The comics in the spotlight this time around are by Doogie Horner, a great illustrator who I first took notice of for his book cover design (illustration by Jeremy Enecio) to the madcap fictional adventures of Barack Obama and Joe Biden, Hope Never Dies.
Pride and Prejudice and Zombies
It was shortly after spotting that book that I noticed another one with Horner credited for both illustration and design, a comedy mashup of Jane Austen and zombies! Maybe you’ve seen both of these iconic covers.
This Might Hurt a Bit
But it hardly ends there for Doogie Horner. Along with an impressive creative portfolio of graphic design, illustration and comics, he is also an author and a stand-up comedian. The great thing about whatever Doogie Horner does is that he’s very dedicated. His young adult novel has been well received, This Might Hurt a Bit. And you’ll just have to see for yourself how he tamed a hostile crowd when he was a contestant on America’s Got Talent!
Alright then, I’m very happy to bring to your attention this comic, a sweet story of a boy trying to connect with his dad. Or maybe it has more to do with the kid’s curiosity getting the better of him and his forcing his way into seeing a movie he was told would be too scary for him at his age. Yeah, that’s definitely a big part of the story. Spoiler alert, the movie was scary but not too scary. It depends upon how scary you think The Terminator is for a kid around five years-old. Okay, definitely parental supervision is in order.
The point is that this comic manages to do a lot of things right. It’s funny and engaging for any age. But, most importantly, it flows very well. This is a gentle narrative, told by a child, while maintaining a hip and upbeat sense of humor. The drawing style has a child-like, as well as elegant, simplicity.
So, this is an easygoing look and feel–and that’s actually not easy to do. It takes time to get that natural vibe going. Just ask Doogie Horner. He made it look easy to win over a hostile audience, something easier said and done, but he knows what he needs to know. Part of it is dedication to craft; part of it is learning from past mistakes; and part of it is simply not taking no for an answer. I get a sense of that spirit in this father and son story. Check it out, along with a bunch of other wonderful comics on Doogie Horner’s website.
First off, I invite you to read the review I wrote for The Comics Journal to the book in question, G-G-G Ghost Stories. That will add to the enjoyment of the following interview with the creator.
There are details in Brandon Lehmann‘s comics that will come back and reveal themselves upon another reading. Look closely and you’ll see, tucked away amid the backdrop of a mega-bookstore, copies of Brandon Lehmann’s new book, the recently released,G-G-G Ghost Stories, in the panels to his story, “The Werewolf Expert.” Another reading will reveal a copy of Henry Miller’s Tropic of Capicorn, in the hand of a child, a secondary player in this finely-crafted farce. The key idea here is the subject of creating such a thing as a “finely-crafted farce,” and why quality will win out in the end. Lehmann’s sense of humor is an absurdist and existential sensibility. Lehmann has been making comics for about fifteen years featuring observational and satirical work. In this new book, he focuses in on playful use of horror tropes. For this interview, we met at Seattle’s Smith Tower, a favorite haunt of erudite cartoonists and, of course, ghosts. We begin this conversation just as I sit down to join Brandon. I notice pot stickers have already been ordered. (We staged a bit of a humorous intro. You’ll see what I mean if you view the video.)
Hey, Brandon, well, I see you’ve started without me, as usual. Nice to run into you this way.
I just hang out up here in Smith Tower and read my own comics.
G-G-G Ghost Stories by Brandon Lehmann
So, what have we here (picking up a copy of Brandon’s book). Is the proper pronunciation just as it reads, G-G-G Ghost Stories?
When I named it, I was hoping for some awkward interactions at the sales counter. “I’ll take, G-G-G Ghost Stories, please.”
That would be a Scooby-Doo influence, right?
Interesting that we’d find ourselves in Smith Tower since, as everyone knows, this place is haunted.
Yeah, we saw a couple of ghosts on the way in. I was like, “Ahhh, it’s a g-g-g ghost.”
Page excerpt from “The Lfyt”
I think of a lot of your work, like the “The Lfyt,” as being mini-masterpieces. Do you sometimes think in those terms, “I’m going to create something that’s so spot on that everything works perfectly.” Does that make sense to say that?
