Comicsgirl

I’m not feeling too creative about post titles today, but it has a nice symmetry with the one from Friday, at least.

SPACE was pretty great overall. I liked the broad range of exhibitors, from young and old, from established creators to newcomers. It also felt very welcoming and I felt a good sense of community. The exhibitors all seemed excited to see each other and to get to spend time together.

Now while I’m not an exhibitor at these sorts of shows, I know plenty of creators so I do benefit and enjoy the hanging out aspect. But I think if you’re just a general attendee, SPACE probably isn’t big enough to fill up your entire weekend. Although I’ve heard mixed things about sales, I do know exhibitors who did well this year and usually do fairly well at this show. I have nothing to compare this year to since I’ve never gone before, but while it never packed, there seemed to be consistent attendee traffic most of the time I was there. (People wondered if the conflict with C2E2 mattered but I don’t know if anyone came up with a conclusion. I bet there will be more discussion of that in the next few days.)

The hotel itself is fine — pretty clean and spacious and maybe it’s a Midwest thing, but the drinks at the hotel bar were cheap (but I’m used to DC-area drink prices so maybe I don’t have a good comparison). Yes, there was some amusement over the other groups in the hotel (hunters and beef farmers, apparently) but everyone behaved themselves. As far as I know.

I do have to complain about the area, though. I know many factors go into why events like this are held where they are and I completely understand why SPACE would have to be there, but it is fairly isolated. I didn’t have my own transportation and the nearest major grocery store was about a mile and a half away. I don’t think the neighborhood is particularly dangerous, but there’s just not much around there.

If I go back next year, I’ll just be better prepared.

I took some photos of the, er, fun on Saturday night, which I may put up on Facebook and/or Flickr, but I completely forgot to take any photos of the show itself. Rafer Roberts has a few on Flickr (including one of me intently studying my bottle of Mexican Coke) and Matt Dembicki has others on his site, including a few from the pre-party at Packrat Comics.

Overall, I’m very happy I went. I’m very excited to dig through the comics I bought and I came away with a couple of new friends. I’d say it was pretty much a success.

I’m finished packing and ready to head out to Columbus, Ohio, for Small Press and Alternative Comics Expo. I was looking for some shows I hadn’t been to and were different from my general Mid-Atlantic tour.

Still, money is an issue, so that quickly began ruling things out (one of these years, I’ll make it to Stumptown Comics Fest, I swear). But Ohio didn’t seem to far off and the list of exhibitors had some old favorites and some creators who don’t seem to go out to the East Coast too often, so it seemed like a good idea.

So I enlisted my friend Timothy Lantz to come along and suggested he get a table (it’s not necessarily his scene or crowd, but he knows a few people who do exhibit there every year). It will be great to see him for an extended length of time.

Yes, I know everyone else is going to C2E2 and while it wasn’t an option for me, really, I’m still happy to be going to SPACE.

If you’ll be there, I’ll likely be hanging around Tim’s table quite a bit. Otherwise, I’ll be buying and reading comics and the sorts of things people do at shows like this.

I will probably be updating throughout on Twitter and Facebook, but I’ll have something up here no later than Monday evening.

It will be a fun vacation. And will continue my tradition of visiting places and really only seeing the inside of a hotel/conference center.

Comic book stores have a wonderful ability to create a sense of community. (I think all comic stores do this — it’s just the bad comic book stores create a community I’m not interested in being a part of.)

At the Nick Bertozzi and Jason Little signing yesterday at Big Planet Comics in Bethesda, that’s what I thought of — that sense of community. The actual purpose of being there — buying Bertozzi’s Lewis & Clark and getting it signed — only took a few minutes. (Due to not having much money, I was only able to buy that. I do want Little’s Motel Art Improvement Service but since my mom expressed interest in reading Lewis & Clark, that one won out. Little and I did exchange buttons, though.)

And while I couldn’t fault the people who got their book signed and left, I thought it was a great excuse to spend a couple of hours in a comic book store. I saw friends, met a few people and finally met Jim Dougan in person. And in the time I wasn’t talking, I enjoyed looking at comics (that I can’t afford right now). I hadn’t been in a comic book store in a while due to the aforementioned “not having much money” bit so I had fun picking up and looking at quite a number of books I had yet to see in person.

To me, that’s what events like this should be about: Giving people a reason to hang out with each other.

Whether someone is reading them or making them, comics can make people feel a little isolated. Reading, drawing and writing usually take place when people are on their own. It’s also not uncommon to feel like you’re the only person you know who likes comics or feel like you can’t discuss them in the way you want with friends or coworkers (I don’t particularly have this problem with my friends, but I know my social circle is probably a bit different from most people’s).

I like comic book stores (the good ones, anyway). I like the feeling of interaction, of feeling like I’m a part of something. Yeah, online shopping is great and social media is a great way for us to keep up with each other, but it’s not the same thing.

Which is a really long way of saying: Yesterday afternoon was the fun of the best kind. And now I have Lewis & Clark to read and enjoy. All in all, that I came away with a comic after having fun feels like a good bonus.

(I forgot I had my camera with me — it’d been a long day — but Mike Rhode of ComicsDC took some photos, one of which I borrowed for this post.)

Kill Shakespeare co-creators Conor McCreery and Anthony Del Col are as charming as their comic.

I already knew this, of course, since I’ve met them before, but the two of them are incredibly smart, witty and fun. They’re clearly good friends and have an easy-going rapport with each other. While I know they’ve made presentations like this before, it didn’t feel over-rehearsed or artificial. They were very natural on stage.

