Showing posts with label graphic novels. Show all posts
Showing posts with label graphic novels. Show all posts

Tuesday, October 07, 2008

You MINX, You

The early demise of MINX has been done to death by everyone else already, but that's never stopped me from putting my two cents in before, so I don't see why it should now.

Needless to say, I agree with everyone saying "uh, golly gee, I didn't see that coming" and all the reasons given why: no fantasy, no series, overall just not the kind of stuff teen girls actually read, few female creators, low quality, lack of diversity, goals were apparently too short term, etc.

But I found myself getting inexplicably pissed at DC and RH for the mess they made.

Not just annoyed or peeved, but royally pissed off like I only do when people make the kinds of leaps of logic that make my head want to explode.

At first I thought it was just because they deserve it for such a poorly conceived effort, so I began ranting about that - on other blogs and in probably never to be published blog posts of my own. And I kept ranting until I realized that what I kept coming back to wasn't any of the things above, but this line from Comic Book Resources (quoted by Heidi McDonald, via WFA):

Multiple sources close to the situation agree Bond and DC aren’t to blame for MINX’s cancellation, and that this development should be seen as a depressing indication that a market for alternative young adult comics does not exist in the capacity to support an initiative of this kind, if at all.


At first this sounds like nothing more than pointing the finger at Barnes and Noble and the like for crushing DC's plan to "place MINX titles in the coveted young adult sections of bookstores."

The problem with this is that Barnes and Noble goes where the money is. That isn't to say that buyers can't be idiots themselves (see: how long it took them to move Gabaldon from romance to fiction), but the teen section is not the place where B&N tends to be set in it's ways. It's one of the most frequently rearranged areas of the store compared to it's size. Adding new non-fiction sections, changing the names of sections, adding and removing fixtures, etc. Plus, the fiction and manga section in particular probably has fewer backlist titles than any other part of the store, aside from Current Affairs. And the backlist titles that are in teen fiction? Tends to be very unrealistic fiction or required reading. All of which only makes sense, considering the target audience.

So who exactly, are these "inside sources" blaming here? Barnes and Noble, for not handing over to DC the prime real estate they give to Gossip Girl and the like? Or the teen girls themselves, for having the audacity to choose Fruits Basket and the Gossip Girl spin-off The It Girl over "alternatives" such as Regifters and Clubbing?

Whatever their intention, the ultimate "blame" for the teen market not being open to "alternative teen comics" like the MINX titles lies not on Barnes and Noble, who did very little to promote the Gossip Girl titles until every teen girl and her half a dozen friends came in asking for them, but on the teen girls themselves for being such silly flighty things who inexplicably choose L8r G8r, Nick and Nora's Infinite Playlist and Dramacon 3 over The Plain Janes.

The conception and execution of MINX was bad enough, but to put the blame on your target demographic in such a condescending way is a completely different level of low.

Sunday, June 29, 2008

Librarians Invade Disneyland!

Despite the fact that ALA wasn't any more useful professionally than CLA (possibly less), it was vastly more entertaining.

Largely because

1) Holly Black is completely awesome and I am so very cool bc I (and several dozen other librarians) own signed ARCs of her new book - which isn't out until October.

2) Cory Doctorow is even more awesome in person than in cyberspace. I did not think such a thing was possible.

3) Publishers love to give away free books (and posters) to librarians. (or sell them so cheaply they may as well be) We love publishers back. (our feet and back both disagree, however)

4) Authors like to sign the free books. We already adored the authors. We're not sure we can possibly adore them more than we already do.

5) Disneyland!

and best of all:

6) Book Cart Drill Team Championship. This so needs to be an Olympic Sport. I'd travel to another country to see that event.

Sunday, April 27, 2008

They No Longer Spend Pitch Meetings Looking for the Button That Opens the Secret Trapdoor

You have no idea how much I wish I had a copy of the recording they did of the panel on Superhero Comics at the Festival.

Its not that I want to listen to it over and over again (it was funny, but not that funny) its that there were tons of hilarious quotes that I can't really quote 'cuz I'm not going to get them quite right. So as you read all the stuff below? Remember that it's being filtered through my crappy auditory memory. Take even the stuff in quotes with several teaspoonfuls of salt. Also, I make no claims to accuracy when it comes to the order in which things were discussed.

With that said, here goes:

The panel was kicked off with each creator being asked to describe how they got from Comics to Hollywood. Mignola and Niles had fairly similar stories. Someone fairly influential liked their comic and wanted it made into a movie. For Niles, it was Sam Raimi. For Mignola, it was Benecio Del Toro - not that Del Toro got things going, more that he kept them going and made sure that things went well. Both at this point and throughout the talk, both Niles and Mignola were very emphatic about having a powerful ally working on the project who was also a fan of the comic itself being essential to it being a decent movie that still resembled their work. Or something like that, anyway.

Loeb said that it went the opposite way for him. He had always loved comics, but started out in Hollywood instead (didn't think he could make a living at comics) and then one day DC called him up and asked him if he would like to write a comic for them.

Before I continue, (1) Loeb is an awesome oral storyteller; I very much fear that my recap will fail to do any justice to his talent. (2) I'm sure there was more to this story than he let on. See #1

Loeb said "of course!" and "Can I write Superman?" "Um, we already have someone for that." "Batman" ditto and on down the line. Turns out they wanted him to do The Challengers. (and yeah, that story is even funnier in retrospect now that I'm more familiar with his resume)

The second question had to do with graphical nature of graphic novels and whether that made them easier to translate into film. All said yes. Having pictures helps studio people visualize what you are talking about, especially when those pictures closely resemble storyboards. Loeb (or Mignola?), mimicking execs internal diologue: "Oh, so you meant this really cool spaceship, not the pencil shaped thing that was in my head." Niles also mentions that, when originally pitching 30 Days, the studio people probably pictured scores of vampires running across the snow in Bela Lugosi capes.

The next question (I think) had to do with whether or not it's easier to pitch Superhero movies now than it used to be. Everyone's reply can be boiled down to "duh - you have seen the figures for the Spiderman movies, yes?" (I kept thinking, don't forget LoTR! It's success certainly helped as well. Geeks Unite!) Someone - Mignola or Loeb, I think - pointed out that time has helped as well, that it it's not just a single hit, but several successful movies, and people getting used to the idea of Superhero movies, untill finally Superhero movies are treated as just another genre rather than an unknown. (File this thought away, it will come up again later.)

They said that it was still hard to pitch comics as movies, especially if you aren't pitching one of the big names (Spiderman, Superman, Batman) but that "It used to be that they seemed to be looking for that secret button that open the trapdoor under you." Not anymore.

One of the other things that helped, obviously, has been the advances in cg. There was talk about how they used to say that movies would never replace comic creators, because there was stuff they could do that would just look dumb in movies. You could never get Spiderman to swing from a web and make it look real! Loeb: But then (?) and I went to the screening of Teminator 2 at Comicon. Beforehand, we weren't really sure what it was going to be like because Schwarzenegger actually had to talk in this one. We left the screening and I turned to him and said "we're screwed."

They still fuck everything up, though, apparently :) (shocker, I know) Niles talked about some guy who was working on 30 Days in the script stage. Nobody seemed to get why the Vampires were in Alaska. (wha?) So this one guy suggested that maybe Vampires were searching for a diamond that was buried underground in Alsaka. (wtf?) A diamond that would make them daywalkers! "He doesn't work there anymore. Not because of that, but I think he tried pitching the diamond idea for every movie." There was also mention of certain people wanting to call the Hellyboy sequel HB2 Instead. (why, exactly would one want to do that?)

This is where my memory gets a bit fuzzier, but the conversation at some point turned to DVD sales, what is still hard about pitching Superhero movies, and how much money movies actually need to make. The gist of that part of the conversation was: studio people don't pay enough attention to DVD sales because DVDs and movie production are different divisions, but it's getting better. They always want to change lots of things, some of which needs to change because comics are so much longer than movies, some of which is completely in opposition to the heart of the story, and some of which is necessary in order to appeal to a larger audience. "The truth is that even the best selling comics only have a fraction of the audience that movies need to make money." Or something like that.

I don't remember when or why, but the topic of what terms people prefer came up (ie, comics, graphic novel, etc.) and they all agreed "comics." Niles joked about Raimi referring to comics by some complicated term "graphical something or other." Someone (Loeb or Niles) made the amusing remark to a studio person that it was ok to call them comics, "graphic novels was the term we made up for you guys!"

