Grotesque Anatomy
Mundane Morrison Madness
Finally got around to reading the
Grant
Morrison interview over on The Pulse. There's some fun stuff
in there:
I see I'm not the only one wondering where Jen Contino got the idea
that ten-year-olds wrote and drew Golden Age comics:
THE PULSE: In the Golden Age ten and
eleven year olds
could get jobs drawing and working on comics. Why do or don't you think
comics are better now because that isn't likely to ever happen again?
MORRISON: I was 17 when I did
my first
professional comics job, which is ancient when you think about it. Jim
Shooter was the youngest writer at 14, I believe. Joe Kubert's
first pro outing was when he was twelve but ... apart from that, who
ever told you there were ten year old creators in the Golden Age?
That sounds like one of those Mark Millar things
....
We learn that there's a popular comics creator
desparately trying to
copy Morrison, but it's not Mark Millar:
Even Alan Moore
himself ran screaming from
this kind of story and began an ungainly, 15-year long attempt to
reinvent himself as me.
Morrison reveals that he's created a
religion based on the story from
Earth
X:
Like skin cells or
perhaps more like immune cells, we as
individuals are all part of one immense intelligent living creature
which has its roots in the Cryptozoic era and its living tendrils -
including us - probing forward through the untasted jelly of the 21st
Century. The body of this vast and intelligent lifeform - the biota as
it's known - is still in its infancy and still at the stage in its life
cycle where it must consume the planet's resources like a caterpillar
on a leaf. What looks like environmental destruction to us is, I
believe, the natural acceleration of an impending metamorphosis; just
as a caterpillar gorges itself to power its transformation into a
butterfly, so too does the biota consume everything in its path, in
preparation for its own imminent transformation into adult form.
The Pulse is able to
baffle the Master of Mad Ideas himself with one of
their unintelligible questions:
THE
PULSE: Are you of a Kid Eternity and [Captain Marvel] Jr.
are brothers mind or of a how could anyone of EVER done that to those
two characters type of mind?
MORRISON:
Brothers? Are they supposed to be brothers in
some weird League of Everybody-Knows-Everybody-Else universe? It all
seems a little desperate.
Morrison
(deliberately?) engages in a bit of double-speak:
This will not be one of
those ... "We're
completely reimagining the characters to be exactly the way they've
always been" kind of things we're seeing so much of lately. These
are new approaches to the material and some completely novel ways of
recreating the whole concept of the "adventure hero" comic, using
established templates. [Emphasis added.]
Uh, aren't you saying the same thing that you just
criticized,
Mr.
Morrison?
All in all, an appropriately bizarre interview with Grant. I look
forward to reading his upcoming work. The titles alone (
Vimanarama,
We3,
Seaguy and the Wasps of Atlantis,
Indestructible
Man,
C.O.O.L.,
Supertrendy Young Doctor) sound more
imaginative than many comics out there. And the artistic talent
involved--Cameron Stewart, Frank Quitely, Philip Bond, Rian
Hughes--certainly doesn't hurt.
Listless
Not much to contribute today. I see that
the
rush to
wrap
up 2003 is on. I suppose these guys already have their
holiday shopping done, too. About the only thing that stirred
much of a reaction was
Steven
Grant's piece on criticism, particularly this passage:
As reviews editor at a music paper, I annoyed other
reviewers by banning the word "I" from reviews — one woman complained
"If I don't say 'I think' the readers won't know it's just my opinion,"
to which I commented, "Believe me, they will, and if they don't..."
[Insert shrug.]
I understand what he's getting at: Hopefully readers are
sophisticated enough to distinguish fact from opinion. But
sometimes reviewers write as though they're unaware of that distinction
themselves. As an example, here's
a recent
commentary from my local paper on
Rolling Stone's list of
the 500 greatest albums of all time:
In its list of the 500 best albums of all time, published
Friday, rock's old-guard fanzine gave top props to the Beatles' "Sgt.
Pepper's Lonely Hearts Club Band" and a whole lot of other overrated
rock fossils.
The choice of "Sgt. Pepper's" -- followed by the Beach Boys' "Pet
Sounds," and then the actual best Beatles album, "Revolver" -- was
utterly predictable.
I had to stop there. Any reviewer who uses the phrase "actual
best" isn't worth my time. I'm all for strong opinions, but I
like them better when they're strongly supported, not just strongly
worded. Or to rephrase as though Steven Grant were editing
this: Strong opinions are great, but they're better when they're
strongly supported, not just strongly worded.
Topics That Will Not Die: #3 - Series That Will Not Die
Reflecting more on
David
Fiore's post, I realized that I neglected his points about the
interactive nature of monthly comics. Before getting into his
thoughts on the "open-endedness" of perpetually serialized comics,
David wrote that "serially published super-hero comic books (those
which feature letters pages as integral parts of the text, anyway),
beginning with Marvel in the early 60's, offered a wonderful paradox to
the world: synchronic, interactive narrative!" David elaborated
more on why this aspect of comic books interests him over in the
comments
section of
Rick
Geerling's 11/19 rant:
[S]peaking
as a person who wants to write a dissertation about the aspect of the
medium that you deplore--namely that it's the only artform in which the
creator/public boundary is somewhat effaced by the texts themselves
(thanks to the letters pages--which I hear are disappearing...)--I
think you're underestimating how wonderful and unique these
"neverending stories" are!
It's easy for me to
say, since I write prose fiction, not comics, and I don't have to deal
with people interfering with my most cherished ideas, but as
a critic I find the creator/readership of monthly comic books
absolutely fascinating...
One thing I will
say is that I don't believe in endings anyway, never saw one in
any medium that didn't feel like a con, so "seriality" has
never been a problem for me.
I don't quite
understand how David sees all these elements as intersecting. For
one thing, as David himself notes, most monthly mainstream comics are
closing down their letters pages. But even back in their heyday,
did fan letters really have much of an impact? I doubt they
influenced many creators to change their stories (except perhaps when
the letters called for
more
gorillas). Perhaps the sphere of influence was somewhat
different: Fans may not have had much impact on pros, but fans
could influence each other ("Oh, I see--I didn't understand why Lois
rebuffed Clark like that, but reader K.B.'s detailed analysis brings it
all into sharp focus now!").
Obligatory Manga Boosterism: If David feels that fan
interaction is a vital part of the appeal of sequential art, then he
should really like manga. Not only are manga anthologies such as
Shonen
Jump,
Raijin Comics, and
Super Manga Blast some of
the last comics around to publish letters from readers, but
Shonen
Jump even publishes fan
art each month! And
Raijin
Comics, adopting the practice of Japanese manga publishers,
solicits fan feedback
to see which serials will continue to see print! Just think if
Marvel and DC operated this way: Publish thick anthologies with
new material, and fans get to vote on which series would survive month
to month. Why isn't anyone doing this here? It would
combine America's love for crappy reality TV with big, cheap
comics! It's a natural!! It can't miss!!! (
Disclaimer:
I am
not
an industry
insider, either, so my enthusiastic armchair opinions should not be
mistaken for sound business advice: It could very well miss.)
