At the beginning of this year, the French publishing house Ashet, with the support of the Italian Panini, launched an attack on the Russian comic book market. On the shelves of shops and supermarkets behind the glasses of small kiosks appeared books of the international “Official Marvel Comic Book Collection”. Readers had a huge reason for joy. They were not only able to receive books in Russian, the publication of which was difficult to dream of, but also received them in large numbers and with a frequency of once every two weeks. Buyers became less happy when the comics fell into their hands: typos, poor translation, uninteresting content, etc. It turned out that releasing quickly and a lot was possible only carelessly.
In order to immediately avoid some misunderstanding, the author of the text intends to explain. Firstly, it Continue reading
Birgit Vaye combines avant-garde comics with the African language of forms. In Madgermanes [“Majermans”], she captured the story of the Mozambican workers in the GDR. They were promised education, but they received only casual work. After 17 hours, they were supposed to stay in their dormitories, women and men were housed separately, and communication with the locals was not welcome. Pregnant women had to have an abortion, or they were sent back, and half of their earnings were sent to Mozambique to guarantee their subsequent return to their homeland. So in the 1980s there were about 20,000 contract workers from Mozambique – they were called the “Majermans”: apparently, intentionally distorting the phrase “Made in Germany” in the socialist fraternal country of the GDR. A Special Chapter There is one special chapter in the history of the German Democratic Republic going down, which Birgit Vaye reveals in Madgermanes. As in many stories about the GDR, the tragic and the absurd are next to each other. “They took off in response to a promise that they would go to heaven and learn something,” says Birgit Vaye, a German artist and comic book author born in 1969 who grew up in Continue reading
Kelly Sue DeKonnick, the author of revolutionary comics, talks about the changes that have come to the world of graphic novels.
Around the person of Kelly Sue DeKonnick, feminists and inspirers of one of the most swirling and fascinating stories in today’s comics, a truly unbridled cult has developed. Men and women, inspired by the unyielding characters of the comic book Bitch Planet, a futuristic space refrain to motivate 60-70s films about exploiting women in prisons, often send the author photos of their tattoos in the form of the “incompatible” mark – the same as the heroines of the book disagree with the existing state of affairs. And around Carol Danvers, the main character of the comic book Captain Marvel (Captain Marvel) – who, while DeKonnick was working on her, contributed to the appearance of a huge number of works about superheroes where women are not “humiliated”, – the author speaks of them, – There was a whole fan base, “Carol Corps”. These fans made so much noise and became so noticeable that the comic strip Continue reading