We’ve been kind of spotty with our kibbling and bitsing of late, so we’ll try to catch up a little.
§ LINK O’ THE DAY: Yet another reminder that comics are HERE, man, The Washington Post — the WASHINGTON POST asks, of all things, why movies don’t sell more comic books:
But the celebrity dazzle obscured the strange reality: Movies based on comic books often turn into box-office hits, but their sources rarely see a related boost. Why? And why aren’t comics publishers doing more to sell their material to moviegoers when their business has been dampened by the recession?
§ Frank Santoro at Comics Comics reruns an interview from Ben Katchor from 1996, that’s still good.
Santoro: How do you feel about the different media you employ? Right now, you’ve got a weekly strip in many national newspapers, and you’ve begun doing short radio segments for NPR based on your Julius Knipl strips.
Katchor: Well, there are things you can do in comics, I suppose, that you can’t do in these other forms, and vice versa. So hopefully you should be doing what you’re supposed to be doing in each medium. There are things that you don’t…I guess you could draw certain kinds of textures and certain ephemeral light effects, but in a way then you are sort of approaching the power of photography. The picture that would result would be very…well, at least not the kind of picture I would want to make by drawing. Drawing is a more, y’know, shorthand reference to hw things look. There are certain limitations, but I guess they’re more imposed by my taste. You could draw anything…I suppose. But it wouldn’t…
§ Johanna Draper Carlson looks at a WSJ article on motion comics from 2008, and wonders why everyone is getting into them so much — the article suggests that because motion comics are sold on iTunes it represents a way to actually get people to pay for something for a change. But…
So is this the future of comics, or just another stunted branch of experimentation? (That many of these efforts are only available in the U.S. may affect the answer.) Have you watched a motion comic? Would you want to? Does your answer change depending on price?
Our answer: Someday there will be a D.W. Griffith of motion comics. When that day arrives, please let us know and we’ll race on over.
§ George Gene Gustines talks to Chip Kidd about cover design.
The winding road leading to the New Orleans novel began when Mr. Neufeld signed up to work with the Red Cross after the hurricane hit, serving as a disaster response worker in Biloxi, Miss., for almost a month. He said the catalyst for volunteering was 9/11. “Having been in New York when the towers fell, I remember that overwhelming feeling of helplessness and displaced anger,” he said. “When Katrina hit, I saw what was happening, and I realized that I, as a single person, could somehow help.” Mr. Neufeld blogged about his experience and self-published a collection of his dispatches called “Katrina Came Calling.” That book got into the hands of Jeff Newelt, the comics editor for Smith, an online magazine (smithmag.net) with a focus on personal narratives.
§ Over at Comixology, Jason Thompson looks at one genre that ISN’T wildly popular in Japan:
Traditionally, Japan is not known for autobiographical comics. True, Frederik Schodt singled several out in Dreamland Japan, and the works of Hideo Azuma (Disappearance Diary), Kazuichi Hanawa (Doing Time) and Yoshihiro Tatsumi (A Drifting Life) have been acclaimed both in Japan and overseas. But European and American comic artists—Harvey Pekar, Robert Crumb, Marjane Satrapi, Ariel Schrag—produce, proportionally, more and more-acclaimed autobiographical works.