As for David's point about not believing in endings, I'm somewhat
sympathetic to this view. Often a story's resolution feels forced
and tacked-on, and some authors try to make an ending "mean" too much,
when in reality things wouldn't be so tidy. But at the same time,
I've never really had an across-the-board problem with endings, mainly
because I think of them more as "stopping points." Although there
are times when I'm so engrossed in a story that I don't want it to
stop, for the most part I realize that, practically, stories can't
simply go on forever. For one thing, even if a story were truly
endless,
I would still reach an endpoint, so the result would
be much the same. And even if a work were only ridiculously long
(rather than truly endless), this would still cause problems as it ate
into the time I had available to devote to other stories. I also
worry that long-lived works would wear out their welcome:
Eventually a story reaches a point of diminishing returns as an author
(or series of authors) dilutes a concept in order to keep it
running. I'd rather see a story end in its prime instead of
becoming a weak, watered-down shell of its former self.
Further, I think in many cases a story's finiteness actually
contributes to its open-endedness. I certainly felt that
The
Matrix was more open when it stopped with Neo flying up, up, and
away out of that phone booth. At that point, the story was still
interesting in my mind: Sure, Neo looked like a badass Man of
Steel, but there was still so much work for the resistance to do--so
many minds to free from the matrix. Just think of all the
possible stories... So it was a little disappointing when
Reloaded
came along and closed off certain storytelling possibilities.
Instead of conjuring up our own visions of Zion, for example, we were
now locked into a lame rave-happy version. I hear fanboys
experienced similar disappointment when a bit of Wolverine's mystery
was chipped away with
Origin.
I know it's a natural impulse when a story reaches its stopping point
to wonder:
What happened next? But do we really need
someone else to show us? Isn't it better in some cases to leave
it up to our own imaginations? (And just to close off certain
avenues of response right away: This isn't a call for bad
fan-fiction.) I do think that the stretched-out seriality of
corporate comics can lead to some interesting effects (retcons,
revamps, reinterpretations, etc.), but I don't know if extended
seriality strikes me as an intrinsically good thing, especially when it
comes at the cost of creative ownership and control.
Topics That Will Not Die: #2 - The Floppy Format
This topic will probably persist until the single-issue format fades
away.
Laura
Gjovaag has blogged quite a bit about this topic
recently.
According
to her,
David
Fiore has the last word on the
issue, although I'm not sure why. David argues that the
"seriality" of comics makes them unique:
I would submit that the very things that intelligent fans
seem to
deplore these days (characters that don't change, zero opportunity for
"closure", endless permutations that grow out of minute variations in
the approach to a very limited number of existential situations,
etc.--the super-hero comic, in its "open-ended", monthly form is a
bonanza for structuralist analysis!!) are the things that make this
genre unique and fascinating.
A bit further down, David claims that the monthly format of floppies
contributes to this "open-endedness":
I'm not saying that self-contained "sequential art" is
devoid of
interest, but I am saying that the "traditional" model for the
presentation of these narratives is actually far more compelling
(formally!) than the types of works that mature fans seem to be
clamoring for. My message to the proponents of the monthly, "single"
super-hero format? Do not equivocate, and do not apologize!
I'm not sure I see the connection between David's two points. As
far as I can tell, a story's "open-endedness" is entirely independent
from the format the story is told in. Even if comics were all
published as big, thick OGNs the story could still remain unresolved
from book to book. And big, thick anthologies can be monthly as
well (
Shonen Jump, anyone?), so even if "open-endedness" is
somehow tied to publishing frequency, this doesn't resolve the matter
in favor of the floppy format. Heck, if how often a comic comes
out determines its resistance to closure then fans such as Fiore must
have been crushed when
Raijin Comics switched from weekly to
monthly
publication. Perhaps this is an argument for the return of the
weekly anthology à la
Action Comics
Weekly? That way you
could split many monthly comics into shorter serials that come out
weekly.
I think other factors are more critical in determining most comics'
"open-endedness": Lack of creative ownership/control and
publishers' desire to maintain properties in a recognizable state so as
to maximize their licensing potential. But I've already rambled
on long enough (especially considering Sunday's entry), so I'll leave
that argument as an exercise for the reader.
Topics That Will Not Die: #1 - Manga
Dave
Intermittent continues to press his question about whether manga is
handled with kid gloves because kids read it. He adds an
interesting element to the issue, pointing out that American comics
were still the target for pointed criticism even back when they sold in
much higher numbers and were read by children:
At one point, superhero books sold better than
manga sells today; and during that time, their popularity did not
insulate them from fairly pungent criticism. There were some people who
argued that their popularity was in fact a disadvantage, since people
would look past good books on the assumption that all comics were was
four color beatdowns for kids. Too popular; go figure.
These remarks spurred a lot of thought on my part, so please bear with
me if I begin to stray from Dave's original starting point. (Or
in other words:
WARNING - LONG-ASS RAMBLING ENTRY AHEAD.)
First, I think the type of argument Dave is referencing here is
completely distinct from his earlier concern about bad manga being
immune to criticism. The argument that the popularity of
superhero comics is bad for comics overall doesn't necessarily entail
anything about the quality of specific superhero comics. Each and
every superhero comic book published could be an undisputed brilliant
work of art and one could still argue that the stranglehold of one
narrow type of comic on the medium is bad for the medium. The
argument that diversity of subject matter is important for comics is
logically distinct from issues of individual comics' quality.
It's a macro-level "emergent" argument that relies on the overwhelming
existence of one specific type of comic. If one type of manga
(say shoujo romance manga) comes to dominate comics in the future, a
similar argument could then be made that the prevalence of that genre
is bad for the respectability of comics.
It's difficult to say without knowing which particular arguments Dave
has in mind, but perhaps some versions of the "stranglehold" argument
supplemented that basic approach with the addition of Sturgeon's
Law: If all comics are superhero comics and 90% of anything is
crap, people will be more likely to come across crappy superhero comics
whenever someone tells them to try out comics. Thus, people will
come to associate comics with crappy superhero comics. This
strikes me as more of a psychological argument about how people form
classifications of things. It assumes that most people will fail
to distinguish between the potential of an art form and the particular
realizations of that art form. Nevertheless, I think the remedy
would be the same as for the above scenario: Diversity. A
wider-ranging line of subject matters in sequential art might make it
harder for people to lump all comics into one easily written-off
group: "Well, superhero comics still seem kind of lame to me, but
there sure are a lot of good horror comics out there."
Speaking of stereotypes, it's interesting to consider the general
conceptions that surround comics. Are they still thought of as
being kids' stuff? I guess that assumption still seems to pervade
most mainstream articles on comics (especially when they're trying to
counter that notion and they self-defeatingly title the article with something like "Zap! Bam! Pow! Comics Not Just For Kids Anymore!") This perception is generally attributed to the dominance of superheroes to the near exclusion of all else. Conversely, it seems to be part of the general
understanding of manga that it's not just for kids, at least not in its
homeland of Japan, where adults read manga unabashedly. (I'd also
add that my personal perception of European comics is that they're
targeted at all age groups. In fact, walking into most comic
stores or bookstore graphic novel sections in France, my impression was
that comics are primarily geared toward adults.) Unfortunately,
the stereotype of American superhero comics being for children doesn't
even carry the comfort of kids actually consuming such comics:
Most pundits agree that whoever is buying superhero comics these days,
it ain't kids for the most part.
So perhaps the excitement over manga's growing popularity does color
some commentators' critical faculties when it comes to manga:
After worrying so long about the declining sales of comic books (both
in general and specifically with respect to younger audiences), seeing
increasing
sales, largely to
children, may be causing some critics to turn
a blind eye to any shortcomings specific manga may have. On the
one hand, I can see why certain members of the comic community would
give more weight to sales than quality: Retailers and publishers
have reason, especially in such a soft economy, to be concerned
primarily with sales. (This isn't to say that sales is their
exclusive concern: Publishers and retailers may both have
motivations for promoting quality work, but I think the nature of each
business demands that they give greatest weight to economic
considerations.) On the other hand, sales can't excuse
everything: Just because something is popular (with any audience
segment) doesn't necessarily mean it's good. (Popularity doesn't
necessarily entail poor quality, either, a fallacy that seems more
pronounced with cynical/cranky critics.)
