Among board games, I was always intrigued with the idea of Clue but never played it. I did see the 1985 John Landis movie version and remember being entertained. Clue, which was first released in 1949, always struck me as strange and erudite, compared to the far more popular Monopoly, first released in 1935. Now, cartoonist auteur Dash Shaw has created a 3-part Clue comic book series. All in all, I think Clue: Candlestick, published by IDW and available on comiXology, falls neatly into place with other works by Dash Shaw. It doesn’t matter if Shaw is a fan of the game. What matters is that Clue is an opportunity to do something interesting with comics.
You can tell from these examples that Shaw is having fun interpreting the game as an artist. That said, he also seems to get into the spirit of the game too. He turns Clue into part of his world and the reader, in turn, gets immersed in this hybrid of art and popular board game.
Dash Shaw does a wonderful job with playing with storytelling elements while also keeping the Clue narrative in play. It’s a fun balancing act; and similar, on some levels, to how pop artists related to consumer culture. It helps the creative process if artists remain as open as possible with their subjects. Of course, it depends upon the project, but there is much to gain by remaining flexible. And, as for Clue, who doesn’t like a good mystery?
The third and final installment of Clue: Candlestick is available as of July 17th. You can find it at IDW and comiXology.
Alay-Oop by William Gropper, introduction by James Sturm, published by New York Review Books, 209 pages, $24.95.
A growing interest in the origins of comic art—a subject that could direct the reader toward cave paintings but more logically offers twentieth century precursors—has prompted the return of long-forgotten names like Lynd Ward and Frans Masereel, and just as naturally, reprints of their work. These notables and others peaking before the Second World War favored wood-cuts over drawing on paper, and also favored an art form now known familiarly as the “wordless novel.” It’s a fascinating memory corner, full of biting social criticism, but so different from the famed agitational cartoons, or for that matter, mural art of the New Deal period, that any common ground is little understood. Reader, meet William Gropper.
We can say many useful things about Gropper the artist, but for our purposes, there is every reason to start with Alay-Oop. It is a simple tale of a trapeze artist so muscular that she may not be beautiful in any classic sense, but she is admirably limber, a skilled and daring performer. She is wooed by an older and rich, plump opera singer, with throngs of fans of his own. He takes her out (with her own acrobat-partner in tow), romances her and persuades her to marry. A few pages of her dreaming, heavily erotic in symbolism, shows us that she is willing, and her swain promises her the skies. Her rather handsome fellow acrobat is, then, left out in the cold. Soon, she has beloved children but a troubled marriage. She finds her way, she reaches her way through her acrobatic skills, to her own version of a happy ending. This is a memorable Strong Woman Story, and may (as the introduction suggests) reflect the strength of Gropper’s own real life mother character, when his father, an autodidact intellectual, let the family down.
A May-December romance. Will it last?
Now, back to the Gropper famous in his own milieu. Communists and Popular Front sympathizers, together numbering into the high hundreds of thousands from the mid-depression to the beginning of the Cold War, would recognize Gropper’s work in a minute. His famed and ferocious “Bank Night” drawing, with the fat capitalist landlord reaching into the slums for grotesque profits, alone memorably identifies both the artist’s skills and his temperament. Personal testimony: Recovering from a day at a pre-induction Army physical in 1966, I was driven by famed Yale University peacenik Staughton Lynd out to stay the night with a Jewish chicken farmer. There, on the kitchen wall, was a famed Gropper print, with ugly Senators, most likely Dixiecrats, at a US Congress hearing, yawning with unembarrassed tedium at the social crisis of the Depression. That was the first Gropper that I ever saw.
Alay-Oop evidently comes from a different place if definitely not a different artist. Gropper himself had actually attended a radical art school, with giants like Masses magazine artists like Stuart Davis and Dada /Surrealist avant-gardist Man Ray. Instructor Robert Henri personally escorted young Gropper to the 1913 Armory Show that introduced modernism to the backward US intelligentsia. The young man had the talent and connections to make it as an illustrator in a grand era for newspaper illustrators—but was bounced from a commercial staff job as too radical.
You could say that he found a place for himself, an eager audience intense if not commercially helpful, at the Liberator and New Masses, two beautiful magazines that attached themselves to “the New Russia” without quite being overwhelmed by politics. By the early years of the Depression, Gropper’s work was overwhelmingly agitational, with the Daily Worker its largest outlet. Alay-Oop may be the first suggestion that his heart belonged elsewhere, at least in part.
