Help Me Find a Niche in the DCnU!

Well, it's been a month, and boy does DC have everyone talking, both good and bad!

I admit I was totally tempted to get all 52 titles, but paying $150 for comics I might not like just to be part of a crazy experiment was a bit much for me.  (I could have done it cheaper, but only by having print copies, and I don't want print copies anymore, whenever I can help it.)  It's been a blast reading reactions from everyone from David Brothers to KC Carlson on the re-launch, but now it's time for me to actually sit down and pick some titles to follow in the old-school way--issue by issue.

After entirely too much thought, I decided 5 titles was a good number.  I can pick up others at a later date, either by library trade, sale, or just cherry-picking by story arc.

So the question is--which five?

The answer is...I have no idea.
 
I know what I want from these five, but I don't know which ones are best served to give it to me.  If I am going to read month to month, I want a story that reads relatively completely and has competent art and scripting.  Justice League 1 was a good comic--I liked it better than I expected--but it's paced to read as a trade.  Might as well wait on it and buy it all at once, when it's cheaper.  I am putting no preconceived notions on writers I already know in this case--I'm giving 'em a clean slate.

I'm extremely active on Twitter, which has the concept of Follow Friday.  For this Follow Friday, help me pick five titles to follow from the new DC offerings!  Drop me a line in the comments with the five titles you think I should pick up.  I'm grateful for the help.

-Rob

Mark Twain's Autibiography 1910-2010

The rumors of this book's awesomeness
are not exaggerated!

Written by Mark Twain
As told to Michael Kupperman
Illustrations by Michael Kupperman
Fantagraphics

Mark Twain dead?  As if!  It seems he's been hanging out in the fringes of the 20th Century, influencing it in ways that go far beyond his literary canon.  By strange circumstances, he's chosen Michael Kupperman to tell the true story of Twain's last 100 years, as he moves from imagined ghost to being part of some of the 21st Century's most notable achievements--instilling fear and scamming people.

This is not the Mark Twain who smiles kindly at you from the visage of Hal Holbrook.  It's a man who uses his wits for his own gain, not unlike one of his timeless characters.  As he moves from place to place and from time to time, watch as the history of Mark Twain unfolds before you in pictures and words, as only Michael Kupperman could tell--I mean re-tell it.

I think the most important thing you need to know about this book is that it made me laugh out lout not once, but close to a dozen times.  At one point, during an exchange with a famous cartoon strip writer, I think I laughed for a solid minute.  It might have been longer, except the neighbors threatened to shoot me.  And if they'd done me in, I'd never have gotten a chance to review this and tell you that this is one of the best books--if not *the* best book--I've read all year.

Mark Twain, by virtue of his iconic nature and status as a dead public figure, shows up in a lot of fiction.  He's even made it on to Star Trek.  Not only is he someone people instantly know and recognize, his visual appearance makes him a natural to include whenever you are telling a story that can incorporate the late 19th or early 20th Century.  Twain worked hard to create a brand for himself--so hard that he suppressed quite a few of his own writings until after his own death--and it's no surprise that he shows up in odd places to add some additional attention to a project.

It's very easy to include the late Samuel Clemens into your story.  It's quite another to include him in such a way that it feels authentic to someone who's read beyond Huckleberry Finn and can debate the merits of "What is Man?" or the irony of "Is Shakespeare Dead?" (to say nothing of little ditties like "On Masturbation", where Twain takes to task anyone who likes to take themselves to task).  Most of the time we get a kindly if a bit sarcastic older figure who dispenses wisdom.  Basically, Mark Twain speaks lines that could just as easily be given to Morgan Freeman, James Earl Jones, or the late Paul Newman.

That's why this book is so amazing.  Unlike everyone else, Michael Kupperman has taken the time to sit down and figure out what makes the writings of Mark Twain tick, right down to the nature of his sentence structure, word choices, and person to person dialog.  Despite the use of many terms that Twain himself would never have known, from the first few pages on to the end of the book, Kupperman absolutely nails Mark Twain's speech patterns.  If I hadn't been laughing and smirking so much, I'd have been reading in rapt silence because of the nature of Kupperman's craft here.

Perhaps the most interesting thing here is Kupperman's choice to use illustrations sparingly and let Twain talk directly to us, with only a few visual clues here and there--all of which pack a large punch as a result.  Kupperman takes the iconic Twain look and puts it through its paces, whether it's as a James Bond wanna-be or an astronaut or as a radio DJ.  Given his comics background, you'd think that Kupperman would play to his perceived strength and make this a full graphic novel.  Instead, he plays to Twain's strength--the written word--and I think it makes this book all the stronger.

There is just so much that is great about this book.  I love that Kupperman has chosen to make Twain a less-than-stellar character.  When writing about his own adventures and experiences, Clemens never attempted to make himself look perfect, and Kupperman exploits this to the fullest.  Here Twain is often trying various ways to get rich quick, going boom and bust in this book almost as often as he did when he was alive.  (That's yet another nice touch from a man who clearly admires his subject.)  Just like any good character with flexibility and no set continuity (think the Marx Brothers or maybe the Three Stooges), Kupperman can easily slip Twain into whatever situation he chooses.

And oh, the situations!  Twain walks across the 20th Century--and into the 21st--like a giant, striding across  moments both important and mundane.  He's shown doing everything from accidentally ending up on the moon to giving advice to movie and TV moguls.  Both are given equal weight, because it's the adventure that matters, not the scope of said adventure.  If you know your history, this book is a pleasure just trying to guess what moment in the recent past Kupperman is both homaging and skewering, all at the same time.

Perhaps the most inspired choice, however, is to pair Twain up with another man who actually lived during the bulk of the 20th Century and also is a frequent fictional icon.  I won't say who it is, because that would spoil the fun.  All I can say is that they have many a hair-raising adventure together.  The buddy movie nature of their hijinks is one of the many highlights of the book.

Interestingly enough, the book's tone gets more cynical as it moves towards the end, just as Twain himself did.  The final adventures really show American culture in a bad light, and deservedly so.  By the end, Twain is heavily involved in scamming people--because, as we all know, that's what the American economy is driven by today.  It's a sober swipe at what we've become that the end of this book isn't so much funny as it is sad.  Like Clemens' commentary on lynch mobs in Huckleberry Finn, Kupperman knows when to slam people full in the face with their own hypocrisy.

This may not be the book I expected when I first heard about it, but that's okay.  It's so much better than I could have hoped.  Satire is so hard to pull off successfully, but Kupperman shows he's a master of the genre.  If you were afraid this might not be funny enough--don't worry.  I rarely like humor books, and I read this one cover to cover without stopping for so much as a sip of iced tea.  If you are concerned that it's not a "true" comic book, well, I just can't help you other than to say don't get caught up in terminology.

Mark Twain's Autobiography 1910-2010 is one damned good book.  That's all you need to know.

First Law of Mad Science #1

Written by Mike Isenberg and Oliver Mertz
Illustrated by Daniel Lapham
Self-Published

A scientific breakthrough leads to great changes in the way the world is viewed when George Baker gives the world retinal implants.  It should lead to a new age of medicine, but as time passes, it's clear for all to see that the details are not nearly so simple.  Meanwhile, an expedition of an unusual site brings suggestions of unspeakable horror.  As if that's not enough, Baker's family might be just about to get involved with something deadly.  It's all part of the First Law of Mad Science.

This is an exposition-heavy issue, but that's to be expected when putting together a first issue from scratch.  Clearly influenced by HP Lovecraft and the idea of things man was not meant to know, the story slowly unveils the possible terrors to be unleashed on Baker's family and those around him.  At times this is a bit clunky, but overall, I think the balance is pretty good.  There's just enough action going on to mask the amount of time we're spending on figuring out who the characters are, and that's all I ask in a first issue with an all-new universe.

I also liked the characters we met.  George Baker is the man who thinks science can solve everything, and he's headed for quite the fall.  His son lives in his shadow, and his desire to do more might lead to increased trouble.  R.A.I.C.H.E.L. provides both the brawn and the comic relief, reminding me a bit of Ben Grimm with an attitude, which I guess means she's kinda like She-Hulk?  Regardless, her first words set the tone of her character, and I think she'll be the star of the series as this comic moves forward.

