POPGUN 3 WINS EISNER

I want to congratulate Mark Andrew Smith, D.J. Kirkbride, and Joe Keatinge for POPGUN VOL. 3 winning the 2010 Eisner Award for Best Anthology. Over the years, they've worked hard to produce a consistently solid anthology series. I'm proud that Dan Warner and I contributed "50 Miles to Marfa" to the volume 3 collection. I'm rather fond of those eight pages we produced. I love working with Warner... even though he won't return my emails. (I think he's afraid of the purity of my love.) No, contrary to what some of my friends have suggested, this does not make me an Eisner winner. The honor goes to the editors. I'm indirectly awesome.

However, I would like to point out that three of my biggest professional dreams/aspirations/hopes/goals are: 1. to produce ongoing work as a comics writer 2. to write a graphic novel/TPB for SLG or Oni Press 3. to win an Eisner

And for those keeping score, this year: 1. I've been writing a one-page comic for a local newspaper on an every other week basis. 2. I co-wrote a short story that was published by Oni. 3. An anthology containing one of my stories won an Eisner.

Is this the universe's way of playing "kinda-sorta-not-really" with my dreams? Hmm.

IN MEMORY OF HARVEY PEKAR

Report concerning Harvey Pekar's passing "Harvey’s life’s work was in showing that the ordinary was important, and a working class existence was not a prison but a journey through the profound and beautiful that anyone could experience if they took the time. He found that beauty in simple, quotidian things and experiences that others might have found trivial or mundane, but in the end his message was that what else is there? Life as it is lived is the most precious gift of all." - Heidi MacDonald, The Beat

"Attention, attention must finally be paid to such a person." - Death of a Salesman, Act I

There's really nothing I can say that isn't better said by Heidi MacDonald in her "Remembering Harvey" post. We all knew this to be true: Harvey Pekar was an everyday normal person and he lived an extraordinary life. He showed that any life (no matter how many billion people are on the planet) can be significant and meaningful through creative pursuits, through being mindful of the events in our life.

Harvey loved to talk philosophy, art, music (jazz!), and politics. He would talk to David Letterman, to a friend, or to a complete stranger. Everyone has value. Everyone has dignity.

Here's proof: In 2005, I found Harvey's number in the phone book. I had read his comics, loved his comics, and I thought I'd give him a call. So I did. He had never met me before. I introduced myself, and I asked if he had time to talk. Harvey said he had plenty of time. We talked for about thirty minutes. The topics varied. It was a good conversation. Towards the end, I asked if he'd like to be on Fanboy Radio. We set up the interview for later that day. If I remember this correctly, during the radio interview itself, Harvey expressed his trouble with email -- and suggested if anyone needed to get in touch with him, just give him a call. Anyone. As one who loves to talk, let me say how much I value someone with a similar love for meaningful conversation.

I have a tremendous amount of respect for his work, for how he expanded the comics medium. The full potential of comics is seen, not in grandiose content or subject matter, but in the honesty of your work. Harvey was a honest writer, and that is the highest compliment you can offer to someone who puts words together.

He was an intellectual who wasn't interested in status or stature. In fact, Harvey's disdain for status and stature could have made him a target for the "outsider art" label. David Letterman (who I doubt is familiar with this classification of artist) seemed bent on making Harvey appear as an outsider artist. To make them seem too quirky to be "legitimate," and yet the snobby art community is so interested in this artist's obscurity that they charitably bestow legitimacy. It's belittling. Here's the secret that Harvey's readers were in on: Harvey was too smart for the establishment. He was in on the joke, and he knew how to handle his image. After all, it was his medium. With every pained smiled, there was a look in his eye that said, "I get it. You know I get it, but let's just play along anyways." Harvey was an incredible writer, an influential writer, an honest writer, and he will be greatly missed.

Recommended reading: OUR CANCER YEAR

Fanboy Radio, episode #258: The September 2005 Indie Show with Harvey Pekar, Jessica Abel, and Matt Madden

BAD BLOGGER

Only one post in the month of June?! Where have I been? While it's true that my summer vacation started in June, I've spent most of this month with my school district's alignment committee. We're working with the new teaching standards (TEKS) for 2010-2011 and trying to integrate them into our school year (that's the alignment part). I get a nice stipend for my efforts, and I have dodged these sort of "above and beyond my job requirement" responsibilities for long enough. Yes, I coach our Ready Writing UIL team and, yes, I am the chess club sponsor -- but these things do not encroach on my sacred summer months. This is the first time I've given up some vacation. It wasn't too bad. No offense to those of you who only get 10 days of vacation annually. We really need to get you some more time off (click here, here, and especially here).

