A Short Introduction to Manga by Pretty Much Pop #60 with Professor Deborah Shamoon from the National University of Singapore

One of our goals on Pretty Much Pop: A Culture Podcast has been to look into not just our favorite creators and genres but into things that get a lot of buzz but which we really don’t know anything about. Manga is a great example of a “look what these crazy kids are into today” kind of area for many (older) Americans.

Deborah Shamoon, an American who teaches Japanese studies at the National University of Singapore and  has loved manga since adolescence, here schools manga noobs Mark Linsenmayer and Brian Hirt–along with Erica Spyres, who also doesn’t read manga but at least has a complicated history with anime. What are the barriers for Americans (whether comics readers or not) to appreciate manga? For some of us, manga is actually easier to appreciate than anime given the latter’s sound and pacing.

We talk about manga’s publication history, how fast to read manga, and its use of iconography to depict sound and movement. Deborah gives us the truth about the famed Osamu Tezuka’s place as “god of comics”; we discuss his Metropolis, Astro Boy and Princess Knight, which is not as you may have been told the first “shojo” manga, meaning aimed at girls. Shojo manga is Deborah’s specialty: She wrote a book called Passionate Friendship: The Aesthetics of Girls’ Culture in Japan. We discuss The Heart of Thomas, Sailor Moon, and how Tezuka actually copied that big-eye style from Hideko Mizuno’s Silver Petals. Do you need to get a handle on these old classics to appreciate the newer stuff that’s made such a dent in America like Death Note? Probably not, though some Akira wouldn’t hurt you.

A few of the articles we looked at included:

We also looked at some “best of” lists to know what titles to try to look at:

Deborah recommends the Japanese Media and Popular Culture Site from the University of Tokyo for academic writing on manga. She wrote an article on shojo manga for that site that sums up the history conveyed in her book. She’s also been interviewed for the Japan Station and Meiji at 150 podcasts.

Learn more at prettymuchpop.com. This episode includes bonus discussion that you can only hear by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts

Central Park Bird Watcher Christian Cooper Writes DC Comics Graphic Novel: It’s Now Free Online

Write what you know.

It’s oft-cited advice for writers both beginning and established.

Thus, Jules, the teenage boy at the center of Christian Cooper’s It’s a Bird, the first entry in DC Comics’ digital-first anthology series Represent!, is a birdwatcher, like the author.

And the binoculars that were a 50th birthday gift from Cooper’s father, a Korean War vet and Civil Rights activist, serve as models for the ones Jules is none too thrilled to receive, despite his grandpa’s belief that they possess special powers.

Cooper, who was was Marvel’s first openly gay writer and editor, introducing a number of queer characters before devoting himself to science writing, also draws on recent personal history that is more fraught.

Although the location has shifted from New York City’s Central Park to a suburban green space bordered with large, well-kept homes, including Jules’, the young man’s encounter with an indignant white woman and her off-leash dog should ring any number of bells.

In late May, Cooper became the subject of national news, when he confronted Amy Cooper (no relation) over her violation of park rules, tired of the havoc uncontrolled dogs wreak on birds who call the park home. Ms. Cooper escalated things quickly by calling 911, claiming she was being threatened by an African-American man. Cooper recorded the incident as a matter of protocol, and his sister shared the video on social media later that day.

The same day that George Floyd was killed by police in Minneapolis, Minnesota.

What Jules sees through the lenses of his grandfather’s binoculars contains an element of fantasy, but is also deeply rooted in reality—the faces of Amidou Diallo, Breonna Taylor, Floyd, and other Black people who have died as a result of excessive, unwarranted police force.

When DC first approached him about tapping his experience for his first comic in over two decades, Cooper was reluctant:

I thought, “I don’t know, DC Comics? Superheroes? Not sure how that’s going to work.” We kicked around a couple of ideas. They said they had gotten the title, I’m not sure exactly from who, but somebody pretty high up in the DC food chain: “It’s a Bird.” It took me half a beat. “Oh…I get what you did there.” Once I had the title, the story wrote itself.