It was also established that we were all "geeks." "You all know the difference between geeks and nerds, right? All of you in this room right now, you're all geeks, not nerds." (I beg to differ, but then I'm the idiot that didn't even know he worked on Heroes before he mentioned it, so I think he'd make an exception for me.)

At some point Loeb told several amusing stories about working in Hollywood:

The first movie he worked on was this low budget film called Teen Wolf (cheers from the crowd) While working on it, he'd tell people about it and mention who was in it and people would say. "Oh, that kid from Silver Spoons, right?" But then two things happened, Family Ties was moved to directly after The Cosby Show and Michael J. Fox was picked to be the star of a little movie called Back to the Future. heh.

That lead to the story about the movie thought he was going to be able to retire on: Firestorm. It was starring Howie Long. No reaction from the audience to that name, prompting Loeb to say that we obviously weren't football fans. That prompted some laughter. :) He explained who Howie Long was and that the great thing about Howie Long was that you knew he could talk. Anyway, things were going well and it was getting closer and closer to the release date, and then an Important Studio person broke the bad news. The studio had just finished making the most expensive movie ever made. And it was going to completely flop. Loeb knew he was telling the truth because people were literally packing up their offices in cardboard boxes and leaving. It was going to be that bad. So they needed to release a bunch of other movies at the same time to cover their losses. Firestorm was moved from fall to January. That's ok, Loeb thought, it should still be ok.

So, the flop? Was Titanic.

His last story was about the call that got him working on Heroes. A Hollywood buddy of his called him and said he needed some advice. Loeb figured that he was buying a vineyard and retiring or something, 'cuz he couldn't think of what this person would need his advice for. So they met and it turns out that this buddy had the brilliant idea of doing a Superhero type show and needed to talk to someone who knew Superheros. They spent hours talking, with the guy pitching ideas and Loeb responding by saying, that sounds fantastic, but you can't do that, it's (insert name of character) Marvel/DC will sue you. Repeat for several hours.

That's it. that's all I remember. Recordings will be available in a few weeks, I might try and clean this up when they are released for sale.




Oh, wait.......you were wondering why I was left yelling (well, muttering, really) Wonder Woman.

Yeah, so, at some point near the end - it might have been during the questions - Loeb or Mignola made some comment about Superhero movies needing to appeal to non-comic readers in order to make money. Loeb added "like how do you get women to go see your Superhero movie?" (Or something like that anyway.) To which I muttered Wonder Woman! and started ranting in my headspace about how the arguments made earlier about Superhero movies and needing to let people get used to seeing them as just another kind of movie and not a fluke can just as easily be applied to movies with female action heroes.

Ditto for non-white (and non-kung-fu-asian) action heroes, as well, of course.

Personally, I still think Runaways would make a kickass movie. The ending is a disappointing in terms of racial diversity, but it's still a step in the right direction. (Especially if it does well enough to warrant sequels.) Plus, I think it would not only appeal to a larger audience, it would appeal to that teenage audience studios are so hung up on. Provided it's done right, of course. That's always the catch. But seriously, while the point about comic sales being only a fraction of what the movie needs is valid, better-selling is better than not-better-selling. And better-selling to a wider audience (ie, bookstore patrons, not just comic store patrons) has got to be huge plus as well. So here's to hoping Twilight is the insane success I think it will be, and to studios everywhere mining the YA lit for ideas.

Saturday, April 26, 2008

LA Times Festival of Books Comics!

So....I went to the Festival of Books today, and it turned out that two of the three panels that I was able (and most wanted) to attend were on graphic novels. (Owing to the frustrating scheduling mentioned earlier.)

*********

The first was panel titled Comics: Superheroes of the Page & Screen and featured Jeph Loeb, Mike Mignola, and Steve Niles. Geoff Boucher moderated.

Loeb was hilarious, Mignola was pretty damn funny as well, and all three were entertaining and interesting. The overall conversation left me (internally) screaming "Wonder Woman!" But sadly, not in a good way.

Also sadly, no autographs as I was pretty ignorant of all their work beforehand and so wasn't prepared to go the the signing. More importantly, I had less than a half hour to get to the next panel, and UCLA is a freaking big campus.

**********

The second panel I went to was titled Tween Series Writing: Other Worlds and featured Cornelia Funke, Erin Hunter and Rick Riordan. Moderated by Sonja Bolle.

Funke is sweet and kick-ass smart, Hunter is sassy and funny as hell, and Riordan is just the kind of teacher you wished you had in middle school. Plus, there were tons of kids there, which was super-cool.

**********

The third panel was Reading Manga: A Japanese Phenomenon Comes to America, featuring Liza Coppola, Lillian M. Diaz Przybyl, and Frederik Schodt. Charles Solomon moderated.

This last was not quite as hilarity filled as the other two (although laughs were to be had, this is manga we're talking about), which may be due to it being made of reviewers and editors rather than writers. Or it could have been the heat. But it was still interesting and informative - if perhaps a bit basic at times, as anything involving manga (that isn't held at a con) must sadly still be.

Unfortunately, the manga fans were the ones pulling the stupid crap that comic fans gets stereotyped as doing (although, being manga fans, the "questions" centered around fanfic/art and scanlations.) I kept wanting to tell them to act their age, but the main problem did seem to be that they were.

*********

My most prized signature of the day was from multiple-Caldecott-winning-author and illustrator David Weisner, who signed my newly bought copy of Tuesday, possibly the first (mostly) wordless picture book I ever read. Since it was my love of wordless picture books (along with my love for the X-Men movies) that got me thinking maybe there was something to this whole comic book stuff, the day seemed more like "sequential art day" to me. :)

Oops! I forgot!

Also:

Angry Little Girl buttons!

Cute! Colorful! Angry!

And Lela's right, the bags did look kind of like bags of candy. Cute, colorful, angry candy.

hmmm...candy.....

Sunday, March 30, 2008

The whole "boys don't read bc its' something girls do, and girls have cooties!" is making the rounds again.

And once again, everyone's solution is to give them reading material (often comics) that screams "Boy! Boy! Boy! Boys only! No girls allowed!"

Which means that once again, everyone is failing to note that:

1) Comic stores may still be mainly for boys. Comics themselves? Not so much. Graphic novels? Not at all. Yes, there are certainly more "boy" comics than "girl" comics. But walking a reluctant reader over to the J GN section of their local library isn't all that likely to stop them from thinking that reading is for girls.

2) Giving boys "boy books" hardly addresses the root problem. Which is not just that reading is seen as something that girls and women do, but that boys can't (shouldn't?) do anything that is for girls.

3) Inasmuch as the lack male role models in early educational environments seems to be why boys see reading as "feminized" - rather than the actual material itself (which still feature more boys than girls, btw) - wouldn't recruiting more men to be kindergarten and (gasp!) preschool teachers be a better solution? (Oh, but then we may have to pay the latter decent salaries. And stop pretending that men can't be nurturing/that any man who likes small children is a predator.)

4) As my brother points out, guys don't read as much because they have more "choices." In other words, they are more likely to go to the movies or play video games. Both of which, especially the latter, tend to be made for and advertised at them more than women/girls. (Solution: Make more video games for girls! And stop pretending that teen girls don't go to movies!)

5) It's mostly only non-white and working class boys that fall behind their female peers in reading. Upper class white boys still beat everyone. Which means that there is more happening than just reading being considered feminine.

Don't get me wrong. I'm all for efforts like Guys Read - as band-aids.

But....can we all get started on some long term solutions sometime this century?

Please?

Saturday, March 29, 2008

Just In Case Anyone Needed Any More Proof....

...as to how and why Holly Black kicks ass, that is.

Holly's rules for other writers, etc. on how to not piss her off:

Don't leave me hanging.

If you set something up, it has to pay out.

Don't set up a girl as a bad-ass and then spend the rest of the book/show/film punishing her for her badassery.


ditto



Holly also has a new book coming out.

(dunno when, though)



It's a mystery and a graphic novel. (and, of course, fantasy)

The artwork is done by Ted Naifeh, who also wrote and illustrated Polly and the Pirates.

With that dynamic duo in charge, I think it's safe to say that we can expect a bad-ass girl or two in The Good Neighbors.

