Category Archives: Columns

Monthly Stumblings # 12: Shannon Gerard

Posted on by

Unspent Love or, Things I Wish I Told You by Shannon Gerard

Shannon Gerard is a Canadian multimedia artist (aren’t they all these days?) based in Toronto. She presented her book / webcomic Unspent Love as follows:

Originally drawn and written as a series of online vignettes for the comics publisher Top Shelf Productions, Unspent Love addresses themes such as hope, fear, and human frailty. The project was later produced as a multi-media bookwork with the support of Open Studio’s Nick Novak Fellowship (2010).

A third iteration at YYZ Artist’s Outlet in Toronto will evolve the project in a series of narrative images, unfolding between November 2010 and October 2011. The experimental space of the wall allows imaginative storytelling possibilities to develop through layering, time-lapsed animation and wheat pasting.

The Open Studio hand-bound artist’s book that Shannon mentions above is gorgeous, as you can see below:

Unspent Love, or Things I Wish I Told You, Open Studio, 2010.

In an interview Shannon Gerard said;

I am just telling pretty simple stories from my life — anyone can do that. And I am using materials and methods that a lot of people can understand and recognize. Also the stories are personal, so I want the books to have definite evidence of the hand of the artist all over them [in the lettering, for instance].

[M]ost of my books so far have been about all of the love and fear and losses and hope and fragility of relationships either beginning, ending or never totally materializing.

In another interview Shannon Gerard quotes Lynda Barry saying that what she does is “autobifictionalography.” This means that her autobiography has some fiction mixed just like every fictional narrative has some autobiographical subtext.

Shannon Gerard’s drawing method relies exclusively on photos of family and friends acting. This has some advantages, but also some disadvantages. As she puts it in her Inkstuds interview (she disclaimed correctly that she’s not one – a stud, I mean):

In a lot of cases I trace right over top of photographs. That is really limiting in terms of like line quality an’ there’s definitely limitations to it in that way.

Watch also Women in Comics.

The characters in Unspent Love have an individuality that is rarely seen in comics, but the drawings have something of a mechanical feel to them. The regularity of the lines, the absence of shading, remind me of the clear line. Even so during the last half decade a progress can be detected in Shannon Gerard’s drawing abilities: the tracing look vanished replaced by a more fluid naturalism:

Hung # 2, Drawn Onward, Self-Published, 2006.

Unspent Love, or Things I Wish I Told You, Open Studio, 2010.

If I understood correctly (and I really don’t know if I did), Shannon Gerard, says in her Inkstuds interview that she compensates the lack of spontaneity of her drawings with a creative approach to page layout. In fact one of her trademarks is the depiction of the same character in various positions in fictional and reading time and fictional and page space. This is the same effect that gave Italian comics artist Gianni de Luca his place in the pantheon:

“Romeo e Giulietta”‘s first page (Romeo and Juliet) by William Shakespeare and Gianni de Luca, Epipress, 1977.

Unspent Love, or Things I Wish I Told You, Open Studio, 2010.

One of the most interesting aspects in Unspent Love are the image-text relations. Mostly the image shows a character and the words describe a situation. This leads to the problem of focalization. Being autobiographical (or, you know… autobifictionalographical…) the narrator is a fictional character (s/he always is) somewhat related to the artist-writer, but that’s not what I read-see in other instances: what I read is an interior monologue uttered by the character that I’m seeing. There’s a complex creative system at play because the actors play Shannon Gerard’s own stories: her interior voice mixes with their bodies in an oblique relation. In one particular case (my favorite section of the book, the wedding) the images and the words don’t describe the same point in time creating a lapse that is quite jarring.  

An interior voice and an exterior image of the world in one of Shannon Gerard’s (and mine) favorite cartoonists’ stories.

Panel from “The most Obvious Question” by Lynda Barry, Raw, High Culture For Lowbrows, Vol. 2 # 3.

Reading Unspent Love we may think that the text leads the narration (if we can call it that) while the images are just illos. Nothing is further from the truth: if we know how to decode them the drawings give us crucial information about the characters (did I mention already that the characterization in Unspent Love is exquisite?): I’m talking about their mood: dreamy, absent minded, loving, joyful, etc… but also their taste in clothes, mannerisms… etc… In her Inkstuds interview Shannon Gerard says that the drawings interpret the narrative. I say that the drawings are part of the narrative.

A disjunction between image and text, or is it?

Unspent Love, or Things I Wish I Told You, Open Studio, 2010.

As part of trash culture comics in the restrict field have been poorly written, with some exceptions, of course, throughout their history. Words fail me to express how much I admire Shannon Gerard for bringing adult themes and great writing to comics (and I don’t mean the usual adolescent tripe that passes for adult in the comicsverse). Unspent Love has strengths precisely where your average comic fails miserably. Shannon Gerard’s writing is not only beautifully poetic (she doesn’t like the word because it’s too pretentious; what kind of a world is this, in which an artist feels embarrassed for being a poet?), it’s also full of great ideas. Discover those ideas yourselves, if you didn’t already, because revealing them here would mean spoiling your fun…

I don’t want to finish this post without mentioning Sword of My Mouth, a Post-Rapture Graphic Novel (a post-apocalyptic story written by Jim Munroe and drawn by Shannon Gerard, No Media Kings / IDW, 2010) and Hung (a self-published comic book miniseries to go along with her thesis – see below – the cover of issue number two is reproduced above: Hung # 1, Never Odd Or Even, 2005; Hung # 2, Drawn Onward, 2006; Hung # 3, Lonely Tylenol, 2007).