The question of whether the fact that kids read something changes the
standards of evaluation is an interesting one. I touched on this
briefly in
my
response to
Dave's
original entry, but now I realize there's much more to say about
this topic. If something is targeted for kids, shouldn't we judge
it according to that aim? After all, it's generally accepted that
one standard of fair criticism is to consider the goal of a work when
evaluating it. Taken literally, this principle has always
bothered me: How can I know what the artist's intent was in
crafting his work? How do I know what audience a work was really
aimed at? With
Shonen Jump we might point to the fact
that the magazine identifies its intended demographic in its very
title. For other, less precisely named works, one might attempt
to address such issues by focusing on their "effects": If a work
elicits a certain response or attracts a certain audience, then we can
assume that those were the intended effects. The problem with
such an approach is that it ignores the possibility of unintended
consequences. Was the original Star Wars movie really intended as
a work of myth, or did Lucas simply graft that language on after
critics such as
Joseph
Campell started analyzing the movie in those terms?
My own way of resolving this tension has been to approach reviews from
a "charitable interpretation" standard: I may not have access to
an author's intent, but I certainly have access to my own imagination,
so I can attempt to construct scenarios under which a work
"works." Of course, this approach sounds great in theory, but it
runs into its own problems in practice, namely the limits of my charity
and interpretive abilities. My dislike of something may be so
strong that I may ignore charity
in order to go on the attack more fully and freely. In such
cases,
others may rightfully call me on my abusive lack of impartiality.
Or there may be an interpretation under which something "works" but I
may fail to consider it. In this case, others may rightly charge
that I've missed the point of the work. There's also the
practical difficulty of knowing how many possible interpretations one
must run through in order to be reasonably charitable. Even if I
could generate endless interpretations for a work, do I really want
to? How would I ever satisfactorily review even a single work in
such detail? Finally, there's the worry that one can be
too charitable.
A review probably isn't going to be of much use if it only offers
advice to the effect of "Some people may find this comic entertaining
to one degree or another, but other may not."
So how do I resolve all these tensions in my own reviewing? I
don't know if I ever do, at least not fully. I try to be aware of such concerns, but mainly at
the level of doing a "sanity check" on a review after I've written
it. Is it excessively uncharitable or unfair? Is it too
bland or boring? And to be completely honest, not all reviews
will be written with the same goal in mind. On occasion I may be
one of the first to review something, so I have to do a little more
work outlining what the comic is about. And if I like the book, a
degree of evangelism may enter the recommendation. Kind of
like
ADD
or
Shawn
Hoke and their reviews of
Palomar. Conversely, if I
think something is receiving undue praise, I may write a review slanted
more towards exposing the deficiencies of said work. I still try
to keep the reviews "honest"--I never want to boost or bash something
that I couldn't back up with genuine opinions I actually hold.
But I'll admit that my reviews can often be written in reaction to
factors other than just The Work Itself. Some might find this
distasteful, believing that criticism should be as entirely
objective. But I don't see how criticism can ever occur in a
vacuum. We all have beliefs and biases that impact our
opinions. I think the key thing, as Dave suggests, is to be as
upfront as possible about the factors influencing one's opinion.
Which leads quite naturally to wondering: OK, John, what factors
are influencing your opinions on manga?
One thing might be that, whereas Dave feels as though manga is getting
a free pass, I actually feel
the opposite way. Reading many message boards, it seems as though
most comic fans already dismiss all manga as crap. I'm sure
everyone's seen the threads where fanboys gripe that all manga contains
the same "big head, big hair, big eye" art. Over on his blog,
Dave
Lartigue offers a similar complaint, writing that "many many
manga that are brought to
America fall easily into three categories: books about schoolgirls and
their panties, books about giant robots, and books about schoolgirls
who pilot giant robots in their panties." He acknowledges that
this doesn't describe
all manga, but he feels that the good
stuff is
getting lost in the sheer amount of crap being brought over from Japan:
I realize there are many manga titles that aren't
schoolgirls and
robots and wacky Japanese "humor". My point is, you have to really
search to find them. Book and comic stores are simply unloading manga
on the public by the shovelful, and nobody I know has the time or
desire to sift through the crap and find the quality stuff. Until the
manga aficionados are willing to admit that there are good comics and
bad comics, and some are Japanese and some are American, their
arguments are going to be drowned out by the sound of a million otaku
happily kissing the ass of anything Japanese.
So maybe we already are at a point where manga is suffering from a
generalized "guilt by association": Because most of the manga the
casual observer sees seems to be crap, it's assumed that
all manga
is
crap.
To a certain extent, then, my own musings on manga may be seen as a
reaction to such animosity. But I still think my arguments have
a specific grounding beyond a desire to offer a contrarian
position. My own belief that manga isn't (necessarily) crap was
formed in much the same way as my belief that comics aren't
(necessarily) crap: It's much too sweeping of a statement.
I'm sure there are bad manga comics out there, just as I'm sure there
are bad superhero comics, bad autobiographical comics, bad "art"
comics, and all kinds of other bad comics out there. How can I be
so sure? Well, I've read bad comics in all those
categories. But I've also read good comics in all those
categories, too. I'm not sure how I'd break down the division of
Bad/Good, but 90/10 seems rather high (and simplistic) to me. I'd
rather focus on specific cases, and even then it can be hard to make a
blanket "good/bad" judgment. Most individual works have elements
of good and bad in them. I'm most interested in critics who can
address both aspects and everything in between. I've tried to do
that in my own reviews, whether I'm reviewing manga or American
comics. My review of
Gyo
#1, for example, was fairly critical even though I consider myself
a fan of Junji Ito's earlier horror manga. And if I ever get
around to writing reviews for
Berserk and later volumes of
Sanctuary
you'll get to see more of me being "negative" toward manga.
It's just that my negativity will be directed at
specific manga,
not manga in general.
Locking = Comic Genius
Nick Locking cracks me up. Here are some of his
recent
"speed-round" reviews:
- Green Lantern: On every page, there should be a caption
saying
"STAY CALM, READER - GRANT MORRISON WILL BE HERE SOON."
- The Punisher: YES, OKAY, WOLVERINE IS DUMB. GET ON WITH
TELLING A
NEW STORY.
- Ultimate Six: Something happened! Now, some other things
should
happen, please.
- 1602: "Odds bodkins! Yon giant red wagon o'er yonder hath
transmogrified into a mechanical manne! Why, what an impressive sight!
Why, there are more! We might even call them Transmogrifiers! And lo!
The giant red wagon is clearly the best, and the first, of them all,
and so we might even call it Best First! But in Latin, methinks!"
- Tom Strong: WHERE IS ALAN MOORE? WHERE IS ALAN MOORE?
WHERE IS
ALAN MOORE?
- Stormwatch - Team Achilles: FUCK this rocks. ROCKS.
CAPTAIN
AMERICA VS. AMERICA, and I cannot get enough of it. Micah Wright has
found the perfect solution to the Talking Heads problem - got a boring
old talking scene? Too much dialogue? Visually unengaging? Well on
every panel, DUDES ARE HOLDING UP COOL FUCKING GUNS! HOLY SHIT! IT'S
INTERESTING AGAIN!
