Book Club Report: A Discussion with Marjorie Liu on Astonishing X-men

As of writing this, same-sex-mariage has been legalized in the US

A constantly beating drum in the comic book industry is the call for more diversity. It's an important issue, both socially and financially. Since different creators bring in new ideas and fresh new stories informed by their individual experiences. Since the conception of the "superhero" comic book, North America has grown increasingly multicultural. There are so many exciting discussions on aboriginal rights, LGBTQ issues, and other topics; it's phenomenal to see it unfolding. Diversity means introducing new creators that bring with them a new point of view, new ideas and stories and their own authorial stamp. It's also important for the mainstream publishers to move toward diversity as well from a financial point of view. The customer base is much broader than the stereotypical young adult white male (although that age category is debatable, and a late 30 to early 50 age range is probably more accurate nowadays). Superhero movies are multi-million dollar blockbuster. People are interested in this topic and when they look to buy comics, if they only see an insular world of white creators and characters, chances are they won't come back. Alienating potential customers in a modern world where you can access any form of entertainment easily and you`re being constantly bombarded by new opportunities for leisure is not financially viable. Diversity of characters, creators and point of view is the way of the future, it may be the only way comics not only survive, but strive.

The Ottawa Comic-Book Book Club met this month with Marjorie Liu to discuss the first collection of her run on Astonishing X-Men. Our group have different interests in comics: some tend to appreciate structure, design, plot, characters, art or even color. Our regular comic reading habits rarely coincide. Although most of us were familiar with X-Men, few of us understood the minutia underlying their world. Marjorie gracefully accepted to join us for a discussion on X-Men, diversity, marriage, her career, collaborating with other creators and working for Marvel.

What the Book Club was wondering prior to our discussion

Marjorie Liu started the discussion with explaining how she ended up writing for a comic book in the first place. She had originally studied to become a lawyer and even passed the bar, but after she finished school she didn`t feel that practicing law was the right path for her. She wanted to write and so she turned her mind to that. She wrote her first novel, Tiger Eye, a paranormal romance book (and the first of her Dirk Steele series) in about a month in 2005. She became an author, wrote more books and eventually wrote an X-Men novel for Marvel called X-Men: Dark Mirror. Her comic career began in earnest with NYX: No Way Home, then Dark Wolverine, X-23 and Black Widow until she was approached for Astonishing X-Men. 

Since Astonishing X-Men was well established by that point, she had to use the characters already on the team for her stories. This included Wolverine, Gambit, Iceman, Northstar, Warbird, Karma and Cecilia Reyes. She took a look at the characters and decided that one of the first plot-lines she would work on would be to move the character of Northstar forward. Northstar came out of the closet in the mid 90's in Alpha Flight #104, and had been in a relationship with his partner, Kyle Jinadu, since 2009. Marvel Comics approached this idea enthusiastically and cautiously as they wanted to ensure it would be done properly. Many editorial suggestions and re-writes later, the story was accepted. Although well publicized, she didn't anticipate a good reception to the comic. The issue was anticipated and Marvel did warn her that she would likely receive "minor death threats". There was no backlash and the issue was received favorably. It was not an action packed issue, but a thoughtful, heartfelt and intimate look at the characters involved and the reactions of those around them. Overall, the story of the wedding was well done and well received.

The group really enjoyed the character moments found in this collection. How the characters interacted with each other was a highlight of the book. When Kyle Jinadu and Northstar are unpacking, Kyle requests Northstar uses his speed power to furnish the apartment quickly. When they come back from the fight, Northstar is flying and carrying Kyle in his arms. This makes Kyle feel inadequate as he was caught in the crossfire of a vicious battle earlier and couldn't contribute to it. Those little moments are aplenty for each character in the book and they were very welcome. It was quite refreshing to see so much effort being put into developing these characters and making them feel fleshed out.

We quickly understood that for Marjorie, comic stands at the intersection between prose and screenplay. The process she normally uses for writing books is quite different than for her comics. She has to think about her characters, who they are, what they're saying, what they're thinking and how to express those elements in words. In comics, those same train of elements aren't necessarily conveyed by words, but by a combination of dialog, narration boxes and visuals. The challenge lies in finding the right way to collaborate with an artist to illustrate what you hope to see. Through good communication and collaboration, artists bring their vision of how they see a scene and the team ends up with something that satisfies them both. The strengths of all creators elevating the work of the other. This is a really good way to work with someone.