Shannon Gerard wrote a thesis about autobiography in comics (Drawn Onward, Representing the Autobiographical Self In the Field of Comic Book Production, York University, 2006). Here’s how she presents her book:

The recent proliferation of once underground comic books in the popular media has spawned a vibrant body of critical work about the form and its cultural meanings. Perhaps owing to its relative infancy, the field of comics 1 scholarship, while enthusiastic, has been inconsistent. The current debate seems to be over exactly which analytical approach to take. The search for a suitable critical template has led some scholars to consider comics from the perspective of literary criticism. Other academics use the lexicon of the art critic to focus on the formal design concerns of cartoonists, or attempt to locate the format 2 within an art historical context. Due to the sequential narrative element of comics, many film studies majors have embraced the genre. Given that the reading of comics bears much in common with other fan-based and emotionally resonant sub-cultures like alternative music, a cultural studies perspective seems to provide another piece to the puzzle. However, as comic books represent a unique hybrid of various literary traditions, visual art movements and cultural perspectives, not one of these approaches works in isolation.

Since comics are resistant to conventional analysis, the resulting limited academic work can be frustrating, but I believe the inherent tensions in the field of comic book production are its greatest strength. As with any field of study, these intersections provide dynamic places for various existing ideas to pool together and for new ideas to crystallize. The pronounced interdisciplinary anxieties of comics scholarship make it one of the most exciting areas of inquiry to recently emerge in the academy. Broadly, my thesis attempts to highlight some of the frictions between these varied fields so that a better vocabulary for talking and writing about comic books can develop.

More specifically, my interest is in considering comic books as a form of life writing. I am focused on the autobiographical work of several artists currently working in North America, namely Lynda Barry, Chester Brown, Seth, Matt Blackett, and Shary Boyle. As this paper shall set out, the work of these five artists further demonstrates the complex narrative possibilities presented by the particular conventions of comic book design.

In the context of examining the life writing practices of other comic book artists, I aim not only to expand my academic engagement with comic books but also to develop my own visual art practice. Together with this paper, my thesis takes the shape of three short autobiographical comic books. The union of creative and academic work represented by my thesis is meant to echo the various cultural discourses which meet in the comic book format.

1 A letter S is used at the end of the word “comics” in terms such as “comics history” or “comics scholarship” to specify that a field of study is being discussed. The singular word “comic” sounds too much like an adjective. The term “comic history” might be misread to indicate a historical account of something quite hilarious.

2 Where possible, I have tried to avoid the use of the word “format” as it implies a limited view of comic books as a series of design choices. On the other hand, the word “genre” does not indicate the wide range of creative sub-categories within the field of production. In some ways, the inclusion of such flattening terms is problematic to my aims, but in others, it highlights the basic tension of my struggle for a suitable vocabulary.

To read the book’s first thirteen pages: click on “Preview” on the right.

Overthinking Things 10/03/2011

Posted on by

This article began its life as an answer to  a question on Quora, where I answer a lot of random questions about things. Publishing is one of those things. The question was, “Are Small Indie Presses Taking the Place of Literary Agents?”

TL;DR Answer – Yes.

Here’s the longer answer:

While so many people write about the death of publishing, there has been a very quiet revolution going on in the publishing industry. Webcomics, Print On Demand and other creator-driven technologies are changing the face of comics publishing. While webcomics have not yet developed into a sustainable business model for comics as a whole, they have radically altered distribution, fundraising and relationship-building for many independent comic artists.

For manga artists in Japan, printing one’s own work, or developing other’s work as a small press, is a well-established subculture and farm league for mainstream comics publishing. Larger publishers comb the halls of the major Comic Market events in Japan to discover talent already nurtured and trained by these doujinshi (which my mechanical translation tool delightfully translates  as “literary coterie magazine”) circles.

In the book publishing world, as large publishing companies pull their resources tighter and tighter, focusing on proven names and mass media tie-ins, small presses are stepping into the space willfully abandoned by literary agents; finding, nurturing and publishing young talent.

I can think of a dozen or more writers and artists I know that have had success dealing directly with small presses where agents wouldn’t give them the time of day.  It’s almost unbelievable when you see how poorly some agents do their job.

The other side of this, of course, is that many young/new writers are woefully, horribly, inconceivably ill-prepared for approaching any agent or publisher. I do my very best to write gentle, sensitive rejection letters when I have to. This does not help. People get angry and often tank any chance of ever working with me by writing enraged, irrational, sometimes incoherent replies, explaining how much I suck for not seeing their brilliance.  I’m glad to provide guidance and advice for creators, but it’s still up to a creator to get their part of the process right.

The advantage for a writer with some few publishing credits (this would be things like magazines and anthology credits, not “I have a blog” credits) under their belt is that a contract with a smaller publisher can, over time, become an entree’ to a larger audience. (Presuming one doesn’t burn bridges, which is easy in a niche field with only a few potential publishers.) The money and the promotional support is going to be minimal, so basically all a writer is getting is editorial and printing assistance – which is worth a great deal. Unfortunately most authors don’t realize that. They just see the small advance and small sales and get pissed that the company isn’t doing more. In reality, a first-time contract with a larger publisher is also unlikely to include much in the way of promotional support. The reality for first-time authors is that they are going to be almost completely responsible for their own book promotion.

Literary agents rarely have any energy or ability to take risks. Driven by market pressures, they have  to produce best sellers as quickly as possible. In the meantime, indie publishers, driven primarily by passion, have interest in and ability to develop new talent. Small indie publishers have fewer resources, but can take more risks.

Small presses, like creator-driven publishing, are definitely changing the publishing landscape.

And, no matter how I look at it, I think it’s about time that was changed.

The Eyes Have It: The Sublime & the Precognitive Graze.

Posted on by

 

For certain of us, the thrill of opening a comic book cannot be overstated. Particularly if the page is crammed with dynamic lines, swirls of motion, color and a plethora of panels. Instantly, our pulses race. Immediately, synapses begin to fire. We are overwhelmed by the scope and variety of the material before us and we savor the moment before our rational, superior divided-self checks the terror of confusion and steps over the direct and unarticulated response to the material to communicate the simultaneously terrifying and exciting instant of speechlessness. We perhaps articulate that moment with “Cool” as we hover between pain and pleasure. We experience the sublime.

Edmund Burke, a clever man, thought at length about the sublime[1] and developed certain theories about how humans take in visual stimuli:

VISION is performed by having a picture, formed by the rays of light which are reflected from the object, painted in one piece, instantaneously, on the retina, or last nervous part of the eye. Or, according to others, there is but one point of any object painted on the eye in such a manner as to be perceived at once; but by moving the eye, we gather up, with great celerity, the several parts of the object, so as to form one uniform piece.

