The webcomics blog about webcomics

Oh My, Changes Afoot

Okay, it’s day after a holiday, but that’s not why I’m late. I’m late because I spent the day yesterday under the weather
and I’m just now getting caught up. But I couldn’t let these stories — some days old! — go by.

  • Spike — we’re done with the initial C, we’re done with the Trotman, we all know who I’m talking about — has launched the latest Iron Circus Comics anthology of wonder over Kickstarter way. Tim’rous Beastie, a collection about little anthropomorphic critters having adventures — was announced in December, went through submissions in January, and per Spike’s Twitterfeed, has all of its contributor’s work finished and received by editor Amanda Lafrenais to do her magic.

    Nothing left to do but fund the printing bill on that sum’bitch, a process that started Monday night, and which is presently (as of this writing) 72% complete. Per the FFFmk2, look for a final funding of US$40-58K, or 2x to 2.5x goal, more or less.

    Uncharacteristically for Iron Circus, this is a lean campaign with only three pledge levels (PDF, PDF+book, early bird PDF+book with discounted shipping) and one stretch goal (a fancier cover at 125% of goal) along with the customary unlimited artist bonuses (US$10/page for every US$10K over goal). Evan Dahm, Ryan Estrada & Rachel Dukes, KC Green, Abby Howard & Eli Church¹, Sloane Leong & Lauren H, David McGuire, Jemma Salume, and Jessi Zabarsky, along with Lafreais and Spike.

  • As long as we’re on Kickstarts, the Foglios are Kicking the newest Girl Genius collection, with the customary soft launch (they went live on 27 June, but didn’t start talking about it until the next day, and only notified past backers several days after), short run (18 days), and fast turnaround (rewards at due to go out in September).

    It appears to be somewhat simpler than the past campaign or two — the fancier rewards are things they’ve done before and have a decent idea of what production times will be — and hopefully the efforts of putting together thousands of sometimes complex fulfillment packages won’t drive them insane.

  • 2017 is going to go down as the year of finishes; so far we’ve seen Dr McNinja and Octopus Pie conclude well-loved decade-long runs, and there’s at least one more on the horizon. Sometime this year, John Allison will be putting up the chairs of the ScaryGoVerse and turning off the lights:

    Hard Yards will be the last story set in the little Tackleford universe we’ve been visiting nearly every day since 1998. While I still love the characters, I feel like I’ve done almost all I can with them, and for the last two years I’ve been trying to find ways to create a satisfying end to things, or a possible way to continue that felt somehow the same, but new. In the end I’ve had to settle on ending things.

    I don’t know exactly when the last strip will be, just that it will be before the end of 2017, so I’ll let you know when we get into the final straight. In the meantime, as you were.

    We’ve come a long way since Rich, Shelley, and Tim first appeaared; it’ll be nineteen years that the every-widening gyre of characters centered on the ginger ninja have been engaged in their wordplay and skylarking. The good, the bad, the indifferent (frequently the same character, just at different times) have had their time and if we don’t get Britain’s weirdest little town, at least we’ll still have Giant Days (as of today, 28 issues and better each month)².

    I won’t weep; it’s better for Tackleford to end without diminishing. If Allison finds down the road that he has more stories to tell from that end of his imagination, the weirdness magnet that is Tackleford will still be there³. It’s harder still to be sad when one realizes what’s coming next: Desmond comics, from Desmond Comics [SFW, but contains Desmond].

    So if you happen to be in San Diego in a couple of weeks, do look Mr Allison (and Mr Fishman) up and thank him for all the weird times; me, I’m clearing a spot in the links list over there to the side for whatever comes next, because it’s going to be great.


Spam of the day:

Final Notice Regarding Your Payment Info

[next day]

Final Notice Regarding Your Payment Info

[next day]

Final Notice Regarding Your Payment Info

I’m starting to think that “Greg” doesn’t actually understand the world “final”.

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¹ I tried to find a website for Church, but the name may well be un-Googleable. Searching for eli church cartoonist brought up a lot of serviceable cartoons featuring Noah’s Ark.

² Although Giant Days would seemingly have its own expiration date: if I understand correctly, the British university system is built around a three-year course of study, and Esther, Daisy, Susan, and Ed have already seen their second Christmas together.

