Smash Pages Q&A: Carta Monir

The creator of ‘RIPMOM’ and ‘Secure Connect’ discusses her process, the micropress Diskette Press, her upcoming graphic novel and more.

Carta Monir has been making a series of comics for years. Many people likely know her work in Polygon and Zeal, where she’s made comics about Hitman and Lara Croft. But it’s her more personal stories that have really solidified her place as a major talent.

In work like RIPMOM and Secure Connect, she explores questions of identity and the technology in thoughtful and nuanced ways that are rarely acknowledged in public conversations about the internet.

I first noticed her work when RIPMOM was published in Critical Chips 2 in 2017. The short comic is presented as taking place through a computer interface, in a way that seemed interesting in the way it broke apart our behaviors and feelings in complicated and emotional moments, but becomes this deeply person and emotional journey by the end.

Monir is also one of the people behind Diskette Press, and I reached out to ask her a few questions about her work and what’s she working on right now. You can find her on Twitter and on Patreon.

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Comics Lowdown: All is revealed!

DC announces their Writers Workshop participants, First Second unveils their Spring 2018 books, Viz licenses some new media, and Mimi Pond talks about her new book—and getting dropped from ‘The Simpsons’ because she was a woman

The Big Reveal: DC announced the names of the six writers who will take part in this year’s DC Writers Workshop: Magdalene Visaggio (Kim & Kim, Quantum Teens Are Go), Sanya Anwar (1001), Joey Esposito (Pawn Shop, Captain Ultimate), Phillip Kennedy Johnson (Last Sons of America, Warlords of Appalachia), Robert Jeffrey (Route 3, Radio Free Amerika) and Ryan Cady (Big Moose). Batman writer Scott Snyder will lead the workshop.

“It’s 13 weeks, and we meet for two, two-and-a-half hours online in a Brady Bunch-style box of windows. I teach it in such a way that it’s all superhero writing for DC. I try and make each week a lesson about a particular technique,” Snyder told Heat Vision. “My job is not to teach you how to write by formula for DC. It’s for you to come in and write the stuff you’re passionate about in your own way. I don’t care if that’s funny political, light-hearted, dark, whatever. Your job is to come in and have something to say. My job is to help you fit it into the rubric of superhero calculus and to help you maximize that story: look at where you should beef things up, slow it down, be aware of pacing. You need to come here and have something to say.”

At the end of the workshop, DC works with the writers to place them in writing slots for DC comics.

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