What inspired him to comic art? Belgian Frans Masereel was so famous in Europe that leading novelists wrote introductions to his classic woodcut works. Back in the US, Lynd Ward’s mordant God’s Man sold wildly, far beyond the art crowd that seemed the intended audience. Hugely popular funny pages artist Milt Gross published what some regard as the actual earliest comics novel, He Done Her Wrong (1930), a satire on the soap opera-like American adventure novel. Alay-Oop appeared in that same year, but can only be described as a genre of its own. If it has successors, they come generations later.
James Sturm, who wrote the Introduction to the volume under review but co-founded the Center for Cartoon Studies in Vermont, suggests we are not likely to find out. In his style, Gropper was not austere like Masereel or Ward, nor satirical like Gross. He was aiming for something else, and that may be a reason why the book got lost so quickly and easily. Gropper himself moved toward a very different and unique high point of his artistic career: the opportunities opened by the New Deal. Muralist for the Works Progress Administration, popular book illustrator, artist of a folk-lore map of the USA (with little figures representing various traditions), Gropper the erstwhile revolutionary was “discovering America” in his own terms, and good at it. He had also become, for the moment, also a considerable painter, mostly of the social themes around him, and remembered from his impoverished youth.
Much of the remainder of Gropper’s life seems to have devoted rather less to leftwing causes, and rather more to painting, but also to making a living as an architectural artist, where he achieved a certain distinction. After the Second World War, with its artistic high points of sympathy for the Russians and anti-fascism generally, his opportunities but perhaps his political eagerness as well, were seriously restrained. His grandson is quoted in the introduction as saying that grandpa was not all that political—which is about what an old man would tell a kid in the 1950s. All this nevertheless suggests that Alay-Oop reaches out toward something elusive, but that is hardly a criticism of any artistic creation.
The book is certainly successful in itself, with a line of drawing, as Sturm suggests, so fresh and fluid that it looks like “the ink is still wet” (p.10). We also hear from his grandson that Gropper, drawn to vaudeville and the circus, admired performers as more honest and more fully human than politicians. Perhaps we need no further guide. Anyone can search through Google Images and admire the breadth of Gropper’s work. It would be good to have an anthology that gives us a sense of them.
Paul Buhle, co-editor of the Encyclopedia of the American Left, has produced a dozen comics.
The cartoonist Typex presents a comics biography of the artist Andy Warhol that is like nothing you’ve ever seen before. If you thought you knew Andy Warhol, then read Andy: The Life and Times of Andy Warhol, published by SelfMadeHero, an imprint of Abrams. This is quite an ambitious and fascinating biography, a work of art in and of itself. Typex delivers such a detail-rich account in this 562-page book and leaves you wanting more! He does this by keeping to a crisp and finely-tuned and organized narrative. We go from one period of time to the next, evoking the quotidian while distilling the essential. In the process, the reader is treated to a behind-the-scenes look at Andy Warhol’s personal and professional life.
Andy Warhol meets Edie Sedgwick
An inquisitive cartoonist like Typex is not one to be easily satisfied with a standard comics biography, especially for such a towering figure in art and pop culture as Mr. Andy Warhol. Love him or hate him, Warhol has left a significant mark on the culture and, if not for never fully recovering from a murder attempt and a botched up gallbladder operation, he would have remained active that much longer. He would have found a way. That is what this book is all about: finding your way even when you might seem, like Andy Warhol, to be the most unlikely person to do so.
Typex is most interested in subverting any Warhol hagiography and bringing Warhol down to a human scale. Perhaps influenced by the books he chose for reference material, Typex often tamps down Warhol’s reputation in favor of depictions of him munching on Hershey chocolate bars and lusting over young men. No doubt, Warhol was a highly idiosyncratic individual but he was nobody’s fool and a workhorse. Scant mention is given in Typex’s book to Warhol’s contributions to art history. Typex acknowledges Warhol’s commentary of consumer culture but rather reluctantly. Very little is said about Warhol’s landmark use of serial imagery or his revolutionary use of silkscreens. Warhol made art history, after all. That is a major accomplishment and it sort of gets a bit lost in this otherwise marvelous book. You can say this book is not where you go for art history lessons, per se. This is a book decidedly about a scene or a set of scenes. Then again, it’s what’s happening in those scenes where you find the most interesting art.