It’s a Bird artist Aletha E. Martinez, a pioneer whose 20-year career has included inking such superhero heavy hitters as the Black Panther, Iron Man, Batgirl, and X-Men, also pulled from personal experience when rendering Jules’ expression after the binoculars reveal the circumstances of George Floyd’s death:

I saw that look on my son’s face three years ago after we left North Carolina, and we were coming home to New York. We were stopped going into the airport. We travel so often—cons, in and out of the country. These two security guards started to harass us. They wanted to take my purse. “Where are you from?” You hear my voice, there’s no accent in my voice. It ended up with them saying, “You should travel with your passport.” This is after backing us up in the corner, and why? I’m an American citizen born on this soil, so is my son. I don’t need a passport to travel within my country. This is our day and age.

I watched my son’s face change, and he never quite walked up again looking happy going to the airport. Now he has on armor. That face you see? That’s my kid.

It’s a Bird can be read for free on participating digital platforms (see links below), and Cooper is hopeful that it will inspire young people to find out more about some of the real life characters Jules spies through his binoculars. To that end, an appendix touches on some biographical details:

We not only give the bare bones details of how they died, but also a little bit about them, because they were people. They weren’t just want happened to them. I hope young people (are) inspired to keep the focus where it needs to be, which is on those we have lost and how we keep from losing more. There are people who are invested in distracting us right now, and there are people who want to distract us from their failures on so many other things. That’s not what this moment is about. This moment is about the ones we’ve lost, and how we’re going to keep from losing any more. And if you’re not talking about that, I don’t want to hear it.

Read Represent!: It’s a Bird for free on readdc.comComixologyAmazon Kindle, Apple Books, and other participating digital platforms.

Read an interview with Cooper and Martinez, from which the quotes in this post are drawn, on DC’s blog.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine. Follow her @AyunHalliday.

Graphic Novels Tell the Story of David Bowie, Billie Holiday, John Coltrane, Jean-Michel Basquiat & Other Artists and Thinkers

If you’re fascinated by certain artists and thinkers, you can learn about them from books. Anyone who has a significant cultural or intellectual influence on humanity sooner or later gets a biography written about them, and usually more than one. But how many get their own graphic novels? The versatility of the “comic book,” long unsuspected by many Western readers, has been more and more widely discussed in recent decades. Some of those readers, however, won’t believe what can be done with the form until they see what can be done with it. So why not show them the graphic novel on the life of David Bowie published not long ago — and if they remain unconvinced, why not show them the other one?

Few subjects demand a visual form as much as Bowie, because of the centrality of his ever-changing appearance to his artistic project as well as the need to evoke the effervescent cultural periods he lived through and did more than his part to define.

Hence the importance of Michael Allred’s BOWIE: Stardust, Rayguns, & Moonage Daydreams and Nejib’s Haddon Hall as graphic-novel contributions to the growing field of Bowieology. Comic artists and writers have also done well by other figures with places in music history: John Coltrane and Billie Holliday, for example, the subjects of Paolo Parisi’s Coltrane and Blues for Lady Day: The Story of Billie Holiday.

We’ve previously featured both of those books here on Open Culture, as well as Parisi’s Basquiat: A Graphic Novel. Conveying the life of a fellow artist, even one who worked in a different medium, poses a unique set of challenges to the graphic novelist. But it’s one thing to depict the work of another, and something else again to visually reimagine it, as in BOOM! Studios’ adaptation of Kurt Vonnegut’s Slaughterhouse-Five, a novel involving not a few biographical elements in the first place. Other respected works of literature lately to undergo graphic novelization include James Joyce’s Ulysses in Rob Berry’s Ulysses Seen, and the “weird fiction” of H.P. Lovecraft in the equally weird Lovecraft Anthology.