The unknown writer of Bernard Krigstein’s final comics work 87th Precinct thought about this too and produced the following intersecting and bizarrely Saussurean  commentary :

But to return to Edmund Burke for the moment, he wants to think about a painting, and more importantly for us, a single object and how its representation would be taken into the eye:

If the former opinion be allowed, it will be considered, that though all the light reflected from a large body should strike the eye in one instant; yet we must suppose that the body itself is formed of a vast number of distinct points, every one of which, or the ray from every one, makes an impression on the retina. So that, though the image of one point should cause but a small tension of this membrane, another and another, and another stroke, must in their progress cause a very great one, until it arrives at last to the highest degree; and the whole capacity of the eye, vibrating in all its parts, must approach near to the nature of what causes pain, and consequently must produce an idea of the sublime.

Today Burke’s ideas on the function of the eye in apprehension seem amusing, but he raises interesting points that touch the optic nerves of many comic book artists and readers.

There is some theoretical talk out “there,” in the sublimity of discourse concerning how the comic page is perceived, but I find that like our eighteenth century predecessors who made admirable attempts to codify or to supply language to visual experiences, there remains a dearth of language available with which to tackle certain experiences. I remain unable to find any language that addresses the moment before we begin the instinctive work of decoding what we see. That it is a form of the sublime I am sure, but this does not give language to the effect. After the first consumption of the page in its entirety comes a focus to determine the form of the page, a first step in the decoding. Yet, it seems there is not diction for these interstitial movements and this will become a greater problem, because it will affect how we understand comics and the relationship of the image to text into the far-foreseeable future. It will limit how we are able to articulate the seminal first moment.

Our inability to express how we see text and image in relation to each other still requires work. I am not suggesting that this necessitates an infinitude of new expressions; we do not need to find a thousand ways to say white, although perhaps the Alaskan Inuit were onto something. (In previous posts, I have shown white panels, and there are many examples from which to choose, whether empty or filled with white.)

In considering this issue, I recalled the use of Flash cards, which became an annoying part of my life when my son was in Pre K, inasmuch as other parents felt free to flash them at random during any conversation. Here, the act of offering an image to symbolize text is described by flash, but the action of the child upon whom this ocular violence was enacted was given no particular name for their reception of the image. So that from early childhood we are left without words to accommodate that primary moment, before assimilation. The next step of what was meant to happen, “learning,” found linguistic form, but again the first step in the process has no particular vocabulary to describe it. One does not hear: “when I thrust my flash card into the range of sight for my child he or she immediately perceived the textual, spatial, object relations to supply language.” It would be silly since it would be out of place, but where it would be helpful in the discourse of comics, when we avail ourselves of the pleasure of the first flash, our response remains unnamed.

Chris Ware’s Lint: a diagnostic of the acquisition of language: in the startled / blank eyes of the infant can we register prelinguistic sublimity?

“Apprehend” might be close to what is required, but still it seems too much tied to the first stage of interpretation of the material. Andrei Molotiu produces some interesting abstract comics that extend that moment of apprehension, since the mind is unable to rest, or find comfort in the ciphers that it makes. There is a suspended moment that recalls the sublime in certain respects. The work at the very least challenges the limits of reception and formal responses to comics. Douglas Wolk [2]writes of the anthology of Abstract Comics compiled by Molotiu that “it’s a fascinating book to stare at, and as with other kinds of abstract art, half the fun is observing your own reactions: anyone who’s used to reading more conventional sorts of comics is likely to reflexively impose narrative on these abstractions, to figure out just what each panel has to do with the next.” Wolk’s observation is helpful  as he grapples with the first response and the challenge that abstract comics present. His use of the word “stare” both signals a stalled but receptive state, yet it allows one to return to the way that we experience a page before we enter into its complexities. The moment that presages the “stare,” whether in abstraction or narrative comics does not yet differentiate between the two. We have not had time to seek faces, identify text, or to participate in the experience of the page on any level than that of its visual inter-kinetic.

Andrei Molotiu provides a space in which we can linger on the verge of  another mental state of apprehension.

Part 2. Focus on the Eye.
Edmund Burke’s insistence upon the physical response to visual stimuli in the outside world has remained more entrenched than one might suppose, particularly within the realm of cartoonists and artists. Artists whose work relates singularly to representation of objects seen or imagined, frequently draw upon, or just draw images of the eye to connect their characters with their constructed outside world. Perhaps for artists there is a deep-rooted fear in any trauma to the eye, which informs their identity as their livelihood requires that they “look” and “see,” which I understand as separate actions. This is not solely my distinction, it is a Miltonic reference, in that man must look and see his world, the second part, see, meaning comprehend, or internalize the meaning of what man is shown by higher powers. We expose ourselves to the pleasure of the page in anticipation of that experience of catharsis. And here I will diverge from any more highly aesthetic or spiritual understandings of what is happening, to suggest instead that we are animalistic in this pursuit. We act primarily to satisfy the limbic brain; to fulfill the impulse of the deep primitive brain. This brain causes us to pre-cognitively, visually graze for stimulus so that we can trigger the pleasure response. Comics are part of our system of desire. Animators apparently made this link and described the anatomy of the active “graze” that prefigures the “gaze” to hilarious effect. In Tex Avery’s brilliant depiction of the wolf looking at the songstress there is a pause before the wolf gathers the import of what he is seeing. There is a pause before his eyeballs pop out of his head. Sex and comics…well, both are sometimes both painful and pleasurable.

 


Avery’s wolf scans the female form as some of us do the page; hungrily before we can calm down to think rationally about what we are seeing.

Doselle Young/ Tony Salmons/ Sherilyn Van Valkenburgh,  Jericho, HeartThrobs :

Out of control: Already consumed in the pleasure of reception.

