a few years old with the print runs set?

“Don’t get me wrong. Matsumoto’s comic isn’t by any means a bad read — as crime-themed fight comics go, it’s an enjoyable little bit of fluff — but if you’re going to hold a book up as an adult’s alternative to Naruto, shouldn’t it be something other than a mildly more mature version of same? You don’t even need to leave Matsumoto’s own back catalog to find worthier books for grown-ups; his Blue Spring is a dark and absorbing look at teenage restlessness that satisfies in ways Tekkon Kinkreet simply can’t match. Hell, even the out-of-print No. 5, while no titan of depth or complexity itself, at least offers a wildly inventive, surreal formalism that fairly leaps off the page, somewhat elevating the two-volume series above standard genre fare. Of the three Taiyo Matsumoto works to be translated for English-reading audiences so far, Tekkon Kinkreet is actually the weakest of the lot. I hate to break it to Butcher, but I strongly suspect that Guardian readers aren’t any more likely to consider this book an interesting alternative to prose literature than they will Naruto or Hot Gimmick.”

Blue Spring sold terribly, and the two volumes of No.5 are considered by Viz to be their worst-selling books of all time. I own and love them both, but when we’re having a discussion about reaching the broader audience with work that’s more mature, and opening up the market to more of that material, holding up two books considered as sales failures by their publisher isn’t the way to go. Especially because both of those books probably sold better than the majority of Fanfare’s output. What Tekkon has going for it is a massive mainstream media push thanks to a DVD release by the creator of The Animatrix, which sold a lot of fucking DVDs. While I love Tekkon and think its of high quality and recommend the hell out of it, I also recognize that there are other works that are more literary and of higher aspirations; I’m not an idiot. But I also think that getting behind books that do have the capacity for mainstream success, making the category more profitable (or profitable at all) is more important than bemoaning our lot or sending readers out to the grey market.

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Having a Beguiling employee berating me for spotlighting “low-print run books with poor bookstore distro” over comics like Tekkon Kinkreet is the single most perplexing and dispiriting way to start a week that I can imagine at the moment. By this logic, Thunderbolts is a better introduction to the possibilities offered by Western comics than It’s a Good Life if You Don’t Weaken, the latter of which cannot be found at either of the two chain bookstores closest to me — and you now know what that means.

I hope Dirk is well and truly recovered from being perplexed and dispirited, mostly because it was of his own doing. His example above is the best example of a straw-man argument I can come up with today, a few steps further afield than simple apples and oranges. If someone were doing a fall preview and I decided to push the new Thunderbolts collection instead of Shortcomings, that might be one thing, but the situation that went down was more akin to Dirk pushing those great, more-or-less out of print books that Zack Sally published (Diary of a Mosquito Abatement Man by Porcillino, and his own Recidivist) and some random shit on scans_daily… instead of the Ware-edited “Best American Comics 2007”. The latter suggestion at least has a chance to sell, and a lot to recommend it, even though there might be better books coming out… the former two suggestions are entirely irrelevant.

(Besides that point, anyone who thinks that Tekkon Kinkreet is on an even keel with Ellis’ Thunderbolts simply hasn’t read one of the two books, or either of them. Not even Ellis would make this claim.)

Finally — and I realize that it might not occur to a brick-and-mortar retailer to think of it — the books published by Fanfare/Ponent Mon are in fact available online through such outlets as Waterstone’s and Amazon.co.uk. To get you started, here are the listings for Kan Takahama and Jiro Taniguchi. For that matter, I’m sure Forbidden Planet International would be glad to sell you a book or two through their website. Welcome to the 21st century.

Hahaha… Yeah, of course. Welcome to the 21st century, us brick and mortar retailers might not be able to figure out that Fanfare/Ponent Mon’s books are available online. Whatever, I’m glad the books are available to people who want them, but those print-runs are already set, and my friend Stephen at Fanfare has made it quite clear that the endeavour is a labour of love for him, likely to continue virtually regardless of sales (though he was quite happy at JAPAN and MARIKO PARADE needing to go back for new printings, recently). When it comes to publishers with deep pockets being willing to license and publish work for grown-ups, sales are king and it makes a lot more sense to push the books that are coming out… or books that are legally available at the very least, than to not.
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Anyway, I’m glad that, at the very least, I “perplexed and dispirited” Dirk enough to actually do the work and send people over to Forbidden Planet to buy some good books… I suppose sending them to The Beguiling’s Book Store would have weakened his argument that The Beguiling (or the online-since-he-was-12 representative of said brick-and-mortar retailer) had no idea about online book sales. Ah well.

