News/interviews/etc.

• It’s a bird! It’s a plane! It’s … too much irony in Jerry Siegel bio-drama — Celia Wren of the Washington Post on Theater J’s production of “The History of Invulnerability.”
• Dean Haspiel donates his mini-comic collection to Library of Congress’ SPX holdings
• In the Gallery – Graphic Details: Confessional Comics by Jewish Women
• What hurts you – David Holzel of Washington Jewish Week on Graphic Details
• Gay Couple Renews Vows at Parkville Comic Shop

Debuts and new issues/releases:

• Kindling, illustrated by Deanna Echanique, began June 19.

Upcoming releases:

• Xoc: The Journey of a Great White, Matt Dembicki with colors by Evan Keeling, Oni Press (20-page preview from Oni Press). July 25.
• Mr. Big: A Tale of Pond Life, Carol and Matt Dembicki, Sky Pony Press. Sept. 1.
• District Comics: An Unconventional History of Washington, DC, various artists, Fulcrum Publishing. Sept. 11.

Events:

• Ongoing until June 23: Artomatic, featuring Christiann MacAuley, Ben Claassen III, Urvi Mehta, Jeff Kollins, Sarah Palaszynski, Ivan Collich, Michael Auger and many others.
• Ongoing through June Mark Burrier: Rare Words Exhibition, Flying Dog Brewery, Frederick, Md.
• Through July 8: The History of Invulnerability , Theater J, Jewish Community Center, Washington, D.C. Tickets and showtime information at the link.Theater J offers $10 off tickets to readers of this blog using “DCCOMICS” either online at the Theater J website or by phone at 800-494-8497. The theater also offers a discount to those 35 and younger, which makes $15 during the week and $25 on the weekends. No discount code is needed.
• Through Sept. 2: “Graphic Details: Confessional Comics by Jewish Women” at the Ann Loeb Bronfman Gallery, Jewish Community Center, Washington, D.C.
• Various dates beginning June 17: Create a Comic Book with Matt Dembicki, 7 p.m. at Fairfax County Libraries.
• June 23: Panel on District Comics: An Unconventional History of Washington, DC, featuring Matt Dembicki, Andrew Cohen, Peter Conrad and Brook Allen, 11 to 11:30 a.m., American Library Association conference, Anaheim, Calif.
• June 23: Liz Prince signing at Celebrated Summer/Atomic Books, 1 to 3 p.m., Baltimore, Md. Facebook event page
• June 25: Panel on Books Without Boundaries: Crossover Fiction for YA and Adults, featuring Matt Dembicki, 10:30 a.m. to noon, American Library Association conference, Anaheim, Calif.
• June 30: Landry Quinn Walker and Eric Jones, creators of Danger Club, signing, 11 a.m. to 1 p.m. at Third Eye Comics, Annapolis, Md. First 15 people in line get a special gift.
• July 7-8: Full Sanction at Kids Read Comics Celebration, Ann Arbor, Mich. (I’ll also be there, just hanging out!)
• July 7: Southern Maryland Comic-Con, 10 a.m. to 5 p.m., Waldorf, Md.

Have comic news or events related to the D.C. area to share? Email me! Submit no later than Wednesday at 9 p.m. for inclusion each Thursday, but the earlier, the better! More information is here.

This year is already kind of blurry. It was certainly dominated by Small Press Expo for me but I’m OK with that. It was an incredible amount of fun and I’m already looking forward to next year (we’re already working on it!).

I also read a tremendous amount of comics. There were plenty I loved — many I didn’t expect to — and I still get a thrill picking up new comics. Yes, there was certainly some silliness with regard to the DC reboot, but Wonder Woman has me hooked (in a lazy way — I read it when I remember). It was also an amazing year for indie comics — I am awed by all the talent that’s out there.

I didn’t get to travel to shows as much as I would’ve liked to — most of that was a money issue, but I was feeling pretty burned out on the usual ones. I didn’t attempt to go to the MoCCA Festival or New York Comic Con; KingCon III was postponed and as much as I would’ve loved to have gone to Brooklyn Comics and Graphics Festival, the timing just didn’t work out. SPACE was fun but I don’t know if I’d go back. I always love the Baltimore Comic-Con, but that was more of just a hanging out opportunity for me this year.

