Turn on the news or check online news sites, and you’re bound to see coverage of Occupy Wall Street, a series of demonstrations protesting corporate influence over our culture’s systems of government and finance. It’s essentially a reaction to what is perceived as class warfare perpetuated by a significant minority of powerful individuals and institutions (referred to as the 1%). (So much media coverage is focused on protracted confusion at the movement’s purpose, so in case you’d like to know more, Rolling Stone has an editorial by Matt Taibbi that gets into it deeper, and of course there’s always never-wrong Wikipedia.)
Whether you think the movement is just a bunch of lazy hippies or a crusade against big banks, it’s got people’s attention. Over 100 cities in the US have local versions of Occupy Wall Street, and more than 1500 have popped up in cities around the world. This has not gone unnoticed by the world of comics.
Occupy Comics is an anthology currently raising funds for the movement through a Kickstarter campaign. Coordinated by writer/director Matt Pizzolo (Godkiller), the comics will first be released as digital comics and individual comic book issues, and then collected and reprinted as a hard cover graphic novel. All creators and production staff have agreed to donate their salary to Occupy Wall Street to help pay for supplies during the winter months. An impressive line-up of comics creators have already committed to contribute, such as The Walking Dead‘s Charlie Adlard, 30 Days of Night‘s Steve Niles and Ben Templesmith, Joshua Hale Fialkov (Tumor, I, Vampire), and Dr. Sketchy’s Anti-Art School founder Molly Crabapple. From the Kickstarter page:
This book is intended to be a time capsule of the passions and emotions driving the movement. We are comic book & graphic novel artists and writers who’ve been inspired by the movement and hope to tell the stories of the people who are out there putting themselves at risk for an idea. What is that idea? Most of the media will tell you the idea is a vague and befuddled mess, but movements don’t coalesce around vague, befuddled messes. We hope that through the medium of comics we can share some of the ideas and experiences driving this movement.
All of the writers, artists, business executives, and the publisher are being paid to produce this book… and they ALL are donating 100% of their revenue (not profits, but ALL monies they receive) to the occupiers. They want to support the movement through the winter by providing warm clothes, heaters and bathrooms if possible, and other amenities.
One of the anthology’s contributors is Susie Cagle, a comics journalist who has provided non-fiction comics for McSweeney’s, Alternet, Truthout and other publications. She has been attending one of the west coast versions, Occupy Oakland. As a member of the press, she has a bright orange press badge visibly hanging from her neck. Despite this, she has twice been swept up in aggressive police action, once getting hit with tear gas, and once getting arrested along with other press and legal observers. Occupy Oakland has been one of the more unstable Occupy sites, perhaps most notably when Iraq War veteran Scott Olsen, a former Marine and member of Veterans for Peace, suffered a fractured skull when he was hit by a projectile apparently fired by the Oakland police. During Susie Cagle’s 15-hour detainment at two different jails, she witnessed mistreatment of arrested protesters by the Oakland police. She was charged with failure to leave the scene of a riot and was instructed not to return to the demonstrations until her December 5th hearing or she will be charged with a felony. She plans on returning to continue work on an illustrated history of Occupy Oakland.
Of course, not everyone is supportive of Occupy Wall Street. Frank Miller, once a vocal supporter of creator rights (he was among the first to join in an attempt by comics artists and writers to unionize in 1978) and unafraid to call out corporations on their greed and poor treatment of comics creators (Miller was a vocal supporter of Jack Kirby’s efforts to regain his original artwork from Marvel Comics). But after 9/11, he was was seemingly reborn as a devout supporter of the War on Terror above all other concerns. His most recent release, Holy Terror, is a wish-fulfillment of a Batman-esque superhero crushing the terrorist organization Al Qaeda and it has been met with criticisms of anti-Islamism. In response, Miller admitted that he knows “squat about Islam”, but this hasn’t stopped him from criticizing the entire religion and populace of the Middle East on terrorist extremism. So it isn’t entirely surprising that he posted to his website last week a rant against the Occupy Wall Street movement, stating that participants should instead enlist to help the War of Terror.
“Occupy” is nothing but a pack of louts, thieves, and rapists, an unruly mob, fed by Woodstock-era nostalgia and putrid false righteousness. These clowns can do nothing but harm America.
