I'm taking a little break from Supergirl Week to let you all know about a fantastic book that was released today.

Emiko Superstar is the latest release from the soon-to-be-defunct Minx line from DC. The book is written by Mariko Tamaki (Skim) and drawn by Steve Rolston (The Escapists, Queen & Country). It's a Canadian double team of awesomeness!

The book is about Emi, a shy, somewhat nerdy teenage girl living in the suburbs. She is about to embark on a seemingly unadventerous summer, taking on a full-time baby-sitting job for her very normal-seeming neighbors. Her summer takes a major turn, however, when she discovers an underground performance art collective. She finds herself fascinated by the freakshow that is put on in an abandoned building (The Factory) every week, and by its free-spirited participants.

What I loved about Emiko Superstar is that every character in the book just seemed so familiar to me. Emi is a fantastic teenage female character, awkwardly straddling wanting to be responsible and grown-up, and wanting to drop out of her boring life altogether and do something truly unique and wild. The story promotes art and creativity, but doesn't shy away from showing the darker side of that world, and of some of the people in it. The older man, known as The Curator, who oversees The Factory is a particularly creepy figure.

The art is also fantastic. I always love Steve Rolston's art, and he does a great job with this story and its eclectic cast of characters.

Mariko Tamaki was kind enough to do a Q&A with me via email. The interview was done before the cancelation of Minx was announced.

Emiko Superstar is a story of freaks and geeks colliding. How much of yourself is in the character of Emiko, and do you feel you were more a freak or a geek at her age?

I was definitely a geek for a large portion of my teenage years - mostly because at the private school I went to there weren't a heck of a lot of freaks - and I was pretty good at Math and Chemistry (which makes you a card carrying geek in almost any high school). I suppose my experience was a lot like Emiko's in that I had to go outside of school to really connect with a freak identity, and finding that meant disconnecting with some geeky friends who were heading in a direction I wasn't too into (finance and law - ick). Unlike Emiko, I wasn't necessarily all by myself when I first discovered things like the Rocky Horror Picture Show, I had a pretty cool black lipstick wearing friend to go with me. So Emiko is far braver that I ever was.

Is The Factory based on anything that you've actually experienced or heard about? It certainly was familiar to me, and I wonder if every city has these sort of underground performance gatherings.

I had a pretty good feeling that things like the Factory exist(ed) in almost every city. I first discovered the freak salon when I was living in Montreal going to McGill University . It was like, "Hey, where are all the Goths going?," "Hey, what's THIS?" Places like the Factory are not always easy to find but when you do, it's like this underground city of eyeliner and amazingness. The idea behind this comic was to combine my love of the whole Warhol Factory scene with my experience of beer and bizarre performance art in clubs/warehouses in Montreal and Toronto - and the people that rule and love them.

I think the character of The Curator is particularly important in this story as sort of a warning to young people. It seems like its very common for a group of young "freaks" to have an older male acting as their leader, while at the same time perving on the girls and just being generally sketchy. Have you met many "Curators" through your involvement in the arts community?

It always kind of amazed me, the age range at these kinds of places - which is not to say ALL performance art scenes are like this - but there's this trend of a populous that contains a lot of teenage girls and a ton of older dudes, who end up acting as these kind of wise leaders. It makes you wonder why these guys get to be in this position and why they end up with so much cred - which - you know - for a place that's touting a resistance to authority and the mainstream - why buy into this male leader type thing - even if he is wearing a t-shirt with the word "SUX" on it. I didn't want to create any kind of moral tale warning girls about people like the Curator, but from the inception of the story it seemed like something that shouldn't be left out.

Of course, I want to repeat here, because I don't want to scare anyone off, it's not always this way. As someone who performs regularly in all kinds of spaces - feminist spaces, queer spaces, straight spaces, theatre spaces, literary spaces (and on and on) - I can say for certain that there are some places where freakdom flows and there's no king, which is an awesome place to be.

Steve Rolston did an amazing job on the art. Did Minx put you guys together for this book, or did you choose him yourself?

Shelly Bond, who is the Minx editor, put Steve and I together, which I will be eternally grateful for. Steve is so cool and creative and funny. He's always totally gotten this project and the hearts of the characters within it.

Minx has been putting out great books since its inception, with the aim being younger female readers. How important do you think Minx is as a label?