You can also read a graphic-novel adaptation of a source work never completed in the first place — but never completed, one must note, by Salvador Dalí and the Marx Brothers. A collaboration between pop-culture scholar Josh Frank, artist Manuela Pertega, and comedian Tim Heidecker, Giraffes on Horseback Salad realizes on the page a film that not only was never, but quite possibly could never have been made. For readers closer to worldly reality, there’s Jim Ottaviani and Leland Myrick’s Feynman: A Biography, which tells and shows the life of world-famous theoretical physicist, teacher, and bon vivant Richard Feynman. Never before, surely, has a comic book had to legibly and convincingly depict quantum electrodynamics, safe-cracking, and bongo-paying — to name just three of Feynman’s pursuits.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall, on Facebook, or on Instagram.

What Is a “Blerd?” Pretty Much Pop: A Culture Podcast #56 Discusses Nerd Culture and Race with The Second City’s Anthony LeBlanc

The Interim Executive Producer of The Second City joins your hosts Mark Linsenmayer, Erica Spyres, and Brian Hirt to discuss the scope of black nerd-dom: what nerdy properties provide to those who feel “othered,” using sci-fi to talk about race, Black Panther and other heroes, afrofuturism, black anime fans, Star Trek, Key & Peele, Get Out vs. Us, and more.

A few articles you might enjoy:

Some relevant videos and podcasts:

Learn more at prettymuchpop.com. This episode includes bonus discussion that you can only hear by supporting the podcast at patreon.com/prettymuchpop. This podcast is part of the Partially Examined Life podcast network.

Pretty Much Pop: A Culture Podcast is the first podcast curated by Open Culture. Browse all Pretty Much Pop posts.

While Away the Hours with a Free H.P. Lovecraft Call of Cthulhu Coloring Book

Unlike his devotee Stephen King, whose novels and stories have spawned more Lovecraftian film and television projects than any writer in the genre, H.P. Lovecraft himself has little cinema credit to his name. Given the abject terror evoked by Cthulhu and other terrifying “primal Great Ones”—as the author called his monsters in the story of the octopus-headed god—we might expect it to be otherwise.

But Lovecraft was not a cinematic writer, nor a fan of any such modern storytelling devices. He preferred the Victorian mode of indirect narration, his prose full of hearsay, reportage, bibliography, and lengthy description of experiences once or twice removed from the teller of the tale.

These qualities (and his extreme racism) make him a poor choice for the plot-driven medium of feature film. Lovecraft’s expansive imagination, like his buried, dreaming monsters, was subterranean and submarine, revealing only the barest glimpse of nightmares we are grateful never to see fully revealed.

The endlessly suggestive psychological terror of Lovecraft has instead become the source of an extended universe that includes fan fiction—written by professionals and amateurs alike—fantasy art, comic books, and RPGs (role-playing games) like the Call of Cthulhu series made by Chaosium, Inc. for over 35 years: “the foremost game of mystery and horror,” the company touts. “For those brave enough to uncover its secrets, the rewards are beyond comprehension!” If this sounds just like the thing to pass the time during these days of social distancing, look over all of the Chaosium Cthulhu offerings here.

For those who prefer Lovecraftian immersions of a more solitary, meditative nature, allow us to present Call of Cthulhu: The Coloring Book, the first of many “fun and engaging diversions,” the company promises “we can enjoy while staying in, working-from-home, in quarantine, or in self-isolation….. While away the hours in lockdown coloring an amazing array of scenes, with striking images from H.P. Lovecraft’s stories—and the Call of Cthulhu RPG his imagination inspired (Horror on the Orient Express, Masks of Nyarlathotep, The Fungi from Yuggoth and more).”

While these many Lovecraft spin-offs may be unfamiliar, hints of their harrowing scenes always lay in the murky depths of Lovecraft’s fiction. See how award-winning artist Andrey Fetisov has imagined these encounters with ancient terrors. Then color his Moebius-like drawings in, and enter your work in a Call of Cthulhu coloring competition by sharing it with the hashtag #homewithchaosium. There will be prizes, sure to be surprises, though we hope the ruthless Elder Gods don’t have a hand in choosing them. Download all 28 eldritch scenes here.

via Boing Boing

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

The Peanuts Gang Performs Pink Floyd’s Classic Rock Opera in the Mashup “Charlie Brown vs. The Wall

YouTuber Garren Lazar has hit upon a brilliant idea—take clips from Charles M. Schulz’s universally beloved Peanuts cartoons and cut them together with universally beloved (more or less) popular anthems like “Bohemian Rhapsody,” “Don’t Stop Believing,” “Freebird,” and “Stayin’ Alive.”