³ And Lor’, what I wouldn’t give to see Shauna and Lottie grown to adulthood some day.

Clearing The Spam Folder

It’s not that there’s nothing going on in the Wide, Wide World o’ Webcomics¹, but we are in a momentary summertime lull before SDCC² and the rest of the major con busy season. I mean, I could point you towards the updated tour dates for Meredith Gran³ and Mike Holmes — in fact, I think I will — but there’s only so much of your time I can occupy there. Or you could take five minutes to watch the second episode of animation from The Nib, that works.

Done? Okay, let’s make fun of spammers and see what crops up between now and tomorrow.


Spams of the day:

Bonus! $350 after your first 150 rides driving with Lyft!

Figuring that any ride will take the drive a minimum of 15 minutes (from notification until drop-off), US$350 for 37.5 hours labor, or less than US$10/hour. Minus gas, insurance, and the rest? I think you actually come out negative on this deal.

Some DNA testing can be done from home

I did one of those home DNA spit tests once, on account of being adopted, I was sick of telling my doctor I didn’t know if there was a family history of various diseases. Still don’t know, but I am reliably informed that there’s a 68% change that I’m obese based on my genes. I am a super-skinny dude. I’m starting to regret not doing what I seriously thought of doing at the time, which was to let my dog drool into the collection tube just to watch the lab freak out.

[New SMS] You Received a Glance from Gelya (from Kazan, Russia)

I have received roughly thirty-seven variations of this spam with different combos of name and Russian city. Apparently, Russian mail-order brides really dig me.

Confirm Your Account with us

This one’s great — a big graphic that says ACTIVATE YOUR ACCOUNT in block letters, not even bothering to make up a lie about which account or with what company. Balls nasty.

Garytyrrell 2 messages marked as unread disobeys

Oh, no, the Facebook account I don’t have is threatening me for leaving messages unread.

Vital to Your Wellness: Good Dental Health

Not to brag, but I just went to the dentist on Saturday and she told me my hygiene was excellent. I like my dentist, she is quick and painless.

Juicy Couture Tracksuits

Nnnnooope.

Knives that are too large are very impractical and tremendously difficult to control. Ecclesiastes 12:17 (The Message) Old King Solomon said it all

King Solomon used swords; I don’t think he was overly concerned with a knife being too large.

I’ll immediately snatch your rss as I can’t in finding your email subscription hyperlink or e-newsletter service. Do you’ve any? Please allow me recognise so that I could subscribe. Thanks.

I think I just got sexually harassed.

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¹ There’s not a good visual for the agony of defeat in webcomics, so please accept the original instead.

² Programming details coming soon!

³ Octopus Pie volume 5 (final!) out now!

Annnd, Behind At Work. Awesome.

Know what else is awesome? One of the greatest, most enabling guys in [web]comics, Christopher Butcher, is getting a new job. He’s been great at managing one of the best comics shops in North America, and he founded one of the great comics shows in the world. Now he gets to hunt out new talent in North America and Japan, and Publishers Weekly has the story:

Chris Butcher, longtime manager of The Beguiling comics bookstore and founder and artistic director of the Toronto Comic Arts Festival, is leaving The Beguiling and has been named a consulting editor-at-large for Viz Media.

In this new consulting role for Viz Media, Butcher will scout acquisitions and new talent and new publishing projects, while splitting his time between North America and Japan. In addition Butcher will also scout for original non-Japanese comics projects.

It couldn’t happen to a nicer, more qualified guy. Congratulations to Butcher, and to Viz for recognizing skill when they see it.

In other news:

There’s, uh, not a lot extra to say about any of those. Enjoy ’em.


Spam of the day:

Search free coupons for toilet paper discounts

How much toilet paper do you think I use?

Why You Never Get Rid Of The Bookmarks

Iverly! Oh, my yes, Iverly is back today and perhaps more before too long! Jeffrey Rowland has been keeping creators in rent money but DANG if I haven’t missed his take on comics. Read it from the beginning.

Onwards …

We mentioned XOXO co-founder Andy McMillan during the Comics Camp Roundup Extravaganza last month, and in that time he’s been busy. The Liberty Foundation has been communicating with the world via the occasional tweet, and the website is now up and running. The first big reveal on what they plan to do will be at an official launch party, tonight, in Portland, from 6:0pm, at Outlet PDX.

