The Los Angeles Times Festival of Books has announced the program schedule for the event’s weekend of April 21 and 22. Most of the panels and presentations related to comics and graphic novels are front-loaded on Saturday, with some competing against each other in the early afternoon. While the scheduling congestion is unfortunate, it’s indicative of the growing star power of comics at the Festival to get such premium placement.
Highlights include a moderated conversation with Robert Kirkman, writer and co-creator of The Walking Dead comic book series, and an appearance by Jeff Kinney of Diary of a Wimpy Kid fame on the Children’s Stage. DC Entertainment will also hold a panel with co-publishers Dan Didio and Jim Lee to talk up their controversial prequel comics to the acclaimed Watchmen graphic novel, followed by a screening of the movie adaptation. Almost simultaneously there is a discussion panel called Drawing Outside the Lines, featuring acclaimed graphic novel writers and artists Joseph Lambert (I Will Bite You!), Carla Speed McNeil (Finder), and Jim Woodring (Weathercraft), a trio of unique creators who write and draw their own work on their own terms. That panel is moderated by the LA Times’ Deborah Vankin who also wrote the graphic novel Poseurs. The last event for Saturday is a panel on Mythic Stories that features writers Ed Brubaker (Criminal), Adam Mansbach (Go the F**k to Sleep, Nature of the Beast) and Douglas McGowan (Nature of the Beast), with moderator Leslie S. Klinger (The Annotated Sandman). A fourth writer is TBD. The weekend ends with two screenings of the feature-length documentary, With Great Power: The Stan Lee Story.
While admission to the Festival is free, the limited seating of indoor panels requires the necessity of tickets, which go on sale April 15 at 9:00 am. A limited number of tickets will also be for sale during the Festival at booth #463. Panel passes, which reserve 8 tickets per pass, can be purchased now for $30. Tickets for the 32nd Annual LA Times Book Prizes Ceremony, happening the Friday night before the Festival, are also now on sale for $10.
10:30 am – Robert Kirkman in Conversation with Geoff Boucher (Panel 1121)
Ronald Tutor Campus Center
12:55 pm – Jeff Kinney, Diary of a Wimpy Kid: Cabin Fever
Target Children’s Stage
1:00 pm – DC Entertainment Presents: Watchmen — It’s Not the End, It’s the Beginning.
A Conversation with Jim Lee and Dan Didio, moderated by Geoff Boucher
2:00 pm – Watchmen Screening
School for Cinematic Arts
1:30 pm – Graphic Novel: Drawing outside the Lines (Panel 1113)
Carla Speed McNeil
Moderator: Deborah Vankin
Taper Hall (THH 101)
3:30 pm – Graphic Novel: Mythic Stories (Panel 1044)
Moderator: Leslie S. Klinger
Salvatori Computer Science Center (SAL 101)
11:00 am & 3:00 pm – “With Great Power: The Stan Lee Story” screening, presented by EPIX
Located in the Ray Stark Theater
School for Cinematic Arts
The release of the critically acclaimed graphic novels Batman: The Dark Knight Returns by Frank Miller, Watchmen by Alan Moore and Dave Gibbons, and Maus: A Survivor’s Tale by Art Spiegelman forever shifted the American perception of comic books, revealing a potential for sophistication in visual storytelling and mass appeal previously unrealized or forgotten. It’s taken a couple of decades for the industry to build up from these milestones, but the late 1980s were an exciting time where a lot of the groundwork was laid for establishing a demand for independent (read: not Marvel or DC superhero) comics, future improvements in creator rights, and a healthy graphic novel and manga distribution market in book stores, among other things.
In the midst of this, sci-fi author Harlan Ellison created a straight-to-video documentary spotlighting ten American comic book artists who were on the front lines of innovation and creativity at the time, as well as looking at the history up to that point. Released in 1987, it has remained out-of-print since the demise of the VHS era. Now the entire hour is viewable again thanks to YouTube user StandUpComicBooks.
UPDATE: Unfortunately the video was removed at the request of the copyright owner. Hopefully this means that an official release digitally or otherwise is planned, as it’s a shame for this snapshot of comics history to be unavailable to the general public.
Yesterday morning, the Hooded Utilitarian posted my list along with 21 others who contributed to a giant survey of comic book creators, retailers, publishers, educators, commentators (like me) and other industry folk from all over the world to determine the 10 Best Comics. In total, 211 people responded.
I sent my list on June 15, in response to the question, “What are the ten comics works you consider your favorites, the best, or the most significant?” I started my email response to the Hooded Utilitarian with the following: “I want you to know, this is IMPOSSIBLE.”
And it is. But despite that…
- Asterios Polyp by David Mazzucchelli
- Bone by Jeff Smith
- Calvin and Hobbes by Bill Watterson
- Hark! A Vagrant by Kate Beaton
- Maus: A Survivor’s Tale by Art Spiegelman
- Peanuts by Charles M. Schulz
- Persepolis by Marjane Satrapi
- Scott Pilgrim by Bryan Lee O’Malley
- Understanding Comics: The Invisible Art by Scott McCloud
- The Walking Dead by Robert Kirkman, Tony Moore and Charlie Adlard
Start clicking and see if something interests you.
There are plenty of comics that are just as good as the above that deserve to be listed, and even some that are better. But I had a few guidelines to help focus my list down to a manageable size.
First, I had to have actually read the material. Of the above, only Peanuts has material that I have never read. But I’ve read enough of it that what I haven’t read would have to be an absolute bomb for it to tarnish the goodwill. That means there was some material that I am fully expecting to love and that I love for its mere existence and concept that I had to leave out. I really wanted to include Carol Tyler’s You’ll Never Know on my list. It sits by my desk in my to-read pile from last year‘s Comic-Con.
Second, I leaned much heavier on the “most significant” portion of the question. As some have pointed out, the question asked by The Hooded Utilitarian is really three different questions which could result in three very different lists. Because what interests me is comics’ efforts to find new audiences, I interpreted “most significant” as the comics that have been most successful in winning over new readers. That was probably my biggest barometer. Each of the above have helped establish a genre or publishing strategy or level of skill that has expanded what comics can be and are today. In retrospect, I might’ve leaned a little too heavy on modern material but I think some of the most innovative and inclusive material is being made now (if you know where to find it).
OK, so let’s hear it. What did I miss?
(More random thoughts after the jump.)