I just thought I’d share a bit on the process of making comics and illustrations, or just art in general. Right now, what’s important is establishing a certain vibe. Annie is the studios and adventurous type. She will greet someone with a question, trying to quickly gauge a person’s goals and motivations.
Tag Archives: Art
Manifesto Items #10. by David Lasky. self-published. Seattle, 2020. 60pp. $10.
When I find a worthy subject, I’ll add a dash or two of me into the mix. In this case, I present to you an ongoing series by cartoonist David Lasky. What I like about it is that I see some of my own passions. I guess, off and on, I’ve been following Lasky’s work for over twenty years. He’s a dedicated guy and he’s created some wonderful moments in comics through his various comic books and mini-comics. Where Lasky has trodded, so have I. The indie landscape is a very rocky road where you keep on truckin’ and, maybe with a little help from your friends, see what you can get.
Paul Gauguin used to ask, “Where do we come from? What are we? Where are we going?” These are the sort of big questions that pepper a lot of indie comics and done well a la Lasky. The Lasky universe is one that nibbles at a vast array of mystery and wonder and then finds a spot or two to feast upon and then dutifully report back to the hive. It’s a groovy gentle world of observations, hearty calls to action, and melancholic ruminations. Of course, we want to see more of this in comics but maybe some readers don’t even know what they’re missing until they stumble upon a Lasky gem. Well, with all that said, this latest Lasky work collects a bunch of quirky and offbeat content, as I’ve just suggested.
We begin with, well, it’s a little hard to say. It’s more like one little thing happens that leads to another slightly bigger little thing: a collage poem starts off with Bela Logosi and then gives way to a homage to comics and a tribute to the late great Tom Spurgeon; one exquisite corpse bends to another; tributes to cats lead to tributes to The Beatles; and, as we move along, some diehard fans might spot items that have appeared elsewhere like a page from an anthology about the US border patrol or comics from a workshop at Seattle’s Hugo House.
And then we’re hit with something special, like Lasky’s ode to Walt Whitman. Some of Lasky’s favorite, and best, work is literary adaption. For this collection, he provides a generous stretch of comics from Whitman’s “Song of Myself.”
Taken in as a whole, the slow rhythm of alternating images, the searching quality of it all, disparate items, enigmatic and uncanny, it all adds up to a David Lasky experience. It’s like mashing up sleepy Garrison Keillor with a touch of sly David Lynch. Case in point: A Lasky comic that depicts someone looking amused upon seeing flying saucers but actually more disturbed when they beam up her cup of coffee. I suspect that Lasky was zoning into a stream-of-consciousness experiment–his mind zeroed in on saucers and couldn’t resist matching it up with a cup. I’ll have to ask David about it the next chance I get or he is more than welcome to leave an answer in the comments section. Your observations are also most welcome.
So, as I say, this is weird art for art’s sake, good ole fashioned unapologetically offbeat stuff. The humor is so dry that a slight wind could knock it over. But that’s what makes it so distinctive. That is what I am attracted to since my humor can veer off into very dry territory. Maybe David and I have that in common. We’re both rather sensitive souls I’ll have you know. Maybe it’s something in the Pacific Northwest air that we’ve been breathing into our lungs all of these overcast years. Something about it that compels a cartoonist to match a flying saucer with a cup of coffee.
Visit David Lasky right here.
I ask that you keep going on this journey with me. I have been carving this niche for years and I feel like I’ve got it at quite a cozy level with just the right content and pacing. That said, it’s time for another thoughtful interview. For my video interviews, I add here a few notes and observations. Traditional journalism, like hard news reportage, will take an interview and create a concise summation. Some magazines are known for their long sprawling interviews where everything is transcribed. Of course, we also have a long tradition of various talk show formats, some thoughtful and some that are so casual as to blur right in with a dance segment on Tik Tok. Hey, I have nothing against fun and entertainment and I’ll engage in that when it makes sense. But, for interviews, I take them seriously, prepare for them, take off my Joe Cool hat and don’t engage in any dancing. Although, in a metaphorical sense, a good interview is sort of like a dance. The person conducting the interview leads while the person who is the subject of the interview goes about picking up one cue after another and making something out of it.