McMillan’s plans and intentions will be made clear this evening, but we can share the general outline:

The Foundation will begin by offering a number of fellowship awards. Under the guidance of our advisory board, we will be prioritizing awarding our fellowships to a diverse and representative group of artists working in contemporary fields such as film, music, podcasts and audio storytelling, writing, comics, tabletop and board games, and video games.

Our fellows will each receive a $60,000 cost of living grant and support for health insurance costs for one year. These grants will not be project-based, but rather aimed at giving creators a chance to step back and make decisions based on curiosity and long-term growth rather than dire and immediate need.

The second aspect of the Foundation supports this goal by providing an extensive coaching and support program to help artists maintain momentum, focus on their work, and grow it into a sustainable business. This will involve workshops and tutorials focused on business development, marketing, financial planning, and legal support.

The processes of application and selection are to be announced, but I can tell you this — I discussed things with McMillan during and after Comics Camp, and I have made a pledge of financial support to The Liberty Foundation; as such, I will be covering it lightly in future, to avoid any potential conflict of interest¹. If creating a mechanism to aid artists past the building phase of their careers to where they can self-sustain and grow is something you’re interested in, drop him a line. The more people on board with this, the more people contributing and participating, the better.


Spam of the day:

This coupon is waiting for a trip to sears.com!

Amazingly, this appears to actually come from Sears and not, say, Brandon Bird.

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¹ And any coverage that I do provide, I will add a disclaimer.

This Thing Hardly Changes From Year To Year

By which I mean, the map of San Diego Comic Con’s exhibitors, in handy PDF form, which I painstakingly re-capture and format every year. Well, not this time! I’m keeping the maps from last year to the extent that they match the layout this year

The North Half Layout Is The Same
It’s on the right side of the overall floor map, and apart from a logo change or two, the booth numbers and major players correspond to the same layout as last year:

The Webcomics, Small Press, and Independent Press Pavilions remain reasonably accessible from the “B” lobby. Let’s break ’em down.

The Last Stand Of Webcomics?
It’s been a long run, but more and more creators are opting to skip SDCC; of course, once you give up a booth you won’t get it back in the current decade, so expect to see a bit more holding on. Centered roughly on booth #1332, you’ll find a majority of the webcomickers who will be at the show within about a 1.5 aisle radius; some are slightly outside the orange area, but not too far. Those that return are for the most part at the same booth number as previous years, but there’s been some upheaval, as we shall see.

Alaska Robotics
with Marian Call
Booth 1137
Blind Ferret Booth 1231
Cool Cat Blue Booth 1330
Digital Pimp Booth 1237
Cyanide & Happiness     Booth 1234
Dumbrella Booth 1335
Girl Genius Booth 1331
Jefbot Booth 1232
Monster Milk Booth 1334
Rhode Montijo Booth 1329
Sheldon and Drive Booth 1228
TopatoCo Booth 1229
Two Lumps Booth 1230

Notes:

  • :01 Books appear to have been relocated to booth 2800, and taken Macmillan Children’s Publishing with it (2802).
  • Rhode Montijo (of Happy Tree Friends fame) in 1329.
  • No news yet on which TopatoCo creators will be along; we’ll update once we know.
  • Hachette (1116), Harper Collins (1029), (1117), and Simon & Schuster (1128) remain in Publisher’s Row; Knopf Doubleday appears to be skipping.
  • As of this writing, Booth 1332, the heart of Webcomics Central, is listed for Flex Comics which sells (quoting here) Bro Tank shirts and does occasional mash-up strips with a fitness theme. Far be it from me to criticize a webcomic for selling t-shirts, but given that the shirts are on the front page and the comic found off at a link, I’d say it inverts the normal order of things.
  • But that’s still not as bad as booth 1235 going to Pulsar Entertainment LLC, which appears to have its origin in a talent contest (ugh) and is celebrating its own launch by running its own contest (double ugh) with all entries granting a non-exclusive, perpetual, irrevocable, worldwide, royalty-free, sublicenseable and transferable license to Pulsar Entertainment (triple ugh). They’re over next to Blind Ferret; I’m sure Sohmer will have lots to say to them.
  • Dumbrella this year will only be Rich Stevens and Andy Bell; they’ve invited Cards Against Humanity to share space.
  • Meredith Gran will be at the show with husband Mike Holmes, but I don’t have a definitive location yet. Possible locations include Image (Gran), :01 (Holmes), and Dumbrella (both). More when I have it.

