Stumptown Comics Fest: Spotlight on Paul Pope

One of the most insightful talks I attended at Stumptown Comics Fest was given by Paul Pope.

Pope looked like a rock guitarist on his day off: shaggy hair, black jacket, faded blue jeans. His demeanor echoed the spirit of Jim Morrison, whom he cited as one of his early influences. Despite the bad boy aura, Pope was prepared with a professional PowerPoint presentation, and proceeded to deconstruct his art with the precision of a surgeon.

Pope claims that his overarching goals are to bring non-comic subjects into his body of work, and to take the tenets of pop art seriously. He was drawn to the medium because he loved the cheap, mass-produced quality of comics, but he also wants to stretch the art form, and talked about "covering" previous artists in the way musicians cover songs.

His original influences came from two men in his life: his father's rock 'n roll record collection, and his uncle's comic collection. From there he began to explore offshoots: Little Nemo, Heavy Metal Magazine, the work of Moebius especially his "Airtight Garage," and other "sinister" European art. He also mentioned the manga artist Tadanori Yokoo. Then to top it off he mentioned the Sunday comics of Milt Caniff and the music of Ludwig Van Beethoven. At one point said he had a desire to cover Omac "in the style of Andrei Rublev." I'm not sure if he meant the painter, or in the style of the film by Andrei Tarkovsky of the painter's life.

With each reference I became more intrigued by this artist, and I was still reeling when he began a dissection of his efforts on Batman Year 100. "Imagine Batman as a corporate brand," he suggested, "how does one face lift...tweak an icon?". Let me tell you, if you're Paul Pope it's a very thoughtful process.

Pope tried to distill the essence of Batman, and in his mind the bat silhouette is the brand. Throughout the world, even if people don't read comics, they recognize the bat shadow and oval for Batman. The other facet of the character is the city, which Pope called The Batman's "signature." As protector of the city, there's no reason for a Batman without the city. He also thought the flapping cape suggested a flying flag.

From that start Pope rambled through a jumble of impressions: German Kaiser era font, the art and design of Gustav Klimt, Batman as a heavy metal rock band. All of these ideas flowed into the Batman Year 100 cover. References to Batman as the mysterious stranger made him think of Max Schreck in Nosferatu, another "bat" influence. Also the strength and protection of the Golem.

Moving past the cover, Pope wanted the first scene in Batman Year 100 to encapsulate the story, just as the opening bars of Beethoven's Fifth Symphony are repeated throughout the music. He lifted the bike scene from George Lucas's THX 1138, because those motorcycles were so ominous and fast. Also he wanted to incorporate the "bat in the man," giving Batman an animal totem beyond the normal Batman in the comics. So, he came up with the custom mouth guard, looking like vampire teeth.

By the end of the presentation Pope had run through a litany of influences that seemed more dreamlike and expressionist than concrete. Although I hadn't paid much attention to Paul Pope, I liked his reinvention of Adam Strange for Wednesday Comics. His presentation at Stumpfest made me want to (re-)read all of his earlier work.

Some other points touched on during the Q&A session:

• Sam Hiti's "Death Day"
• act-i-vate comics web site
• Luis Bunuel's autobiography "My Last Sigh"
• The death (and dearth) of anthology publications like Heavy Metal, and how web comic sites like act-i-vate might replace them.
• How pinball tables influenced the symmetrical layout of Adam Strange in Wednesday Comics
• How his computer workspace is physically lower than his drawing space -- so the computer knows who's in charge.
• His work with Michael Chabon on the film version of Kavalier & Klay, which is on permanent hiatus

Pope also briefly spoke about his newest work, Battling Boy, the son of a god who comes down from a mountain at his father’s behest to rid a giant city of monsters.  The work is his way to find some wish fulfillment and it looks like it has a lot of extended fight scenes.

You can get more insight into Paul Pope on his blog, or through his flickr stream.

