Several big German newspapers’ online editorials published articles on their respective webpages about the Comic Salon. All the reports are in German, so you English folks won’t be able to read them, but they also added some pictures. Don’t expect too much variety, as all three (FAZ, SZ and Spiegel) basically use the same pictures.

Article One: FAZ basically talks about the fight German comic artists have gone through to finally gain a little more acceptance over here. Furthermore it’s criticizing the exhibition of Chinese manhua for not actually informing the visitor about the present comic industry situation in China. I have to agree. The exhibition was very nice too look at, but information was scarce. They also mention Yao Fei La (be careful it’s in French!), artist of 80° , answering the question: “What’s the difference between Japanese and Chinese comics?” with the sentence that Chinese manhua are more subtle, as it’s not about “A loves B, who loves C, but C loves A”, but simply “A loves B.” I wonder if he meant simpler and not subtle?

Article Two: The article on sü first focuses on the growth of the Comic Salon since its first time 24 years ago in 1984. Apparently someone took a video of it and it was shown at this year’s Comic Salon. He then writes more about the manhua exhibition, also complaining about it being generic, art and story-wise. He then briefly talks about the panel discussion of the history of Chinese comics by sinologist Andreas Seifert. Seifert concludes that manhua is not a medium of the masses, but instead a medium of the westerly oriented Chinese youth. Christoph Haas then goes on to talk about the different comic artist and the winners of the Max and Moritz Price, it’s all “western” comic folks though, so who cares?

Stefan Pannor is writing the third article for Spiegel Online. He’s comparing the Comic Salon to the little village of the smurfs(sp?), which I might relate to, if he hadn’t said that it was missing women. What…?! There were so many females attending the convention on Saturday, maybe he didn’t leave the comic book area and didn’t go to the manhua/manga booths? The rest of the text is mainly about the situation in Germany, which most of the authors give a positive future.

Onto the manga-sites: For more pictures, especially lots of cosplay pictures check out pummeldex. They have a few pictures of Benjamin and Eiki Eiki too. Also, they fetched Eiki Eiki for an interview and will post the interview on their website. Depending on the length I might translate it.

I have mentioned splashcomics’ coverage before, but hey, maybe somebody missed it! They have many pictures available and videos of most, if not all, discussions that took place, so if you know German, hit it!

I mentioned the Max and Moritz Price in my prior post about the Comic Salon. I think it’s no surprise that Jiro Taniguchi‘s Harukana Machi E managed to win the Max & Moritz Price for the manga category, after it was already voted Comic of the Year a few weeks back. It was able to win versus Lady Snowblood by Kazuo Koike & Kazuo Kamimura, What a Wonderful World by Inio Asano. I personally would’ve loved to see What a Wonderful World to win, alas the average age of the jury probably was too hight to be able to relate more to What a Wonderful World than to Harukana Machi E. I just love Asano‘s works and am so happy to see Solanin be released by VIZ.

Some interesting anecdotes I read on Xiao Pan’s blog. Benjamin’s Remember was sold out on Saturday evening, neither Xiao Pan, nor Tokyopop did have any copies left at that time. Tokyopop clearly underestimated Germany’s will to spend 14€ on an art-book by an -for Germans- unknown artist. Guess the good result could be caused by splendid advertisement? Or the fact that Benjamin was present and also attracted Comic lovers and not only manga lovers?