Where else have I been? April and I watched a lot of SIX FEET UNDER. We plowed through all five seasons and loved it. I'll need to let it settle in my brain for a few more weeks, but it just might win my heart for favorite television drama. I love stories that explore family dynamics, and I try to do that in my own stories. Alan Ball is such a master. When I first saw AMERICAN BEAUTY, I had the reaction that other aspiring storytellers at my age had when they saw PULP FICTION. It's the thought: "This opens things up for me. I want do this."

Where else have I been? Honestly? Playing a lot of chess. At a certain point this year, I was driving myself crazy with comic book work. About a month ago on this blog, I wrote: "I feel like I’ve been holding my breath for the past year. The waiting is driving me a little crazy." Take that as literally as you can. I was going a little crazy, and it did feel like I couldn't breathe. I needed a diversion. So, in the grand tradition of Marcel Duchamp, I put aside my work and moved pawn to e4. I don't plan to abandon comics, but after seven years of writing comics: my brain needs a new hobby.

Okay, what about the writing? I'm still working on my regular comics with Quick and D Magazine. The next WE'VE NEVER MET will be available on July 1st. (Here's the most recent one.) The July issue of D Magazine is available. It features a new installment of SOUVENIR OF DALLAS, click here. Last week, Oni Press released JAM! TALES FROM THE WORLD OF ROLLER DERBY. Melissa and I have a story featured in that anthology. I also got the pages back from a short story I wrote for OUTLAW TERRITORY, VOL. 3. The artist Luigi Cavenago did an amazing job. A sneak peak:

From page one

From page six

Beyond that, as usual, I have projects in need of a publisher. We're waiting to hear back from a few editors.

Lately, I've had doubts about if there's even a market for the kind of stories I want to tell. That's a rant for another time, but I wonder if my odds would increase in proportion to the use of robots, rotting corpses, ninjas, nazis, pirates, pulp heroes, cowboys (see above), criminals, monkeys, and monsters -or- maybe I just need to put a sexy girl on the cover? Or center my story around a murder in Act One? I realize that's awfully egotistical to throw blame on something as cliché as "the market," but bare with me. If you've read this far, I'm assuming you're a friend. Hopefully, my orphan comics will find a good home.

In other news, my presentation for Pecha Kucha Dallas 3 went very well. I felt comfortable and witty, which is a rare thing for me. My subject was comics and creative collaborations. I suspect somebody somewhere got it on video or at least took a picture. If I find it on YouTube, I'll let you know.

Finally, for Father's Day, I produced and co-hosted a new Indie Show for Fanboy Radio (click here for the episode). The mp3 should be available soon? We interviewed Andy Ristaino and JC Vaughn. My daughter made a special appearance on the show as well.

In family news, Kennedy has had a busy June with visiting family in Indiana, family in San Antonio, and two weeks of YMCA camp. We saw Trout Fishing in America. Fun was had. April is doing well. She's busy at work, finishing some projects before switching to a new design category -- and going to the National IDSA Conference in Portland. This last weekend, she had a girl's night out with her friends Julie and Erica. On Friday, we're all going to California.

Now, I'm all caught up. Life recounted in blog form.

I KEEP WANTING TO CALL THE EVENT "PIKACHU"

On June 24th, I will be presenting at Pecha Kucha Dallas -- 6pm at the Dallas Center for Architecture. The event is free, although a $5 contribution is suggested (which means the event costs $5... I don't know why people call events free and then have suggested contributions). Either way, it'll be worth every penny. So, no worries. The Dallas Center for Architecture is located at 1909 Woodall Rodgers Frwy, Suite 100 in Dallas. RSVP here: http://pkn3dallas.eventbrite.com

Confirmed presenters include artist Nancy Rebal, writer David Hopkins (that's me), architect Jonathan Brown, artist Scott Horn, artist Brad Goldberg, furniture maker Sean Springer, paper conservator Tish Brewer, toymaker Edward Ruiz, artist Joyce Martin, artist Brad Ford Smith and muralist Chris Arnold.

About Pecha Kucha Dallas (I'm taking this directly from the press release):

PechaKucha Night was devised in Tokyo in February 2003 as an event for young designers to meet, network, and show their work in public. It has turned into a massive celebration, with events happening in hundreds of cities around the world, inspiring creatives worldwide. Drawing its name from the Japanese term for the sound of "chit chat", it rests on a presentation format that is based on a simple idea: 20 images x 20 seconds. It's a format that makes presentations concise, and keeps things moving at a rapid pace.

Expect something fun and crazy from me. Hopefully. I'm working on my presentation right now.