Related articles by Zemanta

• Mike Russell Delivers A Must-Read Interview With Paul Pope! BATTLING BOY, BATMAN: YEAR 100 And Much More Discussed! (aintitcool.com)
• A Year of Cool Comics - Day 130 (goodcomics.comicbookresources.com)

Reading Roundup May 2010

Since meeting Brian Michael Bendis at Emerald City Comic Con and seeing him talk at Stumptown Comics Fest I've been interested in checking out his story arcs on the Avengers. The problem I have with these hardcover volumes from Marvel is that while they're presented as a story, or a section of a story, they aren't comprehensive. The New Avengers Secrets and Lies is essentially the New Avengers issues 11 through 15, with a Giant-Size Spider-Woman #1 spliced into the middle. The New Avengers: Illuminati is so fragmented it feels like a comment on a story that's taking place in some other volume. Similarly, Mighty Avengers: Secret Invasion Book 2 is just a slice of Marvel's massive Secret Invasion "comic event" of 2008, but it would be nice for the reader if it were edited together chronologically rather than by comic title. As they stand, you buy a portion of the story, and I feel it does a disservice to Bendis' writing.







I was at a talk where they called "Oldboy" the best comic to film adaptation ever, so I decided to check out Tsuchiya and Minegishi's mystery thriller manga before watching the movie. I'm up to Old Boy Volume 3, and although the pace is pretty languorous, it's both tense and racy (it has a "parental advisory" warning on the cover, probably due to nudity & sex scenes). It tells the story of a man who was mysteriously held prisoner in a private prison for 10 years. The day of his release he vows to discover who did this to him. The main drawback so far is that the female characters seem to be awfully thin, but I'm hoping this is explained in the course of the story, and not just a failure of the writing.









Rick Veitch's Maximortal is both a parable and a moving pseudo-documentary. It's a twisted vision of the story of a "real" superman arriving on Earth, but it also includes references to Einstein, Oppenheimer & a faux Disney. It also deals with the injustices dealt to Shuster & Siegel regarding their creation and raises questions about popular culture, who owns ideas, and whether commerce and culture can word as bedfellows (Since one villain in the story is called El Guano you can see where Veitch stands on this issue.) The cover to Maximortal doesn't do it justice, inside the art is much stronger. I thought at times it suggested Kirby's style without trying to imitate.









Last, but far from the least is the lush story from Kim Deitch of Shadowland. On Amazon.com one reader called it Deitch's "DaVinci Code," but I don't see the comparison. Shadowland is an intricate history of carnival barkers, freaks, aliens and gnomes. It has everything anyone could want from a story: sex, heroism, intrigue, glamour and money; but not always in the way you expect. For example, the volume begins with the tale of Toby the Pig, who once was the darling of the Ledicker circus, but has unfortunately grown too large to leap through the flaming ring of fire. His last act is to escape from the butcher and perform a high-dive with Ledicker's son riding on his back. The ending to this story, as well as the rest of the Shadowlands, is pure Deitch.

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20 Reasons Superhero Comics Fail as Movies

1. Movies are novels or novellas with a definite story arc. Comics are really soap operas with multiple leads and plots.

2. In comics the action occurs between the panels, in your head. What's in your head is usually better than what's on screen.

3. Bad movies may stink, but great movies still lack the scent of comic book ink.

4. When movies were a quarter comics were a dime. Now movies are $9 and comics are only $3.95.

5. Producing a movie is so expensive that it's better to play safe. The relatively cheaper production cost of comics allows for greater risks and exploration.