Adding to the level of interest Typex has for his subject is how he’s presents his work. He has full page and two-page spreads to evoke the energy and mayhem of various moments. And, for much of the book, he keeps to a nicely packed grid format, nine panels per page. He goes that extra mile by anyone’s standards with including a program guide of notable players from each time period. In fact, Typex is just as concerned with the characters surrounding Warhol than simply Warhol himself. That could account for the somewhat slim analysis of Warhol’s actual career and work. You have to find a way to balance it all out and properly address Edie Sedgwick, The Velvet Underground, Valerie Solanas, Jean-Michel Basquiat, and the countless followers all in search of their own fifteen minutes of fame. It is Valerie Solana who ultimately stands out among the pack with her unhinged grasp for fame and attempt on Warhol’s life. And it is Basquiat who breathes new life into Warhol just as the two of them are nearing the end.
Warhol was driven and he also had a lot of help from his evolving network of colleagues, mentors, and a myriad of aspiring artists, dreamers, and party people. The Andy Warhol phenomenon did not happen overnight nor did it exist without various setbacks. Andy Warhol was neither god nor monster. It all comes back to the fact he was driven. He had the skill, the intellect, and the resources to actually make art history and, despite any naysayers, that’s exactly what he did. Typex explores this ambition as he sees fit while also demystifying the man and his times. Overall, this is quite a fascinating read to be added to other notable books on one of the most celebrated artists of the 20th century. In the end, I believe Andy Warhol would have approved of this book.
Typex is a Dutch illustrator and graphic novelist. A graduate of the Amsterdam College for the Arts, his work appears in many nationwide newspapers and magazines. He has illustrated numerous children’s books and has published some of his own. His graphic novel biography, Andy: The Life and Times of Andy Warhol, is published by SelfMadeHero, an imprint of Abrams. He lives in Amsterdam.
French Comics Association
You can see Typex this weekend if you’re in the D.C. area and this event happens to fit into what you’re doing. Typex will be there as part of the invited guests touring with the French Comics Association. The FCA will be taking part in this weekend’s American Library Association Conference. Okay, if that makes sense, then congratulations, you are a true Typex fan and well above average in every way.
Wonderful things often take place in the world of alt-comics. I’m talking about when a bigger publisher lends a hand to help a smaller publisher. A case in point is the graphic novel, Jeremiah, which joins AdHouse Books in promoting and distributing and One Percent Press in publishing this remarkable work. There are quite a few gems out there among indie comics and Cathy G. Johnson proves that wonders never cease. Johnson’s work has a beauty that looks effortless and pure. In the span of 160 pages, she mesmerizes the reader with her gentle yet powerful watercolor comics.
“You are not a child.”
This is the story of Jeremiah, a young man who seems to be a blank slate with no past or future, just a country boy out in the middle of nowhere. Jeremiah may seem pretty simple and, in a lot of ways, he is. But he also has his own set of complex desires. Johnson masterfully rolls out a narrative pared down to its essentials while brimming with ambiguity and mystery. Just what is the relationship between Catie and Jeremiah? Perhaps a handyman can help sort through an accumulation of despair and confusion.
A boy’s desire may consume him.
Johnson conveys emotion in her artwork in a very direct and economical way. She can evoke years of longing and melancholy with just the right amount of lines and wash. Poor Jeremiah. He’s still just a boy and his mounting desire may consume him if he doesn’t free himself. Johnson practices the subtle art of restraint in telling his story; and, in the end, it all comes out when Johnson is ready to release the floodgate.
Lost among the corn fields.
For more details, be sure to visit Cathy G. Johnson right here.
Lawns, by Alex Nall, published by Kilgore Books, is a small graphic novel that, to my reading, is essentially a parable about the consequences of turning someone into a scapegoat. No one likes Roger. Neighbors condemn him for his unkempt lawn and for his unleashed dog. It seems like a manageable problem but definitely not in this small town. Roger is the town’s Boo Radley. Nall has put together a narrative that follows the election of the town’s mayor. Chuck is running undisputed. However, Carl, a disgruntled and unsavory sort, has mounted a write-in campaign for himself. Oddly enough, Carl makes a few good points but he’s pathetically unqualified. Poor Roger falls somewhere in the middle as a convenient distraction. Overall, I think the story would have been better off had Roger, already having inspired the town’s ire, had been the sole issue in the town’s election. That said, this is an ambitious undertaking and Nall deserves credit.