The inclusion of New York imagery within the books was also a welcome addition. We knew the X-Men were based in New York (or San Francisco now), the town where the action took place rarely seemed to matter. Marjorie and Mike Perkins create a City that feels real. The X-Men are taking a cab after a fight, they're eating a slice of pizza in Greenwich Village pizzeria, a wedding in Central Park. This is New York and it feels lived in. We understand where they are instead of thinking they're in generic location #23. 

Cabbing home after a fight

This collection however, was downright confusing and jarring for us to read. Since it begins with issue #48 of a well-established series, it assumes you have a good understanding of who is involved and the background information of the characters. Most of us could recognize Wolverine and Gambit, but we all scratched our head when Warbird is introduced. Particularly since she appears to have killed one of her enemies so those of us who didn't know she was an X-Man assumed immediately she was an enemy. It's not so much an issue of poor storytelling, so much as it's an issue concerning the insular nature of the X-Men in general. You need a PhD in X-Men and a Wikipedia page open before being able to understand the stories being told. As for the jarring feelings, well the collection only tells half a story. Obviously the focus is on Northstar, but the central plot concerns a villain using mind control to get at the X-Men. Why I couldn't tell because the story abruptly ends at what I assumed is a halfway mark. The collection does conclude (or appear to conclude) Northstar character`s arc, but leaves you right in the middle of the main story arc. After the wedding, a cliffhanger happens, then it's a short story from an unrelated comic published 4 years earlier. Then it's the story of Northstar coming out of the closet which features this stupid guy:

The least stereotypical Canadian character ever created

How these issues are collected is not a decision by the creative team, but rather their editorial team. Though we may be cynical, it wasn't hard to understand that this was collected as soon as possible to cash in on the publicity of the wedding issue regardless of whether or not it was narratively coherent. From a business perspective, it make sense, you want to make sure you squeeze out sales while the trend is still fresh because you`ll lose out on those sales the longer you wait. Removed from that context, years after the publication, it's just jarring and kind of obscene. As readers, how can you take this seriously? We all understand that the serialized nature of comic books means that "the story is never really over", but how much can you stretch that elastic before it bursts? We as readers felt the story to be important, but can the same be said of the editorial team? Does this encourage readers at large to pursue the other collected editions? I'm not sure. We're a large group of individuals and our tastes vary. I'm not sure that paying a premium fee for half a story that ends with a guy in a penguin suit, a top hat and a monocle telling you "well if you like this, you gotta buy the next book to see how it ends, huh huh!" is the right way to ensure longevity with sales. No one likes to be taken for a fool. This probably explains why sales of comic books (at least floppies) have been steadily declining. There's only so much insults one can take.

Again, this wasn't something Marjorie or her colleagues had any control over so we couldn't really fault her for it. This did bring us to the topic of creator-owned comics and of the extra liberty this brings about. Marjorie is currently working on a creator owned project for Image Comics called Monstress with Sana Takeda. Monstress takes place in a fantasy 1900's Asia, where mythic beasts roam the land and we'll follow a young girl with a psychic connection to one of those beasts as she is hunted by many who wish to exploit that connection. The release date was still up in the air at the time of our meeting but we were assured it would be "soon, very soon". We could tell Marjorie was eager to talk in depth about this project. The amount of freedom that this allowed her was quite exciting. How long will the series be? How many pages will the first issue have? How will it be collected? Will there be guest artists and who could they possibly be? All of these things will be determined by her, Sana and their colleagues.

And this extra liberty is just something you can't have at a corporate comic publisher. The corporation owns the right to the work, the universe and the characters. At the end of the day, nothing you do belongs to you. And this is a subject we've encountered before in discussion with other comic artists and writers we spoke to. They may be invested in the work they've done, and once they leave, they may want to come back to it later, but there is no guarantee they'll ever be involved in it again. It can be quite frustrating and this seems to be what is pushing a lot of established creators toward owning their own material. It won't always be successful, but it will belong to them and that control, that ownership, is worth a lot more than you can imagine.