(makes mental note to make sure my branch is getting a copy)

Tuesday, January 15, 2008

Correlation, Causation or Coincidence?

I keep feeling like I should have some deep thoughts about the WW/Playboy thing - and all manner of shit from the past year - happening at the same time that the American Library Association gave two of their major annual awards to graphic novels/comic books (in addition to this, the 2008 Caldecott went to a graphic novel for elementary school kids). Hell, even this year's Newbery went to an illustrated collection of interwoven stories and last year's Printz award went to a graphic novel.

However, it's just not quite there.......and I need to get ready for work.

thoughts, anyone?

Monday, October 29, 2007

Hybrids and Bastard Formats

So what do librarians talk about when they get together?

Apparently, where to shelve graphic novels.*

Is it art or literature? Dewey says art. Most libraries disagree (if the librarians at the panel are a good indication, anyway).

I'm sure you are all appropriately fascinated to discover that Dewey says that The Amazing Spider-man is shelved under 741.5973: Arts and Recreation; Drawing and Decorative Arts; Drawing and Drawings; Cartoons, caricatures, comics, graphic novels, and fotonovelas; historical geographic, persons treatment; American author/artist/creator.

What I actually find interesting, but not surprising, is that the DDCS has an extreme bias towards the written word. Part of what causes a lot of the hand-wringing and confusion is that most works of sequential art are hybrids rather than one or the other. It isn't just art, but it isn't just text, either.

Part of the logic behind classifying graphic novels in the 700's is that other hybrid works are classified there as well, such as dramatic works. The problem is that technically, you are supposed to be able to classify all kinds of formats by the DDC, so making the distinction between how the information is presented on the pages, but not between actual formats - unless it's fiction! - seems pretty arbitrary. Why are movies classified as Arts and Recreation? Are recordings of theatre productions shelved in the same place? (And why the hell can't I find something to tell me how audio fiction books are supposed to be classified? Are they Arts and Recreation or Literature?)

I suspect that issues like this are going to become more frequent and that Dewey will either fade into non-use by the general public or will have to completely revamp how they classify all kinds of non-text works.

*This particular "workshop" covered more than this, but a lot of the time was spent on the DDC for graphic novels.

Sunday, October 21, 2007

What's the problem with DC? (And Marvel too?)

Personally, I think they are just plain stupid. They've spent too much time catering to a small, specific audience that they are completely oblivious as to the fact that not only is their audience actually more diverse than they are, but that their potential audience has positively exploded recently.

I mean, sure, DC (finally) started a of line stand alone graphic novels for teen girls - a line that has absolutely nothing to do with the characters they are famous for - but well, that's pretty much it. Which, considering some of the huge changes and opportunities in recent years, is just ridiculous.

(I know even certain Fangirls have thought this next bit was a weird point when I've brought it up before, so let me see if I can explain this a little better this time.)

Marvel and DC consistently put out an insane amount of movie-tie-in books for kids when their superhero movies come out, but none of them is ever comics or a graphic novel. Why?

In addition to the teen manga that's been in the store since we opened, the bookstore now has a section just for graphic novels for kids. We've had it for about a year. It started out as less than one shelf; it now takes up more than a whole bay. (Partly because they recently changed how we shelve things; beginning reader graphic novels used to be shelved with beginning readers.)

I might try counting them today to be sure, but I think there are more titles about Marvel and DC characters in Beginning Readers than there are in the graphic novel section. I'm fairly certain the Disney has more graphic novels in the kids section than Marvel and DC do, combined. Hell, Disney (ok, technically Disney licensed titles by Tokyopop) even ties Marvel and DC individually for graphic novels in the teen area - and easily outsells DC. (Marvel is saved from getting beaten by Kingdom Hearts by the ever popular Runaways.)

What the hell? It's not like their non-graphic movie-tie-in books don't sell. It's not like graphic novels don't sell to kids. Why are there practically no graphic novels by DC and Marvel for kids? It just makes no sense.

It's not like, unlike Scholastic, they are being asked to try a new format. They kinda already know of to do comics. It's not like this wouldn't get them new customers for their actual comics. A lot of the kids asking for Bone or Pokemon books are not already comics readers. Some of them may be, but, judging by how often they have to fight with their parents in order to buy a graphic novel, I doubt they all make regular trips to the comic store. And while parents are still quite skeptical of the literary value of sequential art, they are less reluctant to let their kids buy a thick graphic novel at bookstore than a very thin comic book in a store where most of the books on display feature porn-esque and graphically violent covers. These now elementary kids, however, will be much more likely to spend their allowance as a teen on Marvel or DC comics if they get attached to Marvel and DC characters now.

It's not a given that these kids who are getting hooked on Bone are going to start walking into comic books stores and buying comics by DC or Marvel once they can do so; it's not a given that any kid who might do this will do it no matter what. It's also not a given that their love of the Batman movies will remain strong enough over the years to give them a reason to go to comic book stores when they are old enough to do so alone. But that's exactly what DC and Marvel are assuming is true.

And don't tell me that superheroes just aren't highly popular among kids - boys and girls. Fantasy novels are extremely popular at the moment for much the same reasons that comic fans are fans of comics. Very few of the most popular kid and teen novels in recent years would have sold as well as they did if kids didn't love heroes with special powers and/or gadgets.

You can see this same obliviousness play out in how they didn't capitalize on the goodwill and interest generated among non-comic reading adults through the popularity of the X-Men and Batman movies. I actually got interested in comics because I loved the first X-Men movie. Being a book person, I wanted to read the books too. But it took me several years to become a regular at my local comic store because nothing I found there reminded me of the movies. It was Runaways, Buffy, and finding fellow fangirls to give me some advice on what to try that finally did the trick.

I can't be the only one who got excited about comics because of the movies. I can't be the only one turned off by the in-crowd mentality among comic fans (yeah, I'm looking at you, Dale Carnegie acolytes), the vast differences in tone (read: porn style covers and other common complaints) between the comics and the movies, and just how incredibly confusing it all is to newbies. And, again, how dismissive even usually helpful fans are of legitimate complaints. "But you can always look it up on on wikipedia!" is not a helpful response to "Damn, these backstories are confusing." I'm not looking for more HW to do, thank you. Are there any titles that don't require research? Because if not, I'm going back to the manga section. At least there I can easily order back issues if needed.

I know I can't be the only one, because much of the anger over the MJ statue came from newbies and non-comics readers who loved the movies. I don't think that the lesson of the MJ kerfluffle is that "sex sells". I think Marvel and DC should have taken it as a sign that they have a bigger fanbase than they thought, and that they need to treat these new fans with respect or they will lose them before they ever really had a chance to get to know them. A lot of what this means, btw, is truth in advertising. Don't put cheesecake covers on non-cheesecake comics. Don't pretend that the MJ statue isn't about sex or confuse accusations of objectification with being accused of simply showing something sexual. Don't respond to complaints by saying that it fits her character; it doesn't fit her character as the movie fans know it, and telling them that the movie doesn't count is hardly going to get them coming back and buying your stuff. Instead, explain the idea of multiverse to the newbies and direct these new fans to something that they will like. And when you have trouble doing that last, take a good, hard look at the lack of diversity in your current products.

I don't know if their recent corpse on the kitchen floor was a deliberate diss to feminist fans or not. I think it's kind of like arguing whether someone meant to be deliberately insulting when they said something sexist. It's not the intentions I care so much about, but the effect of the sexism. Whatever their intention, DC just demonstrated once again that they are completely oblivious to both the diversity of their audience and the diversity of their potential audience.

So, was DC being stupid or sexist with their latest blunder? Well, like Pandagon, this is a both/and blog. DC was both stupid and sexist for killing you know who, and leaving her on the damn kitchen floor. Seriously DC, this is why I think twice every time one of your comics looks interesting. And don't even think I've forgotten how much you can suck too, Marvel.

Edited: for grammar, spelling, etc. And to add that I did go ahead and count up the number of DC and Marvel titles in the kid's manga/comics section. Combined, they have a grand total of four titles. One copy each. To put things into perspective, there are two Yu-Gi-Oh! titles, with about four copies each. Seven Babymouse titles, with about 3-6 copies each. Eight Captain Underpants, with a full faceout and backstock for almost every title. One title each for Artemis Fowl and Warriors. The former has a full faceout, but that's because it's a new arrival, it will likely shrink down to just a few copies like the latter within a month or two. All of these books are thicker and larger than the Marvel and DC titles, so that makes the latter really hard to see when browsing.