6. Movie producers keep starting at the origin  -- get past that!

7. Comics don't have to pretend to be real.

8. Comics have visual sound effects

9. Comics can explore the inner thoughts and feelings of the characters... movies are purely visual

10. Comics can be non-linear: splash pages, inserts, maps, etc.  You are the director of your vision.

11. In a comic book an exclamation point is exciting, but in a movie it's just yelling.

12. Illustrated stories (comics) are the first, best portable viewer.

13. Jack Kirby never directed a movie

14. Comics move at the viewer's pace: savor the slow parts, speed along with the excitement, re-read the amazing.

15. Movies have too much ego. A recognizable actor's face can interrupt the movie...

16. Movies always want to change the game...(think "Dune")

17. ...but they forget these massive changes with the next movie. Comics keep to the canon.

19. Comics provide for graphic idioms. Have you ever seen successful "speed lines" in a movie?

20. Not everyone looks good in red underwear...unless they're drawn that way.

The Brady Bunch...

Why does this cover have the Brady family in jail?

Stumptown Comics Fest: Teaching Comics

Stumptown Comics Fest is a different kind of comics event: one that focuses on the creators, rather than the collectors.  Because of this self-promotion, it's a bit schizophrenic at times. Lots of people have come to sell their own work (and there are some real pearls in there), while panels present topics for both the creator and the reader.  Despite locking my keys in the car, I managed to attend some of the talks and also picked up some cool comics. The first panel I attended centered around teaching comics.

I'd heard about Brian Michael Bendis' stint teaching a course last fall at PSU on writing comics, and I was sorely intrigued to learn more at the "Teaching Comics" panel.  Add Dark Horse Comics editor Diana Schutz, Center for Cartoon Studies founder James Sturm, PNCA professor Trevor Dodge, PSU professor Katya Amato, and Ben Saunders, the curator of "Faster than a Speeding Bullet: The Art of the Superhero" show at the University of Oregon last year, and you understand why I was urging my kids to run through the park to the Lloyd Center DoubleTree so we wouldn't miss the beginning of the talk.

Each panelist introduced themselves by explaining how they took up the clarion call to teach comics.  Moderator Schutz said that Will Eisner had been to a college in the Midwest that was teaching comics, and he was so inspired that he urged her to take a class so she could learn to teach comics theory.  Of course she couldn't say no to Eisner, so she now teaches part-time at PCC and PSU.

Sturm always wanted to be a cartoonist, and joined that with his love of DIY to create his own comics.  But, he felt he needed a day job, so he started his own cartooning school which has become very well known.

Katya Amato considers herself a newcomer to comics.  She has a background teaching art history and was previously a law editor.  But as students showed her new comic examples she she fell in love with this "new kind of literature." For a while she studied under her students until she felt she could bring the exploration of comics to class.

Saunders explained that he grew up in the UK where there were few distinctions of genres between superheroes, science fiction, romance and comedy comics. The stories were often mixed together in the marketplace and the comic magazines, and he hopes to continue breaking down distinctions in the US comic business. He feels that there are obvious advantages to creating an educated reader, one who can critique the comic rather than just reviewing it. He gave an example, "students think Ditko is a crappy artist, and it's my job to tell them why they're wrong!"

When Bendis went to the Cleveland Institute of Art he felt  the teachers didn't understand comics. He complained that every time he discussed comics one teacher kept referencing Andy Capp, and he eventually became frustrated with the academic experience. Years later when he was asked to guest teach he began working on creating the class he wished for when he was a student. Bendis claimed that many comics artists feel insecure about their skills and this results in an unwillingness to share secrets, leaving a gap in the knowledge base.  He taught his first full class at PSU last fall, and plans to teach again September, 2010.

This was a good segue into an explanation by Trevor Dodge how he came to teach comics.  Dodge, inspired by Bendis' work "Torso", approached him at a 2002 "meet and greet" and asked Bendis to guest teach a class on the story.  After the class Dodge realized how comics could be integrated into teaching, and pitched a syllabus to his department head called "Illuminating Manuscripts."  Since then his courses have become even more popular, peaking with an analysis of the graphic novel "The Watchmen." He hopes to stretch the criticism of comics into new areas other than just "I like comics."

After the introductions the panel fell into a Q & A session (for the sake of clarity I've condensed the responses by instructor).

