Tag Archives: Comix

Review WINDOWPANE by Joe Kessler

Windowpane by Joe Kessler

One of the first pages from Joe Kessler’s Windowpane, published by Breakdown Press, shows a wandering dog searching for food and finally finding a baked pie sitting out on a windowsill. There are splotches of color overlay on some of the blue line art. Welcome to a most experimental work in comics. Kessler covers various themes: childhood trauma, alienation, sexual dysfunction, and religion. Everything is a bit off kilter and on edge. What could be better for this kind of work, right? Well, this kind of work can often fall short and not measure up. But, in this case, there’s a lot to like even if it seems that things don’t always add up as the general reader might expect from the comics medium.

Like any artist, Kessler wants to challenge the reader. For instance, he enjoys the harsh use of basic colors. He also likes tossing his characters from one situation into another. He has them suddenly running away from things. He has them hurting each other. Then, in a fit of petulant bravado, he will take a gob of primary colors and fling them like a bolt of lightning. A blast of these harsh basic colors will blow up some characters to bits. Others will be saved for a proper decapitation. All in a day’s work.

There goes that iguana.

Quieter moments will serve for such scenes as an iguana forcing its way into a sleeping woman’s mouth.

It’s pretty wild stuff. Not for kids. Mature content abounds. All in all, this collection of sordid tales is quite fun, original, and worthwhile.

Windowpane is a 272-page full color soft cover. It collects new and previous work by artist Joe Kessler. You will find here reprints of Windowpane issues 3 and 4. This collection is published by Breakdown Press, based out of London.  Visit Breakdown Press right here. And be sure to visit Mr. Kessler right here.

Advertisements

2 Comments

Filed under Alt-Comics, Alternative Comics, Art, Breakdown Press, Comics, Europe, European Comics, Independent Comics, Indie, Joe Kessler

Comics Review: ANDROMEDA by Zé Burnay

ANDROMEDA by Zé Burnay

Editor’s Note: There is a crowdfunding campaign going on for this book thru Dec 14, 2018. For more details, go right here.

Cartoonists are instructed and encouraged by their mentors to construct comics that not only fill the page but interact with one page to the next. Few artists heed that sage advice so well as Zé Burnay. You can clearly see that he is playing off what’s going on one page onto another page. The forms, the compositions, the very structure, is interconnected from one panel to the next, from one page to the next. Every bit building  into a beautiful fever dream byway of the dazzling tattoo parlor with a detour through an enchanted forest and a side trip into a magical castle. Zé Burnay knows comics and how to turn them into psychedelic entertainment. So, I’m telling you right now, the book to get is Andromeda by this groovy dude, Zé Burnay, an up and coming and most excellent illustrator and cartoonist from Sintra, Portugal.

Visual delights throughout.

I swear to God, my next major tattoo is going to be a three-headed snake by Zé Burnay! This is an artist who spends the required amount of time immersed in the stuff that dreams are made of. That’s good for him–and good for us. Andromeda collects three works that all share the same main character, a Christ-like figure who is wandering and searching. In the process, he comes across numerous symbolic creatures and numerous classic tropes. He battles an eagle, a lion, a bull, and so on. I begin to lose count but that’s okay. He enters an old Victorian mansion and becomes acquainted with its strange inhabitants. Every scene quickly becomes ethereal and hallucinatory. It’s a virtual Cornucopia of visual delights. Burnay keeps the fireworks going from one page to the next.

The energy from one page resonates onto the next.

A comic from a true visionary is something very special and Zé Burnay delivers a marvelous book with Andromeda. It is a wondrous visual feast inextricably linked to a haunting narrative. Burnay was born in 1991 in Portugal and grew up fascinated by the woods and castles of Sintra and its unique and mysterious aura. Clearly, that inspiration can be found on every page of his work. Burnay states on his website that his love of drawing was kindled from “inheriting my father’s extensive collection of Franco/ Belgian comics and by spending time on my Grandfather’s antique shop.” All of this has added up quite nicely. He goes on to say, “In between working on my own comics, I draw comics for other people, design logos, posters and cover art for numerous bands.” Burnay is definitely on the right course!

A very cohesive and richly structured work.

Be sure to visit Zé Burnay at his website right here.

And visit the Indiegogo campaign for this book right here.