Small Press Abides
Right by the Webcomics section is Small Press. Here you should find:

Bob the Angry Flower Table K-16
Ben Costa Table O-07
Claire Hummel Table Q-15
Kel McDonald Table M-12
Wire Heads Table N-15

From the Small Press section, you’re close by:

Cartoon Art Musuem Booth 1930
CBLDF Booth 1918
BOOM! Booth 2229
Oni Press Booth 1833
Gallery Nucleus Booth 2643

Notes:

  • Gallery Nucleus will feature arty types when they aren’t hanging out at Mondo down in booth 835. Keep an eye out for your Scotts C, your Beckys and/or Franks, and alumni of the various Flight anthologies.
  • No confirmation yet on which webcomickers will be at the BOOM! booth when, but I’d expect a pretty strong rotation.

Now head back toward the “B” Lobby into the Independent Press area and you’ll find Terry Moore at Booth 2109, which is split (in accordance with tradition)with Jeff Smith (who remains the best). You’re also not too far from the Jack Kirby Museum at Booth 5520 which, yes, is a very large number but is actually just inside the B1 entrance. Weird, right?

Going back to that larger map of the northern half of the exhibit hall. Wedged in between the Marvel and Image megabooths you’ll find Keenspot in Booth 2635.

The Far End Is Exactly The Same
There’s still some neat stuff if you keep wandering past the video games, Star Wars, Legos, and suchlike.

Give yourself half an hour or so, try not to spend all your money on Copic markers (Booth 5338), and you’ll find both Udon Entertainment (home of such worthies as Christopher Butcher and Jim Zub — although rumor is Zub is sitting this year out — at Booth 4529); and The Hero Initiative (at Booth 5003). Zub’s onetime Skullkickers artist, Edwin Huang will be in the Artists Alley at table EE-19, and Katie Cook will be at table HH-17.

Offsite
Every year for the past half-decade the amount of stuff you can see outside of the exhibit hall has grown; I’m guessing we’re only a year or so away from complete parity. If you know of anything especially good, let us know and we’ll add it here. Otherwise, just wander the city and see what you got.


Spam of the day:

Getting Christie Brinkley’??Perfect Skin Just Got a Lot Easier

This sounds suspiciously like it’s intended for serial killers.

Lyon BD Is Just Three Days, Or He’d Keep Writing

We at Fleen continue to bring you all the news from the world of French [web]comics, courtesy of Fleen Senior French Correspondent Pierre Lebeaupin. Take it away, FSFCPL!

Lyon BD, like most French comics festivals, is run as a non-profit. That does not mean admittance was free (5€ a day, or 8€ for both days), but that means among others aspects it relies a lot on volunteer labor. [Editor’s note: That admission rate would be in the range of US$5.50 to US$9.00 for a city-wide festival]

But just because it is a non-profit does not mean you are dealing with unprofessional people. Case in point: when I came Friday morning to get my badge as an accredited member of the press (which also allowed me free entry), they couldn’t find my name among the envelopes containing the individual badges. That was going to be a problem: without a badge, I would not have been able to enter no matter how much I paid, since the first day was reserved to professionals (and accredited hack webcomic pseudojournalists).

But Mélodie Labbé, who was the Lyon BD point of contact leading up to the festival proper (for RSVPing to events, notably) was present and doing badge delivery herself too, my name did ring a bell to her, and so she took a blank badge and wrote in my name so that I could enter and access everything I could as accredited press; I did not even have to show the email accepting me as accredited press (I was able to come back on Saturday, and this time my “real” badge was found. I won’t lie: getting to wear [this](attached image) rocked).

More generally, Lyon BD did treat attendants and exhibitors well: there was free water from water dispensers (as previously mentioned), tables for lunch inside the city hall, allowing food brought in, and nearby seating allowing for a pause to read your haul, signage in the streets to find your way when going to offsite events (exhibitions, lectures, etc.), and lastly but most useful for me this Sunday¹, the last day: a free cloakroom, since my train was departing straight after the festival (admittedly, that last service was not open to the public: only exhibitors, journalists, etc.).