A lived in city for the X-Men

On the subject of collaboration, Marjorie mentioned that, although it's always a good thing to know your collaborator's strengths, it's also important to understand your own weaknesses. Being humble and recognizing where your weaknesses lies allowed her to collaborate with colleagues much better. For example, Marjorie mentioned that she will often rely on the artist she works with to create fight sequences. This allows the artists to make better choices concerning the page layout and the action that unfolds. The two of them know where the action is going and what needs to happen, but the fluidity of movement and how exactly the same takes place doesn't rely only the writing of Marjorie, but on a collaborative process where the artists and writer contribute to construct the scene. The results in this comic, for example, is seamless. The action flows nicely from one panel to the next without skipping a beat. Knowing what your collaborators are good at is great, knowing where they can help you can sometimes be even better.

Nightmarish dream vision

On the subject of diversity, Marjorie talked to us about her own experience at Marvel. She's always felt welcome and supported by her colleagues. While she recognized that she has worked with a diverse team, mostly at the editorial level, that didn't extend to the level of writer and artists` teams that were around her. The call for diversity has been beating louder and louder across the internet and hopefully publishers are listening (N.B. Although it's hard to tell if they're listening or if they're completely tone-deaf. Only 8 women will be working on the 45 title Marvel relaunch of October 2015). There will never be a time when we'll be able to say we have "enough" diversity. As I mentioned earlier, those new creators bring with them new ideas and stories, it's just hard to ignore the positive outcome both from a story perspective and from a PR perspective. Most members of our book club are women and the idea that comics are a "boys club" is difficult to shake. Marjorie was kind enough to let us know she feels things are moving in the right direction, albeit at much slower pace than anyone wants to admit to.

We were able to have a solid discussion with Marjorie and gain a better understanding of her experience as a writer by the end of our meeting. We learned much about collaborative process, diversity and the process behind the comic book in terms of editorial input. Leaving the meeting, we all had mixed feelings about the book, myself included. Not all of us were sure that we would recommend the book. It was a flawed experience, mostly due to how the book was collected. A cautionary tale perhaps for overeager editors. In any case, we were quite thankful for the time Marjorie took to speak with us. Her eloquence, candor and honesty was quite riveting. We're looking forward to Monstress and her upcoming projects. Some of us have already started reading her novels. Truly the mark of a captivating author.

Looking forward to this

Book Club Report: A Discussion with Julie Delporte on Everywhere Antennas

It is difficult to understand the toll that a chronic illness can take on someone. The constant uncertainty; the feeling that you are losing a battle against yourself can be overwhelming for many. In Everywhere Antennas, we follow a protagonist who suffers from a disease known as Electromagnetic Hypersensibility or electrosensitivity. We see her struggle with this illness as she tries to adjust to her condition. As crazy as it may seem, and regardless of whether you believe in this disease or not, this is a fascinating book that goes deep beyond the core of chronic illness and the isolation that comes with it.

The Ottawa Comic Book Book Club met this month to discuss Everywhere Antennas. We all enjoyed the book. It is hard not to; it's such a lush package, the colours are fantastic and the use of cursive text to frame the drawings are phenomenal. It's unique and beautiful. Our discussion would have been quite short as we would most likely only talked about how much we enjoyed the book, except that we had the chance to welcome Julie Delporte to discuss her latest English book. She gracefully joined our group for an evening to talk about the book and provide us with perspectives on her process, loneliness, illness, her diary style and the difficulties of being an artist.

In tackling the topic of Electromagnetic Hypersensibility, Julie talks about illness, but also about loneliness. Our modern world encourages connectivity: Wi-Fi, radio, Bluetooth, infinite waves coursing through our homes, through our bodies, linking us instantly to each other. I look outside and I see them, I see these antennas, but I cannot feel them. But what if you were unable to cope with it. If you weren`t able to be in the modern world. Turning away from where you've been your whole life, in a world you can hardly escape, would be unbearable. Modernity being an unescapable reality and the present an unwelcome moment to be in. The future would be bleak. Her protagonist is going through this in a constant state of loneliness, unable to connect or be understood. She goes through an array of friends and acquaintances, never being fully engaged.