Saturday, October 06, 2007

Games Good, Books Bad?

In a recent discussion over a Feminist Gamers, the topic of controversies over books versus controversies over games came up.

(pretty much, someone said something to the effect of "books never get treated this way!" and I called bullshit.)

Might Ponygirl replied with

But I think that videogames just don’t enjoy the sort of support in their controveries that books do.

Which is true, but "books have it bad too!" really wasn't the point I was trying to make. But then I wasn't really sure what my point was at the time, and my point wasn't the topic of discussion. The good news: I figured out what I want to say, and I have my own blog to say it at.

And really, I did say it in my comment over there, I just didn't explain it very well.

[P]eople rarely see “bad” books as evidence that books are bad, even though that’s exactly what they do when it comes to TV, movies, and games.


The flipside to this - the one that people rarely see - is that this also means that you now have the issue of what qualifies as a book. Most often, the debate is phrased as whether something is "really" literature. In my line of work the question often becomes whether it's something the parent will accept as fulfilling the requirement that they "read more and goof around less." (Needless to say, graphic novels rarely count, despite their growing popularity.)

Like a lot of common misconceptions, this doesn't seem, on the face of it, like a bad thing. And it isn't always. Parents should push their kids to to challenge themselves, and I don't believe that kids get as much from reading Goosebumps as they get from reading Bridge to Terabithia.

But there's the catch, the requirement that they get something out of it. Pleasure apparently doesn't qualify as "something" in that sentence.

(And now my ADD brain is remembering a conversation I had recently with someone about how we don't get enough vacation time. Back to the topic at hand....)

Whenever I suggest a book, and the kid says yes but the parent says no, it's almost always because it's not "serious" enough. Whenever a kid asks for a book, and the parent says no, the most common reason given (aside from cost) is that it's not "what they should be reading" - as in, you should be reading something that isn't called Captain Underpants and isn't full of pictures.

Now, I'm not saying that books have it worse than games. They don't. (Recent library workshop aside) Games can only dream of qualifying as worthwhile in their own right, rather than as a way to trick kids into doing something worthwhile. Even TV, which I think is much more limited in possible educational value than video games are, is more likely to be labeled as educational than any video game. What I'm saying is that the problems that books do have overlap with the problems that games have, so displays of sibling rivalry are hardly helpful.

Lauren wrote at Feministe that

The part that’s insidious for me is labeling the [Baby Einstein] videos “educational” when “entertainment” is clearly more honest. When parents start scheduling them into the child’s day, they’re doing so in their children’s best interest, but potentially to the detriment of the child’s education. Especially when a parent who is interesting in helping to further the child’s education might have better tools available to them for a similar price.


And I have to agree. But the problem is that you aren't supposed to give anything to small children that isn't explicitly educational, so there's really no other way to market them except to say that they are good because they are educational. And the AMA's dishonesty about why such videos are bad for kids** gives the companies even more incentive to lie about their product than they would have otherwise. Disney can't make ads simply saying that they are the best entertainment videos for babies and toddlers (even though I think they are) because such things are not supposed to exist.

One thing I do disagree with Lauren about is the type of educational value the Baby Einstein's videos have. Supposedly, it's all in rote learning - people seem to think the videos act like flash cards. However, If you watch the videos it's clear that kids mostly learn from them by processing the stories, the same kind of learning that we supposedly encourage when the stories are told through other mediums. To me, this confusion implies that the value we place on storytelling depends highly on the medium through which the story is told. Which, in turn, suggests that the greatest value we place on storytelling is on it's ability to familiarize children with the "right" kinds of mediums - or facts and skills. Stories themselves have dubious value, perhaps because their intent is to entertain as well as teach. The perception seems to be that, once kids can read, unless they are clearly "reading to learn" something specific, reading is not always good for them.

****************

Books are challenged and banned for all kinds of reasons, but there is a common thread running through all the challenges to books for children*** - and no, it's not religious beliefs or sexual content. It's whether or not the book counts as "literature." Controversial topics are usually considered ok, so long as the book is clearly lecturing at them. That's why books are more likely to get support when they are challenged. Since it's the actual message itself that's being debated and not the basic content, you have an easier time finding people who agree with the message strongly enough to fight for it.

The children's novels that made it to the ALA's top ten challenged books for 2006 are the Gossip Girls series, the Alice series, The Earth, My Butt, and Other Big Round Things, the Scary Stories series, Athletic Shorts, The Perks of Being a Wallflower, and The Chocolate War****. The adult novels are Beloved and The Bluest Eye. So, sex, obviously, is a big no-no. And anything that suggest that the white, heterosexual man is not the center of the universe.

But apparently, kids having fun isn't really a good thing either.

(In fact, I'd say this is a big part of why sex is a no-no. Sex without procreation has no value other than fun.)

While there are plenty of books that kids ask for by name because they have to read it, there are fewer that kids ask for because they want to read them. Yet, out of all seven of the kid's books on that list, there are only two books that I've never been asked for by name, by a kid, who wanted to read it for fun. I'm not going to count the hundreds of thousands of books in the store and library to do the math, but fairly certain that 70% of the books in either place don't fit into that category.

Even more than that, four of those books are ones that reluctant readers - several, in fact - have asked for by name. I don't need to do the math to be absolutely certain that the number of books in the store and library that fit into that category is much, much lower than 50+ percent.

Now, again, I'm all for parents pushing kids to challenge themselves.

Still, I find it telling that the Gossip Girls is number two on the list of most challenged books for 2006, and yet the CW started a new series based on the books this fall. (Presumably aimed at a similarly aged audience.)

The contrast between the Harry Potter movies' sucess and book challenges made more sense, because it tends to be just a select group of people who dislike Harry Potter so much that they think kids shouldn't read it. But nobody likes the Gossip Girls. Well, no adult anyway. So while I'm sure that there are lots of kids who will be told that they can't read or watch Gossip Girls, I'm sure there's also a great many whose parents and teachers and librarians try to talk them out of reading Gossip Girls but whose parents won't care about them watching Gossip Girls any more or less than any other TV show.

Now, parents don't hate these books because they are fun, they just see fun as having extremely limited value.***** There's this idea that's taken root in our collective minds that, unless something is explicitly educational or healthy, it's probably bad for kids.

Or maybe it's that, if kids are having fun, they can't possibly be learning as well. So it's one thing for them to watch Gossip Girl, it's another for them to suck all the educational value out of reading by reading trashy books.

I think it's probably both, depending on the situation.

We need to educate people on the health and educational benefits that video games have. The internet and TV too. But we need to advocate for kids' right to have fun as well. Even if for no other reason than because the idea that fun is a privilege, not a right, leads us to cut off kids access to things that are explicitly good for them. Like exercise (ie, recess) for grade schoolers, or books for reluctant readers. Even the dynamic that Lauren decries in her post is one in which parents choose to have their kids watch Baby Einstein videos rather than play in healthier ways because the supposed rote learning they get from the videos is thought of as more educational that the learning they get through play.





*That and we think kids are really stupid - Baby Einstein couldn't possibly teach through stories because babies are too young to process stories. Never mind that they do so all the time. (I let go, it falls.)

**All kinds of studies supposedly say that any time watching TV lowers vocabulary, but I've yet to see one that doesn't make some stupid decision, like not control for time spent talking to parents or lumps kids who watch TV and play with books with kids who just watch TV.

***Children's books that children are meant to read themselves, rather than books like And Tango Makes Three which is primarily meant to be read to them.

****The common perception is that The Chocolate War is literature, but it's placement on the list is a holdover from when this was not the common perception, back when it came out and, along with The Outsiders and other peers, created the YA genre.

****We also think kids are excessively stupid. Like, kids who will be able to vote in two years are completely and totally unable to distinguish fact from badly written wish-fulfillment fiction. Have I mentioned that yet?

Thursday, August 16, 2007

16th Feminist SF Carnival

Welcome to the 16th Carnival of Feminist Science Fiction and Fantasy Fans!

Before we start, I have a confession to make.

I like science fiction, I really do. Fantasy too. I like the world-building and the hypothetical plots, the technology and the magic. All the things that make it science fiction and/or fantasy instead of something else.

