John Porcellino has a remarkable thing with his ongoing self-published zine, “King-Cat Comics and Stories.” This is a zine, and mini-comic, that has been around for 25 years. King-Cat dates back to 1989 and, in all that time, John P has shared his life with his readers. For his new book, “The Hospital Suite,” published by Drawn and Quarterly, he focuses on one aspect of his life and turns his personal journey into a universal one.
Category Archives: Comix
Noel Franklin is a longtime artist and poet of the Seattle scene who has compiled a respectable amount of work over the years. In 2013, Franklin created what she deems to be her first true mini-comic, Gone Girl Comics #1. This comic was critically acclaimed and her entire run sold out at last year’s Short Run Comix and Arts Festival. What she is looking to do now is create an edition of Gone Girl Comics #2 in time for this year’s Short Run festival, which takes place on November 15, and so she has a Kickstarter campaign in support of that goal that you can check out right here.
You’ll want to take a moment and listen to Noel’s story since it has some unexpected twists and turns that no cartoonist should have to endure. But, from adversity, comes great work. We are all wishing Noel the very best in reaching her goal and taking part in Short Run. Her campaign ends pretty soon, October 27, so be sure to visit the campaign right here.
Anyone who digs deeper already knows that comics are fully capable of being as elastic, ambiguous, and fluid as any other art medium. Just like fiction, film, and painting, the comics medium can reveal as much as it hides. There’s an annual anthology, “The Best American Comics,” that showcases a wide range of North American comics and addresses the familiar and peculiar in what amounts to a particular branch of contemporary comics. Or, perhaps the best way to put it is to say this book showcases the best in comics as an art form. The 2014 edition is now available. Let’s take a look.
If you like your humor raw and uncooked, you may have found your match with this comic book, “Sock It To Me #1.” It’s about a sock. And this sock has an attitude. Von Gorman has an attitude. You should too if you really want to get into this.
Puck Magazine, an impressive collection of some of the leading comix artists and much more, launches its crowd funding campaign today. This is truly an international collection. If you are a fan of offbeat humor and you’d like a taste of it from around the world, then this is for you. Join the campaign here. It runs from November 26, 2013 thru January 4, 2014.
What follows is an informative essay on the Apocalypse, the history of alternative comics, and how that relates to Puck Magazine:
Welcome to the Apocalypse
Historically speaking, the Apocalypse is always now. By that I mean that at every period in human history, someone somewhere was certain that the world was about to end. Whether it was the author of the Biblical “Book of Revelation” (or “Revelation to John”) — surely one of the most mischievous tracts ever written — or some Vedic bard predicting the Kali Yuga, or urban street corner prophets ranting that “The End is Nigh,” the human imagination has repeatedly fixated on the end of the universe and the end of life as we know it.
It is not difficult to figure out why this is. At some undetermined point in time, for each of us, the universe will end. Death awaits us all, whether in a sudden accident or heart attack, or in a long lingering illness. That this is so seems like a monstrous joke, and so we repress the thought or, for many of us, we project it upon the world at large, finding solace in the thought that if we must die, so must everyone else, preferably all at the same time.
And yet, life goes on. Every prophecy of the End Times is, in some sense, a false prophecy. Predicted dates come and go, and true believers’ expectations fizzle out, only to be succeeded by new expectations which will eventually fizzle out as well.
Much of this apocalyptic fervor has been driven by religion, especially fundamentalist Christianity and Islam, which share similar scenarios of a Final Judgment. But there are no lack of secular apocalypses to choose from: catastrophic climate change, nuclear war, the end of Capitalism (a particularly elusive apocalypse), an impending police state, and the list goes on.
All of which brings us to the volume you hold in your hands, a smorgasboard of personal apocalypses conjured up by a stellar crew of cartoonists from around the world. For most comic artists, apocalypse looms as the rent comes due at the end of each month, so this theme was one that the assembled artists could really get their teeth into. As you will discover, some took the challenge lightly, producing humorous strips (including the inevitable Mother In Law joke), while others dove into full-fledged horror and paranoia.
The result is a well-balanced collection of unique visions that you will not find anywhere else. The locations change from strip to strip, usually manifesting the apocalypse in the artists’ own locales. If you’ve ever dreamed of making an Around the World Tour, but know you never will, this volume is a suitable substitute, albeit with rather more demons, cannibals, black holes, and Avenging Angels than you would likely encounter in hopping from country to country.