This loneliness is also reflected in the form of the book. A diary, a journal, is something one keeps for themselves, not meant to be shared. It is a lonesome endeavor, which, just like the magnetic waves, is something that isn't seen. Delporte's protagonist keeps this diary as she goes through this illness and expresses, day by day, the toll it takes on her and how she copes with it.

Julie was kind enough to talk about the creation of the book. Everywhere Antennas was conceived as part of a "24 hour comics challenge". She came up with the first chapter and liked it enough that she wanted to expand on it. However, the form it was going to take wasn't exactly as clear as she originally thought. Conflicted between the idea of keeping her work in color and doing it in a more standard comic style (black and white, with panels and speech bubbles) she experimened with the form. This experiment eventually became the third chapter of the book. She discovered she preferred to keep the style consistent throughout and finished the book in color. Although the Black & White chapter clashed with style of the rest of the book, she was able to integrate it. It is not, however, an unusual graft. It serves a story purpose. It is the only part of the book that involves a discussion between the protagonist and a friend. It breaks from the diary format, who was colorful and introspective to a black, white and grey, which has a more severe and stern feel to it reflecting the bleakness of human interaction. It is grey because it doesn't come from the self. The final chapters return to a diary format with colours. And something phenomenal also happens as we move through the book. Julie's art gradually evolves. You can actively track her progress as Julie grows into her artistic skill and technique throughout the book. And the most incredible thing is that it fits with the protagonist`s state of mind as she also gets progressively better as time goes by. Julie Delporte may have delivered the best constructed comic our group has read so far.

Why a diary? Because, as Julie Delporte graciously mentioned, the diary form is the closest reflection of reality she can get to. The comic book language works well, but as she tried to illustrate feelings, the traditional comic book style - the speech bubbles, the panels, the grid, all of those - got in the way of what she was trying to express. Panels are not lifelike enough for what she was trying to accomplish. You can hardly express loneliness when your figures are surrounded by lines or narration box. And the colours were needed as they reflected the feelings of her protagonist. They are never completely clear. There are so many shades of blue in the sky, yet if we were to convey it on a page from memory alone, I doubt we would be able to reflect just how many colors that represents. In a sense, the colours become a way to inbue the text with emotions, while trying to reflect both the reality of the protagonist, and the impossibilty of capturing this reality.

We were able to gain a thorough understanding of Julie Delporte's work by the end of our meeting. It was a very humbling and phenomenal experience to meet a comic creator of this caliber. Although I won't proclaim that we all thought Everywhere Antennas was a masterpiece, we all realized we were facing something incredibly unique. We were particularly grateful for the opportunity to discuss it with Julie. We can only hope that our future comics landscape includes her work, whatever shape it may take. I for one am eagerly awaiting her next work.

Merci Julie, nous espérons que ta carrière sois longue et fructueuse et que tu puisse poursuivre les opportunités qui te plaisent.

Follow Julie Delporte on Tumblr or read her blog.
Everywhere Antennas is published by Drawn & Quarterly 

Book Club Report: A Discussion with Sam Alden on It Never Happened Again

Longing and Belonging

I'll always remember the day I was first introduced to comic books. One of my dearest childhood memories was walking (6 blocks exactly) to the independent video rental place near my family's house in Quebec City. It was a cold but sunny spring day and my grandmother took me there to get one comic book. She was over for the weekend and wanted to encourage me to read in English. My entire family is French. I went to a typical French school, and the English language was not commonly spoken in that part of town, or even in the town in general. She understood the value of learning a second language, even though she never learned one herself. She knew I enjoyed cartoons and figured that I would at least be interested in the medium of comic book.

I must have been no more than 6 years old at the time. We got there and I stared at a single spinning rack of comic books for a while. One comic book felt huge. There were so many to choose from. What was I supposed to pick with all of these 18 choices? I browsed and I picked a Batman comic. I will never remember which one it was, but I will always remember the feelings it evoked. Walking home, my grandmother holding my hand, the sun landing on my cold face and also importantly, the feeling of paper on my fingers. It was the first comic I remember reading and it became an important part of my life. I will always be grateful to my grandmother for it and to my parents who supported this addiction. It changed my entire life. 

