The comic collection „Imagine That!“,(opens in a new window)which is being showcased at book fairs around the world, is bringing the diversity and innovative strength of the German comic scene to international attention. Curated by Dr. Alex Jakubowski, “Imagine That” brings together 30 works. They showcase the broad spectrum of graphic storytelling in Germany – from experimental formats to new trends in children’s comics. In this interview, Dr Jakubowski discusses the idea behind the collection, current developments in the scene and its strengths in an international comparison.
Mr. Jakubowski, how is the German comic scene doing: BANG, OOPS or ZZZZ?
Well, even though I tend to cringe when people use sound effects in interviews about comics – though thankfully you didn’t write ‘Zack, Bumm, Peng’ – in this case I’d say: ZZZZ. Which basically means: the scene isn’t actually doing too badly. Compared to other countries, such as France or Belgium, there’s obviously still plenty of room for improvement. But compared to 50 years ago, it has certainly developed splendidly in the meantime.
The collection brings together 30 very different works. What are the three main criteria you used to make your selection?
The key criteria are topicality, diversity in terms of content, and, of course, a touch of personal taste. I won’t deny that plays a part.
“Imagine That!” will be on display at international book fairs and other events this year. What impression will the comics from Germany ideally make there?
I hope that people abroad realise just how diverse German artists have become. That it’s not just autobiographical coming-of-age stories, but that there is now no subject left that comics don’t cover. That artists are experimenting with their art style and that, narratively speaking, there’s absolutely no need to hold back.
What is the main difference between German comics and those from countries with a more established comic tradition, such as France or the USA?
We don’t have a particularly strong serialised comic culture in Germany. Ingo Römling, for example, has published a few volumes of his series “Malcolm Max”, but apart from that there’s not much else (I’ll leave “Das Mosaik” out of the equation for now). This is, of course, down to production conditions and earning potential, which are quite different for series like “Lucky Luke” or “Spider-Man”. Nor is there a major traditional school to which much of the work refers – no ‘Ligne Claire’ in German, for instance. In that respect, German comics are perhaps more individual than many other publications from abroad.
What developments have had the greatest impact on the German comic book scene in recent years?
That’s a good question, and one that’s not at all easy to answer. I think the scene is simply always evolving. A few smaller publishers have disappeared from the scene. At the same time, however, new ones have emerged, – some of which are making a significant contribution to children’s comics in particular. Perhaps it is precisely this development: more comics are being produced for children again. Although I would like to emphasise at this point that comics are not ‘just’ for children and are therefore not always funny. However,: there are more self-published comics for children by German-speaking artists. Overall, I would say: the medium is being taken more seriously by society as a whole. So, it is probably no coincidence that last year, for the first time, a comic was nominated for the German Non-Fiction Prize – and went on to win it (The Woman as a Human Being – by Ulli Lust).
How do comics reach their audience today – mainly through traditional publishers, independent publishers or new digital platforms?
There’s certainly a bit of everything. Specialist comic shops play a major role, as does direct marketing by the publishers themselves, and certainly a number of individual blogs, such as mine (comic-denkblase.de), which ensure that comics receive attention. As far as retailers are concerned, the major chains now often have their own comic sections, and even the well-stocked bookshop on the corner stocks comics.
Every year, Frankfurter Buchmesse brings together comic artists, publishers and the international rights trade. What emerges from these encounters, – beyond licensing deals and contracts?
From my perspective, it really is the encounters with the artists. Last year, for example, I had the chance to meet an Indian comic artist at FBM. Following that, I had the opportunity to help launch a translation programme for the Goethe-Institut in India, which was presented at the Kerala Literature Festival at the end of January. When comics or books are presented by the authors themselves, you immediately get a completely different impression of them – you can almost feel the passion that has gone into them. For me, that is what makes these encounters so appealing.
The questions were posed by Johann-Christian Fürstenberg.