Lyon BD is also remarkable for its initiatives besides running the show proper. For instance, I previously mentioned they originally commissionned the Boulet/Inglenook drawn concert collaboration, but even though this was the 12th edition I first heard of Lyon BD only three years ago from their Hero-ïne-s exhibition, where they asked comic creators (including Boulet, through which I heard of it) to reimagine comics with female leads, because even in this day and age in French comics, female leads are still rare.

The works themselves have been posted on the web (some of which I’d very much pay to see made!), and you can buy it as a book which additionally contains interviews with the featured creators, small essays on sexism in and around comics, etc. The exhibition itself is touring (it was not at Lyon BD this year, though), but I do not know where it will be shown next.

Since there were fewer events of interest to me on Sunday (there were a few, but colliding with Scott McCloud’s lecture, and there was no way I was going to miss that), I decided this was the opportunity to try and meet some of the creators showcased in this project, especially as a number of them are local to the area.

Highlights of the day:

  • Meeting with Paka at the Lapin booth, who mentioned to me that his collaboration with Cyprien, Roger et ses humain (previously mentioned here) was now available in English on digital platforms, among them Comixology; this can be a viable way to discover this work, at least as an artist.
  • Catching Hero-ïne-s contributors Efix, Marie Avril, Emy), Anjale (note that I was still dressed as Clark Kent), and Yan Le Pon (links to their own pieces) and chatting with them about their contributions and the general state of comic book heroines. Most of them were even generous enough to sketch in my copy of the book.
  • Watching Scott McCloud’s lecture presenting his latest book project: the pitch, the need for it, case studies of examples and counter-examples, etc. Even with half the time taken by the translator, it still had so much information density that no summary could not possibly do the lecture justice. McCloud is going around the con circuit, so I implore you to go and catch a performance of his lecture, you won’t regret it.

    He went straight to a signing after the lecture (in fact, he was signing for most of the duration of the festival, and his line was always packed), so I was not able to have any aside time with him, but I did get a few answers: during the lecture, he had a few words about Powerpoint (probably the visual communication medium office dwellers create the most), and it will be covered in the book (one of my interrogations from the announcement).

    At the end of the lecture, during the Q&A session, he confirmed in response to my question that, while there would be no dedicated chapter (the book not being organized along media type, but along other concepts), the teachings would not just be applicable to static media, and some of the examples would be from interactive media.

    Lastly, I went in line for the signing, and once I reached him I asked one last question: what, if anything, he did find different in French cons as opposed to U.S. cons. His answer was that in his experience signings were mostly the same, but in panels in France he appreciated not having to spend nearly as much time justifying how comics could serve important endeavors: French people have little trouble believing that.

  • At the same signing, meeting Bou … oh, wait, is that the line for him?! One, two, three … ten … OK, there is no way I can reach him before the festival closes its doors. Too bad, maybe next time.

It was then time to leave, but if they keep up like this, I will most certainly be back next year. I would like to close by thanking Lyon BD festival for evaluating and accepting my press badge application, without which I would not have been able to cover the festival as much as I did; and of course, for putting out a great festival.

And that will wrap up Fleen’s coverage of LyonBD 2017. With any luck, we’ll have more reports from a variety of festivals from FSFCPL in the coming years.


Spam of the day:

Xarelto Lawsuit Information

Xarelto is an anticoagulant. If there’s one things EMTs hate, it’s anticoagulants, because they make our lives more interesting on calls. Nevertheless, I think it’s a little disingenuous to sue the maker of an anticoagulant on the basis that it caused you to have difficulty stopping bleeding because that’s what the damn thing is meant to do.

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¹ Fun fact: Sunday was also polling day for the French general elections, and mainland France does not have mail-in voting or early ballots, and I hope it never has online voting: so I had to appoint a proxy to vote on my behalf, there is no other way to vote while away on polling day.

Lyon BD, Deuxième Jour

We continue the reporting of Fleen Senior French Correspondent Pierre Lebeaupin from the grounds of Lyon BD. If you missed Day One, it may be found here.

The main attraction of a French comics festival is getting to meet the comics creators themselves, or more specifically, getting them to sketch and sign in one of their books you brought; that last part is important: the creator typically won’t have his books on hand, and by himself is not set up to take your money. This means sketches are free as a rule. Though if you don’t own any of their books, not to worry: they are available for sale at the festival so you can have your copy when you get in line for the signing.