Anyway, I say all this because it’s particularly relevant to this interview. Essentially, this is an interview about interviews: how to conduct one, what it means, what you attempt to get out of it. I interviewed Julia Wald about her new book, The Suspension of Disbelief (review), an illustrated collection of interviews she conducted about life and work during Covid-19. In the course of the interview, we ended up talking about what it means when you’re working at a restaurant during a world-wide pandemic and suddenly it’s like all the lights are out and then, just as suddenly, you are out of a job, your source of income. We discuss who might have stepped in to help and who didn’t.
And, finally, once an artistic and talented person is inspired to create a book about Covid-19, what responsibility, if any, does she have to the vulnerable people she has interviewed? Well, part of the answer goes back to the dance. If the dance partners have established a sense of trust, then there’s a very good chance that something worthwhile will result that everyone can be proud of. We focus in a bit on American journalist Studs Terkel (1912-2008), the icon of what came to be known as “literary journalism.” Terkel was most active from the 1950s to 1990s, creating his seminal collection of interviews, Working, in 1974. He was part of that old-fashioned gumshoe journalist/creative tradition: loyal to his readers and listeners, to his Chicago, and to the art and craft of journalism. Julia says that Terkel inspired her on her Covid-19 project and it shows and, ultimately, it demonstrates that she did right by all who she interviewed. Julia did it the right way, the old-fashioned way that involves hard work and integrity. It’s the best way. And it’s what inspires me to keep going on this journey.
Visit Julia Wald right here.
The Suspension of Disbelief is available at Push/Pull.
It seems ages ago that I posted a drawing early last year about the developing “new normal” living conditions during this pandemic. Well, as much as things have changed with vaccines on the way, we still have a journey ahead of us. Perhaps it’s safe to say we’re at the halfway point, or better. Let us hope so! For now, we keep doing all the safe things we’ve been doing and, when it’s our turn, we get vaccinated. 2021 is now here. Let’s all make the most of it as best we can.
Mongrel is a significant debut graphic novel by Sayra Begum. This is among the best works of 2020 as I look back on the year. You can read my review here. And, now, you can enjoy something more. Check out my interview with Sayra Begum by just clicking the link below:
Comic arts festivals are the backbone of a lot of indie comics activity. During Covid-19, we’ve seen many of these events converting to online versions. Welcome to Exterminator City (part of Push/Pull co-operative), the 10th edition of this Seattle indie and small press festival. Beginning on Thursday, December 10th, you can enjoy programming and events during this 4-day event.
At 12:00 pm on December 10th all artist tables go live. Artist tables are pages on the Exterminator City website that include artist video introductions, their products, and information about them and how to follow them online. You can purchase directly off their tables – it is the next best thing to being with them in-person!
So, check it all out at Exterminator City right here.
There will be a wide selection of video content from online tutorials to interview panels. Here is the full lineup:
December 10th, Thursday – all events are live at 6pm PST
David Lasky speaks with John Porcellino of King-Cat Comics about making the King-Cat series for 30 years, the political nature of zines, and creating in 2020.
Maxx Follis-Goodkind interviews Craig van den Bosch and Marty Gordon of Microverse Press – a conversation about collage & collaboration.
Sarah Maloney teaches you how to make a mini zine of your own!
December 11th, Friday:
7:30pm– Catch special events over at VeraTV! veratv.org Friday only.
Featured events include:
Abridged interviews with Julia Wald and Jose Alaniz about their 2020 book releases.
A panel of zine experts – Maxx FG, Anne Bean, and Sarah Maloney will be giving you their best tips for zine newbies
Plus a tutorial from Maxx FG explaining what is saddle stitch and showing you two ways to do it
December 12th, Saturday – all events are live at 6pm PST
Sarah Maloney interviews Nicole Georges of Invincible Summer about changes and creating during the covid-19 pandemic
Plus! a full interview with Julia Wald about her latest release Suspension of Disbelief, with special guest Vladimir Verano of Vert Volta Press
And zine experts – Maxx FG, Anne Bean (Emerald Comics Distro), and Sarah Maloney – are back with their full list of things you should know before making your first zine.