OUTLAW TERRITORY

I mentioned this briefly last year. Yes, last year. (In comics, stuff takes awhile.) I will have a short story in Outlaw Territory Volume 3, published by the kind-hearted people at Image Comics. The story is called "Judge Roy Bean." This morning, I received the panel layout/storyboard and character designs from Luigi Cavenago aka "Gigi". He's an amazing Italian artist. While I can't share anything just yet, I will say the pages look absolutely incredible. I'm really happy with this story.

Once I have information about when Volume 3 will be available, I'll post it here. In the meantime, you can purchase Volume 1 (click here) and spread the word about this anthology -- so hopefully, Image Comics will continue to publish quality Western stories.

THOUGHTS ON LOST SERIES FINALE

Obviously, this post is SPOILER HEAVY for people who haven't seen LOST's series finale. If you haven't seen the finale, you should probably avoid the Internet today. Let me start by saying that LOST is still my favorite TV show. Even though, I fully acknowledge that LOST is not the best show on TV. That honor belongs to one of the HBO epics: The Wire, Deadwood, or maybe Six Feet Under -- better writing, better directing, better acting, and a better cohesive narrative. Yes, LOST is my favorite, we love what we love, but the finale certainly did not help.

I heard an interview on the Creative Screenwriting podcast where Damon Lindelof said there were some mysteries they did not feel obligated to answer. C.S. Lewis did not answer why the wardrobe leads to Narnia. J.K. Rowling does not need to answer why some people are magic and some are muggles. In contrast, George Lucas did explain the Force with midichlorians, and you all remember how horrific that was. So yes, I agree with Lindelof. Some questions do not need to be answered. I'm cool with that.

I'm also cool with the mythology as it exists. The Island is some vital fount/keystone/lynch pin of "life and death" in this world. Jacob must keep the Monster from leaving the island by protecting the heart of the island. The heart is a plot device you waited to introduce in one of the last episodes, but whatever. I'm cool. Heart of the island.

So what are my complaints?

#1. The final battle. The final sacrifice. The concept of a fight on the side of a cliff in the pouring rain is kinda cool -- Locke with his knife and Jack with his furious fists. However, Sayid vs. Keamy in season four and Jack vs. Ethan in season one were more exciting fights. There was more dramatic tension, and sense of "that dude has to die and this is that moment." Maybe I felt this fight was lacking, because it was a fight that was only fighting. There was no high stakes banter like Skywalker vs. Vader in EMPIRE STRIKES BACK. There was no big reveal. No sense of impeding and immediate doom for all humankind if Jack failed. And in the end? Kate shot Locke in the back. Deus Ex Machina? (A few points for her action hero worthy quip about saving a bullet.) Oh, and Jack kicked Locke off the cliff. So that was it?

It was a tad anti-climatic. Like the previous episode, I was hoping for an awesome showdown between Ben and Widmore. They certainly set it up. Then Ben just shoots him. M'kay.

We never got to see if the world really would be destroyed if the Smoke Monster escaped. Not that we needed a scene of him ravaging New York City in a Godzilla homage, but there should have been some tangible indicator of the dire consequences.

By the way, if Hurley had decided to be the candidate to replace Jacob would he have been the one fighting Locke on the cliff? I know Jacob was trying to give them a choice, but I don't think everyone was equally qualified for that role. Of course, even Hurley would have been saved by Kate-with-rifle. We hope.

Then Jack makes his final sacrifice by staying behind, saving Desmond so he could (we assume) return to Penny and his son, and putting the cork back in the hole. Here's my problem. We have too many LOST finales that involve a guy and a simple machine. Desmond turns a key. Ben pushes a donkey wheel. Juliet with a rock and a nuclear warhead. And now Jack puts the cork back. I was hoping LOST would build up to something more... exciting? Something different? Then Jack, known for his sensitive crying nature, is in a hole, crying. Again.

This sounds like I'm complaining because the show didn't end the way I wanted it to end. However, I think there's a valid argument here. The writers should have used a new idea from their finale playbook. Big fight and reset the haywire magical machine? Done and done and done. LOST has always been good at blowing minds, but there wasn't much to this one.

I did like Jack stumbling back to the bamboo field and the first scene of LOST playing in reverse. Our favorite dog Vincent lies by his side. An airplane flies overhead. Extreme close-up on Jack's eye closing, he dies. That was cool.

#2. Heaven/The Matrix. Here's my biggest gripe. The flash-sideways world is a post-death Matrix. A world they created (?) where, once they became self aware, they'd be able to meet up again for one last time. Everyone died at different times, because everyone eventually dies, but they all converged here. They all meet for a final island reunion in the after life. It's more than a little cheesy. Part of the problem is that this crucial aspect of the LOST mythology is seemingly disconnected from the Island. Was there something about the Island and it's "life/death" energies, and their proximity to this energy that allowed this world to exist for them? We'll never know. A few words from Hurley, the new Jacob, would have done a lot to explain this scenario -- or even better, an older Walt steps up to introduce his newly created world. Not a huge monologue, but a few words would have gone a long way. Jack's dad didn't quite deliver with his exposition.