More at
link.
And if you enjoy Locking's sense of
humor humour, I
just discovered he has his
own (languishing)
blog, with
yesterday's entry being an interesting vision for
The
New Trial Of Michael Jackson.
The Trouble With Blogging
I think I'm gradually realizing there's one thing I'm not crazy about
with blogs: The
tedium of tracking a discussion that wends its way through multiple
blogs. It's especially frustrating when I just want to respond to
one specific thing that's sandwiched in a fairly long entry.
Example:
Sean
Collins takes issue with
my
description of Bendis' dialogue as
"Tarantino-esque," stating
John was certainly mistaken in calling Bendis's dialogue
ripped-off
Tarantinoisms--it's actually ripped-off Aaron Sorkinisms. But Bendis is
actually better than Sorkin, because the dialogue is crafted
(as Jason suggests) not to sound clever, but to sound human.
It's an interesting, if somewhat fine, distinction. And I'd like
to react to it, but at the same time I feel it's not something that
merits its own blog entry. (So instead I craft an entire blog
entry around why it doesn't deserve its own blog entry. Yeah, I
know.) So I guess one thing message boards do better than blogs
is facilitate discussions in smaller increments. Perhaps it's
only a personal preference, but I find it much easier to scroll through
a thread than to click through multiple sites. (Immediate
counterargument: Except when message boards grow littered with
irrelevant comments, trolling, flaming, unwieldy quotes and sigs, and
general inanity.)
At the very least I
really wish Sean (and others) would
reconsider
implementing a comments feature on his (their) blog(s). I know
it's not a
democracy and he runs it as he sees fit, but as a reader, there are
times I'd much prefer to fire off a quick reply instead of composing a
new entry on my own blog, linking to the appropriate entry on his blog,
and finally writing out my short response. (As an incentive (?)
for Sean to add a comments feature, I'm going to withhold my thoughts
on his opinion, saving them for such a time when I can post them on his
blog in some form.)
As an example of why I think allowing comments can be good and useful,
consider this exchange: I linked to
one
of Jim Henley's entries
to bolster
my
own argument; Jim read my piece and thought I
misconstrued his point, so he clarified his position in a
comment;
I
explained
that I understood his original point but admitted that I may have
phrased it poorly. Issue addressed without either of us having to
wait for the other to update his blog with his take on the other's post.
Now to touch on the hot memes of the week:
- Manga: Not necessarily crap, although I'm sure some
(lots?)
exists. Possibly clichéd
or formulaic
at times, but deep down, what isn't? Why not try out some of the
manga recommended by critics you kinda-sorta-mostly trust?
- Floppies: Not inherently bad, but the cost is
becoming
prohibitive. I'd like 'em a lot more if they were a lot cheaper,
but they're not, for various reasons. So my greedy/selfish side
prefers formats that provide more bang for my buck (ignoring issues of
content quality for the sake of argument/comparison).
- Palomar: Ordered,
check.
Finally, regarding Tuesday's same-sex decision in Mass., I'm still
mulling everything over. I'm at the stage where I've succeeded in
confusing myself so thoroughly that I can't even justify why
I'm
married, let alone why anyone else should be. (No offense,
honey.) So I'm not going to blog anything about SSM or the
court's ruling until I can make sense out of my own thoughts.
This may take some time, especially if I decide I need to go to law
school before I can parse out just how and why marriage is a
fundamental right and how the strict scrutiny analysis should play
out. I also realized that I skipped the endnotes when I read the
decision the first time, so I'd like to go back and reread
everything.
(The
HTML
version makes it especially easy to jump back and forth between the
main arguments and the endnotes.)
In the meantime, I thought I'd recommend
this article by Slate's
Dahlia Lithwick.
Dahlia, one of my favorite pundits (her
Supreme Court
Dispatches are hilarious and insightful), raises a lot of issues
I'd really like to see addressed by those who kvetch about the
"sanctity of marriage" and how allowing SSM will "irreparably harm" the
institution. I'd like to be an idealist about marriage, too, but
I don't think it's fair to hold same-sex couples to some abstract,
impossible-to-actualize Platonic Form of Marriage when opposite-sex
couples get an "Anything Goes" license along with their marriage one.
Marvel Comics for Feb. 2004
Can't wait til Monday noon Eastern? Courtesy of
Diamond
[
links to big text file], here are
the Marvel comics shipping Feb. 2004:
AMAZING SPIDER-MAN #504
(#63) $2.25
ANT-MAN #3 (Of 5) (MR) $2.99
AVENGERS #79 $2.25
CAPTAIN AMERICA #23 $2.99
CAPTAIN MARVEL #20 $2.99
DAREDEVIL #57 $2.99
DAREDEVIL VOL 3 HC $29.99
ELEKTRA #33 $2.99
EMMA FROST #8 (Note Price) $2.99
EPIC ANTHOLOGY #1 $8.99
EXILES #42 $2.99
EXILES #43 $2.99
FANTASTIC FOUR #510 (#81) $2.25
HAWKEYE #5 $2.99
HULK GRAY #6 (Of 6) $3.50
HULK NIGHTMERICA #6 (Of 6) (RES)
$2.99
HUMAN TORCH #10 $2.99
INCREDIBLE HULK #67 $2.25
INHUMANS #11 $2.99
IRON MAN #77 $2.99
KNIGHTS 4 #1 $2.99
KNIGHTS 4 #2 $2.99
MARVEL 1602 #7 (Of 8) $3.50
MARVEL MASTERWORKS DAREDEVIL VOL 2 2ND ED HC
$49.99
MYSTIQUE #11 $2.99
NAMOR #12 $2.99
NEW MUTANTS #11 $2.99
NEW X-MEN #153 $2.25
NEW X-MEN VOL 6 PLANET X TP $12.99
NYX #5 $2.99
PULSE #1 $2.99
PUNISHER MAX #3 (MR) $2.99
PUNISHER VOL 6 CONFEDERACY OF DUNCES TP
$14.99
RUNAWAYS #11 $2.99
RUNAWAYS #12 $2.99
SECRET WAR BOOK ONE (OF FIVE) (Note Price)
$3.99
SENTINEL #12 $2.99
SILVER SURFER #6 $2.25
SPECTACULAR SPIDER-MAN #10 $2.25
SPIDER-GIRL #70 $2.99
SPIDER-MAN AND DR OCTOPUS NEGATIVE EXPOSURE #5 (Of 5)
$2.99
SPIDER-MAN DOC OCTOPUS OUT OF REACH #4 (Of 5)
$2.99
SUPREME POWER #7 (MR) $2.99
THANOS #6 $2.99
THOR #74 $2.99
THOR VIKINGS TP (MR) $13.99
TROUBLE VOL TP $13.99
TRUTH RED WHITE AND BLACK TP $14.99
ULTIMATE FANTASTIC FOUR #3 $2.25
ULTIMATE SIX #7 (Of 7) $2.25
ULTIMATE SPIDER-MAN #53 $2.25
ULTIMATE X-MEN #42 $2.25
UNCANNY X-MEN #439 $2.25
UNCANNY X-MEN #440 $2.25
VENOM #11 $2.99
WEAPON X #20 $2.99
WOLVERINE #11 $2.25
WOLVERINE CAPTAIN AMERICA #1 $2.99
WOLVERINE CAPTAIN AMERICA #2 $2.99
WOLVERINE CAPTAIN AMERICA #3 $2.99
WOLVERINE CAPTAIN AMERICA #4 $2.99
WOLVERINE THE END #3 (Of 6) $2.99
X-MEN EVOLUTION VOL 1 DIGEST (O/A) (SEP035142)
$5.99
X-MEN UNLIMITED #1 $2.99
X-STATIX #19 $2.99
X-TREME X-MEN #42 $2.99
X-TREME X-MEN #43 $2.99
X-TREME X-MEN VOL 7 STORM THE ARENA TP
$16.99
Some comments:
- Looks like the Epic Anthology is coming out after
all. Or
did they not have time to remove it from the solicits after Phantom
Jack was pulled? I'm guessing this is the Jack-less
anthology based on the price: $8.99 breaks down to around $2.99
per series remaining. I think this thing is dead, dead, dead.