2 Comments

Filed under Alt-Comics, Alternative Comics, Comics, Comix, mini comics, mini-comics, Self-Published, Zines

Seattle Focus: Short Run Comix & Arts Festival, Nov. 3, 2018

SHORT RUN 2018

Short Run Comix & Arts Festival is this Saturday, November 3, 2018 in Seattle, WA.

Short Run is a free all-ages event showcasing the best in new and local comics, zines, and more!

If you’re in Seattle, be sure to take in this wonderful event from 11am-6pm at Fisher Pavilion and The Vera Project at Seattle Center.

For more details, visit Short Run right here.

Leave a comment

Filed under Alternative Comics, Comics, Comix, mini-comics, Minicomics, Seattle, Short Run, Short Run Comix & Arts Festival

Interview: Bill Kartalopoulos on The Best American Comics

BEST AMERICAN COMICS 2018

Here is a discussion of what makes for the best comics within the United States with Bill Kartalopoulos, the series editor of the prestigious annual collection, The Best American Comics, published by Houghton Mifflin Harcourt. What does it take to be considered the best? Well, mind you, everyone has their own set of ideas but, essentially, it boils down to compelling work. One way or another, things add up. The work commands your attention and it checks off a number of boxes like being original, structurally sound, and maybe even groundbreaking.

One thing that makes this particular interview special is very good timing. I happen to have been in New York for a combination of business and pleasure. The latest collection of Best American Comics had just come out. In fact, I’d recently reviewed it here. So, one thing led to another. I asked Bill what he thought about getting together in person for an interview and so we did. For me, meeting Bill at Parsons The New School for Design was a nice treat. He teaches there on the subject of comics. Currently in his class, he’s covering Art Spiegelman’s landmark work, Maus. Bill was Associate Editor and Production Assistant on MetaMaus, Spiegelman’s 2011 book and multimedia DVD set examining the production of Maus.

Parsons The New School for Design

My goal in this interview was simply to have a pleasant, perhaps even lively, conversation. I am a fan of Best American Comics but I was setting that aside, so to speak, in order to go through a relatively objective set of questions. I wanted to dig around and see what we might uncover and Bill was certainly up for it. What I come away with  is the fact that this annual best-of collection has gone through a rigorous process. First, we have Mr. Kartalopoulos dutifully gathering up around 120 or so works that he deems worthy. Then, he hands them off to the guest editor. This year, that honor goes to cartoonist Phoebe Gloeckner. Finally, a shaking and mixing and final rinse. The editor, after paring down the final cut of titles, may end up adding some of her own, and will ultimately preside over a presentation all her own. Okay, lots going on. So, here we discuss all that and more.

“Yazar and Arkadaş” by Lale Westvind

HENRY CHAMBERLAIN: Bill, I thought we could take as our jumping off point the last work in this year’s Best American Comics. This is by Lale Westvind. It is quite a surreal sci-fi tale entitled, “Yazar and Arkadaş.” I think it would be good fun to linger over this loopy and wonderful work, an ideal example of what comics are all about. It kicks off with an urgent search for a book and, along the way, the main characters are compelled to continue their journey naked. What can you tell us?

BILL KARTALOPOULOS: Lale Westvind did the cover for this year’s Best American Comics. This piece was one that she published during the twelve month cycle that we cover for each volume. Our excerpt doesn’t contain the story in full but it gives the reader a good sense of it. The original work was published on a risograph. We attempted to evoke that same look and feel, including the pink paper used in the original.

CHAMBERLAIN: That unique look that you get from a risograph is part of what defines independent comics.

KARTALOPOULOS: I think a lot of Lale’s work speaks to science fiction. Although a lot of her work is very different, it does bring to mind Jack Kirby and how he played with mythology with his New Gods.  Something else that I think is really nice and speaks to the selection process is what happened when it came time for Phoebe to pick what to excerpt from Emil Ferris’s My Favorite Thing is Monsters. She chose a conversation that refers to Medusa. That moment would end up resonating at the end of the book, with the last work by Lale Westvind and her disembodied head of Medusa with the tendrils of hair acting as arms grabbing at things.

 

Emil Ferris

 

Lale Westvind

CHAMBERLAIN: It happens every year. I recall us talking about interconnections between the selected works during our phone interview a few years back.