Elsewhere, the tension of sight and meta-engagements in depictions of eyes as signals of human responses litter the pages of comics with a startling degree of anxiety. Recall my earlier quotation of Burke’s:

So that, though the image of one point should cause but a small tension of this membrane, another and another, and another stroke, must in their progress cause a very great one, until it arrives at last to the highest degree; and the whole capacity of the eye, vibrating in all its parts, must approach near to the nature of what causes pain…

Archie Goodwin/Steve Ditko, Collectors Edition, Creepy #10 famously demonstrates anxiety about the eye’s pain sensitivity .

Al Feldstien/B Krigstein/Marie Severin, You, Murderer,  Shock Suspenstories #14 offers a representation of the ineluctable power of the eye and its ability to penetrate the human body and mind and to override our deeper impulses and will.

Hugo Pratt’s Banana Conga allows us to perceive how much of own volition and active consciousness is accessible to us in respect to the gaze.

Perhaps, finally, one must consider the agreement of the reader to the contract between himself and the comic artist; a relationship much desired by the artist who craves the interchange. The many demonstrations of ocular distress in comics perhaps reveal how deeply the artist is aware of the commitment of this particular form of intimacy, or the risk of abandonment.  Conversely, for readers there is an agreement to relinquish part of our civilized nature when we agree to look at a comic.  The anticipation of pleasure that precedes the viewer’s acquiescence to employ his powerful sensory aperture, the eye, is a self-revelatory act. Every time we open a comic, we stand before it in our savage nakedness. As readers, we too risk disappointment; that the pages might fail to deliver. Let us not forget that in comics we want the words as well as the pictures; we want it all. We want the whole package.

[1] Burke, Edmund. A Philosophical Enquiry. Part IV. section 9. UK : Oxford University Press, 1990.

[2] Douglas Wolk, New York Times Book Review, Holiday Books edition, December 6, 2009

The Greatest Fandom Ever Sold

Posted on by

You’re probably familiar with it, even if you’ve never heard the word for it.  “Fandom” refers to the subculture of people who are fans of any topic.  Being a fan is more than simply liking something, and usually more than a hobby. Fans devote considerable time and energy to their fandoms, sometimes even creating works based on it.  While people can be fans of anything from baseball to crochet, some of the most involved fandoms are the fandoms surrounding fictional works, particularly science fiction and fantasy.  No doubt you’ve encountered at least one of these fandoms: Harry Potter, Lord of the Rings, the Bible.

In some sense, these fandoms have always been with us.  Before the internet, fandoms were widely dispersed networks of people who communicated by means of mail and conventions—meetings for fans to gather and discuss their favorite fictional works.  The first science fiction convention was held in the 1930s, and modern science fiction and fantasy fandom evolved from that.  Another milestone was the 1970s, sometimes called the “New Wave”, when large amounts of people became interested in science fiction and fantasy.  One of the most popular fandoms—and the fandom that influenced so much of what came after—is another thing that you’re probably familiar with: the Bible.

Between 1967 and 1969, three books were published, called the Torah (Teaching, or the Five Books of Moses), the Nevi’im (Prophets), and Ketuvim (Writings).  These three books together formed one book—a fantasy novel about the history of the world and a group of people in it.  The book is traditionally called the Tanakh.1

 While a small group of people became highly invested in the Tanakh, publishers did not feel that they were selling enough copies.  It went out of print after three years.  Usually, that’s the end of the story: a book is published, a show is made; people like it for a while, and then it’s forgotten.  But fans of the Tanakh were extremely loyal.  They lobbied for republication of the book, and when that failed, they took matters into their own hands.  For decades, they held conventions and produced fanzines—collections of fan works published in bound form, and sent to fans with subscriptions.  Fan works included art and fan fiction, stories based on the characters and situations in the original novel.

While the public seemed generally aware that Tanakh fans existed, the fandom was largely ignored.  Sometimes there was an outside interest in the conventions and fanzines; outsiders periodically commentated on the inexplicable nature of Tanakh fandom.  Sometimes there was even ostracism, or outright condemnation: Tanakh fans were criticized for taking the book so seriously—particularly since Tanakh was very different from mainstream literature.

As a result, Tanakh fandom remained small, but loyal.  Though marginalized, it became highly organized; fans created their own traditions and jargon, building on the original text even as they celebrated it.  Tanakh fandom laid the foundation for much of fandom as we know it, but the biggest way it has influenced not only fandom, but modern culture, is the spin-offs.

In 1987, there were enough Tanakh fans and enough lingering interest to justify the creation of a new series set in the universe of the original series, called the Testaments.  The Testaments are two books, generally called the Old and New.  The Old Testament is basically a “reboot” of the original series (à la Moore’s Battlestar Galactica in 2004, or Moffat’s recent Sherlock), while the New Testament is a sequel.  The sequel incorporates references to favorite characters, including God and Satan, while introducing a next generation.  At the center of the next generation is a character called Jesus Christ.

The Testaments were a huge best-seller.  Many fans of the Tanakh became fans of the Testaments as well, and many new fans were introduced to the universe through the updated works.  Even people who aren’t “fans” in the obsessive sense of the word enjoy the Testaments.  Furthermore, even people who have never read The Testaments or even actively dislike them, generally have a little knowledge of the universe.  Basically, they were the Harry Potter of the late 1980s; the Testaments have been adapted into several feature length films, and have become integral to modern pop culture.

Fans of the Testaments are more often fans of the New Testament than they are of the Old Testament, though the re-imagining of the original text is highly respected.  Christ, however, was the main draw for many fans, and Christ-based fandom remains one of the strongest and most active fandoms today.  While a large population has read and enjoy the New Testament, and a large percentage of that would call themselves fans, there is a small, extremely active contingent of Christ fans who almost make rabid look tame.

In the last decade, these fans have received more attention than ever before.  For a long time, fandom was peripheral enough that not only was it easily ignored, but it was difficult to observe.  With the advent of modern media, particularly the internet, it has become possible to view fandom without being a part of fandom.  The past fifteen years have seen a plethora of documentaries, articles, and scholarly work on these fandoms, while the fandoms themselves have grown, becoming highly organized and active.

