#413 Should we stop using film terminology to talk about comics?

Terry and the Pirates on filmIn May, comics creator and educator Ben Towle wrote a post on his blog entitled “Let’s Stop Using Film Terminology to Talk About Comics,” in which he suggested that using terms like “camera angle” and “shot” to describe comics storytelling may prevent creators from innovating new storytelling ideas that couldn’t be done in film. The post generated a fair amount of discussion around the Web (including this take on CBR).

This week, the discussion continues here on the podcast, where Ben joins Tim and Mulele to talk about what inspired the post, possible reasons why we came to use film terminology in comics contexts, whether this really hobbles comics as a medium, and what (if anything) could or should be done to improve things.

#412 Add Manga and Mix Well

Marine Corps Yumi and Hollow Fields

This week, Tim talks with two women who are mixing Japanese and Western influences in their comics!

First, Ana Moreno, former US Marine and writer of Marine Corps Yumi, drawn in a gag-manga style by Takeshi Nogami. A gag manga about joining the Marines?! (available in both English and Japanese)

Then, Aussie Madeleine Rosca, creator of Hollow Fields (reviewed on last week’s show). Why does her work read right to left? Does she get any guff from readers about imitating a Japanese style? Also, the art of revealing neither too many nor too few secrets as your story moves forward, and more.

#410 Marvel Comics: Telling the Untold Story

Avengers 4

If you’re into American comics at all, you undoubtedly know how Stan Lee, Jack Kirby, Steve Ditko and others changed the industry with their work in the 1960s, and set the template for kinds of stories Marvel still publishes today.

That’s just part of the story that Sean Howe researched for his 2012 book Marvel Comics: The Untold Story. Through interviews, research of media reports, and of course tons of comics reading, Howe uncovered the backgrounds of many comics stories and rumors that longtime readers may have wondered about. There’s plenty of intra-creator acrimony to be found in its pages, yet Howe found that the book helped some of those involved to move on from decades-old wounds.

This week Tim talks to Sean Howe about the research, the reaction, and what this book has to say to aspiring creators.

#408 Studio Revolver

Studio RevolverTim talks with the members of Studio Revolver in Atlanta, some of whom are have done work for Cartoon Network and storyboarded TV commercials. Not beginners, these are folks who are accomplished and in demand.

So why’d they decide to make their own Web comics? Isn’t that how artists try to make names for themselves? Time times are a-changin’…

Irene Strychalski’s “Shaman Child”

Stephanie Gladden’s “Girls of Monster Paradise”

Rod Ben (Killamari)

Dominike Stanton

Tariq Hassan

Johnathan Floyd

 

 

#406 Aya Rothwell, Comics Anthropologist

Aya RothwellHaving grown up with feet planted firmly on both sides of the Pacific, Aya Rothwell has always been observant of cultural differences, and this shows up in her comics. Who else would do a comic about a human visitor to an alien world, with the biggest conflict being that the human keeps getting the aliens’ names mixed up?

Aya also fills us in on using watercolors in her comics, her journey to comics via the worlds of biology and film, and more.

#405 Teaching comics as literature

300

It’s been a long time coming, but a fair number of teachers in mainstream American education are finally recognizing that what the comics medium brings to the table can be just as meaty and challenging as the best prose novels. This week we meet Juan Mah y Busch, an Associate Professor at Loyola Marymount University. Juan teaches comics like Frank Miller’s 300 and Anders Nilsen’s Dogs and Water not in special “comics appreciation” courses, but alongside novels like Cormac McCarthy’s “The Road” to make other points about cultural history.

How do fellow faculty and administrators react to comics in the classroom? Do students have any trouble with the concept? Why can comics often be better for teaching cultural history than most other media? That and more in this episode!

#403 Joe St.Pierre, ’90s comics, and the Robin Hood of Cyberspace

liberaiderWhile the phrase “’90s comics” tends to elicit some eyerolls nowadays — Foil covers! X-men with huge guns and lots of pouches! — there was still some good comics work done in that era. What was it like to be in the business back then? Joe St.Pierre drew some Spider-man Clone Saga-related comics, so let’s ask him! (See his Marvel covers here)

St.Pierre’s work for Marvel back then springboarded him to storyboarding and commercial art gigs, but (naturally) he still loves doing comics. For the past few years he’s been publishing his Web comic The Liberaider through his site AstronautInk, and now he has launched a Kickstarter project to publish a hardcover edition. This week he talks with Tim about that and more.

#402 Ted Rall pushes the boundaries

Ted RallThere are numerous ways in which you may have encountered Ted Rall‘s work. In addition to his political cartoons, he’s taken on a variety of other formats and other media: comics journalism (in central Asia, including Afghanistan), newspaper columns, radio, graphic novels, and MAD Magazine work.

While his political views are left-of-center, his tendency to question Democrats as well as Republicans has brought pushback from some on the left. Whether his target is a Republican, a Democrat, or another political cartoonist, Rall pulls no punches.

In this episode, he talks with Tim about his philosophy of political cartooning, filing comics from a war zone, why his editors at MAD just don’t “get” his character Fantabulaman, and much more.

#400 SoCal Comics Conversation

Robert RoachTim Across America, part ten! The finish line of Tim’s trip is Los Angeles, home of our friend Dale Wilson, of BuyIndieComics and DWAP Productions. Dale hooks us up with Robert Roach, comics creator and Hollywood storyboarder. He fills us in on ways that storyboarding is much different from comics, and also talks about the importance of getting the details in your story right — regardless of medium.

Legacy Comics and CardsFor the Southern California edition of Ask a Retailer, a talk with Howard Chen at Legacy Comics and Cards in Glendale. Unlike most of the other Tim Across America retailers, Legacy still has plenty of manga on the shelves. But to what extent are those books flying off the shelves?

Richard, Dale, Griffin, and StephFinally, Tim and Dale are joined by Stephenny Godfrey (“Panorama”, “Two Buses”) and Richard Hamilton (“Return of the Super Pimps”, “Miserable Dastards”) to discuss the L.A. comics community and revisit a topic from the Chicago episode: should you make a comic as a step toward getting your story on film?

Also, don’t miss Griffin the Dog in his podcast debut!

Tim appears on camera, for once.
Tim appears on camera, for once.

#399 Corporate Comics: Love ’em, Hate ’em

corporatecomicsTim Across America, part nine! When it comes to Big Two comics these days, there’s a lot to complain about. Marvel characters changed to look like the actors who play them in movies; nearly the entire DC line subsumed into a grim-and-gritty muck. And yet… we still like some of these books! Superior Spider-man, anyone?

In a cafe in Berkeley, California, Tim discusses this and more with three past guests who all live in the East Bay area, but had never previously met: Deb Aoki, John Roberson, and Jason McNamara! Conversation also swung to whether Image can eclipse the Big Two, comparison of black and white comics vs. color, doing a Kickstarter project for your comic vs. doing print-on-demand, and more!

Jason’s Kickstarter page for The Rattler