- What the heck is Wolverine Captain America? Is that
a
feral, mutant version of the Super Soldier? And why does Marvel
insist on dumping these miniseries on retailers (and readers) all in
one month?
- I count six new trades, including
critically-acclaimed
fan-favorite Epic-line-launching
that comic where Aunt May gets some, Trouble.
Personal to ADD:
Alright, alright already! I ordered
the
damned book off Amazon this morning!! Happy now?
After Mass. Aftermath
Stuff I've run across recently while reading about Tuesday's same-sex
marriage ruling:
Strange Hypotheticals. From
David
Bianco on the Marriage Debate blog: "Ask yourself: If a
child's parents were killed in an accident, all other things being
equal, would it be better for that child to be raised by an aunt and an
uncle, or by two aunts? If a little boy's mother died in childbirth,
would it be better for him to be raised by his father and aunt or by
his father and uncle?"
Answer: Insufficient data. Simply knowing the
genders of the involved parties tells me nothing about who would be
best suited to meet the interests of the child in either
scenario. Bianco can stipulate "all other things being
equal" all he wants, but in the real world all other things
aren't
equal. You'd have to look at the details of a particular case to
decide. There's no fixed formula for deciding such matters.
Great Quotes. From
Salon
: "The right wing is not just anti-marriage for gay people, they're
against gay people period. If we were asking for oxygen, they'd be
against it." -
Evan Wolfson, leader of the Freedom to Marry project.
Job Confusion. OK, I'm no lawyer or constitutional
scholar, but isn't it the courts'
job to make sure the
legislative branch is legislating properly? I'm tired of hearing
people bash the judiciary as "
tyrannical"
when they don't agree with a
decision. Yes, the legislature makes the laws, but they have to
do so within certain boundaries. It falls to the courts to tell
the lawmakers when they step outside those limits.
Part of the reason I sympathize with the courts is because, in my day
job, I'm a Quality Assurance Analyst. So I know what it's like to
be resented for telling others they're not doing their job
properly. And it's not as though I can't understand that
feeling--that bristling that occurs when your performance is under
evaluation: It's part of the QA process that quality assurance
team members are audited as well (so enough with the "Who watches the
watchmen?" jokes already). But I believe that such a system of
checks and balances keeps things running smoothly in the long run, even
if there is some friction from time to time.
Political Advice: Slate's
William Saletan suggests
that Democrats embrace the same-sex ruling and champion the issue as
follows:
Marriage is a broadly shared American value. You don't have
to support
homosexuality to support marriage. A politician can say, "I'm
pro-marriage. The issue isn't whether you're straight or gay. The issue
is whether you support marriage."
It's a nice idea, but I doubt any Democrat is brave enough to try
it. Besides, for many people marriage simply means "exclusive,
legal union between a man and a woman" so a Democrat saying he supports
marriage for gays might play like a Democrat saying he supports
squareness for circles. Unfortunately, I think the Republicans
have already succeeded in cementing their repugnant position as the
"pro-marriage" one.
Talking Past Each Other. For the most part,
the
full decision reads like an everyday argument regarding same-sex
marriage. The majority opinion frames the issue as citizens being
denied equal access to a fundamental right already in existence.
The dissenters (each writing a separate opinion) see the matter as
attempting to create a
new right for a distinct group
It's as though the two sides are discussing two completely different
cases.
At least until the third and final dissenting opinion
comes along. Justice Robert Cordy actually examines the
majority's opinion and makes specific, supported arguments detailing
why the decision may be bad law. In a nutshell, Cordy argues that
"[s]o long as the question is at all debatable, it must be the
Legislature that decides." He then outlines plausible scenarios
in which a "rational Legislature, given the evidence, could conceivably
come to a different conclusion, or could at least harbor rational
concerns about possible unintended consequences of a dramatic
redefinition of marriage." Hmm. I guess part of being a
Watchman is realizing when something is beyond the scope of your own
authority, or when your own actions might subvert the very procedures
you're entrusted to safeguard. To indulge in geek speak, it might
not be the best idea to slam in a patch without following proper change
control processes--even if you're
sure the fix will
work.
I still think same-sex marriages should be legal, but
perhaps the Massachusetts ruling isn't the best way to go about it
after all. I'll have to reflect on this more.
"If It's Not Japanese, It's Crap!!"
Dave
Intermittent poses an interesting question: Does crap manga
get a free pass because (1) it's manga and (2) kids are reading
it? I know Dave wasn't directing the question at me (he was
reacting to an off-hand comment
Dirk
Deppy made in response to
Johnny
Bacardi), but I'd like to jump in anyway (
again).
Personally, I believe crap is crap, regardless of whether it's "exotic"
or beloved by small children. I know 'crap' is a term tossed
around
pretty lightly (especially online) but I generally try to reserve it
for work that's so abysmally bad that it doesn't have even the smallest
shred of entertainment value. Going by that strict definition, I
don't know if I've read anything recently that I would dismiss as
crap.
Terra Obscura probably comes closest off the top of
my head. Using the term more loosely, there might be other stuff
I'd place underneath that umbrella, but let's ignore that for now.
Moving on to Dirk's remarks, he can probably better explain what he
meant by them, but I didn't read them as saying that "transformer-style
robots, samurai warriors, teenage soap operas and big hyperexaggerated
gladiatorial arena-fight style sagas (sometimes all at once)" are crap;
I took him as saying, essentially,
your mileage may vary,
but it'd be a big help if you were 12 years old again. I don't
think
that's necessarily denigrating such comics. It's just recognizing
the
audience the stories are aimed at and admitting older readers may not
get the same thrill out of them. (Personally, I think the stories
in
Shonen Jump
are well-crafted and fun. True, I grew tired of the repetitious
nature
of the series after a couple chapters, but they're still well
done. For
one thing, the serials in
Shonen
Jump are actually structured as satisfying episodes.)
I think the same standard should apply to superhero comics. A
comic doesn't have to be mature or sophisticated to be good. It
can be simple and entertaining and aimed at kids. I think
superhero comics get such grief because they fail to meet either of
these goals. Face it, most superhero comics aren't for children
anymore. Even when you give kids
unqualified
access to superhero comics, kids aren't interested in them.
Perhaps this is further evidence of just how bad most superhero comics
are. Or that they're all geared toward an older audience. I
don't think it's a bad thing that there are superhero comics targeted
at adults, or that adults read them. I just think
it's
depressing that there aren't more mainstream American comics that
appeal to young kids.
Manga Musings
The Pulse has an interview up with
Tim
Ervin-Gore about Dark Horse's manga line. He talks about
which manga titles have exceeded expectations, and which series aren't
doing so well. He also states "I don't think manga sales have
reached the apex yet. I still perceive an expanding audience due to
more anime hitting television, and the ever-widening television
experience." He does acknowledge that "the market is fickle" and
things could change unexpectedly, but he sounds optimistic overall.