I’ll keep making noise about good books that you should be buying, and even picking my battles. Wish me luck.
– Christopher

Comics & Graphic Novels @ The Word On The Street

The Word On The Street is a FREE literary festival held on September 30th from 11am-6pm in five cities across Canada*. I’m really happy to announce that Toronto’s Word On The Street event (held on Queen’s Park Circle) will feature an extensive comics and graphic novels presence in The Comics and Graphic Novels Tent, presented in partnership with The Toronto Comic Arts Festival. Featuring a full day of author readings, book presentations, and panels on comics creation and publishing, this is going to be a pretty outstanding part of an already massive event. I’m also very proud to say that I’ll be co-hosting in the tent alongside my good friend Mark Askwith, the producer of SPACE television and an excellent comics writer in his own right.

The line-up of panels and participating creators has been announced, and you can find an overview of the programming at the website. Participating creators include Chester Brown, Scott Chantler, Willow Dawson, Ray Fawkes, Stuart Immonen, Karl Kerschl, Jeff Lemire, Nadine Lessio, Brad Mackay, John Martz, Kagan McLeod, Jim Munroe, Ryan North, Ty Templeton, Noel Tuazon, Zack Worton, Chip Zdarsky, Jim Zubkavich, and many more in a host of panels. The Beguiling will also be selling books from all of the attending authors at the venue.

Also! The IdeaSpace Young Adult Marquee will feature graphic novel programming as well! Make sure to check out Eric Kim, and Svetlana Chmakova on the panel MANGA! MANGA! MANGA! THE HOWS AND WHYS OF THESE HOT NEW COMICS! at 12:30pm, and COMICS: DOIN’ IT YOUR WAY with Tyrone McCarthy and Arthur Dela Cruz at 4:30pm.

The Word On The Street is a huge literary event in Toronto which draws more people in than the San Diego Comic Con. It was a huge, huge thrill to be a part of putting together the comics and graphic novel programming for this year’s event, as I think it will continue the trend of putting comics and graphic novels out into the public eye in a way that can’t be ignored. Getting our own major venue to do so–alongside the integration of comics and graphic novels into other venues–is spectacular, and the fulfillment of a personal dream of mine. I remember going to WOTS for the first time nearly a decade ago, and coming home energized about the potential for comics in that sort of environment. I even wrote a column about it at the time that might be around online somewhere… I’m glad to see that potential becoming a reality, seeing that all of the crazy ideas I had as a 20 year old weren’t so crazy, and in fact, would be hotly in demand as I turned 30.

I sincerely hope that any of you reading this will come out for this (completely free!) event, and bring friends… The better it does, the better the next event will be, and so on.

Oh, and if you wanna spread the word, that’d be great too 😉

– Christopher

Japan 2007: Animate, Tekkonkinkreet, and Ikebukuro

I’m actually typing up this entry on the plane ride home from Japan. I have mixed feelings about leaving… I’ve never really been convinced I could actually live in Japan until now, but at the same time, I’m looking forward to getting home and sleeping in my own bed and trying to get back into some kind of routine. I’m also going to try and incorporate some of the things I’ve seen and learned from the retail establishments (particularly the comics ones) into what I do every day. I think there’s a lot to learn from stores that are as well-run—and fucking busy!—as the ones I’ve been visiting. BUT ANYWAY, WOULDN’T YOU LIKE TO SEE SOME MORE CRAZY PICTURES?

I don’t know if I made it clear last post, but NAMJATOWN is actually inside a mall. Well, it’s more of a huge city-block shopping complex called SUNSHINE CITY, which also houses another mall (World Import Mart, seen in the bg) and the 60-story skyscraped SUNSHINE 60.

Continue reading “Japan 2007: Animate, Tekkonkinkreet, and Ikebukuro”

Japan 2007: Namjatown (Ikebukuro)

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Oh shit… what’s this? Could it be? It is! It’s:

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Yes, it’s NAMJATOWN, a multi-floor themed indoor amusement park. Sort of. While there are three over-riding “games” you can participate in (if you both read and speak perfect Japanese), really, you just go to see one of the most amazing, tacky, fucked-up places you’ve ever been. Seriously. It’s NAMJATOWN. I was first made aware of NAMJATOWN by my buddy Jim Zubkavich of Udon Comics. He, sleep-deprived and in total culture-shock, traversed NAMJATOWN within his first couple of days of being in Japan his first time, and found it thoroughly surreal, and dammit if that wasn’t an experience I wanted for Andrew and I. NAMJATOWN, by NAMCO, makers of Pac Man. Hang on to your hats, kids!

Continue reading “Japan 2007: Namjatown (Ikebukuro)”

Sidetracked 2: Jeff Yang on TEKKON KINKREET

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Tekkon Kinkreet All In One EditionOver at SFGate.com (the online home of the San Francisco Chronicle), columnist Jeff Yang compares and contrasts the new graphic novel collection of Taiyo Matsumoto’s TEKKON KINKREET with… a Disney Cruise Lines vacation. It’s the first major press I’ve seen for the graphic novel, and while I’m tempted just to circulate a link for every single review or mention of the book, I probably won’t be doing that (I am still in Japan after all). I did want to point this column out because it’s great though, getting to one of the essential themes of the book and really laying it out in a smart, accessible way (and it’s incredibly positive too…). Apparently the book actually shipped to comic stores today (yesterday?) so I hope you’ve all already picked up your copy and are working your way through it… I also hope that after this column, the fine retailers in San Francisco feel as though they’d ordered enough copies :).