Yeah, I always feel that when you’re working on a book, especially, you can get into this mode where everything you do just works. And then, when you finish a book, I have this period where I just struggle and I can’t seem to draw anything. But when I’m making a book, I can set a schedule, everything works on the first try for some reason. If that makes sense.
Page excerpt from “The Werewolf Expert” story from G-G-G Ghost Stories
It does make sense. I’m a certified cartoonist myself, as you know. Now, tell us about “The Werewolf Expert,” the longest work in the book.
There’s a trope in horror movies and TV shows where someone needs to seek an expert on the occult and it’s always someone who it doesn’t make sense would be an expert. Like, you’ll have this guy who works at the bowling alley as a mechanic and, for some reason, he’s a vampire expert. In “The Werewolf Expert,” someone consults a Barnes & Noble bookstore employee, and it’s the employee’s first day. And they shouldn’t know anything about werewolf lore but part of the B&N orientation training is that they teach all about werewolf lore. That employee knows a lot but eventually he consults his supervisor and she knows even more about werewolves to a ridiculous degree. So, it just keeps building on that premise.
Desperately seeking werewolf advice.
How would you describe your humor?
It’s absurdist and existentialist. There’s a lot of gags in the book that you can repeat with a similar premise. For the story we’re discussing, there’s a gag that I use a lot. The story is progressing from one point to another and then I’ll throw a wrench into it. And it will spin off in an insane degree. For instance, the bookstore customer seeking advice has a daughter named, Shawnda. He begins yelling at her, she’s off camera. Later, we see her and there’s more of this yelling. That sort of silly exchange is something I like to do in my work.
Panel excerpt from Brandon Lehmann’s Instagram.
There’s a beauty to your work. The humor is consistent. The art is consistent. You must go through a slew of experimentation before you hit upon what works, what’s on point.
The whole concept of the book is classic ghost stories. So, that’s the anchor. We’re dealing here with stories everyone is familiar with in one form or another. The story, “The Lfyt,” we were just talking about, is based upon a popular ghost story about picking up a hitchhiker who turns out to be a ghost. Another good example is “The Viper,” another popular children’s ghost story. The tension builds as he keeps calling and announcing when he’ll arrive. In my story, it turns out that “The Viper” is a guy with a thick German accent, who is just an innocent window wiper.
I didn’t know about that children’s ghost story. The actual one, not your satire!
Yeah, it’s real. There’s also one entitled, “Okiku,” based on a popular Japanese ghost story about a woman who was murdered because she refused to become a samurai’s mistress. She had been thrown down a well and, each night, she appears to seek her revenge. That was actually the basis for the Ringu movies. There’s the books. It was also on stage, as kabuki theater. So, yeah, I gather up all these ghost stories and given them my own spin.
Well, I’m sure this will intrigue readers. Thanks so much for sharing this with us. Where is a good place to find your work?
We turned to the subject of the performance artist Brother Theodore and that helped connect the dots to Martin Olson‘s new book, The Conquest of Heaven, which I’ve reviewed in my previous post. It’s an intriguing and hilarious exploration of the addled yet persistent mind of the Lord of Darkness himself. On one level, it’s a very funny book. On a deeper level, it’s every bit the satire on what we humans let ourselves believe and what can pass for reality. Serious followers of comedy will most likely already be familiar with Brother Theodore. I kick myself now, because I can’t say I knew about him until recently and that’s only because I found out about him from Martin.
My introduction to this comic is this clip from The Merv Griffin Show. I can’t say that I was ever a big fan of Merv Griffin. He seemed to be the sort of talk show host that was easily parodied by other comics, like Martin Short. But now I come to see that Merv Griffin was pretty hip to groundbreaking comedy as he was an early supporter of Brother Theodore. If you are new to him and you view this clip, you can’t help but think that Andy Kaufman was taking notes….
So, if you view the clip, this will make more sense. In a nutshell, here you have one of the early wave of nontraditional comic artists. Brother Theodore was weird but that was the whole point of his act, to express the utter absurdity of life. As Martin points out, it’s nihilistic material that you make your way through to a redeeming payoff. And so I see some of that going on in Martin’s new book with Satan as the main character, an outrageous creature saying the most offensive things, but alternating with some poetic whimsy. Anyway, I wish I’d taken my search a little further and viewed the more recent clips of Brother Theodore in the ’80s on Late Night with David Letterman. Ah, that would have been more recent material to talk to Martin about. The thing is, this was simply a potential question I had pinned to the back of my mind. As it is, I did get a wonderful response regarding the above clip which includes Martin recalling what it was like for him as an impressionable 10-year-old to see this crazy and weird humor.