So for instance for Lyon BD:

  • A temporary location inside the city hall was set up as a bookshop (an offshoot of a local bookshop, in fact).
  • A big reception room and several smaller ones inside the city hall were set up as table space for invited creators, independently of any publisher.
  • Inside a common tent on the Place des Terreaux, Glénat (one of the biggest French comics publishers) had set up a giant booth where one end was set up as a bookshop, and the other end as table space for their creators; same for Decitre (the association of Dupuis, Dargaud, and Le Lombard).
  • In the same tent, smaller publishers (Lapin, Warum/Vraoum, Rouquemoute, etc.) had booths where the creators were set up directly behind piles of books (though the publisher himself handled the transactions).
  • And a few isolated signing events were set up in bookshops around the city.

And so that you could best visit creators at the right times, this giant banner¹ was put at critical junctions in the festival … Oh wait, that is only creators A to K, a second banner was needed for creators L to Z. Columns are approximate time: Saturday morning, Saturday early afternoon, Saturday late afternoon, etc. up to Sunday late afternoon.

Other booths present included booksellers specialized in original and historical editions of comics, art schools, publishers of youth books (not just comics), etc. It was not a big festival: for instance, a few major publishers (Delcourt, Soleil) did not have a booth. But as you know, it is not the size that counts: what counts are the people I wanted to meet and that I knew would be there.

So, Saturday: the first day (out of two) of the main festivities.

This setup was less than ideal by some aspects. For instance, France remains under a high terror alert level which means bags had to undergo visual inspection whenever entering the festival, and that included whenever you wanted to go from the city hall to the tent on the Place des Terreaux (and the converse) as they were close, but not directly connected.

Furthermore, weather became rather nice and actually a bit hot (28°C, or about 81°F) which was felt more under the tent due to the lack of air circulation (a few booths were able to put up ventilators); especially by your correspondent, who chose to go that day dressed as Clark Kent: in a full suit (plus hat, and small S on the chest, under the shirt. My apologies: I forgot to take photos). But those were only inconveniences, and volunteers were on hand to help, for instance to bring drinks to people stuck in their booths; the organizers had also put water dispensers under the tent for attendees to get water, for free.

Interesting live programming was also scheduled for Saturday, in particular a jazz and drawn comics concert involving Florence Cestac (only woman so far to have received a Grand Prix at Angoulême), which unfortunately I had to pass on due to a collision with another event I wanted to attend at 3:00 PM.

By the way, did I mention the Lyon city hall was a very nice place?

Highlights of the day:

  • In the main reception room used for signings, getting to say hello to the German creators showcased in the exhibition (mentioned in my last post): Reinhard Kleist, Thomas Von Kummant and Isabel Kreitz (Birgit Weyhe was signing elsewhere), but I spent most time chatting with Flix about his book, The Pretty Girls; this is actually a series of relationship and drama strips self-contained in one page, and contrary to most body representations in comics (comics being a very coded medium), even from France, he features great body diversity: his girls are fat, slim, tall, small, even old or young… they are all meant to be pretty.
  • Chatting with the creators at the Lapin booth, in particular Tim, who reminded me I could point you to his Promenade (going for a walk), since there is no need to translate it. And he’s right. It it comics? You decide. And Cy², since I was interested in her Real Sex From Real Life [NSFW], but more on that later.
  • A panel on comics being featured in Le Monde’s morning digest app. Of note was the fact it is still hard for comics to make inroads in a newspaper that was one of the last holdouts of the “if it’s boring, it must be serious” school of thought: often interesting initiatives around comics are declined, even when money is not an issue. On the other hand, when the principle of having comics in the app was accepted, then getting budget to pay lump sums to the creators was not an issue.
  • A panel with Cy, Fabien Vehlmann, and Julie Maroh about their respective comics projects around sex Le vrai sexe de la vraie vie, l’Herbier sauvage, and Corps Sonores). Their approaches vary in the details (Vehlmann collected anecdotes through in-person sessions, while Cy used an online form), but the basic approach is the same: in order to show sex not as an ideal, but as it is practiced, they use comics to show such stories of real sex, and build them around raw material collected from other people so as to provide actually representative and diverse experiences. As such, even if not directly educational they all have a documentary aim.