Go check out the article and lemmie know whatcha think.

– Christopher

Sidetracked: Let’s talk about comics shops.

animate-300.jpgMy anger is so fucking righteous.

Seriously though, I’m in Japan, everything’s goddamned awesome. I don’t even have an angry bone in my body at this point, let alone a righteously angry one (and for those of you who don’t know what I’m talking about, click here).

But… did you see this? http://www.comicsreporter.com/index.php/cr_editorial_why_comic_shops_still_matter/. Go read that, it’s really good. I wanna give Tom a big hug. Perhaps I will next time I see him, and won’t that be awkward? Anyway, Spurge wants a new direction to the discussion about comic shops, and I think that’s great… Anything to get away from the stuff the folks are saying in THE BEAT’s comments section. So, let’s go: topic starter.

I am in Japan, and there are comic book stores everywhere.

Seriously. Not American Comics, for the most part, but if you blurred your eyes a little you’d recognize many of the places I’ve been visiting as comic book shops. This is in a nation where, as I’ve already blogged, comics are readily (and volumously) available in standard book stores, at the ‘news stand’, at train stations, the 7-11, even in vending machines. Comics are everywhere, and despite that, there are still dedicated comic book stores…! The argument from a number of people is that comic book shops should go the way of the dodo, in favour of mass-market distribution in traditional book stores, and via the internet… But here I am in a country where comics ARE available in the mass-market, in fact, comics make up something like 40% of all published material in the country. And yet, despite that, there is a clear market for comic shops. Even when they have side-lines like used comics, dvds, statues, etc. Even when they don’t, and it’s all about the books… this happens in France too, btw.

The next message in my Japan travelogue is about the end of day 02, where I go to ANIMATE, an eight-floor comic book store. It’s pretty neat, and I was totally inspired. I think you might be too?

In advance of my post, you can find out more about Animate at http://en.wikipedia.org/wiki/Animate.

The comic store doesn’t need to go anywhere. We all just need to try a little harder, I think.

– Christopher

Japan 2007: Ikebukuro Sunshine 60 and Toys R Us

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When last we talked, we had just left the Tokyu Hands store in Ikebukuro. A short walk away from there is the Sunshine 60 mall, which was our next destination. Chances are, if you’re trying to get somewhere, you can just walk down the street to it, or you can look for a department store, head inside, and follow the signage to enter one of the many underground tunnels connecting businesses, offices, etc. If you’re reading this in Toronto, it’s sort of like the PATH, but AWESOME and 1000 times as big. So, since it was 40+ degrees outside with the humidity (that’s like 90 to you filthy imperialists), we ducked into a lovely underground air-conditioned walkway. And what did we come across? A giant Toyota “auto-salon” that was having some sort of amazing SGT. FROG event! Yeah!

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Japan 2007: Ikebukuro Tokyu Hands

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For Day 2 in Japan, we decided to take it easy–only a few train stops away from our home of Saitama (seen above, in the daytime, this time) to Ikebukuro. Ikebukuro is a lovely little mini-city within Tokyo, most notable for… shopping. It features several huge malls, most notably the Sunshine City complex, and the flagship store of Japan’s largest chain of anime and manga stores, ANIMATE, is in Ikebukuro.

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In Japan there are plenty of ways to get around, including the public rail (JR) which are above ground trains, and the private above-ground trains and the Tokyo subway system (below ground). All of these trains operate using the same perfect tap-card, meaning you never have to fumble with different tickets, tokens, or fares. Your tap-card (a credit card with a chip in it that can be read without being swiped) also works at lots of vending machines and convenience stores. Toronto could learn a thing or two (note: this will be a theme).

Please continue reading after the cut:

Continue reading “Japan 2007: Ikebukuro Tokyu Hands”

Japan 2007: Day 2 (Here I Am, Rock Me Like A Hurricane.)

chris-gelatonoir-300.jpgDid you know there’s a typhoon coming? And that a typhoon is actually a hurricane? And that on our way home from Ikebukuro, the trains were not only late (shocking!) they were stopped altogether? And that none of my friends can remember such a thing happening? I do! I know all of this. Now. Tomorrow’s plans may be off. Luckily, I took 519 photos today, so I’ll have something to post when we can’t leave the house tomorrow morning…

Anyway, I’m exhausted from walking for like 14 hours and then the ordeal of getting home with no train. No big posts right now. When I wake up tomorrow though, I’ll post the first half of the day (at least). Until then, you can wonder what the HELL I am about to eat in this photo.

– Christopher