The huge emotions of these songs suit the oversized feelings of the comic’s characters, who were, all of them, variations of Schulz himself. As Jeff Kinney writes in his introduction to Chip Kidd’s book, Only What’s Necessary: Charles M. Schulz and the Art of Peanuts, the strip and its many animated spin-offs constitute “perhaps the most richly layered autobiography of all time.”

It’s fitting then that one of Lazar’s earlier Peanuts mashups involved another such richly autobiographical work, Pink Floyd’s rock opera The Wall, an album full of personal and collective pain, deep fear, alienation, insecurity, and observations about just how oppressive childhood can be. Just like… well, just like Peanuts.

Schulz’s work has always transcended the expectations of his form, becoming what might even be called comic strip opera. His fifty years of drawing and writing Peanuts make it “the longest story ever told by one human being,” says cultural historian Robert Thompson.

The creator himself had great ambitions for his collections of “little incidents,” as he called the strips. He hated the name Peanuts, which was forced upon him by United Feature Syndicate in the 50s. Schulz preferred his original title Li’l Folks, which he said imbued the strip “with dignity and significance. ‘Peanuts’ made it sound too insignificant.”

This was essential human drama, writ small, and it amounted to a whole lot more than “peanuts.” Claire Catterall, curator of a Schulz exhibit in London, insists she’s “not being ironic” in calling the strip “Great Art.” Schulz “introduced children—and adults alike—to some of the biggest philosophical ideas.” His “influence on culture and society is nothing short of seismic.”

Peanuts’ richness emerges in grand themes that took shape over decades. Bruce Handy writes of the Peanuts’ characters’ “nihilism,” calling Schulz’s world a “theater of cruelty.” (Their unhappiness only seems to lift during musical numbers.)  Jonathan Merritt describes the strip’s religious mission, Maria Popova writes of its brave Civil Rights stand and its cultural evolution, and Cameron Laux compiles a list of Peanuts philosophies, from Existentialism to the importance of friendship and self-reflection.

Nor does Schulz escape comparisons to writers of great literature—including several whose names may have popped up as references in the strip, likely in the word bubbles of the precociously erudite Schroeder or Linus. Kinney compares Peanuts to Shakespeare, Laux compares it to Sartre and Beckett, and Stuart Jeffries at The Guardian writes, “Certainly, Ibsen and Strindberg made a lot of sense to me as an adult because I was raised on Peanuts.”

If Schulz’s comic strip and cartoons can evoke these august literary names, then why not the names Roger Waters and David Gilmour? If anyone has ever felt like just another brick in the wall, it’s Charlie Brown. Marvel at Lazar’s editing skills in “Charlie Brown vs. The Wall.” The Peanuts gang, and Schulz, may have preferred jazz, but one can see in their existential angst and frequent bouts of despair the same kind of disillusionment Roger Waters hammers home in his masterpiece. Only, the former “Li’l Folks” and their creator had a much better sense of humor about it all.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Peanuts Rock: Watch the Peanuts Gang Play Classic Rock Songs by Queen, Lynyrd Skynyrd, Journey & More

In a very crowded field, Garren Lazar‘s comical take on Queen’s “Bohemian Rhapsody” is a stand-out.

Comical in the literal sense. Lazar, aka Super G, struck a rich vein when he thought to mash the Rolling Stones’ “Sympathy for the Devil” with footage culled from Charles Schulz’s animated Peanuts specials.

And over the last six years, he’s mined a lot of gold, using Final Cut Pro to pair familiar clips of a drumming Pigpen, Snoopy slapping a double bass, and the iconic “Linus And Lucy” scene from A Charlie Brown Christmas with rock and pop classics.