The majority of the audience last night did seem to be those who attended productions and other events at the Folger, but there was a group of the messenger-bag types (like myself) and, surprisingly, a few parents with older children (preteen to middle teens, I’d say). But overall, it wasn’t really a crowd of comic-book readers. Obviously, this title is reaching a type of person who usually doesn’t read them.

McCreery and Del col started out with how the idea for the comic was born (Kill Bill had just come out and so they were joking about other “Bills” they could kill. In one of their many jokes about being Canadian, they said they rejected William Shatner because he was one of them) and that they originally thought it could be a video game before shelving the idea for a while.

They then ran through a basic summary of the plot (including a sneak preview of issue #9 that will be out next week) and a rundown of the characters. They discussed the changes they made to the ones they’ve picked and said that while they’ve played loose with some of the details, they try to keep them recognizable and just extrapolate what would’ve been next for everyone.

Most telling for me was when McCreery mentioned that he has a lot of teenage girls telling them they really like the take on Juliet in Kill Shakespeare. I tend to agree — Romeo & Juliet is not my favorite play by Shakespeare, but Juliet was the driving force and decision-maker for most of the events there. It’s great to see her get to be strong.

Del Col and McCreery also showed some before-and-after examples of how comic pages get made, which was probably more interesting to the rest of the Folgers audience than it was to me. (They continually praised artist Andy Belanger, who couldn’t be there since they were making him stay in Canada and draw their comic.)

They both talked a lot about that reading Shakespeare on the page can be kind of overwhelming and boring but his work is pretty well-suited to comics (I feel like comics do have a great deal in common with theater — more so than film). They’ve said that both teachers and students have been pretty excited by Kill Shakespeare and it’s created more interest in the source material.

In one of the night’s lighter moments (and there were many), Del Col said he wants action figures, because to him, that “equals success.”

The audience question-and-answer portion was a mixed bag, as they usually are. I was most surprised at the answer to a woman’s question of “Is this your day job?” They both said yes, and McCreery said before they started, they worked very hard on crafting a business plan. I think that’s an excellent thing.

The Sandman and Neil Gaiman came up a few times in the Q&A portion, since, you know, Gaiman did write some stories involving Shakespeare in his comic. People wanted to know if that was an influence, and McCreery said he was kind of intimidated by the comparison, but that Kill Shakespeare is a different thing. It’s not better or worse, but just different.

That did make me think about something though — The Sandman reached (and still reaches) a lot of people who don’t read comics (and in fact, there are a lot of people who just read The Sandman and don’t ever branch out beyond that). It’s hard to say if Kill Shakespeare will still be read 20 years from now (but you never know) but it is connecting with non-comics audiences right now. It’s a very different comic than The Sandman, sure, and Del Col and McCreery are very different writers, but they do share Gaiman’s interest connecting with fans. I think there are worse comparisons.

ComicsDC‘s Mike Rhode questioned the loose geography of where Kill Shakespeare is set. Del Col pointed out that they just mention it’s in a “strange land” that’s vaguely European and vaguely in the middle ages. They compared it to the island from Lost before joking it was actually set in Canada.

Someone asked about their future plans, and both said they have more Kill Shakespeare planned out (they would love to use The Tempest) and they’re currently writing a screenplay and want to do video games and more.

But ultimately, they’ve been happy with Kill Shakespeare and the reaction it’s received so far. Both seem genuinely appreciative of it. McCreery said he just wants someone to pick up the comic and think “It’s not Shakespeare, but it’s not half-bad.”

Del Col said that should be the blurb on the back of the book.

We typically consume comic art pretty quickly. And that’s by design — comics are sequential so we’re meant to be always going forward to the next panel or the next page. Yes, we may linger over an individual image every so often but that’s more the exception than the rule.

While I do of course consider comic art to absolutely be art (to me, it’s not really something that’s up for debate), I think Arlington Arts Center’s Party Crashers will change a few minds who think otherwise. It is an extensive look at comics-as-art with a number of notable artists including Jim Rugg, Dash Shaw and Gabrielle Bell. The artists featured here cover a diverse number of styles, from the refined to the cartoony to the experimental. It’s a wonderful ambassador for what the medium of comics encompasses.

Seeing these images and pages out of context hanging on the gallery’s walls is a thrill. Instead of getting caught up in the story or sequential nature of the comics, I got to spend time taking in the images individual. It is, of course, always fun to see original drawings up close and getting a glimpse into the creative process.

Downstairs in the center’s Truland/Experimental Galleries is a selection of artists makings abstract comics. Now I’m still of the mind that I don’t really consider a lot of abstract comics to be “comics,” I do think these images work really well in a gallery setting and I love that they’re included here. I enjoyed Andrei Molotiu’s animated pieces quite a bit.

While you’re downstairs, be sure to check out the comics children who’ve taken classes at the art center have made. They’re awesome and while I wouldn’t say they’re my favorite part of the exhibit as a whole, I do think they point to an exciting future for comics.

The exhibit is up Jan. 16, and if it’s at all possible — like if you’re within a reasonable travel distance and have the time to do so — I think it’s absolutely worth seeing. I know that it happens, but I do think it’s a shame that this exhibit it up over the holidays since I think most of us are booked up through the end of the year.

A companion exhibit at Artisphere opens Dec. 11 and runs through Feb. 13, focusing on fine art inspired by comics. Right now, it feels pretty unlikely I’ll get over there before January, but we’ll see.

Image by Dash Shaw.