See you next time for Sunday …

Fleen, as always, thanks Lebaupin for his attention and insight.


Spam of the day:

Your Car Service Reminder

I don’t own a Vauxhall, don’t live in Central England, and don’t need a service plan, thanks. While we’re on the subject, because it’s only British spammers that ever bring it up, I’m fine on double glazing, too.

______________
¹ Note the use of autrice, a feminine form of the word auteur which has recently resurfaced (because when auteur is used for both masculine and feminine forms, it tends to erase female creators), and is still not widely accepted.

² Who, by the way, is tag teaming with Boulet to cover the animation festival in nearby Annecy this week.

He’s An Entrepreneur, A Job Creator, And Hell Of Smart

As seen on Rob Den Bleyker’s Twitter just now:

I just applied to run for U.S. Representative as a democrat in my district (Texas 32nd). I have no experience. Let’s see where this goes.

As recent elections have shown us, having no experience is no bar. I’ve known Rob for years and he’s really, really sharp. If I lived in Texas’s 32nd, I would absolutely consider him sincerely; taking into account that the incumbent is the odious Pete Sessions, I’d be even more inclined.

It’s a long way until November 2018; Fleen will attempt to interview DenBleyker on his candidacy as the opportunity presents itself.

From Our BD Desk

"Crayon", they said. Right. Photo by FSFCPL. Click to embiggen.

Fleen Senior French Correspondent Pierre Lebeaupin¹, as noted earlier in the week, spent some time prowling the recent Lyon BD, and he’s brought an extensive recap. Pret-ty sure that there’s no other webcomics blog this side of the world with a report from Lyon (or anyplace else in France), so be sure to share with your friends. Take it away, FSFCPL!

The Lyon city hall is a very nice place.

This is in fact not the usual location for Lyon BD, but with the French general elections, which happened the same weekend, preventing the use of the Palais du Commerce where it usually takes place, it had to find a backup location, and kudos for the city council of Lyon, and in particular the mayor, Gérard Collomb, for opening the city hall for use by the festival.

And so that is where your correspondent found himself in Friday morning to attend the first day of Lyon BD festival. The public was not allowed yet, reserving that day for interactions between creators, publishers, booksellers, students, and other professionals, including journalists. For instance, a number of publishers were set up with tables in a dedicated room so that students could come get feedback and inquire about opportunities; but KissKissBankBank also had a table there, for instance.

Additionally, most of the exhibitions were already set up, so it was possible to visit them while not too busy with everything else that would be happening the following days. And of course, there were panels on matters of interest to the comics community. Most of the booth space, however, would be in a tent on the neighboring plaza, which was still being set up.

Highlights of the day:

  • A panel on the interactions between museums and comics. In particular, a representative from the Centre Pompidou emphasized that it housed more than a museum of modern art, and in particular a library which has of late presented a number of exhibitions, on Claire Brétécher and on Gaston Lagaffe for instance. They also touched a word on museums acquiring original art, exposing it, and in a few cases publishing comic works (e.g. around a fine art exhibition).
  • Inside the city hall, an exhibition of comic works from German creators. Germans read more comics, in particular French, than they produce, but they do produce some, and as part of an exchange with the Frankfurt 2017 book fair Lyon BD presented this exhibition of German creators, most of which were present in the festival.

    I had already heard of Mawil through Safari Plage (which itself was pointed to me by Tim), but the others were new to me, and I would get to meet them the following day (except Mawil, who was not present). The exhibition will go to the Goethe Insitut in Lyon now the festival is over, so you can still catch it until September 14th. As part of the collaboration, the involved creators are creating comics to present French and German culture which are being posted in a dedicated site, including in English.

  • An exhibition [PDF] centered on Understanding Comics at the Lyon Museum of Printing and Graphic Communication a few blocks away. Organized around excerpted chapters from Scott McCloud7rsquo;s œuvre (it would be impossible to cover it all in a reasonable space), the exhibition illustrates concepts from the book (time and sequence, page construction, etc.) using French-Belgian comics (and a few others), notably Blacksad from Diaz Canales and Guarnido (as Boulet writes, #IMComingBackTonightWithACrowbar).

    The last room deals with digital comics and excerpts from Reinventing Comics instead. A must visit. It remains there until September the 20th, so if you are in Lyon for any reason, check it out².

