Posts Tagged ‘Lucy Knisley’

MoCCA Fest 2011: On the Floor

Thursday, April 14th, 2011

For its 10th anniversary edition, MoCCA Fest may not be in its original location or time of year—through 2008 it was held at the Puck Building and until last year it was always in June—but its spirit of comics and community remains. The crowd was a healthy mix of creators and fans, big names and unknowns, distinguished publishers and self-publishers, young (sometimes very young) and old (not that old).

I arrived at the Armory at 11:10am on Saturday to discover a long line that wrapped around the block. Not unusual for MoCCA, especially so close to the opening time of 11, except that the doors weren’t even open yet, and wouldn’t open for another 10–20 minutes. Moreover, many exhibitors were still entering the building. I later spoke to an exhibitor who said that it was unclear on when and where the exhibitors were supposed to show up, so hopefully that’s a line of communication that can be improved in the future.

After the Sequential Non-fiction panel on Saturday was a panel titled, “Building a Book, From Start to Finish.” Panelists were Ben Katchor, Stephen DeStefano, and Lauren Redniss. We didn’t stick around for the whole panel, but Redniss talked up her recent graphic biography, Radioactive: Marie & Pierre Curie: A Tale of Love and Fallout. She mentions doing research for the book that included visiting nuclear sites (including, I believe, Three Mile Island) and attending a conference on nuclear power, where she received phone calls from the company (FirstEnergy) that owned the sites she visited.

Walking around the floor revealed a wide variety of styles and people, with some interesting booths.

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MoCCA Fest 2011: Sequential Non-fiction

Wednesday, April 13th, 2011

As we mentioned it several times last week, it should be no surprise that we attended MoCCA Fest 2011 at the Lexington Avenue Armory this past weekend. We walked the floor, attended panels, and of course, bought lots and lots of comics.

At 12:30pm on Saturday they held the “Sequential Non-fiction” panel, which started a tad late as the previous panel about “Teaching Comics” ran over. The late start was not a problem; moderator Heidi McDonald managed to keep things running smoothly and ended the panel on time. The panelists were Dean Haspiel, Nick Bertozzi, Sarah Glidden and Nick Abadzis. I also spotted Lucy Knisley of French Milk in the audience, taking notes (and I’m sure she wasn’t the only one, as a few faces looked familiar).

Nick Bertozzi spoke about his recently-published Lewis & Clark graphic narrative, which was originally intended to be a mini-comic flip book that would read right-to-left in chronicling their journey west, then the reader would flip it around to read left-to-right for their return journey back east! The book ended up being a little too lengthy for that, so what we have instead is a fairly straightforward, 99% accurate account of their travels (Bertozzi admits he had to make dialog up). His next project is Shackleton, which deals with the famous Antarctic explorations of Ernest Shackleton.

The other Nick, Nick Abadzis, went into the origins of his graphic story Laika, about the first dog in space. He was inspired by a BBC article in which it was admitted that Laika did not survive very long on her journey. To create the book he did a lot of research in Russia, including visiting a private museum at the home of Gagarin (presumably Yuri Gagarin, but I’m not certain). The book was offered to several British publishers who were not interested, though one French publisher was. The book would have had its initial publication in French had First Second not made an offer for it. Abadzis is currently working on a book about the lives of his father and father-in-law.

Dean Haspiel went into his collaborations with Harvey Pekar and Jonathan Ames. Comparing the two, he said they were both very different in how they worked. Pekar turns in pages with stick figures and dialog, while Ames, despite being new to comics, understood instinctively to turn in full comic scripts that laid everything out. He also spoke about the origins of his book Cuba: My Revolution, where his friend Inverna Lockpez has been telling him bits and pieces of stories of her life in Cuba, and eventually he told her that she might have a real story to tell.

Of course, Sarah Glidden spoke about How to Understand Israel in 60 Days or Less, and how she started off her career making daily journal comics to get into the habit, and doing the Birthright trip gave her an opportunity to write about a little more substantial. She originally started off making mini-comics about the trip (which she still had on sale at her table), but at a previous MoCCA Fest an editor Vertigo picked them up and asked her if she’d like to do an entire book.

When asked about the things that were most important in creating graphic non-fiction, Abadzis mentioned being balanced (and that his family was complaining he wasn’t), while Glidden cited this as a reason she didn’t like to tell other people’s stories, because she could mess up the facts. Haspiel emphasized it was important to him that he entertain his readers, while Bertozzi said something that is probably true of all the creators on the panel: he wanted a copy of his book in every library.