Sturm: If you want to be a comic artist, then the best thing to do is to make comics. Focus on stories that have a beginning, middle and ending. Don't just write or draw -- follow through by producing a limited number of copies and distribute them to people. Learn by doing. Also, don't let people tell you "comics can influence your work but can't be your work."

Saunders: Comics are currently considered cool electives. Universities may cut the comic studies budget, but they'll always have Shakespeare because it's considered an essential. His dream is that someday schools will consider comic book studies to also be essential.

He mentions that we need change from within: Don't write your dissertation solely on comics. He says that 237 others applied for his position as a Shakespeare professor. A teacher who focuses solely on comics would not get that position. Practical skills are essential.

The "Superhero" show was the best attended show in 75 year of the Schnitzer museum. The University of Oregon noticed this, and now they're planning more comic art-centered shows.

Amato: Lynda Barry's book "What it Is" is a great reference book and starting point for a class. Amato & Dodge also both discussed class issues. Many people don't read anything at all, and reading comics is a distinct minority of readers. Why? People who have to work all the time might be "too tired" to read. Also, when there's free time to read it's usually a focus on fantasy rather than heavy philosophical issues. But, this leaves a niche for comic writers.

Bendis: Comics have to be taught within the context. He includes the documentary "Masters of the Comic Book Art" with Harlan Ellison and also the film "Wonder Boys" based on the book by Michael Chabon. A rule of thumb is to not teach too much of your own stuff. Bendis had instructor approval over all his students to weed out the "fan boys" and focus on writers who could benefit most from the course. The class was nearly all writers, and some of them fretted over the class project: each person creates and produces a 22 page comic. For the most part students surprised themselves and came up with good results.

Dodge: Currently the term "graphic novel" is mostly a marketing gimmick. But there are novel comics. Why do sentences and paragraphs have to be the province of big ideas? We have outstanding artists and thinkers in comics: Chris Ware, Ivan Brunetti, Charles Burns and Scott McCloud to name a few. The problem is that comics lack a fine art vocabulary. Teaching comics will help define that vocabulary.

There was an interchange between Bendis and Saunders. Saunders threw out the idea that Tony Stark was metaphorically a robot before he became Iron Man; mechanically having sex and boozing it up without any soul. He puts on the suit to become human: fighting for justice, working toward a common good. Bendis was intrigued by this idea and tossed out that he might use it in a future story. They briefly dickered over whether the idea was worth a footnote or a cameo for Saunders (Bendis promised a background cameo).

The panel wrapped up with a general discussion on funding comic courses at the university level. Ohio State has a well-funded comic studies program, and part of this may be because Milt Caniff donated his originals to the foundation there. Also mentioned is the Gardner Fox collection at University of Oregon, and the Mike Richardson / Dark Horse collection at Portland State University. Mark Wolfman is also thinking of donating his comic collection to create a "comic chair."

Another way of garnering funding for chairs is to directly approach the people with cash to donate. While artists, schools and even publishers might not have much money, there are definitely some high visibility people who do: names like Nicholas Cage, Bill Gates, and others.  One panelist points out: "Scratch a millionaire & you'll find a geek."

Boody Roundup

As a roundup to my other posts ("Babe and the Dying King", "Wedding Bells", "Slide, Babe Slide", and my review of Boody: The Bizarre Comics of Boody Rogers) I wanted to point out some other resources on Boody Rogers.

Wikipedia has a good succinct entry, the key points being:

During the 1930s, Rogers illustrated cowboy comics for Dell Comics and DC Comics...Sparky Watts began in Big Shot #14 (June, 1941), and the character starred in four issues of his own comic for Columbia, beginning November, 1942.
Back from WWII, Rogers returned to syndication in 1946 with McNaught, and he drew new six-page stories for Big Shot, plus in 1947, he created another six issues for Sparky's own title. Rogers also illustrated Babe and Dudley for Quality Comics' Feature Comics.
Rogers retired from comics in 1952 and began operating a pair of art supply stores in Arizona.