At the end of season four, we knew that mysticism would ultimately trump science. Ben goes down to the Orchid Station (science). He breaks the wall and moves to a deeper mystery where we see the light and the donkey wheel (mysticism). Clearly, the writers were telling us which one will "win out" in LOST. However, even mysticism in a story must follow a framework. I feel like the Heaven/Matrix world (sans any explanation of how it's connected to the island) is a Hail Mary pass to tie up loose ends, and give one final surprise. Which, yes, I was surprised, but not in a way that contributes to the integrity and mythology of the series. Can anyone in the world live in this Heaven/Matrix world?

I do like aspects of this Matrix. Jack's son was a fabrication of his desire to be a good dad. In Jack's fantasy world, he perfectly balances family and work -- and excels about both. It's a cool thought that they find completion off island. Although, because it's "off island," I wonder why it exists at all. This is not the same thing as not explaining why the wardrobe leads to Narnia. This is like showing a second Narnia and not bothering to explain why it matters to the people in the first Narnia.

That would be rather crucial.

I'm done with my rant. For now. What are your thoughts?

SEVEN YEAR LULL

I haven't posted as frequently as I usually do. Not a lot to report. JAM! arrives in June from Oni Press. I'm still writing WE'VE NEVER MET (Quick) and SOUVENIR OF DALLAS (D Magazine), and that's going well. I have two proposals that are floating around searching for a publisher. Some might remember I had a literary agent for awhile. That was a big mistake, and it set me back about a year. It's nothing I really want to write about publicly. I finished the last segment of my 50 MILES TO MARFA three-part story. I haven't heard back from the artist yet. I've been re-writing DELTA COUNTY. There's an artist I hope will come on board for this project, but who knows? The artist for FRONTIER is busy with some other work.

So, what's a writer to do? I feel like I've been holding my breath for the past year. The waiting is driving me a little crazy. I'm getting restless. I'd love to getting something new on the shelf soon.

MY FINAL LOST THEORY

As you may know, I'm an obsessive LOST fan. Yes, I watch every episode. Yes, I listen to the Jay and Jack Lost podcast. Yes, I visit Lostpedia regularly. Yes, I own every season on DVD. Yes, I bought last week's copy of Entertainment Weekly that covered the shoot of the finale. We only have a few more episodes left, and before tonight's episode -- I decided to share my final theory. Anyone who is not a LOST geek feel free to skip to the next blog post.

Christian Shephard is Jacob. I know this isn't a new theory, but I have a new take on it. Last season, Ben killed Jacob. However, Jacob can't be killed, so instead it created a split reality: a reborn younger Jacob (as seen this season) on the island and a younger Jacob who has gone back in time off the island. The younger Jacob, exiled from the island, changed his name to Christian Shephard and became a doctor. He faked his past with a suspicious Ray Shephard acting as his dad. He would occasionally travel around and assist the Losties in their times of need -- as seen in "The Incident" episode. In the scene with Jack and the Apollo candy bar, the reality was twisted. We see Christian and Jacob, but both of them were only one person. Jack really saw his dad, not "Jacob." Christian/Jacob faked his death to return to the island and ride on Oceanic 815. I'm sure if Jack ever sees Jacob. He would notice him as how his father looked when he was younger.

Anyway, my theory is flimsy, but I'm sticking with it for a few more hours. I'm sure tonight's episode will blow it away.

33 THINGS TO DO BEFORE I TURN 34.

My girlfriend has a tradition where on her birthday she lists goals, one for each year -- things to accomplish before the next birthday. Here's an annotated list from last year and this year's list. Using April's method, I realize the older I get the more things I have to do, which doesn't seem quite fair. I thought about simply re-posting April's list and begin each item with "Help April..." Then I only need six goals. However, as a public school teacher, I'm committed to the concept that "goals are a good thing." I turned 33 last Saturday. So here we go: 33 things to do before I turn 34.