December 13th, Sunday – all events are live at 6pm PST
A full interview with Jose Alaniz about his latest release, The Phantom Zone, a collection of works from the 90s through recent creations.
Seth Goodkind gets a lesson on the history of Seattle’s underground comics with artist Pat Moriarity and discusses what Pat is up to now.
Cheryl Chudyk invites you to participate in her surrealist poetry zine. And T. Pratt teaches you the secrets behind his pop-up zines.
“Exterminator City is about connecting our community to people self-publishing zines and comics. When we realized that the current pandemic meant all of the in-person shows for the year would be cancelled we felt it was our responsibility to step in. Our hope is that you learn about people creating, connect with someone new, and get some inside information from our panels and interviews. And of course enjoy yourself!”
Visit the festival and explore December 10th – 13th at exterminatorcity.com
And visit Push/Pull, in Seattle, throughout the year.
In Mongrel, Sayra Begum presents the reader an honest and in-depth look at a Muslim family from Bangladesh. Begum takes a very straightforward, blunt, and fresh approach to issues of race, gender, class, and religion. At the heart of her story is the conflict that the protagonist must navigate as she straddles two worlds coming from her mixed-heritage background: Bengal Muslim on her mother’s side; British-Anglo on her father’s side. In Islam, it is understood that a Muslim man can marry a non-Muslim woman. However, it is forbidden for a Muslim woman to marry a non-Muslim man. And yet this is exactly what happens in Begum’s story. Shuna is the daughter of such a forbidden union. When history is set to repeat itself with Shuna determined to marry David, a non-Muslim man, it is Shuna’s mother who is at the center of the conflict, making unfair and impossible demands upon her daughter.
Drawn is a style that evokes a dream-like sketchbook come to life, the reader is swept up into the immersive world of Mongrel. What strikes me about this graphic novel, what makes it remarkable, is its authenticity, commitment, and vision. It is not often that we, as general readers, have an opportunity to become privy to the everyday life of a Muslim family in such an accessible format as a graphic novel–even though there are well over a billion followers of Islam. With all the heated talk about diversity and inclusion on the table, it’s ironic. That said, we can all be grateful for this insightful work.
Now, let’s allow the book to speak for itself with some samples and quotes from the pages of Mongrel…
“The front door of Shuna’s family home acted as a gateway to Bangladesh. Nothing haram passed through this door, this was a devout house. When Shuna walked through this door, she switched her rebellious face to her pious face, which eagerly absorbed the teaching of the Prophet, striving to be a good Muslim girl. The switching between these two faces became increasingly difficult as they grew further and further apart.”
“‘Yes, yes, yes I’ll marry you!’ I said to David. Although, after the celestial shock wore off and dull reality set in, I realised there was a slight problem. I would have to tell my very traditional parents that I was going to marry a non-Muslim and confess my secret life.”
“It’s my wedding day. My parents are absent. I’m not surprised. Why would my parents want to celebrate their daughter being damned to an eternity in hell fire?”
Ultimately, Begum keeps it real. People are not saints. They can be very contradictory and self-destructive. They can also find a way out and to a healthy place for self-reflection. We are embarking upon a new cycle of calling out authority and demanding all sorts of change. What we mustn’t forget is to dig deeper and calmly remove the obstacles that lead to someone being seen as the Other or as the mongrel. Sayra Begum’s graphic novel is a step in the right direction. As I stated earlier, we don’t often have such a window specifically into the Muslim world. But you can also say that these kind of gems only come around every so often. I think of such landmark works as Blankets, by Craig Thompson, which dissects a Christian upbringing; and I think of Persepolis, by Marjane Satrapi, the last great work to take an idiosyncratic look at any religion in a significant graphic format. These gems take time and they come along it their due time. Now is a perfect time for Mongrel.
A note, especially to readers in the United States: you can find Mongrel at Amazon right here.
Comics Grinder has always got you covered for interesting tidbits, insights, and suggestions regarding comics, pop culture, and culture in general. Here are some quick suggestions for discerning Comics Grinder followers:
I’m going to keep this simple and jump right in with 10 items for your consideration beginning with Wes Anderson: The Iconic Filmmaker and his Work, by Ian Nathan, an “unofficial and unauthorised” yet stunning tribute to the beloved filmmaker. 176-page hardcover with deluxe slipcase, fully illustrated. $35. From White Lion Publishers, an imprint of The Quarto Group.