But I have to admit that part of my love for scifi/fantasy is really a love for action heroes. More specifically, female action heroes. I spent a lot of time as a kid looking for adventure stories that featured - or at least included - girls, and a lot of them ended up being science fiction and/or fantasy stories. Women with swords, girls with magical powers, heroines with blasters. For some reason, leaving this world behind and building another made it easier for writers - and their audiences - to wrap their head around the idea that girls could love action and adventure.

When I was younger, the main obstacle to finding girl heroes seemed to be the relative lack of them. As I got older, I kept running into the uspoken and rarely broken rule that, when they existed, action heroines must be sexbots first and action heroes last. So when I stumbled across the Ask.com commercial featuring "chicks with swords" (via The Hathor Legacy), I knew that had to be the theme when I hosted the carnival.

So without further ado, here is the 16th Carnival of Feminist Science Fiction and Fantasy Fans, chock filled with sword carrying women and all kinds of other great - or not so great - stuff.


It's a bird. It's a plane....it's Supergirl!

My thoughts on the new incarnation of Supergirl lean towards gibberish along the lines of "Pretty. Shiny. Me like. Me want more."

Fortunately, others have been much more loquacious than I.

First off, ami at Super Cute Rants of DOOM XD (totally the best blog title ever) writes about why she loves Supergirl:

Why do all heroes have to be angsty and mean? Why do they all need "reasons" to be heroes?

Can't we have some heroes who are just good ppl and dun have to become good ppl?

Why do girls need to be abused or live on the streets or be hookers in order to be heroes?

Can't they just crash land on a planet and be a hero? :D

...

Aren't we even allowed a few happy heroes? :)
Indeed, why must heroes always have "motivation"? I like characters with depth, but I don't think that means their reason for being good always needs to be complex.


Anyway, back to Supergirl.

Kalinara is one of the many who loves the latest issue of Supergirl:
Yes. Thank you.

That's what a real teenaged girl looks like. That's even what a real teenaged girl wears....She looks amazing.....Bedard's character is one I want to read about. Guedes's is one I want to see.


Brown Betty's praise is simple but oh so true for oh so many of us:
I just look at it and *siiiiiiiigh* with happiness.


A lot of the gushing over Guedes' art and Bedard's writing has happened in the forums, so I thought I'd include a few quotes from the ones hosted by Girl-Wonder.org (which I'm not sure is technically allowed, but I love this Supergirl so much I don't care!):
I have all-around feelings of joy for this issue. ^^

At last, fantastic artwork (only one upskirt shot and it didn't feel like fanservice because of the shorts!). And Supergirl actually tried to do something to fix her mistakes instead of just wallowing in it.
-Linkara

I loved this issue so hard. Supergirl - and the other characters! - looked human, and instead of sulking about her mistakes, which were so very much those of a superpowered teenager with a lot of naivety, she tried to do something about them.
-KPhoebe

For sure, the art in this was WONDERFUL. And I love how Supergirl and Wondergirl, despite both having blue eyes and blond hair, actually LOOK like two different women.... I really like how Supergirl is obviously a very young girl who is trying really hard to be a good hero.
-Caribou23

Which brings us to the very sad news that a new creative team has been announced for Supergirl (via Occasional Superheroine)

Crash! SMASH! KABOOM!

(sorry for the interruption, that was my house blowing apart from the sheer amount of despair and rage inside my brain)

However, that doesn't mean that you shouldn't still write to DC (if you haven't already) and tell them how much you are loving Guedes' and Bedard's Supergirl. Occasional Superheroine has some tips. (If you do, please keep in mind that Guedes' and Bedard's run was always meant to be temporary. Their departure is not (necessarily) a reaction to the idiots who think that Guedes' Supergirl is fat.)



Hermione is always right, unless she's being emotional.

(needless to say, do not click any of the links unless you've finished the series or don't mind spoilers.)

Over at Capitalism Bad, Tree Pretty, Maia hones in on one of the main complaints I've been hearing about Deathly Hallows:
'I'm going to leave you because I'm putting you in danger' is my least favourite relationship device ever.....What I find so frustrating about this, is that limiting women's choices for them is portrayed as a romantic act....Loving someone shouldn't mean limiting their agency.



*e, at A Blog Without A Bicycle, ponders the newest movie villian and brings up a good point:
"...I just wish that it wasn't her (overly) stereotypical "feminine" traits that made [Umbridge] so memorable. What if a female villan was just...villanous?"

I'll admit to being one of the many who enjoyed Imelda Staunton's Umbridge, but it does bring up the classic feminist dilemma when it comes to femininity: how does one analyze the limitations created by traditional femininity, or create a feminine villian, without bashing femininity itself? Hopefully with more finesse than the movie manages to have.


Sara of Sara Speaking discovers that sometimes gems do lurk within Amazon forums, after stumbling across this excellent question about power and gender in Potterverse:
I can understand how men would be better at physical fighting than women, but simply waving a wand in the air using spells based on pure intelligence….??? Hello?????......Where was the female equivalent of Dumbledore?
Sara adds:
I find it a very valid question, especially since it’s a fantasy book. Why should it have to conform so closely to the male-dominant standards of the society we already have?....And why, oh why, is it called the wizarding world — when there is a clear gender-based differences between wizards (men) and witches (women)?



I think that fireeyedgirl sums up a lot of feminist fans' feelings towards the series as a whole when she writes that
I don't hate the Harry Potter books because of [it's treatment of female characters], I just am sad because I feel like there was potential in this series, written by a woman who is also the mother of a daughter, for a rebel girl heroine who breaks rules and succeeds.



All of which makes it that much sweeter to learn (via Jessica at Feministing) that Emma Watson, the talented young woman made famous by her role as the always clever Hermione Granger, considers herself to be "a bit of a feminist."

And on that note, Sara also points us to an illustration by makani of one of the few showdowns between female characters in the series.



"No....there is another."

There's a great article over at Jive Magazine about why "Star Wars fans hate Star Wars."

Never is this more true than when it comes to feminist fangirls who love Leia. (ie people like me) The knowledge that Leia was capable of becoming a Jedi, and yet was not the one who brought about the Return of the Jedi epitomizes why being a feminist SF fan is often a bittersweet experience.

Princess Leia was My First Idol, my first hero, the kind of princess I've always wanted to be.
She didn't just wait around and pray to be rescued.....[and] She told the scary bad guy that had us all quaking in our boots to fuck off.



And guess who else loves Leia:



“Outta my way, nerf-herders. Guess it’s up to me to save our skins—again! ZAP!”
- from the always amusing mind of Meg Cabot.

No wonder why Mia is such an awesome princess.


Also, fellow Star Wars fan Sarah (Still Life With Soup Can) made some cool shirts for herself at Cafe Press and was surprised when other people bought them. I'm not surprised that the most popular are her Girl Revan shirts mocking "LucasFolk['s decision] to go and ruin the fun by declaring "Canon Revan" to be a light side male." Revan being a playable character in various Star Wars games, for the two people other than me who are unfamiliar with the name.



"It Slices, it Dices, and Makes Julienne Preacher." - And Other Sharp, Shiny Objects

Yes, I know Buffy's signature weapon was a wooden stake, but let's face it, we all loved her best when she was wielding something sharper than the pointy end of a picket fence. Which may be why Grace's summation of the best and worst of Buffy at Heroine Content features Buffy with a sword, not a stake. Like me, Grace
didn't watch Buffy the Vampire Slayer when it was first aired...[does]not believe the show deteriorated when it moved to the UPN.... [and] loved it from start to finish...
she adds
All that being said, I've never seen anything on television so in need of feminist and anti-racist analysis as Buffy. The show gives a whole new meaning to the phrase, "so close but so far away."



At 100LittleDolls, Shions_Glasses also reminds us that sexism often goes hand in hand with racism. (warning: spoilers for Rogue Galaxy within)
Of course the only woman of color in the game has to hail from a "backwards" tribal jungle planet. .....On top of that, her bow is pretty worthless in combat.
Obviously, Lilika deserves better clothes, a better backstory, and a better weapon. XD

A sword, maybe? ; I


Amber Night finds yet another fantasy game with sword-wielding women sporting unlikely armor.
in the world of WAR, do they just go for the legs? ....You could make an entire suit of normal armor just out of her leg armor. Which…you know…probably would have been a good idea, given that her guild seems to be short on armorers able to craft from the crotch up.