Sadly, I am told that this is likely the last PUCK volume for years to come, so it represents an apocalypse of sorts for the whole PUCK enterprise. PUCK’s staff has beat all odds in uniting cartoonists from numerous countries in its group projects that are done for the love of free and uncensored cartooning.
The Underground Comix movement was launched in the U.S. during the Sixties and spread its influence to England, the Netherlands, Spain, France, and Italy (among others), in the following decades. PUCK has been one of the most energetic recent manifestations of the underground impulse and Ivan and the rest of the PUCK gang deserve a round of applause for keeping the torch held high.
The Apocalypse is always now. Enjoy it while you can.
Jay Kinney was a participant in the Underground Comix movement of the 1960s and 1970s. He edited and co-edited Young Lust, Occult Laff-Parade, Cover-up Lowdown, and Anarchy Comics, and contributed to many others.
He has since been a magazine publisher, book author, and antiquarian bookseller. Recently published is: Anarchy Comics: the Complete Collection (PM Press), a retrospective anthology of the hard-to-find four originals issues, plus never before published strips and sketchbook pages.
Caption for Mavrides-Kinney Armageddon panels…
The “End Times” erupt in “Armageddon Outtahere” by Paul Mavrides and Jay Kinney in Anarchy Comics #4. This story and all others from the comic series can be found in Anarchy Comics: the Complete Collection (PM Press).
Press release follows:
“Boobage,” is a mini-comic by Monica Gallager that covers, or unveils, a very personal preoccupation with a lot of wit and humor. So, what do you instantly think of when you put such greats together as Kate Hudson, Clare Danes, Gwen Stefani, and Bridget Fonda? The one thing that Gallager used to have trouble with was their (and her own) relatively small breasts, or “tits.” It’s okay, she says “tits” a lot. Gallagher isn’t afraid to tackle the tit issue, large or small. This won’t really be of interest to those who objectify and sexualize but it may give them some pause. Hey Jimmy, or whoever, those hooters you salivate over belong to a real human being.
It is fascinating what can develop during a 24-hour comic. I knew, going in, that I was doing a comic that was going to take me to some interesting places. It ended up being a journey in search of the heart and soul of Ballard, Washington, once a mellow destination with a history of saloons and bordellos and coasting along as a blue collar hangout, it became a prime target for developers. The rest is history: a slew of trendy boutiques and restaurants that have brought a whole new dynamic to the area.
Is this a question of whether it is good or bad? Are their lessons to be learned? Well, one person, Edith Macefield, who defied the developers and would not sell her home, has become a symbol for independence and the theme for my 24-hour comic.
24-Hour Comics Day is celebrated around the world on the first weekend of October. This is when all cartoonists join together in the pursuit of a full comics narrative during a 24-hour marathon. The timing was just right this year to take on such a substantial and compelling subject as Ballard, Washington. It is a place that perhaps never thought it would go through dramatic change and yet it can’t come as a complete surprise given its location and demographics.
But, in the past, locals didn’t really have intense concerns over location or demographics. It’s a very laid-back culture. It is something you’re not supposed to be able to manufacture. But, oddly enough, marketers and developers have done their level best to tap into the Ballard experience. Fascinating stuff.
Exploring the character of any place is such a fun thing to do. You don’t have to have any expectations. Or, if you do, see where that takes you too. As for Ballard, I know that area quite well. I can see it from various vantage points. No one is going to seriously argue against Edith Macefield, right? Another thing that is hard, or impossible, to argue against is comfort, good food, and fun items to buy now and then. It seems you can find just about anything in Ballard.
I will run the whole “Ballard” comic here at Comics Grinder in the coming days.
One of the most endearing things you’ll see in the documentary, “Cartoon College,” a 2012 film by Josh Melrod and Tara Wray, is Lynda Barry’s declaration of love for anyone who is a cartoonist. Lynda Barry is an interesting case in point. Her style is “outsider” raw while, at the same time, highly sophisticated. It won’t be mistaken for Rembrandt but it’s not supposed to be. Lynda Barry’s comics are authentic, entertaining, and thought-provoking. But can you teach someone how to become another Lynda Barry?