Next up will please any fan of D&D, especially younger players or anyone who enjoys a trading card style description of characters. This is Beasts & Behemoths, the fifth and latest installment in the Dungeons & Dragons Young Adventurer’s Guide series. It is by Jim Zub, Stacy King, and Andrew Wheeler. 112 pages, full-color illustrations. $12.99. From Ten Speed Press and Penguin Random House.
Moving right along, this book will need to be in your kitchen and bar as soon as possible, whether you’re a D&D fan or not yet. Welcome to Heroes’ Feast: The Official D&D Cookbook. Yes, now you can eat and drink like a hero. There are recipes here for everything from Honey-Drizzled Cream Puffs to Sembian Honey-Glazed Rothe Ribs to Bytopian Shepherd’s Bread to Roll Rum! Seriously, this is an impressive cookbook with lavish illustrations alongside charming and meticulous D&D factoids and insights. If you’ve been looking for a way to hook yourself into the world of D&D, then seek out this cookbook. Fully illustrated. 240 pages. $35. From Ten Speed Press, an imprint of Penguin Random House. Quite honestly, this is the best gift for 2020 on so many levels.
If you are a fan of Critical Role, then you are in very good company as this is one of the most popular role-playing game communities ever. Now, you can join in on all the fun and get all you’ve ever wanted to know about this fantasy RPG livestream phenomena in one deluxe book, The World of Critical Role: The History Behind the Epic Fantasy, by Liz Marsham and the Cast of Critical Role. Just like the name suggests, go deep into this world with up-close and personal features on all the talent involved. Critical Role was established in 2015 by a group of friends with a passion for storytelling and has evolved into a multi-platform media company with a variety of shows, comic books, graphic novels, animation, podcasts and more. Its epic adventures and memorable characters attract millions of viewers live every week. Yes, this is a big deal and, if you’re new to it, then all the more reason to get this book. This is a 320-page fully-illustrated hardcover, $35. From Ten Speed Press, an imprint of Penguin Random House.
Let’s shift over to the Star Wars universe and a most compelling book indeed. For anyone who cares about quality storytelling, and enjoys Star Wars lore, this is a perfect gift. From a Certain Point of View: The Empire Strikes Back is an anthology celebrating the 40th anniversary of The Empire Strikes Back with forty acclaimed science fiction writers. You will find such gems as Hank Green chronicling the life of a naturalist caring for tauntauns on the frozen world of Hoth. Or about Charles Yu’s quirky look at what it’s like to be in Darth Vader’s death grip? So much to enjoy here. So kick back with a Roll Rum and get into some serious Star Wars storytelling. This is a 564-page hardcover, $35. From Del Rey, an imprint of Penguin Random House.
It’s impossible not to like the hilarious work by Yehuda Devir and Maya Devir with their comics adaptation of their everyday lives. It all began as a fun spoof on young married life. Yehuda would draw. Maya would art direct. Next thing you know, these candid illustrations went viral on social media. Welcome to One of Those Days, a collection of these funny and touching illustrations that just about anyone can relate to. This is a 272-page full color hardcover, $30. From Penguin Random House.
Garry Trudeau’s Doonesbury has been around for fifty years and it’s time to celebrate. Enter, Dbury@50: The Complete Digital Doonesbury, from Andrews McMeel Publishing, priced at $125. This includes a 224-page “user manual,” a poster, and a thumb drive which includes what looks like a little website presenting all the comic strips on a per week basis. The fifty-year milestone celebratory package takes readers through each year of the strip, providing historical context and featuring key storylines, and proves to be a valuable first step in preserving a significant comic strip for future generations.
Another huge property is anything and everything to do with Frank Herbert’s monumental novel, Dune. Was it ever really meant to be more than a novel? Well, how about a graphic novel? The answer is yes and no. Apparently, it takes more than one graphic novel to properly attempt to cover the novel. Enter, Frank Herbert’s Dune: The Graphic Novel, Book 1. It offers a good mix of the cinematic and more cerebral that should satisfy true believers and newcomers alike. This is a 176-page hardcover, $24.99. From Abrams ComicArts.