Meanwhile, Tekanji uses a picture of a sword carrying girl to demonstrate (at Shrub.com) the dangers of assuming that your good intentions will mean your message is clear, even when the context is ambiguous. (I'm not going to quote the posts because it's more of an audience participation experiment. Just follow the links. It will take you to the girl and her bloody sword and explain who she is.)


"We rule Terabithia, and nothing crushes us!"

Alice, at Wonderland gives us some pictures of the incredibly awesome woman who won BlizzCon's costume contest, and her kickass getup.


BomberGirl (Girl in the Machine) talks about why she loves Heather from Silent Hill:
Throughout her story, we come to root for Heather. She's not perfect; she has flaws, from her short temper to the freckles on her face. She stands as my most favorite video game character of all time (just take a look at my icon!). And here at Girl in the Machine, game developers hand us so much to be negative about, and it feels wonderful to celebrate the positive aspects of women in games.


Kotetsu gives favorable reviews to two recent anime movies, Paprika and Toki wo Kakeru Shoujo. Regarding the former, she writes:
One thing that I love about Paprika, however, is the heroine....Like in all of Kon's movies, a woman takes center stage. Sure, there are lots of male characters, and sure, they're important - but they're only important in the sense that they interact with and support the heroine. It's almost the complete opposite of most Hollywood (and Japanese) movies.


Lyle, at Crocodile Caucus lets us know about an interesting possibility on the upcoming season of Supernatural:
Unfortunately, one thing that’s always kept me from fully getting into Supernatural is the show’s WiR-ness......Now, an interview with series creator Eric Kripke gets me excited about Supernatural for the first time. There’s no money quote, but, at the least Kripke shows an awareness of the problem and seems like he’s looking to correct the course.



Lastly, I'm apparently not the only one that adored Spider-man, Fairytales #1. Pervyficgirl writes:
I love this comic. Possibly I read it six times. Possibly I will be sharing with my eight year old niece. Something I dearly wish I could do in good conscience with Black Canary or current Wonder Woman.

Also, it is implied that Peter is going to make his Spider-costume out of the remains of MJ's red hood. Awwwwww. I love you, Peter Parker. You wear your strong woman's clothes.




"It's just so illogical, you know, about being a Smurf... what's the point of living... if you don't have a dick?"

The latest version of the Smurfette Syndrome is brought to us by the new Transformers movie. Ragnell eloquently rants:
Why is being a girl so fucking special? Why is it that every other fucking robot has a male fucking voice and no one questions why they have gender coding but the fucking second you bring in a female voice and god forbid you put it in a feminine color you have to suddenly explain why everyone has gender?
Amen!



And the next time someone tries to argue that it's all because girls don't like action and explosions and the like, feel free to spit out the stats from a recent study that says otherwise. Mighty Ponygirl (from Feminist Gamers) summarizes:
While the numbers still show that boys play more videogames than girls, the gap is not as wide as people would like to believe: while 2/3 of boys reported playing a violent video game at least once a week, so did a full 1/3 of girls interviewed. This means that even the remaining 2/3 of girls who play videogames may still play violent videogames, just not as often as once a week.




On a more "high-brow" note, Eleanor at Ambling Along an Aqueduct has some thoughts on why there don't seem to be as many female SF writers:
I think there is a double prejudice operating here. One is a prejudice against the life sciences as opposed to physics and engineering.....
The other, of course being that it can't really be "hard" SciFi if it was written by a woman. (Women being soft and gooey and all, I guess.)


Charleanders at She's Such a Geek! asks us to help Free Julie Delpy!. She also asks:
Why does Steven Spielberg get to make dozens of increasingly braindead films, when Julie Delpy doesn’t get her shot?
Good question!



On a similar note, while the statistics are not about Science Fiction/Fantasy in particular, gillpolack points us to some interesting, but depressing, stats on gender in movies:
72% of speaking character parts are male;
83.5% of crowd scenes are male;
83% of narrators are male.
Ouch. I can't imagine the stats are better when one looks at just scifi/fantasy.

(note: the link to See Jane's research seems to be broken. Their site is currently being reworked, and that may be why. I'll try fix the link when/if I can.)


At Feminist SF - The Blog! lizzard let's us know that
Juno Books’s Paula Guran is looking for stories for Warrior Women [a reprint anthology]...Amazons to warrior princesses to space cadets—strong women who meet the challenge of fighting the good fight.
If you have any suggestions - send them in!


I'll admit that I don't know much about LiveJournal, and many of the postings about the recent controversy over LJ banning various fandoms and fanfiction journals has left me more confused than enlightened. However, Mastor Erestor has some strong words to say on the subject:
"Obscenity" is the perfect tool to weed out everything that doesn't fit in a nice, clean, straight, male-dominated and preferably white world.
(sigh) Isn't that always the case.


Ahh! Curse Your Sudden But Inevitable Betrayal!

Bellatrys, at Nothing New Under the Sun, takes one for the team and reviews the first two Gor books. Her reason?
After about the fifth or sixth reiteration of the (usually-male-made) claim that "the first ones weren't so bad, the misogyny and male dominance stuff didn't come in till later," I resolved, in my Chaotic way, to challenge this dogma and put it to the test.
What she finds is scary in so many ways.


While I'm sure everyone knows by now just why the lamentable Gor series is getting more dicsussion lately, it should also be noted that, as J. E. Remy (Die Wachen) points out, apparently
Dark Horse feels it not only appropriate to support the subjugation and victimization of women by republishing this long out-of-print work, but to market it to “all age groups.”
(emphasis mine)

Remy's posts critiquing Dark Horse's decision also include all kinds of contact information in case you want to write letters to the parties involved.



Because I cannot end this on a bad note, I leave you with 1) Space Invaders Against Sexism!

(Yes, it's from kotaku - but it's space invaders against sexism! - and it's via Jade Reporting. I think......It's been a long couple of days.)

And 2) a reminder that Ragnell is still looking for someone to host the 17th carnival.

That's all folks, thanks for coming!

Wednesday, June 27, 2007

Look Ma! A Positive Post About Comics!

I am only cautiously optimistic about the possibilities of a Veronica Mars comic and Avalon High manga (despite any squeeing you may have heard).

I do, however, have a lot of faith that a graphic novel for Diana Gabaldon's Outlander series will be quite good.

(hat tip to The Ladies of Lallybroch, whose boards I will lurk from time time in order to find spoilers.)

Why?

- She's a good writer.* She knows how to create believable and intriguing characters and how to pace a story to perfection - and usually does so.

- The part of the draft that's been posted looks well done.

- She's also writing her own characters, not someone else's, so there should be no problems of them acting out of character.

- She's not new to comics. Long before she became a bestselling author, Professor Diana Gabaldon picked up some extra cash writing comics for the Walt Disney company for a couple of years. She's also grew up reading them - although apparently not superhero comics. (you'll have to scroll to the bottom for the relevant info). She may not be the next Gail Simone, but she's hardly another Jodi Picoult.

Of course, I also have tons of questions, most of which have no answers yet, since it's still in the "not quite a done deal yet" stages. (What artist will they pick? If she's talking to her current publisher, does this mean it will be published under Random House's graphic novel imprint? How do they plan on marketing it?)

I'm not terribly nervous that the project will be shelved, however, considering how much money her books make and the general expansion of the graphic novel market in recent years.



*Yes, I had problems with her latest Jaime and Claire novel too, but she's still a good author.

Saturday, June 02, 2007

SQUEEE!!! (for real this time)

This is why I need to remember to read MangaBlog more often:

Meg Cabot’s magical Arthurian epic continues…manga style! TOKYOPOP, the leader of the Global Manga Revolution and HarperCollins Publishers, one of the top English-language publishers in the world, are pleased to announce the July 2007 release of Avalon High: Coronation #1: The Merlin Prophecy, the first installment of a three part manga sequel to Avalon High.


I haven't read Avalon High but I've read the first few Princess Diaries books and really liked them. Unlike in the movie, Mia's grandma is just so completely outrageous and stuffy and mean - and yet so obviously cares about her family. And Mia is still so very Mia. And Lilly is so very Lilly. And Michael doesn't mysteriously disappear after the first installment. They're just fantastic.

(and Ha! no wonder why I loved them, take a look at what's at the top of Meg's list of favorite romances.)