Due to this, much of the practices that otherwise would not have been exposed to the public are now common knowledge.  Documentaries such as Christies2, released in 1997, detail the behavior of active Christ fans.  Some fans saw Christies as exploitive, but most agree that Christies treated the subject fairly.  From the outside, many of the actions of Christ fans may seem strange or aberrant, but to those in the fandom, such actions are natural expressions of their love of a text.

One of the most common forms of said expression is the fannish gathering.  Gatherings don’t always have to be conventions; it can be as simple as a couple of fans getting together to watch a television show or discuss a book.  Although there is not an episode airing weekly to watch, weekly gatherings are a staple of Bible fandom, as they were in Buffy the Vampire Slayer when the show was airing.  Instead of watching television, however, Bible fans come together to discuss the book, read passages, and even sing songs and play games–as fans do at Harry Potter parties.

Different fans participate in fandom in different ways, but for many, it’s the feeling of community that is as important as the text that draws them together.  There would probably be Bible fans in a vacuum, but it’s definitely the case that sharing ideas and associating with like-minded people not only brings the fans who participate pleasure, but sustains the fandom itself.  Some fans do not consider those who do not participate in gatherings active members of the fandom.

One of the largest types of fannish gatherings is the convention.  Conventions are held year round by various branches of fandom, but the biggest ones recur annually at roughly the same date each year.  While conventions are traditionally hosted at one venue, Bible fan conventions have become so large that they are held all over the world in many different places.  Large numbers of fans turn out for these events.  Some are highly devoted, and some are just people who enjoy the text and want to be a part of something.  For some people, it is much like a holiday.

One thing you may see at a convention or fannish gathering is something called filk.  Filk is music based on a fandom.  Much like fan fiction, filk uses characters and themes from the stories, and weaves it into something new.  While new filk songs are being written and performed all the time, some are so traditional that any Christ fan you ask knows the words.

Another thing you might see at a fannish gathering is cosplay, which often goes hand in hand with LARP.  Cosplay is a portmanteau of “costume play,” and refers to people who dress up according to a particular fandom.  While traditionally, people dressed up as characters they like, more often in Bible fandom people will dress in garb merely inspired by the universe.  You may have even seen someone in cosplay; one traditional costume is a black suit with a white collar.  Some people take cosplay to the extreme and remain in costume at almost all times.

LARP stands for live-action roleplay.  In roleplay, like cosplay, people can “be” certain characters they like, not just by dressing like them, but by acting how they think they would act.  While people can discuss how they think characters might act, they can also act it out, using props and sets made to look like things and places from the fandom text–thus the term, “live action”.

LARPing was not always a part of Bible fandom.  In the early days, dressing up and acting out parts was restricted to something called morality plays.  Morality plays could be performed at fannish gatherings and conventions.  Most fans are no longer interested in that type of performance, although the performance of the birth of everyone’s favorite character, Jesus Christ, is a tradition at some conventions.

For some fans, however, LARPing is essential to the fandom.  A central scene in the New Testament is when Jesus Christ eats his last supper, and tells his friends that the bread and wine is actually his flesh and blood.  Some Christ fans act this out almost religiously; they have stand-ins for Christ offer them wine (or juice) and crackers to represent the bread and wine, and eat it at least once a week.  While many people outside of fandom—and many fans within the fandom as well—consider this behavior extreme, the fans who practice this tradition see it as an essential part of being a fan.

A central aspect to some fandoms is what was called “the Game” in Sherlock Holmes fandom.  Some fans believe Sherlock Holmes was a real person.  More often, fans are aware that Sherlock Holmes was an invention of Sir Arthur Conan Doyle, but they are still interested in thinking of Holmes as having existed.  To this effect, they try to gather as many “facts” as they can about Holmes’ actual life.  Using Doyle’s texts, they pull details about when Holmes solved which cases, when he was born, and when he died.

While many Christ fans know the events of the Testaments to be fictional, they still think of Jesus as a real man.  Although most Christ fans are not as concerned as say, Holmes fans about getting dates, etc correct, a central part of LARP—and the Christ fandom as a whole—is the “reality” of Christ.

Another thing you will see in fandom is the “Big Name Fan,” or BNFs.  BNFs are fans who are well known in the fandom for one reason or another, whether it is for holding gatherings, writing copious quantities of fanfic, or perhaps even having some influence on the industry that owns the copyright on the text.  While not every fan is familiar with a particular BNF, enough people have heard of them that they are considered by some to hold a lofty position in fandom.  Some are even considered to hold a certain amount of power, as though they have some influence over fannish interpretation of the text.

The BNF in some circles of Christ fandom is a man known by the handle “Holy Father”, AKA the Pope.  Other circles of Christ fandom decry the Pope.  Others don’t understand why he’s famous, and never read his meta3 on the Testaments.  But there are some who regard the Pope as an authority in the fandom, feeling that only his interpretations are correct.

This and other disagreements between fans can lead to something called fandom wank.  While “wank” was initially a term used in fandom to refer to works and comments that were self-congratulatory and aggrandizing, these days the term can also to refer to various kerfuffles that happen in fandom.  It may seem strange, or even silly, that disagreements about a book can lead to such heated debate and sometimes even downright nasty verbal abuse, but many fans take fandom seriously.  Wank can occur over anything from disagreements about the details of Christ’s “real” life, to differences of interpretation, to lack of respect for BNFs, fanfiction, and—as is most common in Bible fandom—disputes over canon.

The success of the Testaments inspired a slew of other spin-offs, including new re-imaginings, such as the Qur’an in 1993 and the Book of Mormon in 2009.  There have also been an abundance of unauthorized sequels, and many, many fanfics, some published, some only famous online.  One of the most divisive issues in Bible fandom is which of these text is “official”, and which is merely an interpretation—in other words, which texts are canon.

The term “canon” is derived from religion; it has been used for centuries to refer to the Star Trek works which are considered scripture.  (For instance, The Original Series and Next Generation are canon; Spock, Messiah! is not.)  The first use in a fannish context was in reference to Sherlock Holmes; works by Sir Arthur Conan Doyle were considered canon, while pastiches by other authors were not.