If anyone tells you that they’ve finished reading XX, the new mammoth novel by Rian Hughes, they are lying to you. This work clocks in at 992 pages. It actually weighs in at almost 3 pounds. Isn’t that close to the weight of a newborn baby? No, the average weight is around 7 pounds. Okay, I don’t want to overstate this. What I do want to say is that the book is huge and sometimes big books come with a lot of hype. In this case, we have an art house book with a lot of type, as in fancy footwork with various fonts. This is supposed to be a glorious melding of the literary arts with the graphic arts from a master designer. I’m not sure that I’m buying all that. If you are looking for something really compelling and unusual that is playing with the literary and the visual arts, you may still need to go back to 2000 and House of Leaves by Mark Z. Danielewski. That said, I’m still working on this mountain of a book and the basic story hasn’t really hooked me in yet. I’d love to know what you think if you have indeed made it to the end. This is a hardcover, $26.43. From Abrams.
How much do you like Batman? I love me a good Batman story, but I mean something really good. Well, a lot of good things came from Batman: The Animated Series. The higher-ups at the Big Two Publishers can be a mysterious bunch but, when they prioritize, they can achieve remarkable results. Look, iconic characters like Batman are only as good as the creative team behind a certain project. What made Batman: The Animated Series work out so well was the creative team led by Bruce Timm back in the early ’90s. It seems that Timm set the gold standard and it has been honored ever since. I have yet to see a subpar DC Comics/Warner Bros. animated feature. The book, Batman: The Animated Series, honors all that hard work and dedication with stellar artwork. Enjoy. This is a 144-page hardcover, $60. From Insight Editions.
Comedy is not pretty. Isn’t that what Steve Martin concluded oh so many years ago? Well, it’s true. If humor has anything to do with revealing the truth, then it’s gonna get ugly. Harvey Kurtzman knew something about this too and was revered by other cartoonists moving up the ranks, like Peter Bagge. And, if you study Peter Bagge’s work, you’ll see the Kurtzman influence, sometimes subtle and sometimes in a direct reference.
One of the darkest and most hilarious bit of comics I’ve read is a collaboration between Bagge as writer and Danny Hellman as illustrator. The piece is about a meeting between young aspiring cartoonist Peter Bagge and the legendary cartoonist Harvey Kurtzman. With a cutting New York sense of humor, Kurtzman is brutally depicted as a bitter doddering old man. The punchline, as it were, states that Kurtzman’s erratic behavior may have been caused by the fact he was dying from cancer; and he did indeed die not long after this infamous meeting!
Ah, and then there’s the R. Crumb influence–and that certainly makes sense, if you know anything about Peter Bagge’s work. My goal in this interview was simply to explore the process with a masterful cartoonist and hopefully end up having asked the right questions. I think what really stands out for me from our conversation is that Bagge’s outlook is that of a highly irreverent individual, as well as a sensitive and thoughtful person. So, basically, Bagge possesses a sensible mix of character traits that most of us can relate to. That is part of the magic of Hate’s main character. Everyone can relate to something about Buddy Bradley, the guy who wants to get along, but not too much!
Well, that gives you an idea of Bagge’s offbeat sense of humor. Comedy, the very best and most cutting, is definitely not pretty. And so it was my goal to explore this subject with Bagge, and many other related matters! I hope you enjoy the video interview, which you can access by clicking to it down below. Peter Bagge’s work is most definitely adult fare and in the best spirit of the term. It is dark, sophisticated, and meant to elicit a world-weary cackle of recognition. Enjoy!
The Complete Hate from Fantagraphics is available November 24, 2020. Book One (HATE 1-15) focuses on young Buddy Bradley’s travails in early 1990s Seattle. Book Two (HATE 16-30) focuses on Buddy and his girlfriend Lisa Leavenworth’s move back to Buddy’s native New Jersey (and a switch from black-and-white to full color). Book Three (HATE Annuals 1-9) features the final arc of Bagge’s magnum opus, as Buddy and Lisa become parents (and buy a garbage dump). Each volume, along with the slipcase, contains new covers, endpapers, title pages, and other surprises by Bagge.
For more details, visit Fantagraphics right here.