1. Set aside money every month for my savings and emergency fund. 2. Get a graphic novel submission approved. 3. Attend an out-of-state comic book convention. 4. Learn how to letter a comic book. 5. Compete in regional chess tournaments. 6. Raise my USCF rating. 7. Play basketball. 8. Walk Berkeley more often. 9. Use bike to run local errands. 10. Bicycle regularly. 11. Get back to 150 - 160 lbs. 12. Get Kennedy to school on time everyday. 13. Clear out the pile of branches in the backyard and both side yards. 14. Clean the garage. 15. Get a new table for the office. 16. Buy rugs for living room, office, and Kennedy's room. 17. Resurface wood flooring. 18. Buy a nice case for my guitar. 19. At the end of the year, buy a new TV. 20. Clean up credit rating. 21. Look into options for refinancing house. 22. Read Ulysses by James Joyce. 23. Re-visit Commerce, Texas 24. Sell off excess in my comic book collection. 25. Go to State Fair. 26. Find a driving range -- hit golf balls for fun. 27. Order t-shirts for Martin Chess Club. 28. Participate in our school district's English Alignment Committee. 29. Sponsor our school's UIL Ready Writing team. 30. Vote for Bill White as Texas governor. 31. Support PFLAG. 32. Raise money for La Reunion. 33. Go to Arlington Improv a few more times.

I'M FREE

As of today, for the first time in my adult life, I'm debt free (except for my mortgage, whatever, doesn't count). I've been looking forward to this day for years and years. Oddly enough, the sky didn't open. No angels sang. There's no ethereal glow. Was I expecting to feel different? Maybe a little, but like a birthday, I don't feel any older or wiser. If I compare my financial situation today to what it was three or five years ago, things are so much better. I'm not paying my bills only to find there's no money left for food. I'm not selling my comic book collection on eBay to get through the month. I'm not asking for money from my parents when something terrible happens.

I'm happy I can finally start doing that thing where people put money aside and use that money for emergencies and big purchases, but there's still anxiety in my stomach. The next goal is to set money aside for the emergency fund. After dealing with credit card debt, I don't want to fall into that pit again. Why spend money you don't have?

I realize some of you are in truly difficult times. I'm not writing this to brag. If anything, consider this post my confession: I was stupid with money. From my first day of college when I signed up for that credit card (free t-shirt, my ass) to just a few years ago, I wasted money. I didn't "act my wage." In fact, to this day, I still have to resist the urge to spend and spend. I have to curb that impulse, and I've gotten better at it. It is possible to dig your way out.

I need to thank Tania Kaufmann for an email she sent on January 9, 2009. She laid out a seven step process to paying off my debt, that whole Dave Ramsey approach. I saved the email, and it became my blue print. I also need to thank April, my partner, my encourager, my co-conspirator in this effort. I couldn't have done it without you.

KICKSTART THEIR ART

Since my exploits with Kickstarter, I've become a huge believer in their mission.  The website allows artists and other creative types to organize pledge drives as a way to fund random endeavors. Artists offer incentives at various levels of giving, which are usually quite generous. Thoughts on Kickstarter from my December 2009 interview with CBR:

I found Kickstarter.com through Jamie Tanner, very talented comic book creator of "The Aviary." He had a project on the site. I was completely enamored by Kickstarter. I spent an entire day just watching videos of people talking about things that inspired them, things they were passionate about. I could care less about circumnavigating the globe in a sailboat, but it was cool to hear someone with such enthusiasm. And hell, just try watching the LaPorte, Indiana video without getting a little choked up. Kickstarter is not for the cynical. It was a good experience for me. It's not only about raising the money; it's also about finding that supportive circle of friends and family. I was very moved by the encouragement we received. The only problem I had was collecting everyone's mailing address. (If you don't send me your address, I can't mail you your pledge rewards!)

Would I do it again? Probably not. If I did, it wouldn't be for a few years -- and only if my back was against the wall, I needed to get something in print or my life would be over. A true passion project. I mean, Kickstarter is great, but it's just that: a kick start. It's not intended to be a sustainable means of having a career in any creative field. Yes, people do get good rewards for their pledges. There is a fair exchange going on, but there still is a "hat in hand" quality to what you're doing -- and you can't keep doing that over and over again. So, Kickstarter was good, but I've had my experience and I'm probably not going to do it again. However, I will keep supporting other projects on Kickstarter.

This year, I've supported: Jamie Tanner's next graphic novel Gordon McAlpin's Multiplex Spike and Diana Nock's Poorcraft Joel Schroeder's Dear Mr. Watterson documentary Joseph Pais's RIP No. 01 Josh Elder's Reading With Pictures anthology Kody Chamberlain's SWEETS comic book series

I have one more project that I would like to recommend. Jess Smart Smiley (real name?) has a comic book called "A Map in the Dirt." It looks beautiful. Seriously, the hand lettering alone is worth your money.

Go here: http://www.kickstarter.com/projects/jess-smart-smiley/new-comic-book-by-jess-smart-smiley.

Pledge your support.