In fandom, “canon” refers to the material accepted as “official” by the fandom.  This leads to wank because fans disagree as to who may dictate what is canon.  Certainly publishing companies may claim such and such a work to be canon, but some fans prefer to decide their own canon.  Disagreement over canon has even resulted in factions who refuse to communicate, or allow each other at each others’ conventions.

Perhaps obviously, fans take their fandoms seriously–sometimes too seriously.  In some ways, fans take their love of fiction to an extreme level, giving it much of the same importance they might give to real world issues.  If fiction were so formative as some fans make it out to be, surely we would not be fighting wars in the Middle East between Kirk lovers and Picard worshippers.  People would be able to marry whomever they wished, and mothers would always be free to make choices about their lives and health, if fairytales and fantasy were really an essential component to people’s lives.

In the scheme of things, it’s difficult to feel that a little fictional story about gods and monsters is important.  And yet, a fan would say that  those things which are blatantly untrue–the fable, the farce, the fantasy–have the power to give us perspective.  Whether that perspective would bring reality sharply into focus, or whether it would instead continue to obscure the truth in the chaos that is reality depends on the nature of the canon and the fandom.  A fan would say that fiction, fantasy, falsehood–the blatant fabrication of the fairytale–has a profound influence on some people’s lives and their perception of the world.  It is often said that fiction can be an escape, but a fan would say that  fiction is also a framework by which some form themselves and their thought, at times more comprehensible than our insane reality.

Bible fans make this claim, many believing whole-heartedly that the themes and morals of the book are relevant.  Some even claim that the Bible could teach us a thing or two about what our society could become, explaining that the Bible has underlying messages about peace and love of fellow men.  That the Bible may influence how people live may seem ridiculous to us, and yet many Bible fans, despite the unusual extent of their obsession, are often well-intentioned, thoughtful people.  By taking to heart what’s in the text, they try to live better lives.

The sense of community offered by fandom has also changed lives.  Extremely different people from all walks of life come together due to a common interest, and some fans have even united in order to work at charity events, or raise money for areas torn apart by natural disaster.  Many people are less lonely due to their participation in fandom; fandom gives them a family, and makes them feel loved.

While fandom may seem strange, even irrational, it is only human.  In some ways, a fan’s need for fiction is more comprehensible than another man’s attempt to explain the ugliness of our world using only fact.  Perhaps, in light of this, it is story-telling that is man’s greatest endeavor, and his most powerful weapon.

*

1(Tanakh is an acronym of the three books.  Acronyms are a common shorthand of most fandoms; Lord of the Rings fans call Lord of the Rings LOTR; Harry Potter fans HP, etc.  While the comparison between the Tanakh and Lord of the Rings is obvious, the sequence of LOTR’s three books forms a linear narrative.  The Torah, Nevi’im, and Ketuvim are far less sequential.  However, just like LOTR, the Tanakh is considered one book as a whole, though the Torah is by far the favorite among fans.)

 

2(N.B. Some Christ fans do not enjoy the word “Christies”, feeling that it is derogatory and dismissive of the text, or that it lumps them in with fans whose behavior is extreme.  They prefer the term “Christers” or “Christians.”  In this essay, the term “Christ fans” has been used exclusively in order to avoid offense.)

 

3“Meta,” the pretext which means “on” or “about”, is used in fandom to refer to thoughts and interpretations of the text.  Meta can be discussed or recorded, and often appears in the form of essays, or in the case of the Pope, edicts.

 


Gluey Tart: Tonight’s Take-out Night

Posted on by

Akira Minazuki, June, 2011

“Can a buttoned-up professional hope to fend off a rogue romantic’s aggressive advances … or is the heat of playful passion too enticing to ignore?” I briefly pondered this breathless question, posed by the back cover, but was almost instantly drawn into an even deeper, more important question – to wit, why can’t I have purple hair too?

The back cover also promises that the book “features a feast of beautiful men fumbling and fighting as they do their best to resist true love!” I think the copywriter did an especially good job here. And how often do you think about the work of the copywriter? Books are often purchased or not based on the back or inside front cover, but does anyone ever pause to congratulate the nameless publishing wage slave on a job well done? No, they do not. (Not that I take this personally or anything.) Ahem. That minor distraction over, let us “sink [our] teeth into sweet, savory temptation!”

The first story, “We’re Eating In Today,” is the sort of thing I often find annoying, the “lower-level employee comes on too strong but eventually seduces senior employee anyway” trope. It loses some of its punch in the U.S., I think, since we don’t get exercised about organizational hierarchy in the same way. It makes the scenario less shocking. I also tend to find annoying behavior annoying. It helps that the junior employee, the manager of a chain restaurant – let’s call him Ted (his name is Iwakiri, but I can’t keep that in my head because I suck) – is really pretty sweet, despite proposing the moment he meets Norton (that’s Matsumoto, who is higher up on the corporate food chain because he’s from the parent company’s planning department) (if Iwakiri gets a random new name, it’s only fair that Matsumoto does, too). So, the insta-proposal thing is irritating, yes, along with the unsolicited ass grabbing, etc. It’s supposed to be funny and cute, and it isn’t, BUT.

As with so many things in life, you have to try to lighten up and go with these fine yaoi clichés, and if a creator can sell them to me, I’m willing to buy in. This story isn’t exactly substantial, but it has something, and somewhere in there, I started rooting for them to get together. Shy Norton is SO SHY. Sweet, pushy Ted is SO SWEET AND PUSHY. Norton comes to Ted for help with a work problem, and Ted couldn’t be more supportive. And they have sex in a restaurant booth. Using cream for lube. (You have to love that.) Then there’s a complication caused by Norton’s thinking he should never see Ted again (you can sort of see his point), and the complication is resolved, and they have sex. Norton couldn’t look more miserable as he tells Ted he loves him.

I won’t spoil it (although I was recently reading about a study indicating that people actually enjoy stories more after they know what’s going to happen, rather than enjoying them less), but here’s a damned cute little scene at the end, too – more riffing on the shy Norton is shy theme, and it is thoroughly charming.