One thing that's a bit odd in this case is that the cover art is inferior to the internal work.  I don't think the cover does justice to the creepiness or the level of detail Lapham provides in his illustrations.  It's also very generic, the typical posing cover we see so often today.  I wish this one had a stronger, eye-catching cover because I think this one is going to cover up the potential of the world.

Once you move inside the book, Lapham's pencils and inks show a level of craft that is a cut above what you might expect in a comic like this.  He does a great job with body language, panel positioning, and faces that help move along Isenberg and Mertz's story.  These are little touches, but they are often lost on artists who think that big splash pages are the best way to communicate action.  They are--in the right places.  Lapham gets this, and the works shines as a result, even in simple black and white.

I liked First Law of Mad Science, and I'd be happy to read an issue 2.  There are some--no, make that a lot of--dangling plot threads that, once they come together, should make for a great horror/science fiction story.  I hope that the creators get a chance to keep this series going.

You can find all sorts of information on First Law of Mad Science at the comic's website, including how to get a copy.  Those with Previews in hand can find it as Publisher "Noreon Labs" and order code "SEP111191".

The folks behind First Law of Mad Science were kind enough to give me a copy to review.  Thanks!  If you are interested in having your comic reviewed here at Panel Patter, e-mail me at trebro@gmail.com.

Gay Kid 3

Written by Katie Omberg
Illustrated by Katie Omberg
Self-Published

Katie Omberg's series of self-reflections on her path to recognizing her sexual orientation continues in this third issue.  This time around Omberg focuses on the anxiety she faced when debating whether or not she is a lesbian.

Like many teens growing up, Omberg faced the problem of self-doubt, as it slowly eats away at her in the moments in which she is alone.  It's not helped by a mother who seems always drawn to creating the worst case scenario.  But unlike most teens, who might worry about being popular or their weight or other issues that are (relatively) easily discussed by others, Omberg had one thing on her mind:  Am I gay?

Eventually, this self-doubt caused resentment as she watched others form relationships and a major case of panic attacks.  At some point, the issue has to be faced head on.  But that's a tale for another issue.

While my situation is not the same as Omberg's, I can completely relate to her worries, her fears, her desire to turn to avoidance, and not being ready for what had to come next.  A lot of what she says here completely resonates with me, and I think it will for a lot of readers, regardless of their sexuality.

That's the strong part of this issue of Gay Kid.  The weakness, though, is the art.  I feel like there's less backing imagery this time around in the series, which reduces the impact of the words.  The characters are sketchier, rougher, and not quite as well-defined as they were in Gay Kid 2.  I know Omberg wanted to have this issue out before SPX, but with convention season mostly over, I hope that Gay Kid 4 is created a bit more slowly in order to match the powerful words with strong visuals as well.

The Gay Kid series is so very important for anyone who has struggled with their identity, whether sexual or otherwise.  I'm sure these issues are very hard for Omberg to create, because they deal with so many personal problems, and I'm very proud of her for not flinching and telling her story without hesitation or restraint.  This is a must-read comic in my opinion, and one that I hope is collected when finished, so it can help teens who need it.  We need books like this, and I'm definitely in for however many more issues Omberg chooses to create.

Gay Kid 3 is not in Katie's store yet, but I'm sure you'll be able to buy it there soon.

Sunday Readings 9-25-11

As we wave goodbye to September (where did it go?), here are some Sunday readings for your halftime enjoyment on a football-fillled Sunday...

WARNING:  Today's Sunday Readings have multiple links that I would consider not safe for work.  Do not open this at work, k?  Unless you're dying to no longer work there.

I have not read anything from the New 52 yet other than Justice League, so I do not have a strong opinion on the Catwoman-Starfire controversy.  My initial reaction was mostly disappointment, but I think it's wrong to have an opinion that's based on what others say, not what the comic actually is.  That said, I do think it's a bit odd to get all upset about Catwoman having relations with a person she's been flirting with/dating for years in the comics, assuming all that flirting is still in continuity.  (Getting upset because the splash page looks like crap from a usually solid artist is another thing entirely.)  The Starfire thing has more legs to it (no pun intended), based solely on what I've seen.  Anyway, here's Laura Hudson's impassioned take on the whole thing and a counterpoint by Mary Staggs that directly addresses Hudson's column.  EDITED TO ADD:  Here's another counterpoint to Hudson that compares the outrage to the 1950s, from MTV Geek editor V.R. Gallaher.

Controversy always leads to comedy, as Mike Hawthorn proves here.  This was my favorite of the things I'd seen over the past few days taking potshots at Catwoman 1.

My Cardboard Life unintentionally comments on long-time DC comics fans.

In other news of the bedroom, Johnny Ryan sums up exactly why all these kudos for Chester Brown bother me.  I'm not a huge fan of Ryan's, but this comic uses his style to prove his point perfectly.

Moving on to happier comics news, Chris Sims tells you why you should be reading Daredevil.  I'd already be reading it, but Marvel won't make it available as a digital comic for some reason.

Brigid Alverson is always good for some interesting comics reading, either of her own or from someone else.  Here, she's pointing out some behind the scenes work on Maus.  In another post, she's got more background looks at the Teenage Mutant Ninja Turtles.  Finally, here's a new webcomic Brigid found that looks interesting, called Little Guardians.

The Neverending Digression reports on two digital freebees from Dark Horse.  Neither strongly interest me because they are tie-ins, but it's always nice to see publishers offering bonus content on the digital side of things.

I probably should have collected SPX reports for a link roundup, but I didn't think of it until it was too late.  Still, here's one from an SPX newbie, for those thinking about attending next year.

Finally, The Happy Sorceress shows us that everyone likes Plants versus Zombies.  Everyone. (Sorry I can't credit the artist, but I can't read the name.)

Digging into Digital: Comixology's JLA 101 Sale

Don't argue with these people.  Buy their comic!

Comixology and DC continue their partnership with yet another "101" sale, where 101 comics are placed on sale for 99 cents in Comixology's digital market.  This time around, it's one of my favorite concepts, the Justice Leage, and in some of my favorite incarnations.

It would be easy to spend almost $100 on this sale.  In fact, had they not included the comics excrement that is Identity Crisis and the lame but inoffensive first two arcs of the most recent Justice League of America series, this post would probably be advocating just buying as much as you can without having your credit card confiscated.

As it is, most of us have some sort of budget to maintain, and thus cannot get everything.  So instead, I'm going to break this down into spending chunks, rather like the Robot 6 blog does in their "Food or Comics" columns.

$5 Sampler Plates

For those looking to just spend a few dollars here and there, I have three idea for you:

• Grant Morrison's JLA was one of my favorite runs, both the series itself and within Morrison's lengthy comics catalog.  There's a lot to love about that series, but his best story arc was by far the first one, taking up issues 1-4.  For $4, you can get a solid introduction to Morrison's team, Batman being awesome, and the League showing why the team must always be about the biggest names in DC comics.
• If you want to see what the old Justice League of America could do at the beginning of the 1980s, look no further than Gerry Conway did with the team in part of his great run, issues 183-185.  The JLA battle Darkseid with the help of the JSA, and it's a battle to the very end for the fate of the DC Universe.
• Care to try some alternative JLA history?  One of the best is Alan Davis' JLA:  The Nail.  A nail prevents Martha and Jonathan Kent from rescuing Superman, and the world is a very different place as a result.  This comic shows that dark doesn't have to be pages upon pages of gore, but they're around when you need them.  Fans of Irredeemable should check this one out, as there are some echoes to be found.

Upscale Appetizers ($6 to $10)

If you want to add some more to your plate or spend a bit at the sale, these are three good groupings that still stay under the $10 mark:

• I recommended it at the Wonder Woman sale, and I'll do it again here:  Darwyn Cooke's New Frontier is one of the best DC comics stories I've read, both from the artwork and the storyline.  Cooke works in just about every hero from the tail end of the Golden Age to the start of the Silver Age and finds a way to give them a big threat to fight.  It makes for one hell of a story.  I have the Absolute edition, but if you just want to read the story, go grab this.  I can't imagine anyone disliking it.
• I have a very strong soft spot for the DeMatteis-Giffen Justice League, and the first seven issues are available here as part of the sale.  See what happens when DC allows their creators to have a sense of humor while still battling menaces only a gathering of great heroes can fight--as long as they stop fighting each other.  This is a definite departure from what I usually like about the Justice League, but the writing pair find a way to make it work.  If you've never seen the Bwa-ha-ha League, this is a nice introduction.
• Grant Morrison takes his crack at a JLA-Darkseid story, and even brings in other iconic DC villains in the process in his Rock of Ages arc.  It's 6 issues, and I haven't read it in forever, but I remember it being amazing.  If you can afford a second Morrison arc, grab this one.  It's also a fine compliment to the Conway story, I think, playing to Morrison's strengths while also hewing close to the great epic adventures of the original title.