(I will totally take sponsorships if people want to send me to Stumptown or Alternative Press Expo next year. Kids Read Comics Celebration is taking place in Ann Arbor on my birthday weekend and that’s a definite possibility. It may end up being mandatory.)

For some reason, in 2011, I expanded my “media” “empire.” I started up a Tumblr account (or started using it?) and a Facebook page. I also appeared on local show Fantastic Forum and Rusty and Joe interviewed me during SPX (I need to learn to speak into the microphone better. Also? No real idea what I said).

I was also greatly honored to be a part of Big Planet Comics Podcast #17 and I do hope they invite me back at some point because it was a great deal of fun (you should always listen to the podcast — even when I’m not on it).

And the photo on this post? Well, that’s me sorting through Dean Haspiel’s minicomics. Now, everything is going to the Library of Congress (I believe all are in the LoC’s possession now), but Warren Bernard just wanted to do an initial sort/inventory before we sent them off to see what was there. And certainly, it’s fresh in my mind, but when I think about all the things I’ve been privileged to be able to do this year, this felt like one of the bright spots. It was thrilling seeing all these incredible comics, even if I didn’t get to keep any of them.

I am lucky to know such amazing people who let me do so many cool things. I hope that continues in 2012.

But it’s still pretty accurate. King Con was definitely fun. I am very happy I went.

It’s a small, laid-back show. The Brooklyn Lyceum has a pleasantly rough industrial aesthetic and I think it lends itself well to DIY culture. The space for exhibitors wasn’t very big so there wasn’t that many of them, but I liked that it was small.

I’ve been to a bunch of comic-related shows this year so I’ve seen many of the same people multiple times, so I sought those I hadn’t. Among them were Alisa Harris and Allan Norico, a fun, artistic couple.

I also had a nice chat with Dave Roman, who I was surprised recognized me. Roman and Raina Telgemeier are always awesome and I think they’re really good for comics.

As fun as the exhibitors were, King Con’s strength is in the programming. On Saturday I caught most of the Kyle Baker presentation with Chris Irving and it was delightful. But honestly, it’s Kyle Baker. How could it not be? I am always impressed by Baker’s work and I need to read more of it.

Next up was the Bored to Death panel. I don’t have HBO because I have the cheap cable, so I’ve never seen Bored to Death (yes, I know about this thing called the “Internet” and these things called “DVDs” but nonetheless, I’ve never seen the show). This panel was packed — I think quite a number of people came to King Con just for it.

Jonathan Ames and Dean Haspiel have an easy chemistry with each other and it was fun to hear them talk about the show, even though I was only vaguely familiar with it. Moderator Jeff Newlett did a great job — directing the conversation when he needed to but mostly just letting it evolve organically. I really enjoyed it. Even the giant drawings of penises.

(My friend says she saw Jason Schwartzman in the audience. I wouldn’t be surprised if he had been, but I didn’t see him so I can’t confirm.)

I stuck around afterward for the Daily Cross Hatch panel because I was interested in everyone on it (Robert Sikoryak, Julia Wertz and Lisa Hanawalt along with Alex Cox, hosted, of course, by Brian Heater) but I think most everyone can agree it kind of ended up being a mess.

I actually don’t think that was anyone’s fault in particular that it went badly — the room was cold, it was getting to a slumped part of the day (it started at 4:30 p.m.) and while there’s nothing wrong with comic book people not actually talking about comics, I think the creators were a little thrown off by being initially asked about sports and fast food. There was plenty of fun — Sikoryak is wonderfully sharp and Cox would randomly give people points for certain answers — but once it went off track, it never really recovered. I think everyone pretty much knew it (it will be interesting to see what the podcast version ends up being).

Today I did attend the Kid’s Stuff: Making Comics for All Ages panel, but that will get its own post, likely later tomorrow.

Other than a couple other small things (there’s a panel in town next week and maybe a couple of other events), King Con has capped off a very busy year. It did serve as a great finale.

I’ve felt a little critical of The Best American Comics in the past, and that could just be that I wasn’t that familiar with them, but I’ve always felt they had a somewhat limited perspective on literary comics. You were going to find the approved creators — you know, the kinds of people who create “graphic novels” and those that your non-comics friends would possibly read, but not much else.