Speaking of nostalgia, that “harm America” argument is the same one used to discourage Vietnam War protesters and other Woodstock-era demonstrations, including the civil rights movement of the 1960s.
For a response to Miller’s statement in comics form, see this special edition of Ty Templeton’s Bun Toons web-comic, which observes that “it was an oddly out-of-touch moment to tie the ‘War on Terror’ to a clichéd list of old school anti-hippie slurs” to a rather pointed caricature of Miller.
Digital Comics Update: Dark Horse launches Digital, NBM goes interactive, Nook gets Graphicly app, Archie translates digital to Spanish
Comic books continue their evolution into digital comics, where the sequential art form is available on mobile devices like the iPad and Android, game systems like the PSP, and web browsers. Expanding in distribution, getting more competitive with prices, and experimenting with interactivity – these are all good signs that digital comics might be growing from infant to toddler.
After some delays, Dark Horse Comics will launch their anticipated Dark Horse Digital program later today. The system was built in-house and uses a web-based system supplemented by apps for the iPad, iPhone and iPod Touch. The comics will be priced starting at
$1.49 $0.99 (versus competing apps that have comics starting at $1.99), and will be available in bundles as though you’re buying a full graphic novel collection. The app will be free and come loaded with the first issue of Hellboy: Seeds of Destruction by Mike Mignola and John Byrne. There will also be five free comics available: the first issues of Criminal Macabre by Steve Niles and Ben Templesmith, Joss Whedon‘s Fray, Mike Mignola’s Abe Sapien: The Drowning, Gerard Way‘s Umbrella Academy: Apocalypse Suite, and Mass Effect: Redemption. The app will have hundreds of other comics for download, including issues of Conan, Joss Whedon’s Serenity, Eric Powell‘s The Goon and more. An Android app will follow.
Meanwhile on the Nook Color, Barnes & Noble has launched a new app store which includes three graphic novel apps from Graphic.ly: Mouse Guard: Fall 1152 by David Petersen, Mark Millar and JG Jones‘ Wanted, and Mark Waid‘s Irredeemable. All of the apps have been specially optimized for the Nook Color e-reader, which uses Google’s Android platform. Graphicly also has digital comics from major comics publishers available on the iPad, iPhone/iPad Touch and Android, on the web, Adobe Air, and Google’s Chrome browser app.
NBM Publishing and their all-ages Papercutz imprint has teamed up with TWP Interactive to produce what they are billing as the first interactive graphic novel, Dinosaurs Across America by Phil Yeh. (It’s not the first, but it’s still cool.) Dinosaurs Across America was first published as a traditional graphic novel in print in 2007. It was named one of the best 25 graphic novels of the year by School Library Journal and has won acclaim for its ability to teach geography to children. The new interactive edition allows the reader to zoom in on individual states, learn fun facts and play with puzzles. The interactive version is now available for $9.99 as an app for iOS devices (iPad, iPhone, iPod Touch), and for $4.99 as an e-book on Koobits.
And finally, Archie Comics continues its aggressive pursuit of digital, launching Spanish language versions of some of their digital comics Monday. The comics are available on Archie Digital, as well as their iOS app for the iPad, iPhone and iPod Touch provided by iVerse, and the Sony PSP. An Android app is coming soon. Further translations into French and Hindi are planned as well.
Today, we look at comics publisher Archaia Comics. Originally set up as a banner for the self-publishing efforts of writer/artist Mark Smylie and his high fantasy series Artesia, it expanded into a full on publisher in the middle of this past decade, launching the anthropomorphic fantasy series Mouse Guard by David Petersen to much acclaim. More comics were announced until the young publisher seemed to become overwhelmed by its own plans, almost completely grinding production to a halt. It appeared as if Archaia was going to be another in a long line of comics publishers who have abruptly vanished. Then came news of the acquisition of Archaia by Chicago-based media company Kunoichi. For a time this didn’t seem to change anything, but then Archaia came back. In the past year, they have firmly landed on solid ground and proved themselves to be a dependable publisher of quality comics and graphic novels, with an eye to innovation in the digital comics space. Read the rest of this entry
It seems every comics-related site or blog is checking in with their “Best of 2006″ lists. Not to be left out of the fun, here is mine, slipping in right under the buzzer (depending on your location on the planet).
