September 20th, 2016
You can watch the panel I contributed to below:
My speech at the start of this panel now exists like the death of Orion in/around Final Crisis, in a mini-kaleidoscope of different versions and recordings scattered across the internet – suits me, given the daft flourish about the Tower of Babel I threw in at the end of it!
The other panellists brought a range of expertise, and while there weren’t any heated arguments, I think our personalities and perspectives clashed in a way that was generally illustrative – Hannah was comfortable enough in her own skin to be flip and funny about taste, Katriona‘s contributions were considered and precise, and Mark‘s focus on technical skill neatly offset my own pseudo-academic tendencies.
As for the broader event, if you’d asked me I would have said that the crowd skewed young and “progressive” (not a term I’m over-fond of myself – I like specificity, a sense of what is being advanced – but having just used it like this I can see the appeal of its vagueness) but there was some pushback when Kelly Kanayama/Maid of Nails discussed the use of racist tropes in the first Warren Ellis/Bryan Hitch Authority story during the panel on MEANING.
May 31st, 2016
If you’ve not read Dan Cox and John Riordan’s Hitsville UK, you’re missing out. Like Daft Punk‘s ‘Get Lucky‘, it’s the sound of the summer. Or like…. shit, it’s hard to pick just one song at this stage in this icy death machine of a year, so let’s split the difference and say that like ‘Lazarus‘ or ‘Adore‘ its deeper magics might just see you through the colder months too.
I picked up the first issue at Thought Bubble a couple of years back, and while it took my alcohol sodden brain a couple of readings to pick up the rhythm, the way the first few pages alternated between rows of panels introducing new bands and those wherein the seedy, behind the scenes types (haunted producers, men who made their money in sewage who now fancy a slightly more alluring expression of power) laid out the groundwork for the plot, but when I’d locked into it I realised that I now had a whole host of new favourite characters to care about.
The rest soon followed, issues #2-4 taken in one rush, flashbacks to being a kid and finally getting your hands on the album after wearing out the single you bought from Our Price down the town centre.
There’s so much in there in this soapy story about a new British indie label – a polyphonic reaction against the Toryfied despair of life in the UK 2016, the alienated teenage appetite for destruction, some saggy dadrock longing, plus a smack to the chops to your actual modern day fascists – all adding up to a baffling but somehow familiar map of British pop, complete with itchy annotations about the seedier and more desperate events going on in the background to some of your favourite magic tunes.
There are jokes here that will become fixed points in your mental landscape (“And there’s just time to make the gig!”). There are faces you’ll find yourself seeing in the mirror in your more wretched moments (Jack Spatz or Gwillum, depending on whether you tend to slick arrogance or despair). There are beautiful concepts and glorious colours galore:
More than any other comic about bands or music, Hitsville UK mimics the thrill and excitement of its subject. Somewhat perversely, this comes from its overwhelming commitment to the comic book form. Where other comics about music feel like extrapolations of zine culture or traditional adventure stories themed around pop stars, Hitsville UK actually feels like music. By revelling in the joys of putting weird looking characters into even weirder situations, trusting that they can keep a rush of daft words and pictures coming and that they can keep it relevant, Riordan and Cox capture something of the hyped up love buzz of being into music. A mix of wanting to keep up with the story and wanting to feel part of the moment as it happens around you.
As such, I figured the best way to look into their dark hearts was by dusting off the old Smash Hits interview questions and seeing what the handsome boys (pictured below) made of them…
1. How well mannered are you?
John: I am incredibly mannered, in the stiff and awkward manner of a 19th century drawing room drama. This is to such an extent that at school my nickname was Captain Mannering. Dan has almost no manners as he was brought up in a seaside arcade.
2. Do you ever check your hair when passing a shop window?
Dan: I avoid all reflective surfaces. I fear the hollow eyed man who stares back at me. The bloated shadow cadaver who rots all clocks. The bastard with the seaweed tangle beard who has stolen all my clothes. The one who whispers ‘You will never be this beautiful again’.
April 3rd, 2016
Back in February, I appeared on a panel at the London Graphic Novel Network’s S.M.A.S.H. event. There were a lot of great speakers at those events (including our own Maid of Nails, friend of the website Kieron Gillen, America’s next top comics critic J.A. Micheline, Mazin off the Kraken podcast, and Jam Trap poet Chrissy Williams), staggered across three panels focusing on MEANING, ART and REPRESENTATION in comics.
The plan was to write series of posts inspired by these talks, but then this happened.
Trying to appear big and clever on the internet has never felt less important to me than it did in the aftermath.
Anyway, I spoke on the art panel at S.M.A.S.H. and as a comics critic in the company of artists/editors, I figured I would be the least qualified person to talk about the subject so I did what I always do: I overcompensated. Only Mister Attack will ever see the first draft of my introductory talk, the charmingly titled “COMICS ARTISTS ARE WASTING THEIR LIVES”. In the end, I settled for a slightly less arsey approach that focused on different modes of reading, and how we might want to develop our understanding of our own biases so we can better make them fight to prove which opinions are best.
You can listen to what I actually said and the subsequent panel debate here (headphones recommended, audio’s a but quiet!), read the version of this pitch I submitted here, or if you fancy getting the right mix of depth and brevity you can now read the text I brought with me on the day below.
None of these versions are quite the same. None of them quite get across what I thought I was trying to say. I wouldn’t have it any other way.