Schulz, an ardent music lover, frequently pictured his characters singing, dancing, and playing instruments, so Lazar, who has an uncanny knack for matching animated mouths to recorded lyrics, has plenty to choose from.

Charlie Brown’s anxieties fuel the introduction to a 15 minute remix of Lynyrd Skynyrd’s “Free Bird,” until he gets hold of the Christmas special’s megaphone…

The megaphone serves Charlie equally well on “Stayin’ Alive,” the Bee Gees’ disco chart topper, though depending on your vintage, the vision of Snoopy in leg warmers and sweatband may come as a shock. Those clips come courtesy of It’s Flashbeagle, Charlie Brown, Schulz’s 1984 goofy spin on FlashdanceFootlooseSaturday Night Fever and other dance-based pop cultural phenomenons of the era. Although that special—Schulz’s 27th—features a rotoscoped Snoopy busting moves originated by Flashdance’s stunt dancer Marine Jahan, that old holiday chestnut still manages to steal the show.

And whenever you need a lift, you can’t do better than to spend a few minutes with Lazar’s heady reboot of Chicago’s quintessential 1970s single, “Saturday In the Park,” wherein the normally reserved Schroeder reveals a more exuberant side.

Begin your explorations of Garren Lazar’s musical Peanuts remixes on his YouTube channel, warm in the knowledge that he entertains requests in the comments.

via Ultimate Classic Rock

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Join Ayun’s company Theater of the Apes in New York City this March for her book-based variety series, Necromancers of the Public Domain, and the world premiere of Greg Kotis’ new musical, I AM NOBODY. Follow her @AyunHalliday.

The Graphic Novel Adaptation of Kurt Vonnegut’s Slaughterhouse-Five, Coming Out This Year

Since its publication just over half a century ago, Slaughterhouse-Five has seen bans and burnings, gone through various adaptations, and all the while held its place in the American literary canon. Something about Kurt Vonnegut’s story of the involuntarily time-traveling optometrist Billy Pilgrim, who like his creator survived the firebombing of Dresden in the Second World War, continues to resonate with readers even as that war (and so very many novels about it) pass out of living memory. Vonnegut himself loved George Roy Hill’s 1972 film of the novel, but alas, having died in 2007, he didn’t stick around long enough to see Slaughterhouse-Five — or, to use its full title, Slaughterhouse-Five, or The Children’s Crusade: A Duty-Dance with Death — turned into a graphic novel.

“Indie graphic novel house BOOM! Studios announced plans to publish a graphic version of Kurt Vonnegut’s classic sci-fi/antiwar novel,” reports Publishers Weekly‘s Calvin Reid, naming the adaptors as writer Ryan North, artist Albert Monteys, and colorist Ricard Zaplana. Nerdist’s Matthew Hart writes that it’s “unclear at this point what’s been included and what’s been dropped for BOOM!’s Slaughterhouse-Five graphic novel adaptation, it seems like the story is in good hands.”

The images released so far “showcase a world painted with appropriately muted colors, and populated by some of the most iconic moments from the novel. The graphic novel’s interpretation of Billy Pilgrim will possibly ignite some disagreement amongst readers, however, as his face can be juxtaposed with Vonnegut’s.”

For a novel considered a “classic” longer than readers who discover it today have been alive, Slaughterhouse-Five has its own unconventional way with reality. Not only does Vonnegut make its protagonist “unstuck in time,” he also works into its cast real characters from his own life. Take Bernard O’Hare, shown here in panels from the graphic novel. As Vonnegut’s officially designated “buddy” in the the 106th Infantry Division, O’Hare was taken prisoner along with him in Dresden and held captive in a meatpacking plant known as Schlachthof Fuenf. When Vonnegut completed the manuscript he let O’Hare and his wife Mary read it, and the latter urged the author to write about how “all the men who fought in the Second World War were just babies.” Hence the novel’s subtitle, which befits the plainspoken sensibility of Kurt Vonnegut, a man who believed in calling things what they were — and thus would surely have rejected the label “graphic novel” in favor of “comic book.”

via Publishers Weekly

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

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