Full Dinners (More than $10)

Sometimes you just have to pretend you're obsessed with comics again, and splurge.  If you aren't worried about how much you're spending, here are three high-ticket options for you:

• Grant Morrison's JLA was extremely good, as I mentioned above.  If I wasn't sticking to a budget, I'd get every single one available in this sale.  That would be issues 1-17, 24-26, 28-31, and 35-41.  Don't bother with the fill in stories, you're spending enough as it is.  On the other hand, you're getting awesome comics from a master of the genre.
• Mark Waid's initial issues of JLA were not very good.  However, he more than makes up for it in the 12 part maxi-series JLA:  Year One.  While almost none of it matters anymore, the series itself is a good story that shows Waid at his continuity-smoothing best.  Waid nearly seamlessly places the JLA within DC's continuity of the time, all while still making the plot more important than the patches.  It's his typical great work, and a must-read for Waid fans.
• Those looking for a trip down nostalgia lane should get all of the JLA-JSA crossovers in the sale.  I had a lot of these in single issue form back in the day, and I read them several times.  They aren't all amazing, but they laid the groundwork for the comics we read today, by establishing the need to keep upping the ante.  Sometimes they're a bit dated, but I think they still have value, especially at a dollar apiece.  Anyone who likes old comics shouldn't hesitate to pick them all up.

So there's my recommendations for the JLA sale.  I hope you find some great comics!

Indestructible Universe Quarterly 6 and 7

 Written by Morgan Pielli
Illustrated by Morgan Pielli
Self-Published

Come wander the Indestructible Universe, where a variety of wonders await you.  Under the guidance of Pielli's imagination, you might encounter a gathering of were-creatures with their own honor code, Kirby-like celestial beings, killer trees, deadly houses, and even the stray morality play.

In this anthology series of rotating stories, some of which relate, some of which are stand-alone, Pielli opens the reader up to what Ray Bradbury called on his television show "the bounds of his imagination."  I think it's an apt comparison.  You could always use any other anthology show or series of your choice, but I think that the comparison to Bradbury is probably the best fit here.  Pielli's storytelling has the same wistfulness about it, as he explores the imagination, sometimes going into very dark corners.

I have to admit it was a bit strange reading an anthology comic from a single author that sometimes carries things over from one book to the next.  It's a great idea, but I'm not sure I've seen it in a mini-comic before that's self-published.  I am a big fan of the anthology format, so I read a fair amount of them.  Normally, when I encounter something structured like Indestructible Universe, it's a collection of stories the author did elsewhere, such as Jeffrey Brown's Little Nothings.

That's not the case here, which I think gives the whole proceedings some cohesion that is normally lacking from single-author short story collections.  Despite the disparate nature of the stories themselves, they flow better because they're surrounded by the comics they were meant to live with, not ripped from the pages and placed in a greatest hits collection.

Of the stories included here, I think my favorite might be the opener to issue 7, where a craven apprentice gets greedy and gets his just desserts.  It's got the perfect setup for a story with a twist ending, and Pielli's visuals set up of the action quite nicely.  I also enjoyed the strange romanticism of the story of lovers linked by numbers, which is both creepy and heartbreaking, all at the same time.  The highlight of issue 6 is definitely the fable of how the wolf stole the moon, as Pielli creates a legend set in his world of were-people. It works as both a story, a world-building device, and as an allusion to the many, many myths and legends told by humanity over the centuries.  If he ever came across it, Bradbury would surely love the tale with its layers and positive message.

I haven't said much about the art yet, but it's definitely a step above the standard mini-comic.  Pielli went to art school, and it shows.  He's able to vary his style from story to story while still being distinctly his.  The characters are somewhat scratchy in appearance, reminding me positively of Panel Patter favorite Rafer Roberts.  Pielli could easily take a turn on art chores on Plastic Farm without it looking out of place.  His linework is deceptively simple, providing strong setting and individual characters without it looking labored or overly technical.  I also like how Pielli makes effective use of shadows and heavy black lines to contrast scenes.  That's a technique I've really come to appreciate lately.

I owe thanks to Sara Lindo for introducing me to Morgan Pielli's work, and I'm glad she did.  Now I'm passing Indestructible Universe to you.  Fans of science fiction, light horror, and stories that have the feel of the old masters of short speculative fiction definitely need to get this one now.  It's going to be right up your alley, and you'll want to return to this universe again and again.

You can find Pielli at comics shows on the east coast (such as MICE in Boston this weekend!) or pick up his comics at his website.  Go get some!

Morgan was kind enough to give me a copy of these books for review.  Thanks, man!  If you're interested in having your comic reviewed by Panel Patter, please e-mail me at trebro@gmail.com.

SPX 2011 Wrap-up Post

It has been an incredibly busy time of my life recently, but I could not let the opportunity pass to share my thoughts on my most recent visit to the best show of the year, the Small Press Expo.  As usual, I had an awesome time, and am already counting down the days to next year's visit.

This was a different SPX for me because I normally go on Saturday, but personal reasons prevented me from being there on the first day of the show.  My understanding is that it was a record-setting day, with crowds exceeding previous attendance marks.  It meant that things were quite crowded and I missed out on a few things that were already gone by the time I attended the show first thing on Sunday.  On the other hand, I am not a huge fan of crowds, so perhaps it was for the best that I wasn't there.  (I am, however, so very happy for the exhibitors, several of whom are my friends, who got so many people to look at their stuff!)

In exchange for not making the show on Saturday, Erica and I made a rather longer trip (because I was too tired to think logically) down to make our first-ever appearance at the Ignatz awards.  Like the show itself, the awards presentation was packed to overflowing.  I ended up standing on a chair to see what was going on.

Unfortunately, between so many people and sound trouble, it was a bit hard to enjoy the presentations.  Dustin Harbin was a great choice of host, balancing sarcasm with optimism in his trademark style.  He definitely talks in the same way he comes across in the printed page and online.  Harbin worked through the problems, kept people laughing, and made sure everything went smoothly.  If they do repeat hosts, it would be great to see Harbin host again.

One thing that was interesting to me was that you could almost do the Ignatz by acclamation.  Generally speaking, you could pick the winner by the applause as their name was called when listing the nominees.  I was rather unfamiliar with the candidates this year (gonna try to fix that in 2012), but it was great to be part of the atmosphere and do some casual talking with comics folks.

Before we knew it, it was time for Erica and I to get back in the car and drive down for Sunday, where we could celebrate "comics Christmas" as we've come to dub the show.  I quickly walked around to talk to some of my friends, such as Sara Lindo and Rob Ullman, and to find certain books I wanted before they sold out, such as the Time Traveller's Pocket Guide and Katie Omberg's Gay Kid 3.

I followed my own advice and browsed before I bought, getting only those things I knew I wanted.  After sitting in on my only panel of the day, Johanna's discussion of publishing, I made my way back upstairs and worked the show floor.

I have to say, I was quite pleased with one change this year:  I saw a lot of creators who had books that were $1, $2, and $3, and I picked them up accordingly if they interested me.  Some were as high as $5, but for a suitably-sized comic.  I did not see nearly as many $10 for 10 pages books as I did last year.  That was my biggest complaint last year--comics that were priced too high for what they were.  Give me something to try first, and if I like it, I will definitely be back for more.

Speaking of back for more, I had quite a few people who I got more from, one of the highlights of the show for me each time.  I had new material from Harbin, Ullman, Bill Roundy, Omberg, Joey Weiser, Nate Powell, Anne Thalheimer, and Noah Van Sciver, all people who I encountered at SPX in years past.

Naturally, there were newcomers to my collection as well, and I can't wait to see who gets added to the ranks of people I want to buy things from at shows like this.  Watch for reviews!

A big change for me was spending less money on the "big" publishers.  We only got one book from Top Shelf because they closed up before the end of the show, nothing from Fanfare (they were sold out of most titles by the time I got to them), nothing from Drawn and Quarterly (ditto), and only two Fantagraphics books.  Part of that was circumstance, but part of it is that honestly, I can get those elsewhere.  My priority is on stuff I can't find at Atomic Books, my local (and awesome) bookstore.