Page excerpt from LAWNS
A hallmark of many a work of alt-comics is that it is all done by hand and basically retains an organic vibe. Nall is certainly aware of that and appears to revel in it. My only quibble is that the drawing, at times, falls short on clarity and consistency. I’m not saying the rendering needs to be worked over in some elaborate way. If you take a look at Charles Forsman’s Hobo Mom, this is quite a compelling short graphic novel, only 62 pages, done in a relatively simple style. Nall seems to want to vary how he depicts the main character, Roger, but the way he goes about it has the potential to lose the reader. And, towards the end, there are some scenes that are a bit rushed. This is not to say that Nall should ever consider losing his expressive line. I do prefer a more sketchy line than one that is way too polished. Sometimes, you just go where you need to go as a cartoonist and let your expressive line evolve as you evolve. I am certainly curious to see what Mr. Nall does next since he’s clearly hungry for a challenge and he’s a capable cartoonist.
Lawns is a 108-page trade paperback, b&w, published by Kilgore Books.
We all experience bullies in one form or another–you just can’t escape them. Collectively, many of us are dealing with being bullied by the President of the United States. It is a phenomena many of us (I would really like to say ALL of us) hope will never happen again. Donald Trump has been a bully for decades. He was the model for one of pop culture’s most infamous bullies, Biff Tannen, from the Back to the Future franchise. Well, Paul Constant channels Biff Tannen in his script for a very funny and refreshing new comic book, Planet of the Nerds, published by AHOY Comics.
AHOY Comics? you may ask. I know. It’s new and it’s made a lot of promises that it has attached to its name: A is for Abundance. H is for Humor. O is for Originality. And Y is for YES! AHOY founder Hart Seely is a former newspaper man and he’s serious about wanting to provide something substantial to the comic book market. So far, it does look good for AHOY as they have hit the ground running with a nice mix of titles: The Wrong Earth finds a superhero and supervillain trading places; High Heaven gives a chronic complainer his comeuppance; Captain Ginger is an all-out cats-in-outerspace adventure; and Edgar Allan Poe’s Snifter of Terror is sort of a revisit to Tales of the Crypt. Part of the next wave of titles is Planet of the Nerds. All these titles share a really fun format that includes the feature story, a background story, plus a surprise grab bag that can include prose and even poetry.
Chad pummels Alvin Ad Infinitum
Getting back to Planet of the Nerds, this first issue packs a wallop thanks to the upbeat script by Constant as well as the impressive work by the rest of the creative team which includes artist Alan Robinson and colorist Felipe Sobreiro. The opener finds our bully, Chad, center stage as he pummels Alvin, a hapless fellow high school student. Chad is as stereotypical a bully as you’ll ever care to find. And Alvin is as stereotypical a misfit as you’ll ever see. And perhaps therein lies a wonderful opportunity to play with some well-worn tropes. Will Chad just keep whomping on Alvin? Will Alvin just keep being a doormat? It is a pure dichotomy, a Zen-like premise, a perfect paring of yin and yang. Constant breaks things up by having Chad’s two allies, Steve and Drew, act more human than henchmen. And the initial setting for the story is the late ’80s complete with all its excess and naivete. One of the best lines in this first issue is from Jenny, Steve’s girlfriend, who sweetly mocks his naturally meek demeanor: “If a man in a brown van tries to give you candy, just say, ‘No!'” Ah, nostalgic young love! The art by Robinson and the colors by Sobreiro conspire to provide just the right retro look reminiscent of the work of Ed Piskor.
Cover artist David Nakayama
Suffice it to say, everything is set for a rollicking good adventure. It will be no spoiler to say that this is something of a time travel story. AHOY says as much in their promo copy. And there is definitely a Back to the Future vibe going on here. The future in this case is our own era, a time that would leave any kid from the ’80s doing double takes. Chad, the ultimate nerd hater must come face to face with a world where, as we’ve heard so often, the nerds have won. But have they, really? I don’t know that this comic will fully answer that question but you just never know.
Planet of the Nerds #1 is available as of April 17th, published by AHOY Comics. For more details, and how to purchase, go right here.
The other night, I was part of a marketing workshop. It was a little disheartening since I got pegged as a dreamer who didn’t care about business plans but just followed his muse–in other words, the antithesis of a marketing person, as far as a marketing person is concerned. But I remain hopeful. I think reading this review might help these marketing people out quite a bit. I am speaking about writing authentically about authentic things, the very thing the marketing people claimed to value. The point is that this one-shot comic book, This Love So Brief, published by Action Lab Entertainment is just the sort of subversive and authentic stuff that really baffles marketing people but is welcomed by all of us discerning readers! Okay, now let’s take a look at this advance spoiler-free review.