For those who are fascinated by the writer’s craft, we also chatted about the great science fiction writer Robert Sheckley. In fact, that’s just before we dived into talking about Brother Theodore. In the case of Sheckley, this is another mad genius who loved quirky humor. There’s a nice moment during our talk when Martin recalls Sheckley’s guiding principle in keeping his stories rich and alive: “Sympathize with all things!” And so Martin finds a way to even sympathize with the Devil!
Okay, that seemed a perfect place to stop but I need to just add that, having read both books in the series thus far, I can confidently say that one compliments the other. To hear Martin confirm that there will indeed be another book to fulfill the trilogy is wonderful news. Martin has, by turns, found himself creating his own universe upon which to comment on the human condition and the like, essentially having endless material to play with on the less than stellar condition of the cosmos. All this brings to mind Douglas Adams, and he did pretty well for himself as I recall.
For more on Martin Olson and his work go right here.
Cinema is one of the great pleasures in life. If you love good movies, then you will be delighted with the lineup for the Turner Classic Movies Film Festival (May 6-9 2021). This post will point you in the right direction as well as provide an added bonus. One of the titles featured during the festival is 1996’s Nichols and May: Take Two. I had the honor of interviewing Mark Harris, author of the New York Times Bestseller, Mike Nichols: A Life. I hope you enjoy our chat and be sure to catch all the great movies during the festival. During our conversation, I tried to fit in as much as possible regarding Mike Nichols (1931-2014), such a iconic figure in the world of improv comedy, theater and film known for such landmark films as Who’s Afraid of Virginia Woolf? (1966), Catch-22 (1970), and Carnal Knowledge (1971). And those three titles are just scratching the surface!
Cast and producers including Al Pacino, third from left, Meryl Streep, third from right, and Mike Nichols, second from right, hold the award for outstanding miniseries for their work on “Angels In America,” at the 56th Annual Primetime Emmy Awards Sunday, Sept. 19, 2004, at the Shrine Auditorium in Los Angeles. (AP Photo/Mark J. Terrill)
Harris first got to know Nichols during his work adapting Tony Kushner’s landmark play, Angels in America. By then, Nichols was in his seventies and a master of his craft many times over. During our talk, Harris noted: “It is remarkable to me how Nichols kept looking outward during a production, while the meter was still running, finding ways to construct and to add.” As for what might be said in describing Nichols’s body of work, Harris said it wasn’t a matter of maintaining a thematic structure. It was really more down to earth. “It was about finding what excited Nichols to pursue a project: a script, a collaboration, a writer, an actor.”
NICHOLS AND MAY: TAKETWO (1996): TCM premiere of this documentary about the influential comedy team of Mike Nichols and Elaine May. Four of their radio sketches have been re-created with new animation created especially for the program.
Includes conversation with author Mark Harris, Mike Nichols: A Life.
Nichols and May: Take Two
SATURDAY, MAY 8 11:45AM ET
And remember, the festival kicks off May 6th! This year’s Festival will be presented virtually and feature four days of incredible programming on TCM and within the Classics Curated By TCM Hub on HBO Max, a dedicated destination for classic movie fans within the HBO Max app.
Who’s Afraid of Virginia Woolf? (1966)
Carnal Knowledge (1971)
2021 TCM Classic Film Festival
Thursday, May 6 through Sunday, May 9 at two virtual venues: the TCM networkandtheClassics Curated by TCM Hub on HBO Max.
To learn more, go to the TCM Film Festival site right here. You’ll discover a unique film festival experience on TCM.
MAD Magazine, as we used to know it, is gone. However, what we still have is to be treasured. Due to a number of factors, it just became unsustainable to maintain the magazine. So, the idea now is to keep to a pared-down schedule that showcases various work from the past. It leaves room for some exceptions too like the amazing new cover art by visionary cartoonist Jim Woodring for the current issue. I just got my copy in the mail as part of my subscription. You can too by visiting MAD Magazine.