Sunday is a shorter show day, and I think had I been there on Saturday, I would have bought a few more things that interested me but not enough to commit before the show ended.  Looking back, I don't think I took enough chances on books that maybe cost a bit more than I usually pay or spent some money taking $1 and $2 fliers.  Next year, I think I will budget some money just for "take a chance" purchases.

SPX was once again a great experience for the two of us, and I couldn't be happier that it's doing so well that they have to expand!  Next year, SPX promises to be 50% larger, with more room and more attendees.  In other words, my comics Christmas just got even better.  I cannot urge you strongly enough to join me and the rest of these wonderful people at SPX next year!  It's an experience you won't forget--and you'll want to relive it year after year.

Sunday Readings 9-18-2011

First off, Happy Birthday to Panel Patter contributor Erica!  

Now, let's see what we can find for her to read today, shall we?  Today's links are all tailored to things my wonder wife might be interested in.  Enjoy!

I remember a long time ago, John Byrne suggested that Previews might be the cause of why so many fans were disappointed that major stories did not turn out as they'd hoped.  I wonder what he thinks now, given the internet boom and the rise of giving out story details in advance as a way to generate major buzz.  At any rate, Michael May from Robot 6 has some thoughts on the subject, based on a study conducted about spoilers.  Major props for the image choices in the article.

Calamities of Nature explains why most geeks finally decide to have children.

Chris Sims of Comics Alliance has been feeling kinda negative lately, focusing on the problems (as he sees them) of the DC relaunch.  Here's an older article where he revels in the comic book-ness of comics, the ever-fun cover-blurb.

This is such an appropriate comic, given that there's a chill in the air.

Finally, Never, ever call a cat cute.

Happy Sunday, everyone!

Digging into Digital: Slave Labor Graphics Goes Digital First

In a press release, Slave Labor Graphics (aka SLG) announced today that they were moving to a digital-first publishing strategy.  Stating that "it is difficult to publish a 200 page graphic novel from an unknown artist" Dan Vado, SLG's President indicated that going forward, the company would distribute its comics in digital format first across a variety of formats and purchase locations, including its own website.

Here's the explanation of why they've moved to digital-first, from the press release:

 "The market has been pushing us away from serialized comics and more towards books and graphic novels for some time" said SLG president and publisher Dan Vado "However it is difficult to publish a 200 page graphic novel from an unknown artist without having some sort of lower-cost entry point like a comic book series to help build an audience, so going digital first seems like a good way to introduce readers to new creators and build an audience which we can build on for potential book releases."

Vado acknowledged that the digital market for North American comics is small at this time, but looks to the growth of e-books as a model.  Again, from the press release, quoting Vado:

"Digital has the virtue of being a great way to market and see if new creators and concepts can gain any traction and also has the potential to be a real growth area for the medium." 

As a person who is moving towards increased digital consumption of my comics and books, this move certainly makes me happy.  I agree with Vado that not only are books from unknowns a bit risky for the publisher, they are often crap shoots for the reader as well.  I've taken the chance on books and loved them, such as Plastic Farm.  But for every Rafer Roberts, there's (fill-in-the-name-here) who convinced me to get their book and left me with a severe case of buyer's remorse.  That means I'm often reluctant to spend money on a big book without knowing enough about it.  This initiative on the part of SLG addresses that concern, so I think it's a win for publisher and consumer.

For those wondering why SLG doesn't just make single-issue comics and sell those, think for a minute about your typical comic book store.  How many non-Marvel/DC/Image/Dark Horse/IDW/Boom! comics do they have on the shelf?  5?  10?  If you're lucky, maybe it's closer to twenty.  They're usually off to the side and only a few copies are available.  That's no way to create a market buzz, and a smaller publisher can't afford to do much in the way of incentive-based marketing.  Miss on one of those, and you might go bankrupt.  There's far less risk in a digital release (no print run) and the marketing goes viral if people like it.  (I find out about new comics all the time via Twitter, for instance.)

I will admit that despite how much I like digital comics (and my enjoyment just went through the roof with the addition of an iPad--more on that soon), I think Vado is being a bit optimistic about the growth of digital in the near term.  The digital vs paper books debate is still very much open, depending on who you talk to.  However, that's no reason to discount his thinking.  For a smaller publisher who relies heavily on word of mouth, digital might actually give them a sales boost that wouldn't happen in the direct market.

One of the things that impressed me the most about this news from SLG is their insistence on making their comics available to as large an audience as possible.  They are on the following sites, according to the release:

SLG digital comics can be found at the following places

www.slgcomic.com/eyemelt - it's own website

iTunes

BN.COM -(For Nook and Nook Color)

Comixology

iVerse

Graphicly

Panelfly

As if that's not varied enough, SLG's website offers them in pdf, cbz, and even epub formatting.  For those keeping track at home, that means that it is possible to download and own Slave Labor's books that you purchase digitally.  That puts them in the company of only a handful of comics publishers right now--and gives them an "in" with the crowd of people who want to own what they pay for online.  They really should be making a bigger deal out of that, because I think it would give them a leg up on some of the competition.

It's interesting to me how prominent the nook is in SLG's announcement.  It shows that their color tablet is definitely getting some traction, even if I played with it and found it too clunky for my taste.  Noticeably absent from this group is Amazon.  I'll be curious to see if that changes when their nook-busting device comes out later this year.

Overall, this is an interesting step for the company and I hope it works for them.  I know I'll be checking them out soon, probably in the format that allows me to keep what I pay for.  (It's not a deal-breaking issue for me, but why not take advantage of it?)  The big question is:  Will anyone notice?  There's a lot of noise in the digital comics world right now, and I wonder if SLG will get lost in the storm.  That would be a real shame, but it's definitely a possibility.  What do you think, digital folks?

SPX 2011: The Haul!

Erica here. After every show, Rob puts together a list of the comics he buys, with a little commentary. Since we go to SPX together, he asked me to put together this recap, so here it is!

Graphic Novels and Collections

• Dungeon, Vols. 1 and 2 by Joann Sfar and Lewis Trondheim (NBM)
• Lords of Death and Life by Jonathon Dalton (Lost City)
• Mark Twain's Autobiography 1910-2010 by Michael Kupperman (Fantagraphics)
• Isle of 10,000 Graves by Jason (Fantagraphics)
• Incredible Change-Bots Two by Jeffrey Brown (Top Shelf)
• Luci's Let Down by Marjee Chmiel and Sandra Lanz (Baba Yaga Books)
• Tragic Relief and The Trials of Sir Christopher by C. Frakes (self-published)
• Stargazing Dog by Takashi Murakami (NBM)
• Drinking at the Movies by Julia Wertz (Three Rivers Press)
• Any Empire by Nate Powell (Top Shelf)
• Black Mane by Michael V. LaRiccia (One Time Press)
• The Time Traveler's Pocket Guide by K. Sekelsky (self-published)
• The Show Must Go On by Roger Langridge (Boom! Studios)

Single Issues/Minicomics/Zines (all self-published, except where noted)

• Jay's Brain by Jason Viola
• The Gremlins Movie Incident by Cara Bean
• Strangefruit #1 by Joel Christian Gill
• People on the Streets, Here Come the Aliens! Run!, Professor Badger's Cabinet of Curiosities, 12 Heads Under My Bed, Jesus of Nazareth, PA, and Hot Dog Ted and the Living Dead, all by Jim8Ball (whew!)
• Fable Funnies and Ghost Rabbit by Dakota McFadzean
• Mr. Ryland & Mr. Yoder: Vaudeville's Duo! and Giant Naked Baby by David Yoder
• Booty #25 by Anne Thalheimer (which I will be adding shortly to Black Light Diner distro, although I may write a review here as well)
• Island Brat by C. Frakes (Koyama Press)
• So Buttons #4 written by Jonathan Baylis (with art by many different artists)
• Snarked! #0 by Roger Langridge (Boom! Studios)
• Monster Isle: Big Monster Stuff by Joey Weiser
• The Matter #1 and #2 edited by Matthew Ocasio (anthology)
• Make Like a Tree by Kelsey Werner
• Myths & Monsters Vol. 1 edited by Michael O'Sullivan (anthology)
• Blammo! #7 by Noah Van Sciver (Kilgore Books & Comics)
• Coal by Jeff Sharp
• The Devil's T Table and Ride: Bite the Dust by Erik Siano
• Invincible Summer #20/Clutch #23 by Nicole Georges and Clutch McB
• Ghost Story by Katie Rose Leon
• Too Fast: The Story of Blood Billin by Michael LaRiccia (One Time Press)
• The Amazing Adventures of Bill #12 and Bar Scrawl #1 and #2 by Bill Roundy
• Awkward Posture by Matt Young
• Watermelon by Whit Taylor
• The Trial of Sweetie Snake, Secktacular!, and Life Is Good #1-#4 by Steve Seck
• Write Now! and What Is This? by Neil Brideau
• Bamn #1 and #2 by Jay Payne and Troy Jefferey Allen
• Dr. W #A and #2 by Andrew Cohen
• Old-Timey Hockey Tales by Robert Ullman and Jeffrey Brown (Wide Awake Press)
• The Doug Wright Awards 2011: An Essay in Comics and Diary Comics #2 by Dustin Harbin (Koyama Press)
• March by Bill Burg (Wide Awake Press)
• Gay Kid #3: The Anxiety Issue by Katie Omberg

(Holy crap, I'm finally done!)