I am a huge fan of YA books - of fiction of all kinds aimed at Young Adult audiences, especially girls. I think it's great to have books that are not only aimed at girls, but tell girls' stories, you know? Like how when I was in high school all the books we read were boys' stories: A Separate Peace, The Catcher in the Rye, now Harry Potter, that kind of thing. And I think it's important to have girl voices and girl stories out there for girls, for boys, and for adult readers when I think about it.

Your previous book, Skim, was also about a high school girl. Is there something in particular that appeals to you about writing stories about teenagers?

Being a teenager is generally a messed up thing to be. It's all emotions and complicated and fears and anxiety, you know? And it's also an amazing, kind of a ridiculously free (in this way that doesn't seem free) time in your life. I think I like writing about teens because I like thinking about this time period in a person's lifetime. That may chance though. I mean, maybe I'll get too jealous and start writing books about people who have three jobs to pay the rent. Who knows?

So by now we all know that DC/Vertigo canceled the Minx line of comics this week. I for one am very disappointed. I'm not surprised that they weren't selling well, and I'm not surprised that they weren't hitting the target demographic (teen girls). But it certainly wasn't the product's fault.

The Minx books are not good sellers, but they are good books. A few of them are great books, especially when compared to the bulk of comics, or even literature, aimed at young girls. They are smart, funny, and have strong female characters that readers can relate to. They have talented writers, great art, and they offered an exciting new platform for indie comic creators. The books are well-packaged and eye-catching. They look great on a shelf. They are a nice size. They are very affordable.

Since the announcement of the cancellation, I have seen a lot of Minx-bashing on message boards and blogs. Seriously, everyone, these were not bad books. There were a few duds for sure, and I'm not going to name them, but the fact stands that over half of the books were good, and that's a far better track record than most publishers can boast.

When the Minx line was first announced, I was skeptical. Mostly because I was concerned by what DC would consider "comics for girls" to be. But I was pleasantly surprised by the first line of books, and was 100% pro-Minx from that point on.

I am very glad that the upcoming Emiko Superstar will still be released because I have already read it and it is fantastic. I am sad that the Minx line will no longer be a publishing option for similar projects in the future. It really sucks.

And I'll tell you the worst part: Minx was not given a fair chance. One year is what DC/Vertigo decided was a fair trial for something this radical and new. It was a whole new market, and a whole new product, and DC honestly did not even try.

As a nearly-certified Businessologist, allow me to throw down some Marketing 101:

A new product line aimed at a new audience needs to experiment with new channels. You cannot put these books in comic shops and in the graphic novel section of Barnes & Noble and expect teen girls to find them. You need to get creative. You need to AT LEAST make and distribute display units. To promote something this different, you need to go balls out on it.

Now, I noticed that Minx is (was?) a sponsor of the upcoming Seventeen Magazine fashion show tour. I doubt that's still going to happen, but my understanding is that there would be some sort of Minx promotion at these shows. Good idea! Too bad it probably won't happen now.

The thing is, it's not like young girls didn't want to read these. If you put them in their hands, they will read them, and probably like them a lot. DC just needed to put them in their hands. The books should have been in clothing stores, and given away for free at events. There was a big media blitz right before the first book was released, and then nothing besides the occasional print ad. I don't know a single person who was aware of the Minx books besides the people who read Previews every month. In other words: not your target market.

The slogan for Minx when it was first announced was "Evocative and Fearless." The books were often evocative, but the marketing of them was entirely gutless. And the shutting down of the line is a real slight to potential young female comic readers everywhere. It says "See? We told you girls don't like comics."

Young girls do like comics. Young boys like comics. I see it everyday. I spent all day at a book fair here in Halifax where I saw nothing but kids getting excited about comics. And these weren't kids who came into the shop regularly. These weren't kids whose parents are big comic fans. These were kids who were basically picking up their first comic or graphic novel and getting excited just from looking at it. Many of them honestly had no idea there were so many different types of comics.

I am fully aware that Minx as a concept is not an easy sell, but it certainly isn't an impossible sell. The product was good and it had endless potential for the future. I was looking forward to years of great books aimed at a market that had never before been properly targeted. Generating mass awareness and profits is not something that takes 12 months, and the infuriating part is that DC definitely knows this.

The bottom line: despite all their hype and apparent interest in teen girls, when it comes to down to it, they just don't care.