FREE COMIC BOOK DAY

This Saturday is Free Comic Book Day. I'll be at Zeus Comics. From their site:

Join us Saturday May 1st as we bid farewell to PVPonline cartoonist Scott Kurtz. This is Scott’s final signing before moving to Seattle. We’ll be joined by James O’Barr, Joe Eisma and David Hopkins too. Plus thousands of free comics and the return of the mighty quarter comic sale! Saturday May 1st from 10am-6pm

Last year, I was in Houston for Comicpalooza. While it was a fun trip (we went to NASA!), I'm happy to be home for this event. It will also be nice to offer a fond farewell to Scott Kurtz.

While supplies last, I plan to distribute some free comics -- KARMA INCORPORATED #2 and #3, THE TICK SPECIAL, WESTERN TALES OF TERROR #2, and anything else in my personal overstock box. I'll have copies of last week's Quick with WE'VE NEVER MET and more WE'VE NEVER MET/SOUVENIR OF DALLAS postcards.

I hope to see everyone there.

AWARDS, PRIZES, KUDOS, AND ACCOLADES

Yes, it's that time of year when people say "it's that time of year." Convention season and awards season. The Eisner ballot is now available -- and I'm very happy PopGun, Vol. 3 was nominated. For volume 3, I wrote the short story "50 Miles to Marfa" and worked with one of my favorite artists: Daniel Warner. "50 Miles to Marfa" wasn't nominated for best short story. Oh well. It's a strong story, but certainly that's a tough category. Of course, I did write in "50 Miles to Marfa" on my own ballot. That's just pride. Which leads me to the Harvey Awards.

Every year when we say "it's that time of year," comic book pundits, commentators, journalists, and bloggers kibitz about the problems inherent in the open nomination process. I'm not too concerned about it. The Harvey Award needs a system that's different from the more popular Eisners as a way to distinguish it as an award. It does lead to Alan Moore getting nominated... a lot, and a few zealous up-and-comers with friends. The Harvey Awards become a little mainstream top-heavy, and they do straddle the extremes with a few smaller names sneaking in. We miss a diversity of strong indie titles, which the Eisners and the Ignatz (that other award) are happy to snatch up. The system is the system. To quantify artistic merit through this process is subjective, political, and almost impossible.

If I were to establish a system for acknowledging excellence in the comics industry, I'd set up an annual juried-selection of titles with one grand prize, only for graphic novels/trade paperbacks. No "best writer." No "best artist." No "best cartoonist" or "best letterer from a foreign country, not Japanese." Each work would be judged as a complete work, a criterion collection for graphic novels. My friend P.J. Kryfko had a similar concept, and I probably stole the idea from him one evening when we were drinking at Amsterdam Bar. Bottom line: the award needs prestige. It needs to mean something.

Awards can be useful in validating our art to a larger market. It's important to acknowledge quality, to celebrate the life work of artists. Personally, I like the Eisners and the Harveys. Any critiques I have are minimal.

Here's my list of Harvey nominations. I apologize in advance if I forgot your comic book. It wasn't malicious. These are the ones that came to mind on March 29th when I filled it out and submitted it. My list is rather sparse and lopsided, but I figure others will mention the ones I neglected. And if I made any glaring omissions, well, that's what the comments section is for.

BEST WRITER 1. Jamie Rich - You Have Killed Me 2. Neil Kleid - The Big Kahn

BEST ARTIST 1. Joelle Jones - You Have Killed Me

BEST CARTOONIST 1. Darwyn Cook - Parker: The Hunter

BEST COLORIST 1. Justin Stewart - Mixtape Volume 3

BEST COVER ARTIST 1. Kristian Donaldson - Dr. Horrible (one shot)

MOST PROMISING NEW TALENT 1. Joelle Jones - You Have Killed Me

BEST NEW SERIES 1. Comic Book Comics - Evil Twin Comics

BEST CONTINUING OR LIMITED SERIES 1. Fear Agent - Dark Horse 2. Walking Dead - Image

BEST ANTHOLOGY 1. PopGun, Vol. 3 - Image Comics

BEST GRAPHIC ALBUM, ORIGINAL 1. Amulet, Book Two: The Stonekeeper's Curse - Scholastic Graphix 2. Stitches - W. W. Norton & Company 3. Asterios Polyp - Pantheon 4. You Have Killed Me - Oni Press

BEST GRAPHIC ALBUM, PREVIOUSLY PUBLISHED 1. Alec: The Years Have Pants - Top Shelf Productions

BEST DOMESTIC REPRINT PROJECT 1. Dread & Superficiality: Woody Allen as Comic Strip - Abrams ComicArts

BEST AMERICAN EDITION OF FOREIGN MATERIAL 1. GoGo Monster - Viz Signature 2. Pluto: Urasawa x Tezuka - Viz Signature 3. Yotsuba&! - Yen Press