  • A panel with Lisa Mandel and Matthieu Sapin, on how they work with the raw material they turn into comics. Both creators have used comics as a way to report on current events, for Mandel on the life and evacuation of the Calais migrant camp, and for Sapin on the life in the Elysée for a few months during the presidency of François Hollande.
  • A panel on graphic novels with McCloud, Yannick Lejeune, and Reinhard Kleist, specifically trying to tell what they are. Lejeune, an editor at Delcourt, provided examples more than a definition, starting with Tardi and Pratt in the 70s, followed by a renaissance in the 90s, starting with Satrapi’s Persepolis. Kleist, one of the invited German creators, told he uses “graphic novel” more as a container in particular for his own work, because he finds the word “comic” (used in German as well) as being inappropriate to represent his work, which is anything but funny.

    McCloud emphasized that, in the US, the expression “graphic novel” was a weapon meant not so much to add meaning than to escape the baggage of the word “comics”; he told he considers it all comics, while recognizing that the expression can be useful. On the matter of what they are, he said that while you always see the artifices of comics, a graphic novel for him is one that is deep and long enough that you end up losing yourself in the story and not noticing them any more.

    This is my favorite definition, because while his introduction of graphic novels in Reinventing was strictly in the context of US comics, now this definition is workable for Euro comics, and manga as well. After introducing myself, I told him as much during the opening ceremony for Lyon BD that followed a few minutes later.

  • During the reception that followed the opening, getting to chat with Phiip, local creator, host of many French webcomics and publisher of even more, about crowdfunding and its impact on comics publishing and self-publishing.

As always, Fleen thanks Lebeaupin for his contributions.


Spam of the day:

Ich habe hier mein Sofa im Test online gefunden.

A discussion of a sofa in German? I suspect that either Rich Stevens or Brett Porter is trolling me. In which case: Bravo, gentlemen.

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¹ Who, I should note is now the first person besides yours truly authorized to carry a Fleen business card (complete with a rendering of our masthead mascot by Meredith Gran). You’re officially a pixel-stained wretch, FSFCPL!

² The permanent collections are also worth checking out, including this bit. The caption reads: Crayon drawing This portrait drawn in crayon by the celebrated caricaturist Gavarni is of particular interest. Comparing the proof with the stone it can be seen that a moustache has been added. This kind of alteration was made possible by a process developed by Godefroy Engelmann in the 1820s. The stone is in its final state, the proof from a previous state ‘before the moustache’.

That’s Why They Call It ‘Work’ And Not ‘Fun’

Thanks to a frustrating, blinkered, blind adherence to arbitrary rules on the part of various IT types¹ that make it impossible for me to do my job² , possibly of possibly my entire career, has struck me today. How bad? I actually spent a good ten minutes this morning calculating whether or not I’d be beaten by Security if I pitched my laptop out a third floor window and screamed YOU CAN BILL ME (laced with appropriate profanity, naturally) in front of horrified customers.

So, Monday.

But I’ll not leave you wanting. By coincidence, today’s classic episode of You Damn Kid (which will eventually permalink here, unless I miss my guess) neatly parallels my feelings today, substituting for the titular Kid’s Dad. I don’t want to be an old man, much less the Old Man, but there you go. I would also be remiss if I didn’t point out that Owen Dunne has a placeholder on the front page of YDK that promises

YDK TV
Starts Monday, June 12!

… which would be today. Nothing yet, but still quite a few hours left in the day.

And while we’re waiting to see what Dunne has cooked up, let’s also whet your appetite for a fresh field report from Fleen Senior French Correspondent Pierre Lebeaupin, who spent the weekend at Lyon BD:

I did get to meet authors and glean interesting info from them, to visit expos, to attend panels, etc. Oh, and I managed to ask Scott McCloud a few questions, too.

Oh, good — glad those two go to meet. Better mood, more news tomorrow.


Spam of the day:

Je demande pardon qu’est intervenu … Chez moi la situation semblable. On peut examiner.

Good to know that French spam has as little regard for sensical reading as English spam.

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¹ And I work in IT! Hey, IT guys making my life miserable — there’s a reason why we’re hated, and it has to do with you not even helping your colleagues. Jerks.

² While simultaneously putting me in violation of other rules for not doing my job.