Out and About: MoCCA Festival 2011

Friday, April 8th, 2011

This Saturday and Sunday is the 10th annual Museum of Comic and Cartoon Art Festival—MoCCA Fest for short—and in addition to a full stable of exhibitors showcasing new work, they also have two tracks of programming running each day. Panels of note:

Sequential Non-fiction
Saturday, 12:30, Room A

Moderator: Heidi McDonald (The Beat)
Panelists: Dean Haspiel (Cuba: My Revolution), Nick Bertozzi (Lewis & Clark), Sarah Glidden (How to Understand Israel), Nick Abadzis (Laika)

Painting real world stories, from autobiographical to historical, through the lens of the graphic novel.

The State of Editorial Cartooning
Saturday, 4:30, Room A

Moderator: Brian Heater (The Daily Cross Hatch)
Panelists: Ruben Bolling (Tom the Dancing Bug), Tim Kreider (The Pain — When Will it End), Ted Rall (Year of Loving Dangerously)

The trials and tribulations of creating political cartoons in 2011.

Almost True
Sunday, 12:30, Room A

Moderator: Calvin Reid (Publishers Weekly)
Panelists: Gabrielle Bell (Lucky), Joe Ollmann (Mid-Life), Leslie Stein (Eye of the Majestic Creature), Pascal Girard (Nicolas)

Where autobiography and fiction collide.

Pizza Island: The Panel
Sunday, 2:30, Room A

Moderator: Brian Heater
Panelists: Julia Wertz (Drinking at the Movies), Sarah Glidden (How to Understand Israel), Kate Beaton (Hark, a Vagrant), Meredith Gran (Octopus Pie), Lisa Hanawalt (I Want You)

Some of today’s brightest young cartoonists share a workspace in Brooklyn. Here is their story.

YA and Comics: Ever the Two Shall Meet
Sunday, 2:30, Room B

Moderator: Whitney Matheson (Pop Candy)
Panelists: Tracy White (Traced), Lucy Knisley (Stop Paying Attention), M.K. Reed (Cross Country)

Some of comics’ most fascinating titles and groundbreaking artists can be found in the young adult section of your local bookstore.

On Saturday night MoCCA (the actual museum) is hosting a fundraiser wine tasting, sponsored by Corked and Winetasting.com. The tasting is not included in admission to the Art Festival, so tickets will cost $15 for members and $20 for non-members. The wine tasting will be held at the museum, located at 594 Broadway, from 8–10pm.

It’s also worth noting that there’s also a pre-party for MoCCA Fest Friday night at the Sutra Lounge; this one is hosted by Top Shelf and Zip Comics and includes musical and art performances, as well as food. Cover charge is a $5 donation to MoCCA.

Always Whole, Never Skim

Friday, October 1st, 2010

Comics are a good format for travel writing because by their nature they are about taking motion (and emotion) and capturing its essence on the page. Words and images combine; the creator can both tell and show their readers what they saw, and what they experienced.

That is precisely what Lucy Knisley does in her work French Milk. In December 2006 Lucy and her mother Georgia lived in Paris for about five weeks, from Christmas Day until the end of January. French Milk is her drawn journal from that time, possibly with some editing and interspersed with photos taken on  her new digital camera.

Because the pages are taken straight from her journal, the book isn’t expressly designed as a comic; most of the pages are Knisley describing things in text, accompanied by a few lovely drawings to liven up the page or illustrate her point. On top of that, the photographs aren’t fully integrated into the story. Most are presented without captions, and a few without context. Some are even blurry, and the black-and-white printing doesn’t help distinguish one Parisian building from another.

The art is fine; Kinsley chooses to use a simple cartoony style for most of her drawings but there is the occasional delving into more detailed, realistic styles. I particularly enjoyed the drawing of her mother looking at a map, displayed on the same spread as photo of her mother looking at a map in front of an ad for a skin magazine.

The strongest part of the book is the food. Knisley is fastidious in documenting everything her and her mother ate, accompanying most mentions with a drawing of the food item in question. She also names the restaurants they eat in, so aspiring tourists can give them a try on their next trip to Paris. She does the same thing with some of the shopping trips they took as well.

When Knisley isn’t talking about food or shopping she’s talking about her personal life, and that’s where my problems with this book arise. She spends a good deal of the first half of the book being homesick, and it’s absolutely no fun to read a travel comic where the author gives the very strong impression that they’d rather not be traveling. Sure, everyone gets a little homesick at times, but this isn’t the appropriate venue for it. And when that angst subsides, we get a glimpse into her other insecurities: she’s going to graduate college in a few months, but has no idea what to do with her life, how to be a “grownup,” what or she’s going to do for money. These concerns are normally relatable, except that the particular context in which they’re expressed is damning. She and her mother can afford to live in Paris for six weeks. I think that she’ll be just fine.

Given that I am reviewing her book, an honest-to-god paperback published by an actual publisher, she is doing just fine. The book is fine too, I just wish that it was better.