We attended the Ignatz Awards on Saturday night (a first), but only went to the show on Sunday, due to Rob's work commitments. Compared to SPXs of past years, it was very crowded. Attendance reached a record high on Saturday, and even on Sunday, the crowds were still thick. This made it hard to browse, but I'm sure the vendors were happy! Next year, SPX plans to increase their floor space by 50%, which will both lead to a lot more breathing room, plus provide space for new vendors. I hope to see a lot of new people there next year.

Only a single panel was attended, since most of the ones we were really interested in took place on Saturday. The majority of time was spent in the dealer's room, which is also where you want to spend most of your time, since there are easily a hundred tables to go through. I noticed a little less emphasis on webcomics this year, which honestly I didn't mind. I love webcomics, they're great, but I can access them any time I want. It's a lot harder to browse minicomics (especially for you unfortunate souls who don't live up the street from Atomic Books), and I'm very pleased that minicomic creators were out in full force this year.

Okay, now that I've said the positives about SPX 2011, a tiny pet peeve: packing up early. I didn't get everything I wanted from the Top Shelf table because they decided to tear down early, and I saw a few other people tearing down early as well. Maybe I'm unusual in this regard, but most of my buying happens in the last hour of a show, both because I've finally made my decisions and also so I don't have to lug around a full bag of comics all day. Unless you have a bus or train to catch, or you've sold out of everything (something that potentially happened to the minicomics vendors, I saw a lot more interest in minicomics this year, which is awesome), stay up until the end!

Did you go to SPX this year, dear reader? What did you buy, and what are you most interested in reading?

Rob and Erica's SPX 2011 Creator Guide!

It's almost here!  The Small Press Expo will be held at the Marriott in Bethseda, MD on Saturday, September 10th and Sunday, September 11th.  We can't wait!

Obviously, SPX is the favorite comics show of the year for this blog and we've taken time to really dig in and spotlight some of the great folks who will be there.  Unfortunately, we can't give them all individuals posts.

Instead, Erica and I have created a list of people you should find at the show this weekend if you end up being an awesome person and attend either day (or maybe even both!).  Erica's contributions are tagged with "E" and mine are given a "Q".  Not really.  I'm using "R" of course.

We like this show so much, we have to break this post into two in order to accommodate everyone!  Please stop and find these wonderful people at the show this weekend and start (or continue) to enjoy their great comics!

List is in alphabetical order and based on the list on the SPX website.  My apologies in advance if we miss anyone (which could happen given how many there are!) and if we list someone who ends up not being able to make it.

Troy Allen is one of the many members of the DC Conspiracy who will be at SPX this year.  He got me to read a wrestling comic to its finish, which is no small feat.  Have a look, especially if you like your Monday nights raw. (R)

I have not read a lot of Darryl Ayo's comics, but he's a great Twitter conversationalist and that's good enough for me.  I know him from the Box 12 anthology on Comixology and I'm curious to see what he has with him at the show. (R)

Liz Baillie is the author of the long-running, dearly departed minicomic My Brain Hurts and currently the author of the webcomic Freewheel. Her work has also appeared in a handful of anthologies. (E)

If you haven’t heard of Kate Beaton… where have you been? Beaton’s history-themed webcomics have been making the rounds for the past few years, and she has also been featured in the New Yorker. Her first book by a major publisher comes out this fall from Drawn and Quarterly. (E)

Carolyn Belefski and Joe Carabeo tag-team at shows due to their many collaborations.  There will be new Curls material at SPX, and also some of their other comics, too! (R)

Hermit Hill creator Nate Bramble isn't doing that webcomic any longer, but is on to other projects.  I admit I lost track of him after the comic folded, so it will be nice to see what he's up to nowadays.  You should, too. (R)

Andrew Cohen is another DC Conspiracy member, who I recently became a big fan of.  This SPX Spotlight recipient will have several new things at his table, and I can't wait to get them! (R)

The DC Conspiracy  is a big part of my SPX experience.  I've been reading and enjoying Matt Dembicki's comics for quite awhile now, whether they deal with the creepy, the animal world, or classic tales and legends.  He's a person you need to talk to and buy some comics from.  (R)

Jess Fink is an illustrator who has collaborated with writers such as Joey Comeau and Polly Frost. She is also the author of the erotic robot comic Chester 5000-XYV and the time travel memoir We Can Fix It. Several of her designs have been featured on the T-shirt site Threadless. (E)

Colleen Frakes is a relatively new addition to my list of creators to look for.  I met her at the Comics Geek Speak Supershow earlier this year, and quite liked her Xeric comic, Woman King.  Frakes is moving and I don't know how far--this might be your last chance to see her on this coast for all I know. She's bringing lots of minis for sale, too.  (R)

If you like stories that are both introspective and also tackle difficult issues, then definitely talk to Sarah Glidden, author of How to Understand Israel in 60 Days or Less. The book itself is back in print in softcover and I'm sure she'll have them at the show. (R)

Dustin Harbin has the pleasure of hosting the Ignantz this year, and you should have the pleasure of reading his fine, funny comics.  Harbin's detailed linework will knock your socks off. (R)

James Kochalka is the author of the decade-long, daily slice-of-life comic American Elf, as well as numerous books for both children and adults. His current series for children is Dragon Puncher (Top Shelf), which mixes illustration and photography (and punching). He is also a prolific musician, releasing ten albums under the name James Kochalka Superstar. (E)

Roger Langridge makes a return visit to SPX, offering up his indie work.  The man is extremely talented and funny, though to be honest I've only read his licensed work, which is some of the best I've read. (R)

Sara Lindo has a new book, which features a fictional adventure for her cat in the world of Wall Street.  I'm a big fan of her work over the past few years, almost all of which should be available at the show. (R)

In David Malki!’s webcomic Wondermark, Victorian iconography and modern humor work in tandem. A collection of his strips has been published by Dark Horse Comics. In addition to Wondermark, Malki ! is part of the Machine of Death squad. (E)

Anders Nilsen not only has arguably the sexiest voice in indie comics (seriously, he could be a leading many of radio), he's also got some great comics.  Nilsen is touring for his new collection, which contains comics that show off his cynical and pointed insights on the world through his pictures. (R)

Ryan North’s Dinosaur Comics shows that you can make a highly entertaining comic strip using only six panels. T. Rex and his friends Utahraptor and Dromiceiomimus discuss philosophy, video games, and Batman. It’s awesomoderately okay. North is also one of the masterminds behind the “Machine of Death” book of short stories (stories about people who know how they will die), it being inspired by a Dinosaur Comics strip. (E)

In this era where we might finally start treating gay people with equality, it's great to see comics like Katie Omberg's Gay Kid showing that it's normal to have the feelings that might make you different.  She's also got a series of comics that poke gentle fun at the life of retail. A new Gay is promised for the show.(R)

Morgan Pielli is friends with Sara Lindo and Steve Seck (see below) and I wanted to get Indestructible Universe into the SPX Spotlight but I just ran out of time.  The mini-comic/webcomic is a collection of short stories that range from the whimsical to the weird, and that's right up my alley.  If you live in that alley, too, stop by to see Pielli. (R)