All right, I’ll admit it. I don’t care about spoiling the damned scene. I’m just too lazy to describe it. All right? Are you happy now?

The second story, “A Flower Petal Falls from the Sky,” is the main event. It’s a quiet, beautiful little thing that is obviously based on folk tales about Yuki-onna, a ghostly woman who lives in the snow. My favorite depiction of her is the “Woman of the Snow” story in Kwaidan (a 1964 movie directed by directed by Masaki Kobayashi – it tells four Japanese ghost stories and it is the shit, people). The Yuki-onna figure in the manga is a man named Kirin (which we know is going to be significant, a kirin being a sacred beast, and lucky, too). Kirin is sly and mysterious, and slyly and mysteriously seductive. And Shinnosuki, the handsome young doctor he meets in a blizzard, is similarly mysterious. And hot. He’s the bishonen Clint Eastwood, to painfully mix our cinematic metaphors (and what else are we here for, after all?). We know this is the case a) because of the way he’s drawn, b) because he turns down Kirin, and c) because he’s so cool about it.

Kirin is impressed, too, looking speculatively at Clint’s mysterious and attractive back and thinking, “There haven’t been many people who’ve rejected me.” A few pages later, after a few manly acts of kindness on Clint’s part, Kirin gazes off into the mid-distance and thinks, “I want this man’s life.” Then he fills us in on his back story, which doesn’t take long, since all he can remember is wandering in the snow and “a nothingness like hunger.” He steals life from others “to make up for something I lack.” But all these souls only satisfy him for a moment, and he has to take another one. Like me and – well, any number of snack foods, really. Anyway, this kicks ass as a romantic setup, as far as I’m concerned.

Kirin finally wears Clint down and achieves rolling around on the floor status, but he decides not to kill Clint because “I want to be touched more,” which Kirin clearly finds fascinating. Then every time he thinks about Clint, he starts to melt. This is perhaps heavy handed, but I’m willing to overlook it in the heat of the moment. There’s a lot more story after this, but basically, we all know what happens. They fall in love and Kirin becomes real. I enjoyed getting there, though.

The last story, “Love at Your Fingertips,” is about a shy apprentice sculptor who gets to work with his reclusive mentor, who likes to touch things. Because, you know. He’s a sculptor. There’s a slightly weird flirtation that ultimately flings them into each other’s arms (and, subsequently, onto the floor, as well). Also nice.

I love the art in this manga. Minazuki has a distinctive style and reliable draftsmanship, bless her heart. It’s a luxury not to have to worry about strange distortions in every other panel. She has another manga recently published in English, This Night’s Everything, which is next on my to-read pile. There’s an assassin, and I love me an assassin.

Can The Subaltern Draw?: A Survey of Contemporary Arab Comics

Posted on by

Since around 2006, the Middle East has played host to a small and steadily growing scene of locally produced comics. Distinct from the rich history of children’s comics in the region (the likes of which I have touched on in the past), this contemporary comics’ culture has seen the output of comics that are explicitly intended for an adult audience. This new crop of independent Middle Eastern comics spans familiar western formats such as graphic novels, monthly issues, and anthologies, while addressing topics ranging from religion to politics to sex. The survey I’ve compiled here is not complete, but it is a start at cataloguing the wonderful dialogue that is happening right now with comic art in the Arab world. My hope is that what follows can serve as a space for others to add to, comment on, and maybe encourage some space shaving on bookshelves.

Lebanon:

Samandal (2007 – Present)

Creators/Editors: Omar Khouri, Tarek Nabaa, Hatem Imam, Lena Merhej, and Fadi Baki (as Fdz Bx)

Website: http://www.samandal.org/

About: If there is a ground zero for this recent wave of Arab comics than Samandal marks the spot. Samandal started in 2006 as a fully-realized and fully-packed comics’ magazine for “picture stories from here and there.” Each subsequent issue — currently up to 11 — has been a sizable collection of comics from local artists in all three of Lebanon’s official languages (Arabic, French, and English). The quality varies, but Samandal at its best features comics that are better than many of its global counterparts. It’s hard not to be excited when reading an issue of Samandal: at its core it is a comics’ anthology that captures the vibrancy and complexity of the country which it was created in. It is no surprise this successful DIY effort has since inspired so many others in the country and region to take a stab at making comics.

In the premier issue the staff offers an answer to “What is Samandal?”

Supplementary Links:

A page from co-founder Omar Khouri’s “Salon Tarek el Khurafi” in Issue One

The Educator (2007-2010)

Creator: Fouad Mezher

Website: http://fouadmezher.blogspot.com/

About: The best longer form comic to emerge from the depths of Samandal is the work of Fouad Mezher in The Educator. The story of how straight-laced John Fawkes finds love and a cause in the backdrop of a totalitarian academy seams simple enough at first blush (ha) but one of Mezher’s greatest talents is embedding a seemingly straightforward action comic with commentary about Lebanese politics. Put differently, imagine if Vertigo knew how to do subtlety and refrain from being overly-preachy and you would have something resembling The Educator. This charming (and violent!) comic is also notable for using the high contrast black-and-white approach masterfully for capturing the pseudo-Lebanese landscape.

Mezher’s follow up to The Educator, a comic about an Arab-American girl who becomes a superhero called Enigma, is currently one chapter in and looks like an extradroadinarly promising follow-up.

More black-and-white goodness from The Educator.

Malaak, Angel of Peace (2006 – Present)

Creator: Joumana Medlej

Website: http://www.malaakonline.com/index.html

About: Malaak: Angel of Peace is a prime example of how Arab artists are using a long-established medium to convey a very different kind of message. I’m not usually crazy about superhero comics, but then again superhero comics aren’t usually about measuring the human cost of sectarian violence. As a fellow Lebanese who is discouraged by the political bickering of the country (and region) almost always, it is nice to read Medlej’s clever response to inflammatory rhetoric in the form a superhero who champions the people. In my opinion, the series (currently in its fifth volume and all available for free online) greatest success is the way in which Medlej wonderfully captures Beirut in her pages. From the backgrounds to the people to the dialogue, this is a comic with a distinct point of view from an author who is a keen observer of her surroundings.