When asked "How do you decide NOW which titles to introduce to Western
audiences?", Ervin-Gore offers this humorous response:
First we consult the Hagakure, and then the I-Ching. After
this is a
period of meditation, concentrating on the image of a salivating otaku,
and eventually, it drives us nuts and we can't sleep for days. Of
course, not sleeping for days and still having to work, we're driven to
drink lots of tea, the leaves of which tell us, in a state of insanity,
which books we should nab. Of course, at that point, we're speaking in
tongues and we have to call down our Tibetan translator, who is only
paid in blocks of ghee and gold bullion. Sometimes these elements are
hard to come by, so it's not uncommon for other companies to swoop down
and negotiate contracts out from under us. I think it's time to rethink
the transcendental method, really.
I think this is similar to Grant Morrison's answer to the question,
"Where do you get your ideas?" (Ervin-Gore seems to become
increasingly irritated with The Pulse's questions as the interview goes
on, which makes for some interesting replies. Go read.)
Johnny
Bacardi wonders what's up with the name "Shonen Jump"?
James
Moar beats me to the punch in the comments thread, explaining that,
short answer, that's just what the mag was called in Japan; longer
answer, Japanese mags like goofy-sounded titles with one English word
in it (e.g.,
Shonen Champion,
Shonen Ace and
Shonen
Captain). As for Johnny's bigger issue--why the heck is manga
so popular and why doesn't he get it?--
Dirk
Deppey offers the start of a reply, but I'd like to suggest that
Johnny has framed the matter wrong. Manga isn't all
"transformer-style robots, samurai warriors, teenage soap operas, big
hyperexaggerated gladiatorial arena-fight style sagas, sometimes all at
once"--heck, I don't think Shonen Jump had any "transformer-style
robots" in its first twelve issues. As
Shawn Fumo proclaims
tirelessly, manga is all about diversity. We might not see all
that diversity reflected in the translated manga that's made it over
here so far, but even looking at the smaller pool of translated manga,
there's still an amazing amount of diversity in genres. Just look
at the
three
manga I reviewed a couple days ago: Bawdy comic strip humor (
Crayon
Shinchan); action/horror (
Island); political crime thriller (
Sanctuary).
If you want "transformer-style robots" and the rest, I'm sure you can
find it. But don't let those subjects blind you to everything
else manga has to offer. To do so would be equivalent to someone
looking at all the superhero comics dominating a typical comics store
and ignoring evidence that Fantagraphics exists. If you're
looking for recommendations, I'd suggest starting with
Uzumaki
(horror) or
Akira (sci-fi
action). Both of these are durn-near masterpieces, and they have
the added benefit of being "flipped" (they read in the familiar Western
left-to-right format). If these don't sound up your alley, let me
know what your reading tastes are and I'll try to think of something
more fitting.
Speaking of recommendations, yesterday I wondered what would be a good
shoujo manga to start
with. Several people have offered suggestions in the comments
thread, and
Kiril
Jones was even kind enough to include some links to reviews over at
AnimeOnDVD.com. I'm
reproducing the links below in case anyone
else is interested in learning about shoujo manga:
Other shoujo manga recommended were:
Fushigi Yugi,
Magic
Knights Rayearth,
Kare Kano, and
Kodocha.
I'll probably research these a bit and then pick up whichever one
sounds most appealing. If I were going strictly by title, I'd
probably get
Please Save My Earth --it just sounds goofy, yet
so polite. Thanks to everyone for their recommendations.
UPDATE: Kiril has also provided a helpful link listing all
the manga reviews in AnimeOnDVD's manga forum:
Manga
Review Thread Index.
UPDATE II: Shaenon,
who used to work for Viz, reveals that other names were bandied about
for the American version of
Shonen Jump, including the
"blander"
Manga Tsunami. Hmm...Shaenon's right that it
does sound bland. But why does it seem so
familiar?
So Bitching Drives Up Site Hits, You Say...
The new
Previews
Review is up, detailing books coming out tomorrow, November
19th. Christopher Butcher opens with an interesting reflection on
news about
Shonen Jump's skyrocketing sales, and works in a
little Comics Activism as well. Christopher also covers a
lot
of manga in this week's edition, stuff I've never even heard of.
I realized reading Christopher's blurbs on various manga that I don't
think I've read an honest-to-gosh
shoujo
(young girls) manga. Any recommendations on a good place to
start?
Oh, and Christopher has also written a nice
follow-up
to his opining from
last week.
It's over on his blog, which I'm embarrassed to admit I didn't even
know he had til now.
Very Gay News Indeed
I find
this
news very heartening. For the moment I'm suppressing my
inclination to worry that the Massachusetts legislature will screw this
up somehow. And I think
describing
marriage as "the voluntary union of two persons as spouses, to the
exclusion of all others" is a very workable definition.
UPDATE: I'm going to have to read through
the
full decision (PDF) later, but I glanced at the opening paragraph
and...wow, just wow.
Marriage is a vital social institution. The exclusive
commitment of two
individuals to each other nurtures love and mutual support; it brings
stability to our society. For those who choose to marry, and for their
children, marriage provides an abundance of legal, financial, and
social benefits. In return it imposes weighty legal, financial, and
social obligations. The question before us is whether, consistent with
the Massachusetts Constitution, the Commonwealth may deny the
protections, benefits, and obligations conferred by civil marriage to
two individuals of the same sex who wish to marry. We conclude that it
may not. The Massachusetts Constitution affirms the dignity and
equality of all individuals. It forbids the creation of second-class
citizens. In reaching our conclusion we have given full deference to
the arguments made by the Commonwealth. But it has failed to identify
any constitutionally adequate reason for denying civil marriage to
same-sex couples.
Wow.
UPDATE, TAKE TWO: Still haven't read the
full decision (HTML version),
but I thought
this piece
on Slate did a nice job explaining why the Massachusetts ruling differs
from earlier decisions in other states. Only thing it doesn't
cover is how the
Defense of
Marriage Act (DOMA) could still screw things up on the federal
level, even if same-sex couples end up able to marry in Massachusetts
in six months' time.
Liefeld Watch
Yesterday's
LITG has been updated with comments from Rob Liefeld (I'll
reproduce Liefeld's comments below, but visit
LITG
to see the full item
in case you don't know what Rob's responding to):
Rob Liefeld chose to comment on this rumour
and
speculation...
"The update on all my plans, Arcade, Marvel and beyond are as follows,
both Genesis and Brigade have fallen victim to talent jockeying,
specifically, coloring and inking setbacks. The colorists and inkers I
have been working for have become much more popular with the two big
pub's following the release of 'Youngblood: Bloodsport' and
'Youngblood: Genesis' and as a result, I have patiently pushed back
deadlines in order to accomodate the quality of the work on these
titles. I have made no bones about the fact that I would rather have a
job I liked than one that is slapped together by interns in order to
meet a dealine. I also don't mind pushing back some deadlines in order
to accomodate the aspirations of the extremely talented folks around
me. Marvel and DC seem to be the only career facelifts worth a lick to
young talent and in the long run if it makes folks happier and the work
is better than it's a good thing.
"'Youngblood: Bloodsport' is my fault as always as I continue to
re-draw pages until they are as good as my meager talents can produce.