Nate Powell’s Ignatz-award-winning book Swallow Me Whole (Top Shelf) was probably my favorite graphic novel of 2008. The highly anticipated Any Empire has just been released, and will be available from the Top Shelf table at SPX. Powell’s work combines extremely evocative illustration with keen insight into social issues. (E)

I also ran out of time to do more on RM Rhodes, the purple-suited purveyor of pictures.  Rhodes uses a variety of mixed media from the limited samples I got to view up to tonight, and what I saw intrigued me enough to make sure I go back and read more later.  See what you think! (R)

Rafer Roberts is not only a cool guy but a great cartoonist of the creepy.  It's been a great year for me because I've seen him enough to catch up on how things are going.  He has a new Plastic Farm and is always available for art and good conversation. (R)

Bill Roundy has been busy with paying projects and who can blame him?  Still, he's hoping to have a new mini or two in addition to his autobiographical work and probably some horrible romances. (R)

Variety is the spice of life, and Jim Rugg is the embodiment of that spirit.  He does everything from movie parodies to comics appropriate for teenage girls to spot-on satire of old Marvel comics.  You're bound to find something of his that you'll like.  Personally, I like all of it. (R)

Tom Scioli is about as close to an heir to Kirby as you are going to get.  A native of my old stomping grounds, he's amazingly good at doing homages to the King without it feeling completely derivative.  Hell, even if it was, it's so good, who cares? (R)

Steve Seck is another friend of Sara Lindo's that keeps an ongoing webcomic/mini-comic, Life is Good.  The series revolves around a quirky cast that quickly grows on you.  I liked the ones I got recently so much I ordered all the back issues. (R)

I should see if Katie Sekelsky can use her time travel powers to send me back so I have more time to write up posts about SPX.  Her book is debuting at the show, and is on my "must purchase" list for this year's SPX. (R)

I'm so excited that Raina Telgemeier has a new book coming out, but sad we won't see it at SPX this year.  However, I'm sure she'll have Smile, one of my favorite books from 2010. (R)

Anne Thalheimer writes the autobiographical minicomic Booty, and also makes adorable monster hats. She is a member of the New England-based Trees and Hills Comics Group. (E)

Noah Van Sciver is behind the minicomics series Blammo, and has been featured in a number of anthologies. His graphic novel The Hypo will be published next year by Fantagraphics. (E)

Rob Ullman is one of the best I know at drawing beautiful women, and has great taste in sports teams, too.  He's got two debuts at the show this year, one of which features hockey stories with Jeffrey Brown.  How can you go wrong there? (R)

Joey Weiser wraps things up, and given that Joey was one of the artists I liked best from my first SPX back in 2008, it's quite appropriate.  Weiser writes comics that can truly be said to be all-ages, with an upbeat outlook and a positive message.  Weiser's latest is a collection of strips from his webcomic, Monster Isle. (R)

And that's the list!  WHEW!  We'll see you--along with all these great people!--at SPX!  Have an amazing show.  SPX is such an affirming show for all involved, and we can't be there soon.

Panel Patter's SPX 2011 Panel Guide!

Welcome to the last entry in my series of posts relating to the Small Press Expo 2011, which will be held at the Marriott in Bethseda, Maryland on September 10th and 11th, 2011.

Today on the eve of the show, I thought it might be helpful to offer my suggestions on panel viewing at SPX for Saturday and Sunday.  As with the Baltimore Comic Con, I am not going to be available on Saturday, but that doesn't stop me from suggesting you go see things!

The biggest thing to keep in mind with convention panels is that every minute you are in a panel, you are not on the floor talking with creators and finding new and interesting things to read.  While I enjoy sitting in on panels, I try to make sure that I am balanced, with a slight priority given to being on the show floor.  I do not advocate spending more than half of your day on panels.

So, if you wanted to copy me at SPX, here's where you'd find me.  If you want a complete panel listing, you can view it here.

Saturday

I would not blame anyone for going to see Kate Beaton at 12pm, but I've been to panels with her before and I don't like leaving the show almost as soon as I've gotten there.  I'm also not terribly interested in the New Yorker.  It's just not my thing.  But if it's yours, go ahead there and meet me back at 1:30pm.

The Secret History of Women in Comics1:30 pm | Brookside Conference RoomThe increased involvement of women in the comics field over the past several years has been a significant positive change in a historically male-dominated industry. However, just as it’s worth celebrating this progressive revolution, it is also worth noting that today’s women cartoonists are part of a lineage of pioneering women who have made many contributions to the field. Heidi MacDonald will discuss this history with Jessica Abel, Robyn Chapman, Alexa Dickman and Diane Noomin.

This is the panel I'm sorriest to be missing on Saturday.  If you hear muttering, that will be me back in Baltimore cursing my scheduling luck.  I'd love to hear about the history of women in comics, because I really only know about it as a more modern phenomenon.  I'd expect talk of Aline Crumb, maybe Marie Severin and Glynis Wein, and certainly Ramona Fradon better be part of the conversation.  I'd hate to see the mainstream women of Marvel-DC take a backseat to their alt-comix sisters in this history.  I do think the fact that it's (somewhat) easier to break into indie comix as a female artist is worth exploring.

Due to the way SPX schedules panels, you'll have to miss the conversation with Andres Nilsen because it's at 2PM, but happily there's another interesting panel at 2:30:

Narrative Logic: Surreal and Obscure2:30 pm | Brookside Conference RoomThe entry of comics as “graphic novels” into the publishing landscape has encouraged work that conforms to the narrative biases of conventional literary fiction. Joe “Jog” McCulloch will talk to Marc Bell (Pure Pajamas), Matthew Thurber (1-800-MICE) and Jim Woodring (The Congress of the Animals) about producing graphic narratives that follow less conventional, more associative, and even visually based narrative logics that lend integrity to apparent surreality.

I like when creators play with the convention of narrative in art a lot more than I like it in my prose fiction.  I think this would be a great panel, and you should go see it for me and tell me all about it!

We've missed Craig Thompson's panel, but that's okay because we have one more panel to attend before spending the rest of the show up on the floor.

Stories of Cultural Identity3:30 pm | Brookside Conference RoomAmerica’s own culture wars are only part of a global struggle with identity, as nations the world over attempt to address the challenges of assimilating multiple cultures within a stable society. Moderator Rob Clough will talk to Jessica Abel (La Perdida), Marguerite Dabaie (The Hookah Girl), Sarah Glidden (How to Understand Israel in 60 Days or Less) and G. B. Tran (Vietnamerica) about comics that deal with issues of cultural identity.

This is another one of those panels that plays to my interests as a reader, and I'm sorry to be missing it.  I greatly enjoyed Abel and Glidden's books, which both covered the idea of being an outsider looking in, though in vastly different ways.  This should be a good conversation, depending on how closely it's moderated.

From there, I would spend the rest of the day on the show floor.  I want to be able to talk to creators, and the rest of the panels for the day mostly dwell on subjects more interesting to an artist (aesthetics) or feature creators who are not high on my list (Johnny Ryan, Chester Brown).  If you are fans of their work, by all means go ahead, and I'll catch up with you after the show.

Erica Adds:  For the most part I agree.  I would want a break, so I'd skip the 3:30 panel and instead go to Alex Robinson's at 4:30.  I really liked Box Office Poison, a book Rob needs to read!

Sunday

Sunday is a more relaxing day at SPX, with people kinda chilling about, seeing what they might have overlooked on Saturday, and in some cases probably nursing a fine hangover.  I'm less interested in the panels in general on Sunday, but there are two I will definitely go to, with some nice spacing in-between.

I know I'm probably missing a good panel at 1pm about a French cartoonist, but I hate going to a panel just after I've arrived.  I'd have seen the Tardi one if it had been at say, 4pm, but I will pass.  It also conflicts with my first planned panel of the day:

Navigating the Contemporary Publishing Landscape1:30 pm | Brookside Conference RoomIn the early 2000s, corporate publishers nearly raced to acquire graphic novels. Now, as the mainstream publishing industry faces severe contractions and as online media assumes many traditional functions of publishing, cartoonists face a rapidly changing publishing landscape, one that includes a resurgent small press. Johanna Draper Carlson will speak with Domitille Collardey, Mike Dawson, Meredith Gran, Roger Langridge and Julia Wertz about publishing options today.