If you want to read more Babe comics, you can find an extended story from Babe #7 here, and part 2 here. In part 1 Babe hatches a 3-legged caveman from a gigantic egg and he eventually becomes her (boy)friend, Tripod. In part 2 Dr. Woeman invents a formula called "WomanMinusWo" that will do away with all women on Earth by turning them into men, and Babe is unlucky enough to drink it, turning her into a hunk of a man. Finally, part 3 resolves the story, but it's so convoluted you'll have to read it yourself.

Pappy's Golden Age Comics has an example of Boody's response to Archie, Dudley #1 from 1949. Dudley only lasted three issues, leaving Archie as the teenage comic king. Or, maybe Boody's readers just preferred Sparky Watts or Babe.

Pappy's is a great resource for readers of golden age comics. Here's a scan of Sparky Watts #6. In this story Sparky Watts accidentally rockets to the arctic, creates global warming, then shrinks to bug size, finding the world of Hubba Hubba, which is also how Sparky reacts when he sees the female inhabitants of the land.

And here's the cover of Big Shot #87, which contains the story of Hattie getting married included in "The Bizarre Comics of Boody Rogers".

A great reference book is Comics: Between the Panels by Steve Duin and founder of Dark Horse Comics Mike Richardson, but surprisingly Boody wasn't mentioned at all. So, most of my material came from the Overstreet Comic Book Price Guide and original copies of the comics.

Babe #3 - Slide, Babe, Slide (1948)

Although he was creating comics before World War II, the years immediately following WWII were very productive for Gordon "Boody" Rogers. It was as if he felt a need to make up for the missed time when he was away from the comics world.

Big Shot Comics, published by Columbia Comic Corp., came out monthly from May 1940 through August 1949. The first appearance of Sparky Watts is issue #14 in 1941, and Boody drew it until 1944 (#42) when he left to fight in WWII. After the war he resumed drawing and writing Sparky Watts from 1947 (#77) through the last issue of Big Shot Comics (#104). The Big Shot strips usually ran four or five pages.

In addition to Big Shot, Babe, a bi-monthly, was entirely written and drawn by Boody from issue #1 in 1948 through #11 in 1950. He also worked on the very occasional Sparky Watts comic, which started in 1942 and ended 10 issues later in 1949, #6-10 drawn between 1947 and 1949.

If you do the math it means Boody was turning out 30+ pages of comics per month in 1948!

In "Slide, Babe, Slide!", the concluding story in Babe #3, Mr. Teapot rushes Babe in her wedding gown to the World Series between the Brookdale Blue Sox and the New York Hanks. In Babe #1 he enlisted her as a pitcher for the Blue Sox. From the airport Babe tucks Mr. Teapot under her arm and runs through a city that doesn't really look like New York, but it's still entertaining. Arriving at the stadium it's the first of the ninth, two strikes on the batter and the bases are loaded. The Hanks' coach protests Babe's appearance, so she agrees to pitch with her arm tied down (is there a touch of bondage here?).

Babe pitches and strikes the whole team out. Then, when it's her turn to bat... well, just read it.
Here are the other stories from Babe #3, "Wedding Bells" and "Babe and the Dying King"
Here's my review of Boody: The Bizarre Comics of Boody Rogers.

Comics Cartography

Half-Man | Half-Static has collected some cool examples of comics cutaway drawings.

I love this kind of stuff, and when I was a kid I'd pore over the diagram of the Baxter Building, imagining what my room would be like if I were part of the Fantastic Four.  Of course it would need a secret passageway to the Pogo Plane hangar. I'm sure I spent tens of hours drawing similar layouts for my own secret hideout.











You can see more here.  Meanwhile, here's a map of Riverdale from an old Lil' Archie story by Bob Bolling.