BEST ONLINE COMICS WORK 1. The Loneliest Astronauts - http://www.agreeablecomics.com/loneliestastronauts 2. Freak Angels - http://www.freakangels.com

SPECIAL AWARD FOR HUMOR IN COMICS 1. Scott Kurtz - PvP

SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION 1. Asterios Polyp - Pantheon

BEST ORIGINAL GRAPHIC PUBLICATION FOR YOUNGER READERS 1. Amulet, Book Two: The Stonekeeper's Curse - Scholastic Graphix 2. The New Brighton Archeological Society - Image Comics

CLASS DISCUSSION

I discussed the future of publishing with my Creative Writing students, and it turned into a wonderful conversation. We talked about the iPad, digital readers, print-on-demand options, and existing problems with the book market. My students were quite sentimental towards physical books. I indicated that reading a book is the only narrative experience where you have to hold it in order to experience it. (Maybe video games could be included?) This fact adds to the intimacy of reading. One students pointed out that you have to "take care of books." The delicate nature of paper requires us to care for them. An interesting observation.

I suggested that print-on-demand is a little like online dating. When online dating first came on the scene, it was viewed with skepticism, i.e. only for creepy people who can't get a date the "normal way." However, nowadays, online dating is accepted and maybe even preferable. Likewise, print-on-demand is seen as subordinate to "real publishing." I wager in a few years it will be more commonly accepted. Too many people cut into author's profit with traditional book publishing. Is it possible for an author to make more money selling 2,000 books that they self published than 20,000 books sold through a traditional publisher? The gatekeepers may come to understand that it's not their book -- it belongs to the author. If the Internet and e-readers can change the system of printing and distribution, power returns to the author. Editors might become freelancers, hired by the author?

None of these theories are all that groundbreaking, but it was exciting to hear my students wrestle with these issues. Any thoughts?

WEBSITE UPDATES

Thanks to the plugin Lightbox 2 (javascript/css written by Lokesh Dhakar), I've changed the way you view comic pages on my website. It should upload faster with better navigation. In the past, it was such a pain to create and add previews to my "published works" page. Now I can do it in almost no time. In fact, tonight, I added some pages from SOUVENIR OF DALLAS, WE'VE NEVER MET, and ONE NIGHT STAND. Everything else has already been on my site. Totaling: 202 pages worth of previews. CHECK IT OUT

The one drawback with the added plugin is that the text on that page isn't as clean as it once was. I'll work with it and see if I can create a better arrangement.

THE PRETTY, PRETTY 6x9 VERSION

What a difference it makes to go with a new printer! I went back and re-sized ONE NIGHT STAND for 6x9 using Lulu.com's print-on-demand services. Last week, I received my test copy and it looks much better. If you were not able to find the original mini-comic (5.5x8.5) when it was released on Indy Comic Book Week last December, then this is your chance to pick up a copy.

http://www.lulu.com/content/paperback-book/one-night-stand/8605012

I have it priced "at cost". It's $5.14 for a single copy. Some contributors might order their own copies in bulk and have them available at various conventions.

HAPPY BULLETS AND COMIC BOOKS

I heard from Josh McKibben that our mini-comic (THE HAPPY BULLETS IN ASSOCIATION WITH DAVID HOPKINS AND DAVID DEGRAND PRESENT AN ILLUSTRATED COMPANION PAMPHLET FOR THE ALBUM HYDROPANIC AT THE NATATORIUM. ENJOY.) has returned from the printers, and it looks good. It's a limited print run of 100 copies. If you want one, the Happy Bullets will have them for sale at their shows to coincide with the release of their new album. Here's where you can find the Happy Bullets next week: Thursday, April 15th at 8 PM - Vinyl Release In-Store at Good Records Saturday, April 17th at 8 PM - Release Party at the Doublewide with Red Monroe and Giggle Party

Zeus Comics and Titan Comics should have a few copies available.

David DeGrand and I are planning to be at the show on the 17th. It would be great to see you (yes, you) there.

ZEUS THIS WEEK! EACH HELPS THE OTHER.

If you live in the Dallas/Fort Worth area, I would highly recommend going to Zeus Comics this week. According to their twitter account: "Spring Cleaning Sale at Zeus! 50% all toys, statues, back-issues and trades!" (+). It was almost two years ago that I announced my website would  exclusively use Zeus for online sales (mentioned here). They have been diligent in keeping their store stocked with my graphic novels and comics. An important part of being a small press/indie comic book writer is building strong partnerships with local retailers. It's necessary to have a store willing to champion your efforts. In turn, you support them. Projects like ONE NIGHT STAND, where we raised the funds to give complimentary copies to stores, are primarily an effort to network with more retailers. Beyond selling a few copies on a Wednesday, store signings are about getting to know the people behind the counter.