This moment was a revelation, both important and fleeting. It happened once and my life was changed forever. I have been chasing down this moment for the past twenty years. Hoping to relive that first high, yet I have never been able to fully recreate it. I'm talking about this because this month, the Ottawa Comic Book Book Club read Sam Alden's It Never Happened Again, and Sam kindly agreed to meet with our group to discuss his book. 

Sam Alden by Sam Alden

Sam Alden is a 25 year old cartoonist and illustrator from Portland, Oregon. He has previously written web comics, comics and graphic novels, which include Haunter, The Man that Dances in the Meadows, Backyard, and many more. Hiw work is generally published online first and printed afterward. His comic Wicked Chicken Queen published by Retrofit Comics, won an Ignatz Award for Outstanding Comic at SPX a few weeks ago

Fleeting moments

It Never Happened again collects two short stories, Hawaii 1997 and Anime. The first is the story of a Young Sam Alden who is on vacation in Hawaii. He goes out one night to see the beach and the stars and meets a girl. The second is the story of Janet, a girl who feels out of place in her hometwon and plans to visit Japan, where her favourite fictional anime character lives to find her place in the world. The themes of longing and belonging are very much present in this book. The Young Sam will spend the rest of his life trying to find the girl, or some version of her, always yearning to recreate this moment. Janet wishes to recreate the experience of Kiki, or even become Kiki as best as she can. She is also looking for a place where she can belong, a goal she may never achieve as the anime paradise she wishes to reach is as fictional as her idol. 

Sam was kind enough to tell us the genesis of Hawaii 1997 and how it was a stepping stone to his current style of drawing. Drawn on notebook pages during a flight back to the U.S, this comic came to life as a sort of personal challenge and as a way to fight the boredom of air travel. The style that came through was, and is, still very distinctive and appealing and Sam embraced it. This took him away from his previous style, a sort of Craig Thompson emulation, and into his own distinctive creative style. We are all the better for it. This book shows Alden's style evolving. The use of pencils is so raw that, as a reader, you try to avoid touching it for fear of scratching or smearing the pencil marks. The look is fantastic and you can find stunning passages nearly everywhere. Of particular interest, when Young Sam puts his head underwater (above) or the map of the unknown town in Japan (below)

In Transit

Language also held an important role in the book. Janet's only silver lining in her otherwise bleak story is when she is complimented by a local man on her mastery of language. We were wondering if language had any influence on Sam's writing. It did in some ways, but not what we were expecting. Language in Anime serves to further reinforce Janet's feelings of isolation. She does not fit in her hometown, she does not fit in in Japan, and even worse, there, the foreign language isolates her from the community even more. This experience was similar to Alden's own trip to Japan when he was younger. The language barrier kept him at a distance from his environment, never quite fitting in. 

Isolation, and the search for a place where she belongs

We were also surprised to hear Sam talk about what influenced him to write this story: a similar trip to Japan with his then-girlfriend as a young adult. Nothing went as planned, not that he had planned much, and the whole fiasco became a real catalyst to the man he grew up to be. Writing Anime also forced Sam to adopt a different point of view on his experience. Our discussion then turned toward gender. By writing a female protagonist, Sam often wondered whether the characters felt true enough. In a way, he distorts his experience and projects them on a woman. In this regard can the text be read as true, as authentic? The group (which consisted that evening of over 80% of women) felt so. 

Haunting

The theme of longing are present, so is another recurring theme in Alden's work: Haunting. The community Backyard is haunted by the wolfchild, the woman is haunted by The man that dances in the Meadows. In this book, Young Sam will be forever haunted by the memory of the girl. Although it didn't appear that Sam did this consciously, the idea that people are haunted by memories, feelings and even their own mind is a recurring theme in Alden's books. The author did confirm that he does not believe in ghosts.

Finally, we were very interested in hearing about Sam's process in writing for the screen and for paper. He explained to us that he had always intended Hawaii 1997 to be printed. The movement of the kids running translates very well online as well, but that was not the primary goal. The pacing and movement also works on the page as it was intended. The Anime story was also conceived for the page and it truly shines this way. He constantly works to improve the layout and searches to find an optimal pace for the story, both for the online/Tumblr audience and for the page. His new webcomic Hollow tries to integrate those two elements. It will be interesting to compare the final results.