Also, it needs to be mentioned that Malaak is pretty great at fighting.

As a parting thought I feel comfortable recommending Malaak based solely on the sublime and beautifully executed dream sequences. Proof:

Supplementary Links:

Mazen Kerbaj

Websites: http://mazenkerblog.blogspot.com/ and http://www.flickr.com/photos/kerbaj

About: You can’t really talk about Arab comics without talking about Mazen Kerbaj. Although he hasn’t produced a proper collection of comics to my knowledge, he has been an active practitioner since at least 2000. Kerbaj’s comics skew towards the political (above, obviously) as he bridges the gap between the older generation of Middle Eastern political cartoonists (dating back to 1920s) and the newer Samandal-influenced crop. I find his straightforward approach to comics to be highly effective, almost like a millennial Handala.

Translation: In Beirut there are ugly buildings, and beautiful women! (It’s funny because those words are similar in Arabic. And because it’s true.)

 

All Photos From Kerbaj’s extensive Flickr Feed.

Egypt:

Metro (2008)

Creator: Magdy El-Shafee

Publisher: Mohamed El-Sharkawi

Website: http://www.magdycomics.com/

About: Because of the recent media attention Magdy El-Shafee’s Metro has garnered, you may already know about this comic that was published in Arabic by El-Malameh Publishing House. Billed as “the first Arabic graphic novel,” Metro tells the story of a young software designer named Shihab who decides to rob a bank in order to pay back a massive amount of debt he owes corrupt officials. The comic paints a scathing portrait of Mubarak-era Egypt (known for last the thirty years as “Egypt”) where all police are corrupt and Egyptians themselves are too complacent to change anything. It should come as no surprise then that during the era of Mubarak’s police state control this revolution-friendly comic was banned soon after its release. El-Shafee and El-Sharkawi were slapped with fines for “distributing graphic pornography” (there is a sex scene in the comic), but not before police raided and confiscated the majority of El-Sharkawi’s offices. Just this past year an unshaken El-Sharkawi tried to open a comic book store only to be thrown in jail and have the property taken away. In my opinion, the story surrounding this comic most certainly eclipses the comic itself.

Supplementary Links:

TokTok (2011)

Creators/Editors: Andil, Tawfi2, Shennawy, Makhlouf, Hisham Rahma, Khaled Ab3ziz, Mona Sonbol, and Anwar. 

Website: http://toktokmag.com/

 

About: Egypt’s response to Samandal comes in the form of this new comics’ magazine. As the creators describe the Arabic-only magazine, “TokTok is different from traditional comic books, which are usually made for children.  It’s a monthly review that aims to produce a bustling mass of comic strips in a free, contemporary spirit, drawn and edited by its own artists.” Despite the whole revolution thing happening shortly after the release of their first issue, Toktok is back on its monthly rate with this Summer’s release of issue three. The first couple of issues look promising!

From the very well attended TokTok release party. Photos by me.

Supplementary Links:

 

Ruins of the Future (2009)

All photos from Ganzeer’s blog

Creator: Ganzeer

Website: www.ganzeer.com / http://ganzeer.blogspot.com/2009/12/archives-ruins-of-future.html

About: Although I haven’t gotten a chance to read Ruins of the Future for myself, it sounds pretty amazing. From what I gather from Ganzeer’s blog it a science fiction graphic novel set in the pyramids. As he writes, “Upon noticing that all scenes at the pyramids in Egyptian movies either take place in the past or present, but nothing in the future, so the idea was suggested to borrow a bit from Egyptian novels, the only source of science fiction in Egypt, and look up some scenes that take place at the pyramids, and see if a full-fledged sci fi graphic novel can come out of it.”

Since the release of Ruins of the Future, Ganzeer has strayed away from pure comics while venturing into some pretty amazing illustrative work. Most recently his street art has become a critical component of the revolution. A great example is this “Mask of Fredoom” sticker that Ganzeer has been passing out around Tahrir Square:

Supplementary Links:

 

The United Arab Emirates:

Gold Ring (2009 – Present)

Creator: Qais Sedki

Website: http://www.goldring.ae/main.html

 

 

About: A highly buzzed about comic created by an Emirati software engineer turned comics creator by the name of Qais Sedki. Gold Ring marks another “first,” this time the first Arab-language Manga. Because of the UAE’s proximity to Asia it makes sense Dubai was the the first place to use the Manga format to tell a distinctly Arab story. And what a story it is, from the press release: “The story revolves around Sultan, an Arab boy who watches the Gold Ring falconry competition with his friend Ziad. At the competition they find a caged falcon. Sultan convinces his friend to release the falcon into the wild. The next morning, the falcon is at Sultan’s doorstep. Sultan calls the bird ‘Majid’ and trains her for an upcoming falconry competition.” The comic currently has one volume out, with an English translation of the first and a second Arabic volume on the way soon.

Supplementary Links:

Kuwait:

The 99 (2004 – 2011)

 

Creator: Dr. Naif Al Mutaway

Website: http://www.the99.org/

About: This is certainly the most well-known Arab comic outside of the Middle East, no doubt attributable to the media savvy of its creator Dr. Naif Al Mutaway. And when I say widely known, I mean that even President Obama gave it a shout out in a speech. The 99 is the tale of superheroes whose powers are based on the 99 attributes of Allah. Although this is a particularly Islamic set-up, Dr. Al Mutaway recruited Marvel/DC vets such as Fabian Nicieza, Stuart Moore, June Brigman, and more to give it that distinct superhero polish from the get go. The ties to the American comic industry are further exemplified by a recent cross over event which saw members of The 99 fighting crime alongside the JLA. Since its premiere and wild success in the Middle East, the comic has spawned a theme park, a television show and there are future talks of developing it into a movie. In fact, as of this year The 99 has halted production as a comic book.

Supplementary Links: