The First-Ever Asian American ComiCon Comes to New York on July 11, 2009!

SIUniverse Media, the company behind the groundbreaking graphic novel Secret Identities: The Asian American Superhero Anthology, in association with the Museum of Chinese in America (MOCA), the Asian American Writers’ Workshop (AAWW), Asian CineVision, AsianAmericanComics.com and Diamond Comic Distributors have joined forces to organize the First Annual Asian American ComiCon (AACC), a celebration of the unique contemporary role and historical legacy of Asians and Asian Americans in the world of graphic fiction.

The event will be held on Saturday, July 11, 2009 from 10 a.m. to 5 p.m. at the brand-new, Maya Lin-designed home of the Museum of Chinese in America. The Asian American ComiCon—the first of its kind—will be the first major event to take place at MOCA’s new two-level, 14,000 square-foot facility at 215 Centre Street in Lower Manhattan.

The day-long event will bring together leading Asian and Asian American creators, fans and readers of mainstream and alternative graphic fiction, and creative leaders of the larger Asian American community for a one-of-a-kind gathering, incorporating education, dialogue, spontaneous creativity, intergenerational outreach and the chance for established and emerging talent to show off their work. Tickets for the nonprofit event are $15 for students, $25 for adults (18 and older), and $75 for a special VIP Pass, entitling the bearer to priority reserved seating at all panels and workshops, a complimentary Asian American graphic novel, signed by its creators (courtesy of Diamond Comic Distributors), and an original sketch from one of the artists participating in the event's Artists Alley.

Registration will be limited, and is available in advance through the following link: https://www.nycharities.org/event/event.asp?CE_ID=4187

Note: All passes may sell out before the day of the event.

"The thing that makes this different from traditional cons is that it's designed to bring down boundaries," says Jeff Yang, co-chair of the event and Editor-in-Chief of Secret Identities. "We're bringing together creators from inside and outside of the comics world; exploring how film, literature, and history interact with graphic fiction; looking at the connections between Asia and Asian America, and we're giving attendees ways to meet, interact and engage with creators as they never have before. For this event, 'con' doesn't stand for 'convention'—we like to think it's short for 'conversation.'"

“Central to the Museum of Chinese in America’s mission is its goal to promote dialogue that transcends generational, geographical and cultural boundaries,” adds AACC co-chair Beatrice Chen, MOCA’s Director of Education. “The Asian American ComiCon, with its focus on exploring culture, identity and history through the world of comics, offers a compelling and accessible way to foster that dialogue.”

In addition to an exhibition room and an Artists' Alley, the Asian American ComiCon will feature three concurrent programming tracks:

· The SPOTLIGHT features high-profile comic creators in one-on-one settings discussing some of the ways in which the comics and non-comics worlds are overlapping and interleaving. Scheduled to participate in these sessions are Derek Kirk Kim (The Eternal Smile, Same Difference & Other Stories) and Larry Hama (G.I. Joe: Origins, Barack the Barbarian).

· READING COMICS, curated by AAWW Executive Director Ken Chen, explores comics as literature, as texts, and as cultural artifacts, with speakers including non-comics creators and critics as well as comics artists and writers.

· Finally, MAKING COMICS, programmed by Marvel writer Greg Pak, allows creators to share their insights on the industry and profession with those wanting a behind-the-scenes look at comics or advice on how to pursue a career in the field.

"Everyone knows that Asian Americans love comics, but no one's ever asked why” says Ken Chen. “That's why we organized the First Annual Asian American ComiCon as a mash-up of a fan convention, an Asian American Studies conference and a literary festival. The ComiCon will be a one-of-a-kind event that'll put superhero comic artists, professors, and novelists at the same table to discuss how we read comics today."

"I love the fact that Asian Americans are doing amazing work in every corner of the comics industry," says Incredible Hulk writer Greg Pak. "The Asian American ComiCon will give fans the chance to hear from indie superstars and superhero fan faves alike about creative choices and the practical reality of building a career. We're also hooking in a few behind-the-scenes comics executives who'll provide unique perspectives that I can't wait to hear!"

Among some of the top comics industry professionals scheduled to attend the First Annual Asian American ComiCon include:

--BERNARD CHANG (Wonder Woman)
--FRED CHAO (Johnny Hiro)
--SEAN CHEN (Iron Man)
--CLIFF CHIANG (Green Arrow/Black Canary)
--LARRY HAMA (G.I. Joe)
--DEREK KIRK KIM (The Eternal Smile)
--JERRY MA (Burn)
--CHRISTINE NORRIE (Breaking Up)
--GREG PAK (Incredible Hulk)
--KHOI PHAM (Mighty Avengers)
--MISAKO ROCKS! (Biker Girl)
--CHRISTINA STRAIN (Runaways)
--TAK TOYOSHIMA (Secret Asian Man)

The officials behind the launch of the AACC feel that the time is ripe to celebrate the contributions of the Asian American community to the comic book industry. To that end, the event will climax with the presentation to G.I. Joe creator Larry Hama of a special award recognizing his incredible career and the influence he's been on his peers and a generation of rising creators. “I’m honored,” says Hama, “as long as you don’t call it a ‘lifetime achievement’ award. I’ve still got a lot to do!”

For more information, please visit www.aacomicon.com
For general inquiries, please contact education@mocanyc.org
For press inquiries, please contact media@aacomicon.com

Ticket Information:
VIP Pass: $75*
Adult: $25
MOCA or AAWW Member: $15
Student (with a valid ID) and Senior (65 and over): $15
Child (age 10 and under): Free with Adult

*The tax-deductible VIP Pass not only helps to support MOCA, it also guarantees the richest possible experience at this event! Including:

· Priority reserved seating at all panels and workshops

· One Original Sketch drawn by an artist from the AACC Artists Alley—artist availability based on first-come, first-serve basis

· One Asian American graphic novel, signed by its creators—choose from:
Secret Identities: The Asian American Anthology (The New Press),
Good As Lily (DC Comics), or
Johnny Hiro Volume 1 (AdHouse Books)

· Admission to the invitation-only, post-Con VIP Reception

The First Annual Asian American ComiCon is presented by:

The Museum of Chinese in America (www.mocanyc.org): Founded in 1980, Museum of Chinese in America (MOCA) is dedicated to preserving and presenting the history, heritage, culture and diverse experiences of people of Chinese descent in the United States. Through innovative exhibitions as well as educational and public programs, MOCA promotes dialogue and understanding among people of all cultural backgrounds.

SIUniverse Media (www.secretidentities.org): SIUniverse Media is the editorial and production team behind the pioneering Asian American superhero anthology Secret Identities, as well as its affiliated video, online and educational resources. Committed to raising up new voices from the Asian American community and creating original, authentic and engaging stories with an organically multicultural perspective, we strive to create work that pops eyes, drops jaws and opens minds, all at the same time.

The Asian American Writers' Workshop (www.aaww.org): Founded in 1991, the Workshop is the largest non-profit devoted to the creating, publishing, developing and disseminating of creative writing by Asian Americans. A community of readers and writers and the country’s preeminent authority on Asian American writing, the Workshop dedicates itself to empowering emerging writers of great promise to make the transition to a career in the literary arts.

Asian CineVision (www.asiancinevision.org): Asian CineVision is a nonprofit media arts organization dedicated to promoting and preserving Asian and Asian American media expressions by helping to develop and support both emerging and experienced Asian American film and video makers and other media artists working in a range of genres and styles; and helping to ensure that the full spectrum of Asian and Asian American media works reach diverse audiences in Asian American communities and beyond.

Asian American Comics (www.asianamericancomics.com): Edited by Greg Pak, writer of Incredible Hulk and creator of the Marvel superhero Amadeus Cho, AsianAmericanComics.com is devoted to spreading the word about Asian American comic books, comic book characters and comic book creators. We hope AsianAmericanComics.com will help neophytes find interesting reading material, point existing readers towards new creators and books and provide fans and pros a place to read all the latest news. For more about Pak's work, visit Pakbuzz.com.

Diamond Comic Distributors, Inc. (www.diamondcomics.com): The world's largest distributor of English-language comic books and related merchandise, Diamond Comic Distributors is based in Timonium, MD, with strategically located Distribution Centers servicing more than 4,000 specialty retailers worldwide.

SOMEWHAT MORE ON-TOPIC: Parsing the Politics of Caricature; Rich Lowry Is a Moron

Oh, man. As if we needed another reminder as to why cartoon art is a medium that can be used for evil as easily as good, comes now the next installment in a series of racist National Review covers trafficking in Asian stereotypical imagery.

You'll remember, of course, that back in March 1997, the National Review released the infamous "Manchurian Candidates" cover seen here (which, due to the fact that the Internet was just a tot when that slice of tripe hit the newsstands, I was only able to find in greyscale -- embedded in a journal article written by Darrell Hamamoto, w00t!). Asian Americans understandably reacted with stunned rage at the depiction of then-President Bill Clinton, First Lady Hillary Clinton, and Vice-President Al Gore in stereotypical Chinese garb, their features warped into exaggerated Asian caricatures (slanted eyes, buck teeth).

The National Review was unrepentant in the face of charges that the cartoon was offensive and inflammatory, responding, in part, that:

"Caricatures and cartoons ... require exaggerated features and, where a social type is portrayed, a recognizable stereotype. Thus, a cartoonist who wants to depict an Englishman will show him wearing a monocle and bowler hat, a Frenchman in beret and striped jersey, a Russian in fur hat, dancing the gopak, etc."

The first point can't entirely be disputed: The cartoon medium often uses simplified, exaggerated features for emphasis, for satirical purpose and for ease in depicting broad emotion.

But it's one thing to exaggerate features -- Obama's protruding ears invariably become giant jug-handles when he's rendered, for instance. (The Mike Ramirez cartoon below actually essentializes Obama's appearance down to his ears -- and still manages to make its point clear.

It's another to incorporate racialized features that weren't there to begin with: For instance, consider these images -- a caricature of Obama from an "Obama Waffles" package, as gleefully sold during the right-wing "Values Voters Summit," and a close-up of Obama's official portrait from his days as Senator from Illinois.

Apart from being overtly racist, the caricature on the box doesn't remotely resemble Obama -- with its pop-eyed expression, darkened skin, enormous, toothy grin and thick lips, it looks a lot more like...well, the picture below can speak for itself, I guess.

Going back to the National Review "Manchurian Candidates" cover now, what you see is that there's more going on in the images of the Clintons and Gore than the typical flamboyant exaggeration used in cartooning. In addition to Bill's bulbous nose and Gore's pursed, almost sneering lips (both typical of their respective caricatures), you see...hmm...narrowed eyes...oversized, bucked teeth...a Fu Manchu moustache -- hey, just about every racist synecdoche in the anti-Asian propaganda library! (At least the stuff that belongs above the waist.)

Just to be clear here: It's one thing if they were simply drawn in Chinese clothing or doing quaint folkdances, as suggested by the National Review in its disgenuous response. That would arguably be in-bounds satirically (regardless of whether you find the political point being made to be fair or accurate).

But layering yellowface-propaganda memes into the picture transforms the caricature from an act of humor into an act of war. The images to the right are examples of what I'm talking about.

Even if you're insensitive enough to racial propriety to want to give white people Asian features in order to prove a political point, that simply isn't what Asian people look like, and never has been. The squinty, buck-toothed Asian person with bright yellow skin and eyes angled at ten minutes to two does not exist in nature. However much you soften it, those false features are in fact weapons of mass destruction, artifacts of an era where it was used to dehumanize the enemy enough so they could be killed without compunction.

For that reason, there's no acceptable way they should be invoked in a casual popular context, any more than minstrel stereotypes or anti-semitic "Elders of Zion" caricatures have a place in everyday culture. Discouragingly, they remain persistent in media today -- from entertainment (see left: Rob Schneider in 2007's "I Now Pronounce You Chuck and Larry") to news and commentary. Well, actually not most news and commentary -- it's really only the profoundly racist right-wing organs that still blithely fart out the yellowface imagery. Like, for instance...the National Review.

This cover to the right is the current issue of the magazine, on stands now. As you can see, it depicts Supreme Court nominee Sonia Sotomayor as the Buddha. Despite the fact that Sotomayor is Catholic and a Latina woman. While the historical Buddha, Siddhārtha Gautama, was Hindu (before the whole Bodhi tree thing), and an Asian man.

The caption, "The Wise Latina," frankly offers no real f*cking explanation for the image. I suppose it's because the Buddha was wise, although you could just as easily have depicted Sotomayor as King Solomon if you're looking for a legendary figure of wisdom; maybe it's because to the raving radical Right, Buddha is seen as a proto-hippie and probably a pansy too, while King Solomon, that guy threatened to cut babies in half -- not very pro-life, but not "empathetic" either. Badass!

But seriously: If they wanted a figure of wisdom and empathy, why not caricature Sotomayor as someone who's of the right gender and a coreligionist, at least: Mother Teresa? That would have preserved the necessary level of corrosive offensiveness, right? Too close to home?

Whatever. As it is, the cover is just stupid and meaningless, as well as offensive -- to women, to Latinas, to Buddhists of all backgrounds (note: The National Review guys are of the same ilk that went ballistic when Rolling Stone depicted Kanye as Jesus), and yes, to Asians. But it bears mentioning that it registers as EPIC FAIL even in the offending Asians category.

Because, unlike their "Manchurian Candidates" cover, where at least they picked the correct racist stereotypes to parade, the "Wise Latina" cover puts the hideously slanted eyes and bucked teeth of East Asian yellowface stereotype onto an image inspired by a Northern Indian man of Brahmin descent.

In fact, to the left here you can see the original image of Siddhārtha Gautama Buddha that the artist used as a reference (it's actually quite a popular icon). Notice any differences?

As usual, National Review has been quick with a completely absurd and totally disingenuous retort to the appalled reactions they've been getting from, you know, everyone. From editor-in-chief Rich Lowry:

"I take it the theory is that we don’t think Latinas can be wise so we had to make her look somewhat Asian. Or something like that. What these people don’t understand is the entire concept of caricature (or of a joke). Caricature always involves exaggerating someone’s distinctive features, which is all that our artist Roman Genn did with Sotomayor. Oh, well. Keep it humorless, guys, keep it humorless."

No, Rich, the theory is that you took a Latina woman and turned her into a North Indian man with horribly racist East Asian-stereotypical features because you guys are clueless morons. And actually, that's kind of funny, in that Lowry and the National Review don't quite get that the joke, ultimately, is on them.

ALSO KINDA OFF-TOPIC: I wants my Palm Pre, but not if they're gonna advertise it this way

(Another tangential post that I'll reel back into Asians and comics at the end. I promise!)

So, I'm up for a new phone, and I've been eyeing the Palm Pre with a certain slavering hunger (Parry and Jerry rock the smexy iPhone of course, and whip it out annoyingly whenever an opportunity arises), but I've been in a death-clench with Sprint as my only provider since I got a mobile phone; we shall both go down together. And so, with the iPhone an AT&T-only property for now, my options are limited.

I've got old love in my heart for Palm. I had a series of Treos, before begrudgingly switching to Blackberry when it became obvious the Treos just weren't hacking it anymore. And now, the Pre—which seems to be a legitimate rival to the handheld many call the JesusPhone. So may maybe the Pre wants to be the BuddhaPhone? At least that's what their marketing suggest, kinda. Or something.

If you haven't seen it yet, their big teaser ad for this Saturday's release is called "Flow," and it features your basic porcelain white demigoddess on a rock being worshipped by an emotionless army of Asian drones, performing rippling moves in rhythm with the dance of her slender ivory fingers. It's unsettling. Like, Verizon's "network" ads are freaky enough, but at least the crowd following the dude is a.) multicultural and b.) smiling.

This, on the other hand, does that whole "Asians as synchronized mob" thing that I can't help but find a little troubling—like, it's cool we can do stuff that requires massive discipline and collaboration (see: Beijing Olympics, Cirque du Soleil acts) but why is it always done in a flat-featured, mechanical way that erases individual identity? (At least they told the drummers at the Bird's Nest to smile, so they didn't look so robotic. Not here.) Having the empowered white queen on a pedestal in the center of the Asian hive only makes it that much more creepy, if you ask me.

Anyway, in the real world, wouldn't it be the other way around? Like, a whole bunch of blank-faced Caucasians worshiping an Asian person with a TOTES AWESOME PHONE, because Japan and Korea get all the good stuff first? In Japan, Pre is short for "(only appropriate for) Pre-(schoolers, since our phones already rock so much harder.)"

But Asians always get depicted as faceless, identical hordes, don't we? Like in the comics (see Keith? I'm bringing it back to Asians and comics!). Remember "Contest of Champions"? China's "national representative" for that lame-o crossover was the Collective Man. Some wikilove for Collective Man:

The Collective Man is actually an identity shared by the Tao-Yu brothers. They possess the mutant power to merge into one body, which variously possesses the collective strength of all five men or of all of the people of China. The brothers also share a psychic/spiritual link that allows them to telepathically communicate and teleport to one another.

Oh yes, they're also quintuplets. Five people, all look same! Share one power, can join together using Socialist principles into glorious "super" work team!

(This, by the way, is the future of the Gosselin kids: Merger into one giant, Voltron-esque Gosslective, their unholy strength powered by collective rage at their parents.)

And how about this one, from Grant Morrison's horrible attempt at creating a China super-team, Great Ten (Wikipedia)?

Mother of Champions: Real name Niang Guan Jun, is a woman who can birth a litter of twenty-five super-soldiers about every three days. She uses a metallic chair with six insect-like legs to remain mobile during her pregnant state....it is revealed that she has had thousands of children, and that each batch of superhuman children are conceived by suitors whom she hand picks.

Eewww. That's wrong in just so many ways. Like...she's the mother/whore dichotomy in one misguided ultimate combo. And she births "litters," like a dog or pig, although really if you're talking 25 soldiers every three days, it's more like "spawning" than "birthing."

...let's just move on.

All I'm saying is, we hardly need more Asians-as-undifferentiated-drone-army bullsh*t. Non-Asian superheroes get to be grim-n-gritty individualists, lone-wolf mavericks who ride motorcycles and throw around awesome taglines like "I'm the best there is at what I do" and "Bub." Asian superheroes, meanwhile, are cannon fodder—the original Clone Army.

Maybe I'll get a Samsung Instinct.

OFF TOPIC: WTF MARCUS EPSTEIN WTF?

Okay, so this is a little off the rails of this blog's intended purpose (e.g., discussion of Asian Americans, comics, and Asian American comics), but I don't currently have anywhere else to post my thoughts on breaking events, and anyway, I'll do my best to circle back to some kind of rationale for posting this here.

Rep. Tom Tancredo (R-Wingnuttia) is one of the most vitriolic attackers of the Supreme Court candidacy of Judge Sonia Sotomayor; notably, he's called into question her membership in the Hispanic American advocacy organization National Council of La Raza, which he has referred to as a "Latino KKK without the hoods and nooses." (And without the history of racist violence, or supremacist ideology, or toxic anonymity, or deep-rooted influence on America's tragic record on race. But otherwise, just exactly like the KKK!)

Of course, this only opens up the standard "takes one to know one" line of retort, and by that standard Tancredo should be quite the authority on knowing racists.

You see, Tancredo's hostility toward Sotomayor is due in great part to his broader hostility toward off-white folk, especially those who hail from places other than this great nation of ours (and only ours): The grandson of Italian immigrants has spent most of his legislative career and bully-pulpit bandwidth trying to turn out Liberty's lamp, lock the golden door, and disperse the huddled masses with pepper gas and rubber bullets.

• He sponsored a bill called the "Mass Immigration Reduction Act," which would have imposed an indefinite moratorium on immigration to the United States. Under the act, only spouses and children of American citizens would be allowed to immigrate.

• He believes illegal immigrants are the greatest threat to America's security, claiming that federal prisons are overflowing with illegals, some of whom aim to "harm people," and has been quoted as saying "They're coming here to kill you, and you, and me, and my grandchildren." During his abortive campaign for the Republican presidential nomination, he released an ad called "Tough on Terror," positing a future in which inept border security leads to a catastrophic new terrorist attack. Over images of an injured child and a wrecked train, the ad's voiceover says, "There are consequences to open borders beyond the 20 million aliens who have come to take our jobs ... the price we pay for spineless politicians who refuse to defend our borders against those who come to kill."

• He wants to spend billions erecting an enormous wall between Mexico and the U.S., and believes mayors and city council members who adopt "sanctuary city policies" should be tried as criminals.
  

• And to ensure that his bizarre brand of ultra-paranoid xenophobia spreads virally through the ranks of the Right's next generation, he's created a PAC that "identif[ies], recruit[s], and help[s] elect to public office individuals who are committed to enforcing our laws and securing our borders."
  

And that's where the sad part comes in. It turns out that the guy Tancredo appointed to run this PAC as executive director is a toolbox named Marcus Epstein...who happens to be half Korean, half Jewish, and all all a-hole.

Epstein is expected to be sentenced on July 8 for a charge—to which he has pled "guilty"—that he karate-chopped (tae kwon do chopped?) an African American female while calling her "n*gger." For no reason. While walking down the street muttering to himself. All according to witnesses, including the federal agent who apprehended him.

It's amazing that Tancredo has been able to find a proxy for his loathsome views who's actually more insane and racist than he is. It's embarassing that he happens to be Asian American, though one somehow doubts that he uses that label proudly, any more than does, say, Michelle Malkin.

If there's anything funny about this sad set of circus clowns, it's the name of the PAC that Epstein runs on Tancredo's behalf: It's called the Team America PAC. Perfect. Did they name the PAC after the hilariously impolitic puppet movie by Trey Parker and Matt Stone, thinking it was a frakkin' documentary or something?

I'm going to say yes. Because I can totally imagine Epstein, Tancredo and their hate-filled, anti-immigrant pals dressing up in their spare time as a paramilitary super-soldier squad, convinced that they're defending America against the invading hordes of brown disease-ridden evil rapist deathmongers. Plus Kim Jong Il. Assuming that Epstein's mom is South Korean, anyway. America, f*ck yeah!

And on that note, please do check out Installment Two of our downloadable, browsable Discussion Guides for Secret Identities—and look, this one happens to be about immigration!

See? I told you I'd circle back somehow.