Gazing at the unreacheable wonders of the universe

We were lucky to have such an interesting conversation with a talented young comics author. Not only did it help us gain some perspective and knowledge on It Never Happened Again, it allowed us to learn much about his process and his thoughts on making comics. Much like Young Sam's search for an ineffable girl, or my quest for this very first comics experience, our group will keep looking endlessly for a similarly enlightening discussion on graphic novels. In the meantime, we will value our discussion with Sam and recommend everyone to seek out this outstanding work. 

Book Club Report: A Discussion with Pascal Girard on Petty Theft

The Comic book book club we belong to is an interesting group. We all like reading, but for each member, reading the same book brings a multitude of different interpretations, especially with regards to the subtlety imbued by the particular language of the book. We’re located in Ottawa, Canada’s national capital, and live in a bilingual environment. Almost 40% of the city’s inhabitants are bilingual. English isn’t even my first language, it’s French. Most of us are working, living and reading in both languages.

The book club met to discuss Petty Theft, as we normally do every month. There usually is a sense of fun and anticipation before the meetings. We’ve had a month with our book, we`ve each read it and have had an appropriate amount of time to think about it. This month our discussions proved to be especially significant as it was a special event for the Ottawa Comic Book Book Club: we had the pleasure of welcoming Pascal Girard to discuss his newest graphic novel Petty Theft. He gracefully accepted to join us for an evening to talk about his book, his characters, his process, language, family and construction work.

Pascal is a French-Canadian cartoonist. His Tumblr bio informs us that he was born in Jonquière, in Saguenay (the town with one of the weirdest mayors in Canada, Jean Tremblay). He loves drawing and running and he's in love. This biography relates to the themes of his newest English book Petty Theft. Pascal has written more books in French such as Conventum, Jimmy et le bigfoot, Paresse, as well as some other collaboration work and children's books. Three of his French books have been published in English through Drawn & Quarterly.

Language

Language was at the forefront of our minds when we met with Pascal. We were all very eager to discuss how Pascal's writing may be influenced by language. He mentioned that while he didn't think it affected his first translated book, as he hadn't even considered it, it certainly had while writing this book. It may not have been a conscious consideration, but more as a result of integration and internalizing the idea of a second language and a wider audience for his books.

The title is also quite surprising as Petty Theft is actually called La collectioneuse in French. We noticed it did affect our reading of the book. The English title immediately frames the girl as a thief. It leaves little doubt to interpret her actions. She steals, and therefore is a thief. However, the French title leaves room for more ambiguity. She is a collector. Her actions, although criminal, are somewhat more justifiable as she is not framed as a thief from the get go. Pascal did explain that there was a long process with Drawn & Quarterly to determine the best translation for the title. Choosing to translate word for word "collector" wasn't as close to "collectioneuse" and therefore wasn't as meaningful. In the end, Petty Theft was selected and only those few who know the two titles can determine how this affects them.

Pascal & Kids

Fatherhood is also an underlying theme in this book, not by showing exactly what it meant for the protagonist, but by providing clues into his thoughts. The main protagonist panics and is uncomfortable in the presence of children. Although this doesn't reflect the values of the author, it does affect how we can interpret his character. We have a man who, underneath the pretense of finding his way and true love, doesn't really see a relationship evolving to the stage of parenthood. Now this could be a choice, but when we add the facts that he aims to right the wrongs of the thief, it reveal a very selfish character.

Mental VS Physical labour

The book begins when the main character falls and gets injured while he is out for a run. Forbidden from running, down on his luck and with a broken heart (his girlfriend and him having just broken up), he ends up also reinventing his career. He stops drawing and goes back to construction work. This created an interesting parallel between the physical labour of construction and the mental (and creative) labour typically associated with art. The protagonist`s body having changed, so must his psyche. This created yet another layer in a seemingly easy-to-classify character.

By the end of our meeting, we gained perspective on a multitude of topics: language, fatherhood, characterization, etc. Pascal Girard helped us gain some perspective on Petty Theft and unlock elements which revealed further interpretations and depth to the story. There was so much more to discuss and some of my fellow book club members may wish to add to this in the comments, but we all felt tremendously satisfied reading this book. We'd highly recommend it.