This panel is moderated by my friend Johanna, so I'd be going regardless of the topic, as long as it wasn't on something like harming small children and animals.  (That, presumably, was covered in the horror panel.)  As a blogger and omnivorous comics reader, however, I'm interested to see what they have to say on the subject.  I read in mini-comic, book, webcomic, and digital formats, so I like to see where things are trending and why.  Very curious to see how this panel deals with digital, given that I'd guess an inherent reluctance to the medium.  We'll see.

Comics in the Library3:30 pm | Brookside Conference RoomLibrarians have long been on the cutting edge of promoting comics as part of the cultural landscape. But this still new category continues to raise questions of how and what to collect, and how to deal with challenges to individual books as they arise. Gina Gagliano will discuss comics and librarianship with Charles Brownstein (CBLDF), Sara Duke (Library of Congress), Dave Burbank (Takoma Park Public Library), Annette Klause (Montgomery County Public Library), and Caitlin McGurk (The Schulz Library).

This will be my second and last panel of the day.  I've certainly read my share of library comics, and now that I teach reading, the link between comics and literacy and using public money for "funny books" is a subject quite close to my heart.  Should be a good conversation, and maybe I'll be able to contribute in some way.

So that's my plan for Sunday, and what I would have done Saturday?  How about you?  What panels do you plan to frequent at the show?  Tell me about it!

SPX Spotlight: Bamn 3

This is part of Panel Patter's SPX Spotlight, a series of reviews of work from creators or publishers who will be attending SPX in 2011 leading up to the show on September 10th and 11th, 2011!

Bamn #3
Written by Troy Jeffrey-Allen
Illustrated by Jay Payne
Self-Published

Bamn is a former wrestler who's just about ready to give up about everything.  But when he meets a group of well meaning but clueless high school kids with a thing for wrestling and a set of tormentors who use their wrestling skills for bad ends, our over-the-hill hero might just have some good left in him after all.

As the story moves into its third issue, Bamn debates the best course of action while the kids themselves start to think about what they need to do to survive high school and move on with their lives.  Will their plans mesh with Bamn's?  Can Bamn convince the jocks that picking on people isn't the best way to go through life?  It's a matter of thinking of the future in the third issue of...Bamn.

This was an odd one for me, because the extent of my interest in wrestling peaked somewhere in 1987.  I am vaguely aware of the fact that wrestling has different leagues and top stars who often go in and out of fashion as the leagues need them to, not unlike game show panelists.  Beyond that, I'm essentially clueless.

That means that some of the impact of Bamn is lost on me.  Part of what makes this interesting is the wrestling dynamic, but it's hard for me to get into that part of things.  I expect, however, that if you were a fan of wrestling, it would be easy to appreciate the little touches in costuming and philosophy that are included here to give this a different angle from the plethora of other comics that deal with bullying in high school.

It's a bit hard to get a feel for the message here.  We know to root for the underdog kids, but I'm not sure I quite get why the bullies are so evil.  (Perhaps that was in the first two issues?)  I'm also a little unclear why Bamn is so serious about getting involved.  He definitely takes on risk by menacing kids, even indirectly.  I can't tell if this is like a Karate Kid type thing or if maybe he was just as weak as the teens he's trying to mentor now.  I'm sure that's either been explained or will be made clearer as time goes on.

The story itself is paced well, with a few action sequences, some moments of build-up, and a bit of time spent on subplots that compliment the overall work.  I admit to finding the crude dialog a bit too much at times--I get that kids swear, but it's overdone here, I think.  Other than that, the dialog works well for the characters, with adults lecturing (on purpose) while the kids of all kinds either accept or reject the advice.  Jeffrey-Allen does a good job with adjusting how characters talk, which is a nice skill to have as a writer.

Payne's artwork deals in exaggeration, which I think is the right move for a wrestling story.  Bamn is entirely too big to be real, but that never bothered me.  Similarly, he uses perspective to aid in the perceptions of strength and weakness among the characters.  Overall, the effect feels animated, but more of a set of frame-by-frame stills.  Sometimes figures are a bit on the stiff side, and I wish they'd be more fluid, particularly when they're being confrontational.  I'd love to see more angled placement, action lines, and things of that nature.  The art does the job it needs to, and I'm sure in time that Payne will refine things a bit more.

Overall, for a comic that I came into late and features an entertainment medium that doesn't particularly interest me, I liked this one better than I expected to.  I'm not sure I'd read to issue four personally, but I'd definitely recommend this to anyone who enjoys stories set in high school and wrestling.  Anyone who likes both should find this a winning combination.

You can pick up Bamn #3 at SPX this year, but if you can't make it to the show, look for it on the website for the comic, which currently has 1 and 2 available.  I'm sure it will be there soon.

[Troy Jeffrey-Allen was kind enough to provide a copy of Bamn #3 for me to review.  Thanks!  If you are interested in having me review your comic, please get in touch with me at trebro@gmail.com.]

SPX Spotlight: Blammo #6 by Noah Van Sciver

This is part of Panel Patter's SPX Spotlight, a series of reviews of work from creators or publishers who will be attending SPX in 2011 leading up to the show on September 10th and 11th, 2011!


Blammo #6
Written and drawn by Noah Van Sciver
Kilgore Comics

Noah Van Sciver's Ignatz-nominated Blammo is a collection of stories both auto-biographical and not, based in both fantasy and the drama of real life. There's a little bit here for every kind of comics fan, although clearly, fans of the Top Shelf/Fantagraphics set will find themselves the most satisfied.

The longest story, "Abby's Road," is the tale of Anthony, a thoroughly unlikable juggalo who somehow manages to date a popular teenage girl (hey, miracles happen every day). While many stories of this type would end with some sort of revelation on the part of the protagonist, there is none here, which could be Van Sciver's statement on the pointless nature of modern post-adolescent life. (Or he just hates juggalos. Both are reasonable viewpoints.) Other stories involve a childhood art critique by his brother Ethan (who Rob tells me draws Green Lantern comics or something... I really wouldn't know), a Krampus visit to a certain folk-rock legend, and a world where humanity's only hope against giant lizards is a gang of punk rockers. One of the auto-biographical pieces deals with the frustration of trying to sell comics to disinterested fans at a comic-book convention (wonder if it's SPX?), and having been behind the table at a number of zine fests, I can definitely feel his pain.

The art style is pretty standard for mini-comics, and I don't mean that in a pejorative way, just that it fit the type of stories he was telling without calling undue attention to itself. The single use of a "surprise" splash page made a nice punchline to a comic that was otherwise told with a series of standard square panels. There is also a letters page and an outro page (featuring John Porcellino!), which I wish more mini-comics writers would put in their comics, since they're a great way to let you know about the person behind the pen.

My only complaint is that I wish some of the stories were longer. I could easily see "Chicken Strips" or "Punks vs. Lizards" spun out into a full-length comic (hey, it beats Cowboys vs. Aliens). According to his blog, he does have a graphic novel in the works, which will be published by Fantagraphics, so fans of Blammo should definitely look forward to that.

You can buy Van Sciver's comics at his site, including Blammo #7 which was just released. Of course, you can also buy it at SPX! I know I will.

SPX Spotlight: Katie Omberg's Gay Kid 2

This is part of Panel Patter's SPX Spotlight, a series of reviews of work from creators or publishers who will be attending SPX in 2011 leading up to the show on September 10th and 11th, 2011!

Gay Kid #2
Written by Katie Omberg
Illustrated by Katie Omberg
Self-Published

Katie Omberg continues her look backwards at life growing up as a gay child, this time with a focus on how clothing impacted on her life.  While all kids tend to have issues with their parents relating to how they are dressed, Omberg's problems stemmed from a big issue:  Her mother's insistence that she be as girly as possible.

The story begins when Omberg gets a younger sister and begins to perceive the world a bit differently.  Instead of wearing pretty colors, like a good girl, she opted for things that had black in them.  Her mother quipped that she was  "the goth child."  As time progresses, however, things grow worse.

As Omberg's mother expects her to weark clothes that fit her proscribed gender, Omberg tries harder and harder to bring a sense of self-identity to what she wears.  It leads to constant questioning--why can't she just do what the other girls do?

It's an issue that doesn't have a solid resolution, but there is a happy ending.  At her father's wedding, Omberg is allowed to dress formally as she pleases--and finds something that works for her at last.

Like the first issue of Gay Kid, which I reviewed awhile back, this is an important chronicle of what it's like to grow up being different from your peers and what your family expects of you.  I do wish Omberg would go a little longer with these, as I think there's a lot to say on the subject.  When I finish the comic, I leave with a lot of unanswered questions.  Maybe if they're collected at some point, she can build around the original stories a bit more.