I'm not really liking the cover for the upcoming manga though.



Can someone tell me why all these books that, you know, use art to tell stories tend to have vastly lamer covers than the ones that don't? Don't the marketing people ever worry that people might say, I dunno, maybe: "I don't like the art on the cover, why would I pay money for the art inside?"

And can someone please tell me why so many people, when designing covers, think that they need to get all literal and/or try to tell half the story on the cover? Versus, oh, say just trying to catch people's interest and give them a taste of the themes and mood of the book?

There is a reason why the covers below are so very cool, after all, and it's not just because they are pretty.




I know that the cover designers are not the same people as the story artist. But I can't help but question how well the story inside is told when the cover art doesn't really do it's job.

And as I've stated before (I think in the comments on Kalinara's blog) this is especially important when it comes to graphic novels that are intended to expand the graphic novel reading audience.

Most people new to comics don't really understand how separate the inside and outside art are. Many would, in fact, be quite floored to realize how often even the illustrations on the cover are done by someone other than the story artist. Most non-comics reading people's experience with stories told with pictures is limited to children's picture books, and while it's obvious that cover designers are involved, it's also obvious that the story illustrator does the illustrations for the cover as well.

Quite frankly, that way of doing things makes more sense to me anyway. Cover illustrations aren't quite the same as the blurb. It makes sense to have a cover designer as well, but hiring an all new artist to do the cover illustrations strikes me as being more like the marketing people hiring someone to write a fake excerpt to put on the cover.

Tuesday, May 29, 2007

Marvel Editor in Chief: Comics Are Neither Art Nor a Medium for Telling Stories

From Newsarama:

NRAMA: ....How about the Heroes for Hire #13? This has caused some controversy of its own, with some people likening it to a very unsavory recurring element in some more adult-themed manga?

JQ: This one I can answer to. First, I think people are reading way too much into that cover than was ever intended. I heard terms such as “tentacle rape” being thrown around when that in no way is what’s happening, nor does it happen in the book. Those tentacles are the arms of the Brood who appears in the issue and is a major story point, the Brood have tentacles, sorry about that.

Secondly, the concept for that cover, soup to nuts came from a female artist. Thirdly, not being a deep follower of manga, I have no idea what recurring theme people are referring to or concerned with. While I appreciate the sentiment and the feelings that some may have about this, I honestly feel that there is way too much being read into this cover.

Also, HFH is a book that features two strong, lead female protagonist who kick major ass; somehow folks have forgotten to focus on that.

NRAMA: Well, you correctly identified the “unsavory” element we were referring to…just one of those absurd phrases (though it exists).


Now, I should be upset that Joe

1) blames all this mess on someone else (a woman no less) instead of, acknowledging his role as editor in chief

2) implies that since a woman made the cover, it's a-ok

3) acts as if the fact that two of the women cringing on the cover are "two, strong lead female protagonist who kick major ass" makes it all better, rather than worse

And trust me I am.

But you know what really pisses me off the most? That it's apparently so important that he turn a blind eye the to sexism his company promotes that he is willing to insult every person who works for him or buys his products in order to do it. Yes, sometimes a cigar is just a cigar, but not when the cigar is dripping white gooey fluid all over the nearly naked breasts of a group of women that show a remarkable similarity to terrified porn stars. The only way that people could be reading too much into this cover is if you argue that comics are not capable of anything remotely resembling allusion, metaphor, euphemism, inference, symbolism, puns, tone, or style. Which, quite frankly, is insulting to the artists and writers and fans that convinced me to give Marvel money in the first place.

Plus, the editor in chief of one of the two major publishers of american comics must be excessively undedicated to his work if he has never heard of "tentacle rape" before. How else, besides being barely aware that there are companies other than Marvel or DC selling comics in America, can you explain the fact that he has managed to stay completely ignorant of something that is just a google search away?

Wednesday, May 23, 2007

Well, duh - Beka must not be an Action Hero

Tim Liebe's comment over at designated sidekick reminded me that we really need to look no further than the way White Tiger has been treated to realize that Marvel is so scared and clueless that all they're really doing now is shooting themselves in their collective foot.

One online columnist recently pointed out that the only visible marketing for WHITE TIGER comes from my co-writer Tamora Pierce’s website!


Tamora Pierce is insanely popular among teen girls. She's one of the authors that the kids come in raving about and asking when her next book is coming out without any prompting from parents. The idea that one would not use the opportunity of a new superhero comic featuring a female hero co-written by the current Queen of female action heros in YA lit in order to try to expand your base is just.....seriously, I have no words.

I had assumed that some smart person had at least put ads in Teen People or something similar, as DC apparently did with Minx. How expensive would it have been to put up banner ads on myspace or google searches targeting people who listed or searched for Tamora Pierce or any of her other works? Her most recent hardback, Beka Cooper - which has been out since before Christmas - is listed at #7,180 in books. That's not that far behind the slightly more recent release of Vol. 2 of Runaways at #6,253. (For further comparison, the most recent Gossip Girl is #309 and the one that came out at the same time as Beka Cooper is now at #3,309. Both are paperbacks and cost much less.)

I wonder, if they even bother to come out with a trade edition, are they going to limit the run to those cheap digests and not even bother to do a dump for it? A co-written comic may not sell as well as her novels, but it will sell to teen girls - if Marvel makes sure they know it exists in the first place.

Monday, January 08, 2007

Some Thoughts on Mary Sue

I think there needs to be a temporary moratorium on using the term "Mary Sue."

Why?

Because it is, in the end, a sexist concept.

I get why it came about, and I don't really see sexism as the motive for the original idea, and I don't doubt that teen girls writing fanfic are more guilty of writing Mary Sues than teen boys.

But using it to refer to popular media as often as people have been lately is just stupid. And annoying.

Yes, Joss Whedon's female leads, Anita Blake, and probably even Vivian from Blood and Chocolate and all of Tamora Pierce's heroines all deserve the title of Mary Sue in some way or another.

But you know what? If they do, so do half (or more) of the male leads in popular culture.

My pet theory for why girls are more likely to write Mary Sue fanfic? A) they are more likely to write fanfic and B) They need it more because fewer of the female characters out there fulfill the same function for girls and women that Rocky, Eragon, Batman, Luke Skywalker, James Bond etc. fulfill for boys and men.

So, yeah, any female equivalent of Rocky is going to have aspects of Mary Sue-ness - because Rocky has aspects of Mary Sue-ness.

But we only call River a Mary Sue, not James Bond. And seriously, which is more deserving of the title of Mary Sue - James Bond or River?

So, please, unless you are willing to deride Harry Potter for being a Mary Sue, please refrain from talking about Buffy's - or anyone else's - Mary Sue-ness.

That goes double for not being happy with the direction of a series because the writer did something you don't like to the characters you do like in order to do something he or she likes with his or her favorite character.

Feel free to not be happy about it. Feel free to deride their writing, choice of favorite character, not so secret fantasies, whatever. But complaining that Whedon's Astonishing X-Men has turned into a Mary Sue story about Kitty Pride just seems a bit silly when there's an entire X-Men series devoted to Wolverine. The way in which he has done so may be worth complaining about. Aside from personal taste, the fact that he has done so isn't.

Wednesday, December 13, 2006

Different Ways of Knowing

Growing up, I hung out with my brothers more than my sister - she was the oldest, I was the second youngest and we usually got along like oil and water. This meant that I was often drafted for various pick-up games. Baseball, basketball, races, soccer, golf, pool: you name it - we did it. And when we did, every so often one of them would stop and pause, make that fake crowd noise, and soak up the fake adulation. I never did; I never really understood it.

My brothers and I also played soccer from kindergarten until high school. We played other sports as well (they played more sports than I did), but soccer was the main sport for all three of us for most of our childhood. My dad was taught how to play by friends in college who were from South America and he fell in love with the game immediately. He was always one of our coaches, always a volunteer ref, and would get excited like a kid at Christmastime when the World Cup would come around and soccer would finally be on TV. Cable and then affordable satellite was a gift from the gods because with it came soccer games on Univision and then the English Premiere League (and by then, the MLS, as well).