And then I read Neil Gaiman was the guest editor for the 2010 edition. Yes, I kind of rolled my eyes at bit there. I like Gaiman as a writer, yes, and his contributions to comics have been notable, but they’ve mostly been in the past and his work is fairly mainstream (maybe not initially, but I think once he’s showing up on CBS Sunday Morning, yes, he’s mainstream). He wouldn’t have been my first pick to put together a book of the best comics of the year.

However, Best American Comics 2010 is pretty cool and I think a lot of that is because of Gaiman’s perspective. I think since he’s not as closely connected to comics as someone else would’ve been, he’s more open-minded in his selections. The stories being told are what’s important here — not who is made them.

Yes, you have a lot of the usual suspects (too much Chris Ware for my tastes, but then, I’m not really a Ware fan), but you also have Theo Ellsworth, Bryan Lee O’Malley, C. Tyler, Lilli Carre. In other words, you have a lot of my people. It’s a wonderful mix of high-profile releases, like R. Crumb’s The Book of Genesis and Jonathan Ames and Dean Haspiel’s The Alcoholic and smaller releases, like Jesse Reklaw‘s Slow Wave and Fred Chao‘s Johnny Hiro.

That’s awesome. That’s what comics is. It covers a broad range of styles and subjects. It encompasses creators and publishers of all ages, experiences and fame. This didn’t feel like “Oh, here’s a bunch of creators you’ve probably heard of and one guy who got a Xeric.” It felt more like “This is what was great in comics between Aug. 2008 and Sept. 2009.” I loved seeing a lot of the comics I loved in that time period showing up here.

Is the perspective still a little limited? Maybe. But overall, this ended up feeling a lot like a collection of comics I’ve read or would read.

So yes, it’s still not for me, since I’ve read a lot of these comics (and I bet you have to). But would I give it to a friend or family member who was interested in comics but didn’t know where to start? Absolutely. That’s what this book is designed to do and it does it incredibly well.

Advanced reading copy provided by Houghton Mifflin Harcourt through NetGalley.

Sure, I kept up with Diesel Sweeties for a while, but mostly, I have a hard time keeping up with them (this shouldn’t really come as a surprise, honestly, if you know I have trouble following monthly comics. That’s once every four weeks. Do you really expect me to be able to remember to read something every day or every week?).

But after seeing some of the creators behind ACT-I-VATE last night at Politics & Prose, I think I better start.

Featuring founding member Dean Haspiel and creators Jim Dougan, Joe Infurnari, and Simon Fraser (right to left in the photo above) this really surprised me.

Haspiel is obviously awesome, and I liked his story of how ACT-I-VATE came about — he started by showing a photo of himself, all alone, working at his desk. You see, he said, making comics is lonely, and he found out that if he posted stuff to his LiveJournal (yay, LiveJournal!) people would respond. It began that just his friends were saying things, but soon, people he didn’t know were leaving comments too.

He saw that some of his creator friends were experiencing the same sort of thing. He thought they could join forces and therefore combine their respective fanbases.

ACT-I-VATE is a noncommercial enterprise — it exists, more or less, to just promote these creators’ work. Infurnari echoed this sentiment, saying he liked having a portfolio of his work online and that he could get feedback immediately. Fraser liked that he got control over his work — as primarily a creator for 2000 AD, he said he didn’t often get a lot of say what happens to his creations. (That was actually a point that was brought up many times by everyone — comics, especially at DC and Marvel, are work-for-hire. Creator-controlled works are the exception and not the rule.) He said he travels a lot and likes that he’s able to point people to the site when they ask him what he does.

DC local Dougan’s story was a little bit more of an interesting one. He’s a writer of comics and not an artist, so he’s had to find people to work with, and while the point wasn’t so much made, it was clear that the Internet makes it easier for him (Hyeondo Park, the artist of his ACT-I-VATE comic, Sam & Lilah, lives in Dallas).

Haspiel also told the story about how he encouraged Dougan & Park to submit Sam & Lilah to Zuda first, with the understanding it probably wouldn’t win (everyone seemed to have words of praise for Zuda, though, and everything I know about Zuda makes it seem like it’s a good deal). They joked about how after Sam & Lilah lost, they actually scooped the winner with their press release saying the comic was going to be on ACT-I-VATE.

While the event was for the ACT-I-VATE Primer, that seemed a little secondary to most of the discussion. They wanted to do the book because there’s still a print audience (although Haspiel talked about how that’s probably fading) and that there’s not necessarily a crossover between webcomics readers and print comics readers (I’m probably somewhat of an example of that). It was a good way to push people to the site that may have otherwise not known about it.