It is very serendipitous that my own eyeballs should fall upon this particular comic book as it is a prime example of the alternative comics aesthetic that I gravitate to. This is a collection of personal stories by cartoonist Fred Chao. There are no superheroes flying around in capes. There’s no big cuddly cast of animal characters either. Those are marketing bonanzas, right? Bread and butter stuff. Money. Money. Money. Well, the creator of this comic book appreciates that. Frank Chao, after all, is known for his children’s book, Alison and her Rainy Day Robot and the comic strip, Alison and her Rock Awesome Robot. That sounds market-friendly–and nothing wrong with that. But he’s also known for Johnny Hiro (Half Asian, All Hero) and Johnny Hiro (The Skills to Pay the Bills) which attracts the art-loving crowd. Which brings us over to this new comic book which is an opportunity fulfilled to break free and say a few things from the heart.
The first thing you notice right away about Chao’s artwork is a lightness about it. The first thing you notice right away about Chao’s prose is a similar lightness, an openness, an honesty. These are a bunch of little stories, little observations, mostly about mad youthful falling in, and out of, love. Tied in with life’s loves, and their euphoria and drama, is an ever-evolving appreciation for the delicate balance that is life. A person can be nearly tone deaf to what it takes to create art but just about everyone can relate to how precious and vulnerable life itself really is. Bit by bit, moving past elementary school crushes, and sliding into the sweet melancholy of true wisdom, Chao shares a few tales that will both engage and delight readers. Every generation has its profound moments meeting the dawn after a rooftop party. Chao got his chance to write and draw his take on it in this charming comic book.
When I review comics, I look to see how that work is engaging with the medium: Is it the best possible comics? With the subgroup of alt-comics, I’m also asking myself: Is this the best use of the art form–just how artful is it? Matt MacFarland creates comics that rise to a high level as art. Just take a look at the latest issue of his ongoing humorous noir series, Dark Pants #4.
MacFarland has treated his series like an artist goes about creating a body of work, mindful of various components: theme, motif, overall sensibility. The recurring pattern here is a pair of sexy vintage black jeans. Anyone who wears them will need to confront their darkest desires and also be compelled to live them out. In Issue 4, we find a woman at odds with her life. Lisa is a realtor and sick of it. She has convinced herself that she can get out of her rut if she has an affair with Cal, her yoga instructor. Enter the dark pants.
We all live our lives in a series of narratives. Even the dullest day job can act as a backdrop for some sort of relatively compelling drama. Maybe the most interesting thing about some people at work is how they avoid work. Maybe the most interesting thing about how some people avoid life is the lengths they will go to avoid it like subjecting themselves to the most empty distractions like being pathetically immersed in hopelessly shallow TV shows. The big challenge for a MacFarland character is to try to avoid their own mediocrity and despair and not just add to it.
There is delicious despair on view with every brushstroke in every panel of MacFarland’s comics. The characters are already so beaten down that you root for them to simply not hurt themselves much more if possible, to just survive another day. Doesn’t that pretty much sum up what noir is all about? Dark characters doing dark things until their nihilism gets the better of them! Well, our main character, Lisa, is ready to roll the dice and damn the consequences.
And you’ll love the object of Lisa’s desire. Cal is an ultra-groovy dude, with long shaggy hair that he keeps in a “man bun.” He plays his role to perfection as he tempts Lisa to take a walk on the wild, or sort of wild, side. In fact, not wild at all but just another stupid distraction so stupid as to chill the bone.
Dark Pants #4 is available now. For more details, visit Matt MacFarland right here.
Every art form has its dark, morose, and melancholic aspect. Comics, despite the ingrained comedy in its very name, is a truly dark art much of the time. And we wouldn’t have it any other way. What can you say when you’re feelin’ glum, chum? See ya in the funny papers! One of the best examples of the tragicomic in comics can be found in the work of legendary cartoonist Bill Griffith. Considering a lot of the surreal and loopy stuff that Griffith has depicted over the years, he always manages to not lay it on too thick, finding just the right balance. He is certainly just the right artist to tackle the life and times of one of the strangest and most celebrated of weary souls, Schlitzie the Pinhead. In Nobody’s Fool, published by Abrams, Mr. Griffith has achieved a crowning achievement in the comics medium.