Alfred E. Neuman is the fictitious mascot and cover boy of MAD. Alfred’s first appearance was on a 1954 MAD paperback collection and on the actual magazine starting with Mad #21 (March 1955). Woodring pays homage to Alfred and all things MAD by having Alfred in the role of Zoltan the fortune teller. The fortune is a wry reference to MAD’s legendary fold-in back cover gags: “The Secret to Longevity is Not Folding In.” And, most fitting of all, is a 100th happy birthday wish to one of MAD’s greatest cartoonists: Al Jaffee, a regular contributor to the magazine for 65 years, the longest run ever, including his trademark feature, the Mad Fold-in.
Back in December of last year, Jim Woodring let his friends on social media know just what he thought about getting to do a MAD Magazine cover:
“If anyone in a position to know had told me when I was a boy that I would one day do a cover for MAD magazine I would have died of self-satisfaction right on the spot. Issue #19, due out March 2021 from DC comics.”
Each issue of MAD is thoughtfully curated following a theme. The theme for this current issue is The Future:
MAD #19 – MAD PREDICTS THE FUTURE
Gaze into the wonders of tomorrow, courtesy of yesterday’s MAD! It’s our far-flung future issue, in which we look back at the shape of things to come, including parodies of time traveling sci-fi flicks “Back to the Future” and “A.I. Artificial Intelligence.” Plus, MAD examines prognosticators like astrology, palm reading, and, just for good measure, a little MAD E.S.P with birthday boy Al Jaffee for his 100th year on this planet, and some new outta this world art by Tom Richmond! We predict there will be a new Fold-In by Johnny Sampson too! Materializing in stores APR. 13th!
Get your copy by visiting MAD Magazine right here.
When a comic decides to do a character as their act, it is making a commitment to one particular point of view, one particular persona. And, within that set of limits, there can be unlimited freedom. It is not for everyone since most comics have a healthy ego that demands undisguised attention. But some comics like an added artistic challenge, like Andy Kaufman. And so it is my honor to introduce to you, Smork Bolson. He is erudite, a bit out of touch, and ironically unironic. The comedy of Smork Bolson is mellow with sharp edges. This is a man seemingly of small words but maybe not. It just depends upon how long he is going to tolerate you.
The best way of looking at Smork Bolson is to not stare. Just look. Just listen. And let the comedy come to you. Deadpan. Droll. Maybe even a bit of steampunk–or maybe not. One thing’s for sure, Smork Bolson is not to be toyed with. He is serious about being serious and that’s what makes him hilarious. I hope you enjoy this conversation between Bolson and myself. I turned it into something like a card game as I had a stack of questions from which I drew from. It turned out to be a fun game and you might enjoy playing it with a friend. And getting back to our subject, be sure to stop by and check in on what Smork is up to at his new website. There are plans for puzzles, games and wordy amusements plus you’ll find a blog there too.
Alyson Chadwick is a standup comic and an activist. That keeps her busy balancing the funny and the serious. In this talk, we cover it all, including Paul Ryan and even Matt Gaetz! On the serious side, be sure to look up Paul Rusesabagina and his being kidnapped by the Rawandan government. You may know Paul from his story turned into the film, HOTEL RAWANDA. Paul did his part in opposition to the genocide of the Tutsi by Rawanda in 1994. Last year, Paul was kidnapped by Rawanda’s Kagame regime and is awaiting trial on false charges.
John T. Reynolds is a writer and actor, who draws comics and writes for television including The President Show on Comedy Central and “six pants-busting years” on The Late Late Show with Craig Ferguson on CBS. You can find his comics at A Fistful of Babies. We cover a lot in this conversation and there was definitely more we could have chatted about! For this one, I focused on the art of comedy and I think it was a good glue to keep things together.
Craig Ferguson, at the top of his game.
This is a conversation about understanding comedy. Now, to begin with, does comedy need to be understood? Wasn’t E.B. White who said that comedy was like a frog? Once you begin to dissect it, it’s dead, right? Comedy writer Scott Dikkers refers to that in his book, How to Write Funny, and concludes it’s a small price to pay in order to learn comedy! Indeed, that is what this interview is all about: understanding comedy. We run a class act here at Comics Grinder so I opened by interview referring back to a book that Reynolds mentioned in a comedy writing class I took that he was leading. Reynolds referred to a recent collection of writer workshop essays by George Saunders and commented that it’s interesting to note that the mechanics of creative writing considered to be at the highest levels are just as relevant to the mechanics of comedy writing for the general public. Ah, so we began on a classy high note. There was nowhere else to go but down from there–or so it seemed. Because, in fact, the point here is that there’s an art to everything, even a seemingly goofy show like The President Show, about one of the goofiest creatures to ever roam the earth.