My list takes a bit of a different angle, though. While the quality of the story and art, as well as entertainment value, are certainly taken into consideration, I’m approaching this with an eye toward historic significance. The list includes entries that made a significant impact on the industry or the art form for the past year. I’m sure there’s something really obvious that I missed. And I’ll be kicking myself for it. But here it is…my Top 5 list of 2006. Let me know what you think.
1. 9/11 Report: A Graphic Adaptation by Sid Jacobson and Ernie Colon (Hill & Wang) – Over-looked by a surprising number of industry observers, this publication significantly moved comics back into the realm of serious potential. A graphic adaptation of The 9/11 Report was an inspired idea, and the execution proved how effective the sequential medium can be at communicating a lot of information without losing the data.
2. Lost Girls by Allan Moore and Melinda Gebbie (Top Shelf) – One of the industry’s best writers and a highly underrated illustrator finally released their adult look at fantasy literature and sexual discovery. This trilogy works on several levels. It’s a fascinating exploration of moving out of childhood. But the book will probably be most remembered for the controversy it generated… and didn’t generate. A debate over how the rights of Peter Pan, owned by a children’s hospital, put publisher Top Shelf in an awkward position. But fears of nation-wide bannings never manifested. Perhaps freedom of speech still exists…
3. Fun Home: A Family Tragicomic by Alison Bechdel (Houghton Mifflin) – And yet, sometimes it doesn’t. This graphic memoir by cartoonist Bechdel, previously best known for the long-running comic strip “Dykes To Watch Out For,” was barely noticed at the time of its release until a local library in Marshall, Missouri, received demands from a resident to ban the book along with the celebrated graphic novel Blankets by Craig Thompson, originally released in 2003. The library’s board elected to form a board to review material, and removing the books from the library until the process is complete. Fun House then finished the year winning a nearly unprecedented number of accolades from Time (best book of the year), Entertainment Weekly (best non-fiction book of the year), Publisher’s Weekly (best comic of the year), New York Times, Salon, and others. It’s just too bad residents of Marshall aren’t able to check the book out through their local library.
4. Mouse Guard by David Petersen (Archaia) – The surprise small press hit of the year was easily this lushly illustrated and charming narrative. The quality of the book has been trumpeted elsewhere, and that is without question. But there’s an aspect of the single issues that makes it stand out further. The dimensions of the book break the traditional 6 1/2″ x 10″ that the vast majority of comic books have been printed at for decades. Printed as an 8″ x 8″ square, it alters the reader’s experience of the story and Peterson’s paneling choices. Like 9/11 Report: A Graphic Adaptation, the book attempts to expand what can be expected from comics, and at the same time expanding what they can accomplish.
5. Fell by Warren Ellis and Ben Templesmith (Image) – The comic industry was expanded in yet another way in 2006. British writer Warren Ellis directed his resources from the success of past comics to create an affordable and entertaining comic book series. The majority of modern comic book issues consist of about 22 pages of story and art for $2.99 with about 10 pages of ads, letter pages, and editorial content. Each page of story typically has anywhere from one to six panels of art. Typically each issue is one part of a four- to six-part story. Fell breaks that model by creating a comic book with 16 pages of story and art for $1.99 with six pages of “back matter” by Ellis and no ads. The story pages use a seldom used 9-panel grid layout to make up for the lesser page count. Each story is self-contained. The “back matter” consists of Ellis’ notes, commentary, and other content reminiscent of DVD extra content. The moody story, expertly illustrated by Ben Templesmith, has an episodic feel that seems to make it a natural for a television adaptation. And yet, it is uniquely a story most effective in the comic book form. And best of all, it’s attempting to make comics affordable again. It’s proven to be a success, with another Image Comics series, Casanova by Matt Fraction and Gabriel Ba, in the same format.
Castle Waiting by Linda Medley (Fantagraphics)
Ed the Happy Clown by Chester Brown (Drawn & Quarterly)
Abadazad: The Road to Inconceivable by J.M. DeMatteis and Mike Ploog (Hyperion)
Pride of Baghdad by Brian K. Vaughan and Niko Henrichon (Vertigo/DC)
The Other Side by Jason Aaron and Cameron Stewart (Vertigo/DC)