Unfortunately, my main career earnings for the last half decade have
come outside the comic business and as I uphold those commitments it
pushes everything back. I fully understand that whether it's a big 100
million movie like Disney's 'The Alamo' or my little 'Bloodsport'
projects being shuffled around the schedule, the media has an interest
and a right to know the facts behind the decisions that drive the
public batty. That said, 'Bloodsport,' 'Genesis' and 'Brigade' are on
target for release early in 2004, say around January-February.
"As for any Marvel plans, for now my sole contribution to Marvel is
providing 'Cable/Deadpool' covers.
"I am not intimately aware of Marat's commission prices, but if he has
cut them in an attempt to generate more interest it is no doubt in
direct correlation to his being stiffed by CrossGen after producing
issues of 'The First' that are currently on sale. He was hired at San
Diego to do a number of fill ins for CrossGen and after failing to
receive a single penny for the issue that was released 2 weeks back
despite their numerous promises to pay him, I have increased his
workload in the hopes to take his mind off of the runaround he is
experiencing. He is currently producing 'Brigade' #2 and another top
secret project for next year."
As for Arcade, Liefeld tells me, "No chance of bailing and that
revolution is still on it's way, look for an exciting partnership
coming to a computer hard drive near you in the very near future..."
Rob is "working for" his colorists and inkers? I suppose,
considering
past
allegations about Liefeld not paying creators who worked on his
books, it makes more sense to say he's working for them if that's the
only direction money is flowing in. And I can see why the
colorists and inkers would turn to the Big Two, where they're more
likely to receive actual payments for their work.
Also, the line "look for an exciting partnership coming to a computer
hard drive near you in the very near future" made me mentally equate
Arcade Comics with a computer virus. If he can't get people to
buy
his comics, Liefeld will just surreptitiously install them on your
PC. So watch out for future spam with the header "Craving More
SHAFT???"
Clogged Pipeline
Since Augie has announced in his
Pipeline
pseudo-blog that he's no longer able to accept any more comics for
review, I've graciously agreed to step in and help Augie out.
Please send all comp copies (especially expensive hardcover books like
the TwoMorrows Wally Wood retrospective) to:
[redacted]
I thank you, and Augie thanks you.
Embargo Endrun
Kevin
Melrose turned me on to a neat trick: Can't wait for the
midnight embargo on DC's upcoming solicitations to pass? Well,
just head
over to DC's website and peek at the February 2004 solicitations for
DC's
DCU,
Vertigo,
and
Wildstorm
books. Here's what catches my eye:
- I have a strange fascination with Adam Strange, but I don't think
I've read many of his original solo adventures, so I'll probably get
his first Archive
Edition.
- I think I'll check out the Losers
trade, especially considering that it reprints six issues
for only ten bucks (assuming that's not a misprint). Per issue,
that works out to almost half of what a regular
issue costs.
- Is DC getting quicker with collections? Not only is there
the Losers trade, but also collections of such recent series
as Birds
of Prey and Arkham
Asylum: Living Hell; recent storylines from Flash,
Superman,
and Hawkman;
and classic material such as Perez's Wonder
Woman.
- Since when is Zero
Hour a "classic saga"?
- The "Eye
of the Storm" crossover is upon us. Here's hoping it blows
over quickly.
- I've been enjoying Will Pfeifer's work on H-E-R-O,
so I'll probably try out his Aquaman,
at least for a couple issues.
- Hey, it turns out that
Hush guy didn't die after all! What a surprise!!
If you want to see some of the purty covers DC puts out month after
month, go
here.
For boring, bland covers, go
here.
Because Sean Collins Doesn't Allow Comments
"[D]on't let's forget that some superhero books are still a hoot and a
half":
YES
Citing "Brian Bendis and Mark Millar" as examples of "
the
entertaining mainstream":
NO
When Comic Book Movies Go Bad
Caught the tail end of
Judge Dredd on TV over the
weekend. Good lord, that was bad. Some of the standout low
points:
- Diane Lane? Noooooo!!
- Rob Schneider as the annoying sidekick? Did someone think
this was Batman and Robin? And that Adam Sandler was
playing the Dark Knight?
- Why did they show the clones emerging from their cocoons, only to
die without doing anything? I thought this was going to be the
closest we got to seeing Judge Death. Yet the creepy-looking
clones don't fight anyone--they just get destroyed in some lame lab
explosion. (Was something edited out for TV?)
- The hoverbike flying scenes looked like they were right out of
one of those crappy Universal Studios "simulation" rides.
- Favorite Line: [Stallone, to bad guy] "I should have
put you away myself...personally!"
If the entire movie is this bad, I may have to rent it sometime just
for kicks.
Manga, Sequential Art's Messiah
Over on ICv2's "Talk Back" forum, retailer
John Robinson
of Graham Crackers Comics wrote a piece entitled "Long Live the
Pamphlet." Part of Robinson's argument is that pundits shouldn't
draw hasty conclusions based on the spectacular sales of
Shonen Jump.
And he's right:
Shonen Jump is only one example, so it
would be premature to decide that from now on all sequential art must
be packaged in thick anthology formats. After all, there are
other manga anthologies out there,
one which
supposedly has newsstand distribution like
Shonen Jump, but
I doubt
Super Manga Blast and
Raijin Comics are seeing
the sales that
Shonen Jump is.
So why do I (and others) get so excited about
Shonen Jump?
Well, I've laid out
some
of my reasons before, but--at the risk of branding myself a manga
apologist--I'll try to explain in a little more detail why I think big
anthologies provide a promising possibility (not a definite answer) for
comics.
Reason Number One:
Value. Robinson complains
that "over the last 21 years in business, the one constant I can always
count on is that anthologies will suck wind in sales figures over a
very short time." As he argues, "People don't want 64 pages or 100 page
of comic material that only contains about 22 pages that they care
about." The problem, however, is that Robinson is still thinking
too small: 64- or 100-page comics are nothing. The twelfth
issue of
Shonen Jump had 350 pages of material for only $4.95.
That's value.
Reason Number Two:
Newsstands. Because of
the higher page count and price-point, big comic anthologies could be
sold on magazine racks. Robinson only seems to be concerned with
how anthologies have typically sold in the Direct Market in the past,
but I think we need to look at other markets as well. After all,
I doubt
Shonen Jump is seeing much of its sales inside the
Direct Market (a suspicion confirmed each month by
ICv2's numbers),
yet it seems to be doing all right.
Reason Number Three:
Durability. Somewhat
related to the newsstand point. I've seen comics (individual
floppies) in bookstores and drugstores, but they're always horribly
beat up. Often times, I don't even think anyone's read the
pamphlets; I think the floppies are just so flimsy that they slide down
or flop over in the rack. Thicker anthologies like
Shonen
Jump stand up well on their own and fare better with everyday
wear-and-tear. Heck, my floppies seem to crease if I look at them
wrong; but I can toss around an issue of
Shonen Jump and it
still looks like it's in pristine condition.
Reason Number Four:
Subscriptions. With
durable product, it can be shipped through the mail with the
expectation that it will arrive in reasonable shape. Viz's
subscription service for
Shonen Jump was top-notch, and the
magazines always arrived (1) shrink-wrapped (2) before they hit the
newsstands. Plus, the subscription rates were incredible bargains
on an already great deal: The regular subscription rate is half
the newsstand price, and the "special charter rate" was even cheaper
than that (67% off cover). Make it cheap and easy to sign up for
subscriptions, and I'd be sending my nieces and nephews Marvel and DC
anthologies along with their
Shonen Jump subscriptions.