When the World Cup finally came to the US, our parents splurged and got plenty of tickets. I was never really one for watching sports, but I was excited to finally go see people play a sport that I understood in a huge stadium with tens of thousands of screaming fans. The reality was even better than I imagined it would be; in some ways it like my first time in a stadium. I couldn't believe that everyone there loved my sport as much as I did; I was so used to it being ignored, mocked, and looked down on. I finally understood why so many guys liked watching sports so much and why they enjoyed live games in big stadiums so much. The adreneline was unlike anything I'd felt before - it was almost as good as playing a championship match myself.

When the Women's World Cup came to the US in 1999 I was dissapointed that the start of my grad program and financial situation meant that I couldn't go to any of the games, but I watched all the ones they showed on the basic cable my roomates and I could afford. Simply watching them on TV gave me the same rush I felt the first time I walked into the Rose Bowl in 1994; the world felt so full of hope and possibility.

Several months later I was in my parents front yard, getting some exercise by practising the drills I remembered from AYSO and high school. I made an especially spectacular move (for me) and was immediately startled to hear the the soft roar of a fake crowd coming out of my mouth. I was stunned. I hadn't known until then that it was in there, inside of me, just waiting for the right time to come out, but I knew right away who had put it there: Mia and her teammates. I was not silent as a child because I dared not give into the urge - I was silent because I lacked the frame of reference that the impulse required. Mia and the rest of the gang planted that picture in my head, and in the minds of thousands of other girls and women. It was as if someone had finally shown me what colors were after years of living in shades of gray. For some reason, when it came to soccer, I needed to see women succeeding in order to dream in technicolored hues.

(I remember thinking in the summer before seventh grade, as we watched the 1990 World Cup on pay-per-view, that my junior year, and the 1994 World Cup, was a really long ways away. Now it's 2006 and I'm reminscing about ditching grad school classes to watch the first Women's World Cup in the US - in 1999. My how the time flies and the world turns.)

*******

I started writing this post back in the summer; I'd originally meant for it to be a segway into talking about soccer, sexism, the World Cup and the infamous importing of prostitutes for the most recent Cup in Germany.

I've ressurected it from the draft graveyard because of this link from When Fangirls Attack. In it Dane quotes (I don't know who)* as an example of sexism

It’s the difference between "this is written/drawn for me and it’s nice" and "this is written/drawn for me and it could have been written/drawn BY me because I can really identify with the women doing it."


*Dane - links please!

(side note: while I don't completely agree with the label, The Dane gets a whole plateful of cookies for calling it sexism, and not reverse sexism)

There's been a lot of discussion about the Minx line, female creators, and Minx's lack thereof. When it comes to real life examples like Minx, there's a lot of things that come into play when discussing they whys, wherefores, and why nots of gender disparity. I just wanted to take a step back for a moment and remind everyone (and possibly explain to those that don't understand yet) why we even care about the gender of artists, writers, and even soccer players.

It's not because we don't think men can't do a good job. In fact, it's often quite the opposite. It's because we've all had that feeling of not being connected to something we love; of doubting ourselves, despite intellectually knowing we shouldn't, simply because we belong to a group that is (practically) invisible within a community of fans or among the superstars that we aspire to be. We all know what it's like, in some way or another, to watch our brothers cheer themselves on, and wonder why they do that or what it would be like to feel the same way.

The saying that you should write what you know has some truth to it, and that's where some of the complaints come from as well. Of course, most of the great stories are about the kinds of things that everyone can relate to. So obviously, writers can write about people they empathise with, but are not exactly like, and readers can read about characters they empathise with, but are not exactly like. The entire fantasy and superhero genres wouldn't exist of this weren't true.

When entire groups of people are almost completely missing from the equation, however, this often means that even well-meaning writers and readers will overlook what should be obvious. Michele Serros, the author of Honey Blonde Chica and other YA books, remarked during a panel on YA novels at last year's Los Angeles Times Festival of Books, that a professor once told her that she ought to change some of the references to various aspects of Hispanic culture from her books because the "average" reader wouldn't recognize them. Serros' logical reaction was that she and her mother had figured out all the references to east coast life that dominated the YA novels available to her as a child, why couldn't other readers do the same? Far too often though, people's reaction - both critics and readers - includes the assumption that the dominant group is the norm.

Often times this goes beyond never asking the dominant group to stretch their empathy and imagination and always asking other groups to do so - and into innacurrate and riduculous portrayals. Based on what people are saying about the Minx authors, Minx books very likely won't have all the idiotic assumptions that many of DC's other comics have.

However, it's not illogical for new readers to be wary of these authors because of their gender. It's not as if the girls who choose Dramacon or The Babysitter's Club over a Minx title never read anything created by men or are choosing not to read these particular authors because they think boys are icky (ok, well -some, maybe) or because of something they only heard or went through once or twice. When women and girls are wary of unknown male authors, it's often because of repeated bad experiences and they almost never write off male creators altogether. The same can't necessarily be said of the hypothetical "average" readers that may be confused by references to Hispanic culture in Serros' novels or people who use stereotypes about certain groups to avoid dealing with them altogether.

While unfortunately some of the end results are similar, there is a difference between picking a writer/bookseller/mechanic, who is hispanic, female, etc. because you fear being condescended to otherwise, and not picking a writer/bookseller/mechanic, etc. who is hispanic, female, etc. because you think that they are incapable of doing a good job.

I'm not happy with the situation, and I'll recommend the Minx titles (or not) based on the books themselves, not the creators gender, but I'm not going to criticise teen and tween girls if it turns out that they need that Mia Hamm moment or if they need some time to recover from the getting burned by yet another clueless attempt to relate to them as girls, teens, whatever.

After all, for all that I complain that boys need to learn some empathy and pick up a few more books that are written by women or - god forbid! - where the main character is a girl, I completely understand why so many boys who wander into the library and bookstore look at me and mostly see yet another woman trying to tell them what they should read or would like. I understand that these are completely different situations, and that part of the solution to the latter has to be making sure that it's not only women who are helping them choose their reading material. Part of helping people learn to be gender blind is making sure that no one gender dominates - especially to an absurd degree.

There is a lot to criticise about DC's choice of authors in light of DC's own comments about wanting to open up comics to more girls. As a line of books, Minx looks promising. As a line of books that's (supposedly) meant to do more than ride the manga wave, it leaves much to be desired.

In the end, it's as simple as that.

**************

In 2001 the WUSA began it's inagural season. In 2003 play was suspeneded permanently, without my ever having gone to a game.

All kinds of people have all kinds of opinions on why the WUSA failed, and if was doomed to do so or not. Here's mine: the WUSA failed because there aren't enough girls and women who make that fake crowd noise, and for most of us that do, it was often a fleeting experience, nothing like the layers upon layers of memories that most men build up over their lifetime. But make no mistake, the WUSA will be back. The memories may be few and faded, but there are still more there than there used to be. It's just a question of how long it will take to build them up high enough.

Eventually, as with DC's attempt to tap into the vast numbers of girls and women who read comics, even the mostly clueless will be trying to get a part of the action.

Thursday, December 07, 2006

I Promise I'll Talk About Something Else Soon

From the Comic Book Resources forums, via this post from Sporadic Sequential, via When Fangirls Attack:

...it's a fantasy story and they've explicitly said they're not publishing genre work under the Minx line.


Huh?

Really?

I missed that.

And why the hell would they do that?

And why the hell would they make a rule that all their stories have to be about being a girl, and then hire almost no female creators?

(And don't some of the upcoming stories fall under the superhero and action genres anyway?)

Oh, and for the record, people need to learn to shut the fuck up with the comparing the excitement over TinTin's comic to the buzz over Snakes on a Plane. Not the same thing at all. Yes, it's true that online buzz may not equal actual money for a company. Oddly enough, intelligent people knew that before Snakes on a Plane bombed.

Snakes on a Plane however, was loved because the very name was a satire on Hollywood marketing and project greenlighting. It's not terribly surprising that when it came to going to watch an hour and some change movie that wasn't a satire, a lot of people that loved the name passed on opportunity to watch the actual movie. (Honestly, who the fuck didn't see that coming?) The problem with the buzz over TinTin's comic, however, is the normal one of "just because a dedicated fanbase is willing to pay money for it, that doesn't mean enough people are willing to may money for it." Which is entirely different, since the question for prospective publishers is not 'will the fanbase abandon the idea in droves" but "is there a larger market for this product?" The answer may not be "yes", but it's also not the obvious "WTF were you thinking?" that applies to Snakes on a Plane.