Anthony Atamanuik mercilessly channels Donald Trump on The President Show.
Reynolds trained with the Upright Citizens Brigade. It’s from there that he teamed up with Aubrey Plaza and other comedic talent. My connection to all this is a course that Reynolds leads, The Writers Room at Laughing Buddha Comedy in New York. I did an open mic a while back, pre-Covid, and I recently took his course, Late Night Writers Room available via Zoom, among an array of awesome comedy workshop courses. We discuss that and many other things, including Mr. Reynold’s own cartooning adventures that you can find at A Fistful of Babies.
cartoon by John T. Reynolds
And here is some more data in a different configuration via the UCBT site: John wrote and performed on the Peabody Award-winning The Late Late Show with Craig Ferguson on CBS for six years before the host quit. Now John writes full time for DreamWorks Television. He has been in many shows at the UCBT in both NY and LA, most notably in ASSSSCAT, Reuben Williams: As Seen On TV, as Joe Eszterhas in Showgirls: The Best Movie Ever Made and on Harold Night. He has also performed in many roles on television, radio and film and has written for many other TV shows like MTV’s Celebrity Deathmatch and Comedy Central’s little seen, but greatly loved, Window Seat.
The latest dumpster fire no one can take their eyes off of.
As you will find, the world of late night comedy writing is all about topical humor. You can create masterful “evergreen” pieces, that are timeless and have their place. But you also have to keep on your toes and be hip to whatever the latest thing has gone viral and is the latest dumpster fire no one can take their eyes off of.
Joe Hill, #1 New York Times Bestselling author, is the current go-to creator for a certain quirky brand of horror. Head over to DC Comics and you’ll find he’s been set up with his own fiefdom, Joe Hill Presents Hill House Comics. In there you’ll find such tasty treats as the series, Basketful of Heads. Over at IDW, Joe Hill offers up a five-part miniseries, Dying is Easy, which sets his sights on the often turbulent world of stand-up comedy. It might be fun for you as an audience member but it’s not so easy up on stage, even if you get some laughs. With art by Martin Simmonds, this is a comic that brings on the atmosphere and authenticity of what’s it like to struggle as a comedian. Bad enough that it’s a rough business but it can always gets worse.
On point art by Martin Simmonds.
Our story focuses on an ex-cop comedian who somehow gets in over his head when he finds himself thrust into a blood feud. In the capable of hands of Joe Hill and Martin Simmonds, this first issue sets the tone for what promises to be a satisfying crime thriller. If I was a betting man, which I am on occasion depending upon who is asking, I would place my bet on this comic. Give it a solid 10/10 rating.
Dying is Easy is published by IDW Publishing and is available as of Wednesday, December 11, 2019.
We are in a golden age of comics, specifically webcomics. We all have our favorites that we follow. Cartoonist David Daneman brings together some of the best work out there. Last year he presented Launch Party which proved a success. This year, it’s Art Block, with a whole new group of talent. A Kickstarter campaign in support of this new project launches March 4 and runs for a month. Check it out right here.
“Projects like this are the reason we get up in the morning. When David calls, we’re in.”
—Jonathan Kunz & Elizabeth Pich, War and Peas
~75 strips from 25 different artists
–Full color interior
~$20.00 (usd) + shipping/handling
–Ships anywhere in the world
In 2017, Montreal-based cartoonist David Daneman realized he had found a niche to fill in the comics ecosystem. The type of comics he loves, short and funny gag-strips, are increasingly published but rarely in anthology form. Under the name The Original Content Collective, Daneman published the 2018 proof of concept book, Launch Party, and paid all of his contributors a fee per comic plus a share of the profits. Building on the success of Launch Party, Daneman returns this year with Art Block, a new anthology with a new crew of cartoonists and including some very impressive titles: Poorly Drawn Lines, Cassandra and The Perry Bible Fellowship, to name a few. Kris Wilson, author of Cyanide and Happiness, will write the introduction.