With the release of the iPad and the Marvel app (+), I wonder about the future for traditional comic book stores -- and the entire print/publication industry in general. (Commentary from Scott Kurtz) For the small press/indie creator, does Apple represent a new gatekeeper to distribution? It's not the first the "little guy" has had to work around the gatekeepers to find an audience for their art. To do this, we need allies. Our greatest allies are on the local level -- not just geographically local, but smaller communities wherever they may appear. We can't compete with the scope and reach of  larger corporations. However, can we build a core audience, smaller numbers with greater support? The key is to find opportunities that are  mutually beneficial for local stores. Each helps the other. We find our niche and stay relevant.

Will Marvel and DC remain loyal to physical retailers or will digital opportunities move their focus elsewhere? I imagine "both/and" is the most prudent approach, but I wonder if Marvel and DC (two companies who helped keep retailers in business) will be the ones to drown the direct market in order to keep themselves afloat. Any thoughts?

ERYKAH BADU'S WINDOW SEAT

I'm interested in this news story about Erykah Badu's recent video (here and here). The Dallas recording artist filmed a guerilla-style video, inspired by a Matt and Kim video, where she strips down naked in public (a great interview with Erykah about the video). The song is called "Window Seat" and she shot it at Dealey Plaza where President Kennedy was assassinated. Original Matt and Kim video

Erykah Badu's video is available on her site. Although, at the moment, it looks like she re-edited it and reversed the footage. So, now, she's putting her clothes on. That's thoughtful.

This story interests me, because it deals with the question "what is art" and yes, art as free speech. It also deals with the public's comfort level towards nudity. Is nudity always about sex? Is nudity always indecent?

I've re-posted my comments below. I apologize that they are out of context here. However, you can click on the links to fill the gaps.

On pegasusnews.com

#1. Direct link to comment

One correction: "Naked, Badu lays face-down on one of the X's in the road"

Actually, Erykah lays face down on the SIDEWALK, next to the X in the road.

I find the X in the road more offensive than Erykah's nude guerilla video (and she didn't put it there). To me, the nudity communicates artistic vulnerability -- and the location is a place where something serious has been turned into cheap entertainment. (Show of hands: How many people go down there to listen to the crazy conspiracy theorists talk?)

I'm biased. I think Dallas is lucky to have Erykah Badu. She is an artistic treasure.

#2. Direct link to comment

Yeah, that curb you see is the curb from the sidewalk to the grassy hill, not the curb before the street. She is definitely on the sidewalk -- walking where everyone else is walking. I've been there a few times. You can compare with this photo: http://3.bp.blogspot.com/_dk6QBMiEMB8...

Street vs. sidewalk. I do think it's an important distinction, because if she was lying naked in the middle of the street? That would depict her as being a little more "out there." She's bold, but I don't think she's crazy.

Re: Scott Doyle. I agree that not all nudity is art. Me taking a shower in the morning = not art. And yes, some art is for shock value. However, Erykah Badu was clearly putting together a performance piece for her music with artistic intent. You might disagree, but it doesn't change her intent.

#3 Direct link to comment

Re: Sarah, most welcome. And thank you!

So, the news team took the music video to Dealey Plaza to show people and get reactions of outrage? It's the TV news equivalent of... well... a comments section on a website except edited, selective, and pre-arranged for production. That segment is pretty weak. Pegasus News > TV News. At least, we're having a discussion.

Re: Scott Doyle. If we're asking the question "is it art?" then I'm saying that intent is a huge part of it. Not the only criteria, but certainly a huge part of it.

On dallasnews.com:

4. No direct link available (sorry)

"forced her nudity on children"

Oh geez. Blowing this out of proportion? The article said no witnesses came forward to complain. I think the children are safe. I also think little kids are less offended by nudity than some of the adults in this comments section (and you didn't see it either), but just knowing that nudity exists... it must upset you. She wasn't having sex on the grassy knoll. She wasn't running around naked and saying "boo" to all the pedestrians. It was a few seconds, and she was gone. Let's get some perspective: Your kids have possibly seen more nudity on the home computer (the one you're posting from) than they will ever see in downtown Dallas. I doubt her actions will lead to naked hippies roaming in packs through the streets.

Isn't the ideal to live somewhere that maximizes individual liberty and minimizes government intervention? And "liberty" means you may have to tolerate your wacky neighbor and her bouts of artistic expression. Just like we tolerate you and your choices.

Your thoughts? Is this artistic expression or a publicity stunt?