Gay Kid 2 is a perfect pick up for someone you know who has identity issues or for yourself if you've ever known what it's like to be different.  You don't have to be gay to appreciate what going against the grain means.  Gay Kid 3 is scheduled to be finished at SPX this year, so make sure you pick up all three issues if possible.  They're good--if a bit short--reading.

SPX Spotlight: Freewheel Volume 1 by Liz Baillie

This is part of Panel Patter's SPX Spotlight, a series of reviews of work from creators or publishers who will be attending SPX in 2011 leading up to the show on September 10th and 11th, 2011!


Freewheel, Volume One
Written and Illustrated by Liz Baillie
Punchbuggy Press


Foster kid Jamie Bell wakes up to find her brother Jack missing. She lights out for his potential destination of Ithaca, NY, but is stopped by a scout, Fingerfoot, who takes the hungry, tired girl to "the nest," where she encounters a band of friendly transients. Bedecked in fashionably tattered clothing, and using whimsical technology such as Dixie cup walkie-talkies, the hobos live a life that's both strangely idyllic, yet endangered, both by the cops and from the magical forces at work in the forest. The hobos are resourceful and helpful, and they might be able to get Jamie to Ithaca... if she can complete three quests in order to see the enigmatic Contessa.


While the reality of hobo life is decidedly grimmer, Baillie's vision of a hobo camp as a safe, magical refuge from the vagaries of life is a far more fanciful one. With a unique art style characterized by unusual panel structure, Freewheel is a delightful tale of a journey that starts out ordinary but morphs into anything but. Fans of hobo-centric humor such as Adam Koford's Hobotopia and the stylings of John Hodgman will find this right up their alley. And although not an all-ages book specifically, I think this would also make a good read for children ages eight and up, due to its young protagonist and gentle humor.


The story ends very much on a cliffhanger, but even within these first five chapters there are hints of character progression. Motherless Jamie finds a caregiver in the nest's den mother, Little Jackie, and a semi-father figure in Fingerfoot. She's shown to be more worldly than the nest children, having braved a notorious cavern to gather mushrooms necessary (in a roundabout way) for her visit with the Contessa. She is by no means a passive participant in adventures, but a resourceful actor who never forgets her goal: to be reunited with her brother Jack.


The art is somewhat reminiscent of Nate Powell, in particular the use of unusual panel structure and lettering. For instance, in the scene where Jamie talks about her parents, the lettering winds around circular panels illustrating snapshots of Jamie's early childhood, conceptualizing memory in a way linear panels just wouldn't. Baillie's art has definitely progressed from the more primitive work in her long-running mini-comic My Brain Hurts, and I'm excited to see where she goes next.


You can read Freewheel in its entirety at Baillie's site. Unfortunately, the series is currently on hiatus while she works on another project, but there's still plenty here to enjoy.  Or you can pick it up at SPX!  If you can't make the show, Baillie's store is here.

SPX Publisher Spotlight: Fantagraphics

This is part of Panel Patter's SPX Spotlight, a series of reviews of work from creators or publishers who will be attending SPX in 2011 leading up to the show on September 10th and 11th, 2011!

As we move into the final few days before the show, it's time to start looking at the some of the great publishers who will be at the show this year.  Today, we'll look at one of those publishers, perhaps the best-known of those who will be at the show this weekend, Fantagraphics.

I really like this logo

I have been a little remiss this year.  Normally, I place at least one order in the spring to Fanatagraphics, but since I didn't do it yet, I'm planning on bringing a little extra to the show this year in order to pick up some books from them that normally I'd already have.  It is stupidly easy to spend money with Fantagraphics, because they put out so many great books every year.

Part of why there are so many good things to buy from Fantagraphics is because they do not limit themselves to one kind of independent comic--nor do they only publish independent works.  While they certainly are known for being on the cutting edge, this is also the same publisher that gives you the Peanuts reprints and old pre-code comics from such luminaries as Steve Ditko and Bill Everett, to say nothing of that insane genius, Fletcher Hanks.

Fantagraphics also is one of the best at putting together anthologies, such as Blab! or Mome that run the gamut from the avant garde world to simple autobiographical works.  They are the home of comics of all kinds from Crumb to Krazy Kat to upscale manga, and thus cater to my eclectic tastes.

I'm sure they will have a ton of comics available at SPX this year, including some good things from their back catalog.  For the purposes of this post, however, I'm just going to highlight what looks good from the 2011 catalog.  It's as good a place as any to start, and I'm sure you kind find the older gems yourself once you stop by their table.

• 21 The Story of Roberto Clemente by Wilfred Santiago. This is one that's close to my heart, being a former Pittsburgher.  Santiago presents a stylized history of the best Latin American player to ever step foot on a baseball diamond, highlighting both his triumphs and his struggles as a person and player.  I read this recently and it is extremely good.  A must for all baseball fans, regardless of where you live.

• Four Color Fear. The creepy look at old horror comics is back in print, and anyone who loves the genre owes it to themselves to grab this volume and put it on their shelf.  This was Erica's Valentine's Day present to me!

• Isle of 1,000 Graves by Jason and Fabien Velhlmann.  Do I really need to tell you that getting new Jason comics is a good idea?  There's apparently more Jason on the way later in the year, too!  Awesome!

• Krazy Kat & Ignantz Sunday Strips 1919 to 1921.  If you're getting these as they are released, grab this one.  If you can hold out, however, there's a collection edition coming in a hardcover version that might just be suitable for hitting someone--just like a brick.  But why do that, when you want to read the comics inside instead?

• Mark Twain's Autobiography by Michael Kupperman.  This is still listed as a pre-order, but Kupperman told me that there's a good chance it will be at SPX.  This is the story of Twain's last 100 years on earth, from his greatly exaggerated death to today.  I really, really hope he's right, because I want to read this one so badly!

• Mome 21 and 22.  I am so sad that Mome is ending its run, because I've greatly enjoyed the series.  Pick these last two up or start at the beginning, should they have back issues.  Either way, you're almost certain to enjoy what I consider to be one of the most solid, long-running anthology series I've ever read.

• Popeye Volume 5.  I can only collect so many things, so until Fantagraphics goes digital (hint hint), some of these classic comic series will have to wait.  But if the Sailor Man is someone you love enough to keep, this edition gives you Poopdeck Pappy, one of my favorites.

• Setting the Standard:  Comics by Alex Toth 1952-1954.  I know there are lots of folks who are into Toth the way that I am into Ditko, so this 400+ page collection should be a thing of beauty for you.  Enjoy, but--maybe take it to the car instead of carrying it around the show all day!

• The Comics Journal 301.  If you're into comics criticism in a big way, don't forget the massive issue of TCJ.  My friends who dig books like this have had nothing but good things to say about it.  It's got Crumb and his Genesis retcon, among many, many other things.  I have to be honest--TCJ isn't for me.  But I have to respect the idea of putting this much emphasis on comics as an art form.  This is right up there with any other literary journal you can imagine.

• The Complete Crumb Comics Volumes 13 and 15.  Speaking of Crumb, these two volumes get a reprint and probably will be at SPX as a result.  If you've never seen one of these editions before, they are an excellent way to watch Crumb's underground comix career progress.  By the 15th volume, you are into the 1980s and oh boy, is that a clash of culture, my friend.

• Twentieth Century 8Ball by Daniel Clowes.  This is also being reprinted, and if I didn't have this already, I'd get it.  I'm not a big fan of Clowes' current work, but I like his older material.  This is a good place to start if you liked Ghost World or Wilson and want to read more.

• Wandering Son Volume 1 by Shimura Takako.  The start of a new series for Fantagraphics rounds things out in my list of highlights.  I recently read this manga as well and I am still processing it before I try to do my best review possible for it.  It's the story of gender identity, told in a supportive, realistic manner that is almost unheard of in manga--at least the manga we get here in the United States.  I'd say this is a must-purchase for anyone interested in themes of sexuality, gender, quality manga, and good comics.

So those are some things that look good to me from Fantagraphics.  I'm in for some hard decisions on Sunday--I bet you will be, too, when you go to the show!  Luckily, you can always order more of these books from Fantagraphics when funding allows.  (I recommend twice a year, by the way.)

Tomorrow, we move the publisher spotlight to Top Shelf!  See you then!