Unless the Paper Sows the Seed

Today on the site, our minicomics columnist Rob Clough lists his favorite shortform comics of 2016.

The more I read, the less clear I am about the difference between mini-comics and other comics. Consider the output from Retrofit, for example: are these mini-comics, standard comics, or something else? How much does the length of a mini-comic impact this classification? I will use Kurt Wolfgang's instructive slogan ("Mini-Comics: You Know 'Em When You See 'Em") and present my top short-form comics of the year, be they self-published, published by someone else, or (in a few cases) appearing on the web. The usual caveats apply here, as I've not read a bunch of key short-form comics from 2016 yet (Ganges 5, the latest Uptight, King Cat 76, Frontier #12 and #13, , Your Black Friend, and minis from Simon Moreton, for example.)

Meanwhile, elsewhere:

—Interviews & Profiles. The most recent guest on Comics Alternative is Miriam Libicki.

—Reviews & Commentary.
The New York Review of Books runs a lengthy excerpt from a Chris Ware essay on George Herriman and Michael Tisserand's new biography of the artist.

Krazy Kat has been described as a parable of love, a metaphor for democracy, a “surrealistic” poem, unfolding over years and years. It is all of these, but so much more: it is a portrait of America, a self-portrait of Herriman, and, I believe, the first attempt to paint the full range of human consciousness in the language of the comic strip. Like the America it portrays, Herriman’s identity has been poised for a revision for many decades now. Michael Tisserand’s new biography Krazy does just that, clearing the shifting sands and shadows of Herriman’s ancestry, the discovery in the early 1970s of a birth certificate which described Herriman as “colored” sending up a flag among comics researchers and aficionados. Tisserand confirms what for years was hiding in plain sight in the tangled brush of Coconino County, Arizona, where Krazy Kat is supposedly set: Herriman, of mixed African-American ancestry, spent his entire adult life passing as white. He had been born in the African-American neighborhood of racially mixed, culturally polyglot 1880s New Orleans, but within a decade Herriman’s parents moved George and his three siblings to the small but growing town of Los Angeles to escape the increasing bigotry and racial animosity of postbellum Louisiana. The Herrimans melted into California life, and it was there that George, with brief professional spates in New York, would remain for the rest of his life.

—Misc. Hyperallergic has images of many of the pages and spreads from Françoise Mouly and Nadja Spiegelman's Resist! anthology.

Inspired by recent political events, Bully has discontinued his currently running feature chronicling celebrity appearances in comics, and rebooted the year with a new series: defiance in comics.

—News. The New York Times announced that they will be discontinuing several of their bestseller lists, including the one dedicated to comics and graphic novels. Michael Cavna of the Washington Post (which doesn't publish a comics bestseller list) writes about the decision and some of the reaction here. Abraham Riesman writes about the development for Vulture, getting quotes from Fantagraphics's Eric Reynolds and Drawn & Quarterly publisher Peggy Burns -- and bizarrely using a spread of 1970s Marvel covers as the story's lead image.

Obviously the Times list provided a welcome marketing tool for smaller comics publishers, and in that sense, in which it becomes a bit harder to sell good comics, this is an indirect setback for the artform. But some online response from readers has seemed oddly personal and angry, as if the Times owes fans this validation. I think that anger is misplaced; the Times' inept regular coverage of comics is far more offensive than the discontinuation of this list. (By the way, the open dirty secret of newspaper bestseller lists is that they aren't exactly based on hard numbers. A great deal of what you could politely call "curation" goes on. So the list was never a reliable source of sales data in the first place.) The list's cancellation is certainly not a positive development, but a sense of perspective is always useful.

One Response to Unless the Paper Sows the Seed

  1. Frank Santoro says:

    “the Times’ inept regular coverage of comics is far more offensive than the discontinuation of this list.”
    Tim Hodler highlight reel take-down!

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