Then they read from their comics, accompanied by Dougan’s wife Rachel. This was, for the most part, hilarious and utterly charming. Fraser did voices and Rachel sometimes playfully stumbled over her parts (she said she hadn’t rehearsed). Haspiel called for audience participation when it came to sound effects. I’m all for this and I now demand that everyone does dramatic readings of their comics during panels. This was awesome.

The Q&A section was better than most, and allowed me to realize much too late that I was sitting behind Mike Rhode of ComicsDC. (I seriously didn’t make the connection until a little bit later, otherwise I probably would’ve said hi. So I’ll just say it here: Hi, Mike!)

It was a good presentation and I left an ACT-I-VATE fan. I foresee spending many, many hours on the site now.

And sure, they need to stop writing these articles, but they make me a little sad for other reasons.

Kids like comics. Kids deserve comics. You know you had more than a few Archie Comics digests lying around and you probably enjoyed your share of Disney comics. This was long before you picked up any of the superhero stuff. You liked comics as a kid.

While there’s some exceptions, while everyone was busy trying to make comics all serious, people forgot about making comics for kids, or began to view them as somehow less interesting and inferior to the adult stuff.

Art Speigelman, whose Maus is often cited in those “comics aren’t for kids!” articles, and his wife Françoise Mouly, created Toon Books, comic-book style books for the youngest of readers, ages 4-8. And they are really awesome. I know I am often accused at having the same tastes as a 5-year-old, but I absolutely loved these. I was delighted to be provided with review copies of all three.

Spiegelman’s own Jack and the Box is probably for the youngest end of the target age group. It’s definitely a beginner’s book, with lots of repeated words and sounds as we follow Jack the rabbit as he plays with his new toy, a jack-in-the-box. Spiegelman creates plenty of inventive silliness with his bold art and color palette of muted primary colors. I found the jack-in-the-box to be a little scary looking, but there is still a playfulness to him. This reminded me quite a bit of the spirit of Dr. Seuss’ Cat in the Hat and that’s not faint praise. This belongs on your child’s shelf.

Despite the word balloons, Eleanor Davis’ Stinky feels like a classic children’s picture book. It brought back memories of Arnold Lobel’s Frog and Toad series for me. Our title character, Stinky, is a troll-like creature who likes everything that smells bad. He has a pet toad, lives in a swamp and dines on anything pickled. He gets scared when a new boy, Nick, approaches his forest. It’s a neat reversal of roles — the monster being afraid of the human — and Stinky, despite his habits, comes across as pretty sweet. Davis’ art is adorable and round, giving the story a gentleness. There are also funny visual gags, like sleeping bugs and a hedgehog with a clothespin over his nose. The ultimate lesson of not judging people (or monsters) by appearances is always a good one. I giggled a lot at this book and was quite charmed by it. While I know some children who I should probably share this book with, I may be keeping it for myself.

Mo and Jo Fighting Together Forever, written by Jay Lynch with art by Dean Haspiel, feels the most like a comic book out of all three. It’s probably for the older readers in the age range, too. Mo and Jo are squabbling siblings who are given a super-suit by the Mighty Mojo. After they rip it in half, their mom creates two new suits from it for each of them, each with different powers.

In true comic book style, the brother and sister pair each decide they have what it takes to fight Lizard-like Saw Jaw. Mo uses her stretchy arms and Jo uses his magnet boots, but neither can defeat Saw Jaw alone. So of course the siblings learn they have to work together in order to beat the bad guy. While that outcome was pretty obvious to me from the start (I am, of course, much much older than the target demographic of this book), getting there is fun. Haspiel has a great understanding of super hero conventions and enjoys playing with them. Lynch’s dialogue is snappy and the siblings’ exchanges ring true as they try to outdo each other. This is the perfect book for the budding superhero comic book fans in your life, and maybe they’ll learn something along the way.

When I wrote about the children’s comic panel at SPX, I joked that I hoped there would be articles proclaiming “comics aren’t just for adults anymore.” I love that there are more and more great comics out there for children now. Don’t get me wrong — I like that there are more serious and mature comics out there, too, but I think there’s plenty of room for all of it. I love that imprints like Toon Books are dedicated to that cause.