French Milk
written and drawn by Lucy Knisley
Touchstone (New York, 2007)
ISBN 978-1-4165-7534-4

(thanks to Anna)

Cooking by Comic

Thursday, August 26th, 2010

Out of all the available types of how-to manuals, cookbooks are probably the ones that people have the most experience with, but the majority of cookbooks published in the past do not offer step-by-step instructions with photographic accompaniment; instead they are merely pages of recipes with the occasional enticing photo.

As few as photographic cookbooks might be, there are even fewer actual cookbook comics, but a number of people have stepped up to the challenge regardless. Now you can try your hand at a number of recipes, lovingly rendered or photographed to guide the reader through every step of the process.

Lucy Knisley is currently working on Relish, a collection of “stories, histories and recipes of food, all inspired by growing up with a chef for a mom,” due out from First Second in “a couple years.” Until then, you can enjoy her recipes for summer pickles and chai tea syrup.

Other recipe comics include:

And though it’s not a webcomic nor a specific cooking comic, let’s not forget that in volume 2 of Scott Pilgrim by Brian Lee O’Malley, Stephen Stills shows us how to make vegan shepherd’s pie. Daisy Edwards followed this advice, posting the scanned pages from the comic along with her own photos of the process. I once did something similar, using the description posted in volume 14 of xxxHoLiC by CLAMP to make potato-nishigori (read right-to-left):

Finally there’s Cheap Thrills Cuisine, a weekly syndicated strip by Thach Bui and Bill Lombardo. Running since 1993, the strip illustrates recipes as diverse as Cajun roast chicken and Tuscan bean salad, and the archive can be viewed on Comics.com as far back as January 2000.

Bathed in the Glow

Monday, August 16th, 2010

The big word this year has been digital comics. Okay, maybe it was the big word last year too… and the year before. But this year it actually feels like something is happening, and we can probably thank the Apple iPad for all this increased attention. Publishers are putting a lot more content online… for pay, of course, because that’s the way big media likes it.

There are quite a few distributors of online comics out there right now, but the one that’s getting the most attention is comiXology, an app for the iPhone/iPad. Personally, I lack either of those devices, but I do own an iPod touch, so via the magic of wifi I can still download the app and see what all the fuss is about.

I haven’t downloaded any pay comics yet; I admit to being a bit of a luddite with my actual purchases. I prefer having something physical in my hands; something real that I can actually own as opposed to merely having a “license” to enjoy it, a license that can be revoked at any time for any  number of arcane reasons (as outlined in the terms and conditions I might not have read since it can be dozens of pages long). But I did download a few things for free, out of curiosity and because I actually wanted to read them.

I downloaded a free Inception tie-in comic from ComiXology. To their credit, the app makes finding free comics very easy and downloading it is simple, though the actually download process for anything can be poky and my iPod actually locked itself while waiting for a comic to download.

I really like the reading experience of the app. You can use multi-touch to zoom in and out on the images, allowing you a closer look at certain parts of the panel if you do desire. You switch between pages/panels with a swipe of a finger, though this is admittedly a less successful interface and I was frustrated at times by a lack of responsiveness.

My experience was also hampered by the small screen. I am no stranger to digital comics, as I have been reading comics on the web for years, and have posted quite a few on this site. But the small screen is a very new experience to me, and it’s apparent that digital delivery of comics really is meant for the larger screen of the iPad.

To contrast, I tried out a desktop application called Graphic.ly, which also allows users to download comics for pay and for free. The app also purports to turn comics reading into a “social experience,” which is another one of those buzz terms that’s been floating around the Internet lately.

Getting the app on my computer and the comics into the app were simple enough; the real problems arose when trying to read these things. Unlike the ComiXology app, there’s no smooth, intuitive way to get up-close-and-personal with the panels, which is a big flaw considering that with printed comics and the aforementioned Apple devices, you can just move the object closer to your face. You can’t exactly be moving a monitor or laptop screen closer, so proper zooming is essential in any comics app. I can change the view around, but it’s not great.

I’m also not so sure about this social networking thing; on each page of the comic appear comments left by other users.  When you mouse over the image numbers appear; mousing over the numbers gives you the actual comments. The comments don’t really add anything to the experience for me. Reading is by its very nature, a solitary experience. Why does everything on the web have to be social now? Sometimes you just want something that just works, and I haven’t figured out how to make these comments invisible, if there is such a way.

Despite all that, I’m positive about the future—for Graphic.ly, ComiXology, and digital comics in general. And so is Lucy Knisley, who did a nice little comic on what she thinks about digital books. It’s a very personal glimpse of how digital books have changed one person’s life, particularly as a reader/consumer, from a person who has a very large stake in the business as a writer/artist/content producer.