Reason Number Five:
Extras. You say it's not
fair that
Shonen Jump boosts circulation with extras like
CD-ROM games and free gaming cards? Well, why play fair?
Especially for books aimed at younger readers, put in plenty of free
extras so they feel like they're getting something special.
Reason Number Six:
Content. But aside from
the bonuses, you've got to make sure that the core content is
strong. I don't know if this necessarily means it has to be new
content, although I think that would definitely help, but it should be
related thematically. I think this is one reason why
Shonen
Jump succeeds where other anthologies fail: It focuses on
series appealing to (and about) young boys.
Raijin Comics,
on the other hand, has series that are too disparate in tone. The
cutesy romance and animal stories of
Bow Wow Wata are probably
not going to appeal to the same audience that enjoys a more mature political manga
like
First President of Japan. I think DC and Marvel
could easily put together anthologies that would appeal to well-defined
audiences. Simply collapse the various Bat-books and Superman
titles into their own anthologies; the same thing could be done over at
Marvel with the growing number of Spider-Man and X-Men titles. Or
put "pockets" of a publishing line together--like the Vertigo or ABC
lines. Or organize anthologies by creator. Heaven knows
some creators generate enough material to put out their own anthologies
every month: Brian Michael Bendis; Geoff Johns; Chuck
Austen. (This would also have the added benefit of quarantining
certain authors from the rest of a company's titles.)
I'm not saying that everything should be moved over to a big anthology
format. I think that would be just as short-sighted as leaving
everything in the same old 32-page pamphlet form that's been around
forever. But I do think
Shonen Jump's impressive sales
via bookstores, newsstands, and subscriptions should give American comic
publishers
something to think about.
November Preorders for January 2004 Comics
It seems that comics malaise is getting worse: Several of the
usual
"Previews Reviewers" haven't written anything up for the latest
catalog, and those who have seem downright grumpy about the latest
Previews:
- The Fourth
Rail guys, who usually split things up into two columns, throw
everything into one piece because "January is a depressingly small
month for the small press."
- Augie,
who usually does a separate writeup on Previews, quickly looks
through Previews as part of a regular column.
- Chris Eckman, who
usually complains about Previews, complains even more about
Previews.
About the only person I've read who seemed enthusiastic about reading
through the new Previews was
Laura
Gjovaag. Her only unhappiness stems from the fact that she
can't afford everything that looks interesting to her.
I did notice after putting my (tentative) order together that it was
smaller than previous months, but that's fine with me. I've been
spending too much on comics lately anyway. If I really needed to
pad out my order, I could pick up trades for some of my favorite series
(
Club 9,
Slam Dunk,
What's Michael?) but I
think I'll hold off on that as well. I still have plenty of
comics to catch up on, so there's no real urgency to get the collected
editions of stuff I've already read.
But no one's excited about the
DAN
CLOWES' GHOST WORLD ENID HI-FASHION GLAMOUR DOLL (p. 384)?
Manga Stack of Intimidation In The News
The
Manga Stack of Intimidation is unstoppable. Unable to be
constrained, it has broken free of this blog and found its way into
other columns, such as Matt Maxwell's
Full
Bleed [not a permalink] and Tony Isabella's
Tony's
Tips (scroll down to the "More Mailbox" section). Please
report any other sightings of the Manga Stack of Intimidation to the
proper authorities.
Even if their columns didn't have such great pictures, I'd still
recommend Matt's and Tony's pieces. Matt discusses some of the
more serious problems plaguing the floppy format. (I'd like to
note that the serials in
Shonen Jump and other manga
anthologies satisfy Matt's request for actual episodic
storytelling: Each chapter is good about developing the storyline
instead of just marking time til the next issue.) And Tony has
some sage advice for both creators and reviewers regarding negative
reviews:
Let it go already.
More Mainstream Magazine Mentions
In the November 21, 2003 edition of
Entertainment Weekly (#738), the subscribers-only supplement "Listen2This" has more comic
reviews:
- Sgt. Rock: Between Hell and a Hard Place: B
- Conan The Legend: B+
- Fray: A-
- Richard Matheson's I Am Legend: B
- Demo: B+
- Amazing Spider-Man #500: B
- Leave It To Chance vol. 3: Monster Madness: A-
Mike Mignola reveals that his all-time favorite graphic novel is
Challengers
of the Unknown Archives vol. 1.
Upcoming comics mentioned are:
Plastic Man,
Michael
Chabon Presents...The Amazing Adventures of the Escapist,
Brit:
Cold Death,
Ultimate Fantastic Four,
The Mirror of Love,
and
Sleeper: Out in the Cold (which is described as "a
perfectly paranoid super-powered espionage tale")
And in the November 17, 2003 issue of
The New Yorker ("The
Cartoon Issue"), Pantheon Books ran the following full-page ad:
Nice targeted advertising.
EDIT: Gah! Forgot to mention the one-page collaborative strip by Harvey Pekar and Robert Crumb in
EW's regular content (p. 19). I can't wait for the Crumb/Pekar reunion tour to hit Minneapolis.
The Trickle-Down Manga Theory
Dave
Intermittent wonders why the news about
Shonen Jump's
growing sales should matter much to non-manga comic book fans.
Dirk
Deppey has already replied with two reasons (steady bookstore sales
keep the Graphic Novel section alive; competition from the manga
publishers might encourage The Big Two to produce material in varied
genres and formats appealing to younger readers), but I'd like to add a
third: It promotes the art form of sequential art. Even if
the sales of superhero and small press comics never equal that of
Shonen
Jump, at least the people buying manga are buying comics. As
Ralph
Phillips pointed out, even if one portion of comics struggles or
withers away, that doesn't mean comics full-stop cease to exist.
And as I believe
Shawn Fumo
has argued from time to time, today's
Chobits fan may grow up
to read
Cheat or other indie romance GNs in the future.
I would imagine very few of us started out reading black-and-white
autobiographical comics when we were in grade school. We were
probably introduced to comics through colorful characters pounding the
crap out of each other. Later (assuming we didn't give up on
comics completely) we sought out other, more mature works of sequential
art (assuming our tastes evolved or expanded).
A fourth reason might be that readers growing up on manga might become
creators of sequential art themselves, and because they weren't
immersed almost exclusively in superheroes, they might set out to
create more diverse comics. In fact, this might already be
happening: As
Shawn
Fumo notes, American creators who grew up on manga and anime are
now getting published as part of Tokyopop's ongoing "Rising Stars of
Manga" contest, and their topics aren't all about giant robots or teen
romance. Getting newer generations of sequential art enthusiasts
to think of comics in terms broader than just "superheroes,
superheroes, and more superheroes" could be a very good thing for
American comics.
So much for the broad, abstract point. Now to consider a specific
question Dave raised: How is the "Amerimanga" book
Death: At
Death's Door doing? I don't know if there have been any
reports on bookstore sales (ICv2 noted that
sales were "strong"
and that it made the
bookstore list of
Top 50 Graphic Novel Titles;
Publishers
Weekly referred to it as "one of the most successful American
manga-style books" and listed it as
number
eleven on its list of "Top-selling Graphic Novels of 2003"), but in
the Direct Market sales have been good: It was the number one
graphic novel in
July
2003 with estimated sales of 15,364 copies, and it showed up on the
Top 50 GNs list again in
August and
October, with
sales of 1,780 and 2,483, respectively. (Of course, this book
undoubtedly owes much of its success to the extremely loyal
Sandman
fan-base, but Dave wanted to know.)
CONTRACTUALLY OBLIGATORY BANNERS