Nobody’s Fool: The Life and Times of Schlitzie the Pinhead
There’s a unique experience that creators have, particularly writers of one form or another, that provides the loopy sensation of having your creation come to life. Yes, there’s is definitely something behind the idea of having your characters take on lives of their own. This notion comes to mind when contemplating Mr. Griffith’s journey with the inspiration for his legendary comic strip, the cool and sardonic Zippy The Pinhead. Where Zippy, the weirdo in a mumu, will forever be the epitome of deadpan irony, the actual source for Zippy is quite a different story. Schlitzie the Pinhead was quite literally a circus freak. In 1963, Griffith, a young struggling artist, caught a screening of the 1932 cult classic, Freaks, directed by Tod Browning, in which Schlitzie played a modest but memorable role. After viewing Schlitzie on screen, the imagery stuck in Griffith’s mind and quickly morphed into a comics avatar. All these years later, Griffith is able to reconcile the original Zippy with his own work and pay tribute to Schlitzie.
Zippy The Pinhead by Bill Griffith
The Many Names of Schlitzie The Pinhead
This is one of those remarkable graphic novels that truly takes your breathe away. It shares a space with the best that the comics medium has to offer. It’s a utterly original and distinctive work of art inextricably linked to one legendary talent. The detail and dedication involved to make this happen is comparable, say, to your favorite movie up for an Academy Award. Yes, it’s that big of a deal. The amounts of hours put in, all the little details, are staggering to think about. Griffith dug deep, doing his research and going back to interview as many individuals as he could find associated with the celebrated circus freak. And what did he find? Well, part of the charm of a book like this is simply the journey itself. Griffith is careful to modulate how much of himself he directly places into the narrative. But, in the end, he’s as much a key player as anyone else in the book. We find him connecting the dots along the way and, ultimately, we have a key sequence with him viewing and processing that infamous and misunderstood film, Freaks.
All it took was some red hots.
Griffith spares no expense, as it were, in fully depicting the life and times of Schlitzie the Pinhead. For a cartoonist who gave us, Zippy, an icon of irony, the irony must not be lost on Griffith for devoting so much time and effort to Schlitzie, a prime example of an utterly simple soul. When you dig deep into the life of Schlitzie, it breaks one’s heart to find such an overwhelming nothingness. Schlitize enjoyed, or tolerated, performing for big crowds. But, truth be told, he mostly enjoyed washing dishes and eating fried chicken. Ah, but in the hands of a masterful cartoonist, profound beauty can be found in the darkest of places.
Nobody’s Fool: The Life and Times of Schlitzie the Pinhead is a 256-page hardcover published by Abrams ComicArts, to be released March 19, 2019. For more details, visit Abrams right here.
Kalen Knowles is a Seattle cartoonist who has created quite a fun selection of comics in solo efforts as well as anthologies that he has led. If you like more sophisticated horror, with a touch of whimsy, then check out his books right here.
Kalen Knowles, like many a cartoonist, is compelled to write and draw. Sometimes, a writer-artist simply needs to find a good reason to let loose and create. Mr. Knowles has found a fine vehicle in classic horror, namely H.P. Lovecraft’s Cthulhu mythos and Bram Stoker’s Dracula mythos. You can take either one or both and build new stories and worlds to your heart’s content. Knowles has done just that. His Journal series gives us a whimsical look at the journal entries of a young and misunderstood Cthulhu.
From DOCTOR DRACULA
Doctor Dracula provides us with various Dracula backstories. It has proven to be such a great jumping off point for creative exploration that Knowles has shared the spotlight with other cartoonists on a Doctor Dracula anthology. A closer look at other work by Knowles demonstrates an emerging talent making a lot of rad art. And I’d like to take a moment to talk about how an artist evolves.
The only way an artist grows is by creating. I think Knowles is on the right track as he draws from classic horror as well as other genres and sources: Sci-Fi, fantasy, RPG, mythology. It’s the responsibility of the artist to look out for themselves: be their harshest critic and biggest fan. When releasing a book, seek out clarity and make sure your name is front and center. Anthologies and social gatherings each have their essential place in an artist’s life but, in the end, it’s all about one particular artist and one particular art career. It’s about taking the work seriously. If an artist does that, the rest will follow. So, again, I believe Knowles is on the right track.