KARTALOPOULOS: It’s  not a heavy-handed thing.

CHAMBERLAIN: Oh, of course not.

KARTALOPOULOS: It’s something you can’t force. It’s natural and organic.

CHAMBERLAIN: I think of how iconic My Favorite Things is Monsters is for readers. To present it in this collection, the challenge was to find an interesting way to revisit. Maybe you could give us another look behind the scenes. What is the significance of having Gabrielle Bell’s piece as the opener?

Gabrielle Bell

KARTALOPOULOS: That’s an interesting question particularly with how it relates to the creation of this collection. Each new guest editor handles the job a bit differently. For example, Scott McCloud created categories and wrote short introductions for each. Jonatahn Lethem, the next year, aware of what McCloud had done, followed suit in his own idiosyncratic way.This year, with Phoebe Gloeckner, she decided to see what it might look like with  alphabetizing the titles–which is exactly what she ended up doing for the book!

CHAMBERLAIN: You can’t be any more fair than having the book alphabetized! That’s a good tip for aspiring cartoonists. Get a pseudonym that places you towards the front. I’m looking at Tara Booth’s work now. It’s a very raw and powerful style. And then you’ve got, after that, the very lean and clean work of J. D. Bryant. Some of the elements in Tara’s work are very challenging for the viewer. While, with Bryant, it’s very cool and detached. Maybe we can do a bit of comparing and contrasting with these two. 

Tara Booth

 

D. J. Bryant

KARTALOPOULOS: Sure, these are two very different ways of working.  I certainly hope that it demonstrates the wide variety of work on display in these pages. Tara Booth shares with the reader the more private aspects of life, things you wouldn’t typically share, like popping a zit. She works mostly, if not exclusively, in gouache for this piece. Bryant works in the tradition of alt-comics from the ’80s and ’90s. It’s a naturalistic style with pop appeal, very dense, with a surreal narrative that loops back on itself. The types of brushes and pens and inks he uses go back further to the ’30s and ’40s. Booth has a very different approach, wordless little moments. Both are extremely effective styles.

Geof Darrow

 

Max Clotfelter

CHAMBERLAIN: It does take a lot for a major comic book publisher to appear in Best American Comics, doesn’t it? It happens from time to time. This year we have a piece by Geof Darrow that appeared in Dark Horse Comics. I understand why that is. A lot of the work is market-driven and would seem out of context in Best American Comics. That said, I see a lot of interesting work coming out of Image Comics, for example. Is it a case of stepping back from the major comic book publishers in order to secure room for the independent cartoonists?

KARTALOPOULOS: We don’t really think about the scale of the publisher necessarily. We’re just looking for good work, something that is unique that expresses a personal vision, not necessarily an autobiographical vision. Dark Horse does publish a good amount of creator-owned work. This piece by Geof Darrow is very much an auteurial work: it is his vision; he is doing the work just the way he sees it. This is a personal vision regardless of the means of production. It is a personal vision as much as the work just before it, a self-published piece by Max Clotfelter.

CHAMBERLAIN: I agree. This brings us back to our theme of different approaches. One piece is technically crisp and another is stripped down. I want to ask you to share with us something about your intimate connection with comics. I know you spend quite a lot time on comics in various ways. Would you give us a window into your day or whatever you might like to share.

KARTALOPOULOS: I teach at Parsons about comics so at least once a week I’m teaching. Then I’m either preparing for a class or grading papers. I just finished reading for Best American Comics 2019. Each book has a time lag. For example, the current volume covers work created from September 2016 to August 2017. It goes from Autumn to Autumn. Then it takes a full year to create a volume. I’m at a place right now where I’m about to hand off work to our next guest editor. At the same time, I’m working on a book on North American comics for Princeton University Press. It’s pretty far along but I still have a number of chapters to complete.

CHAMBERLAIN: How do you gauge the reception that the book gets. With each year, do you sense that you’ve got a locked-in audience?

KARTALOPOULOS: The print run is somewhere around 20,000 copies so that’s a lot of copies out in the world. One thing that I think is very helpful is that the series tends to fairly automatically enter libraries. I think this series has a pretty useful life as an entry point into comics for many readers. We put as much information as we can about the sources of each title. We have bios and websites. So, for example, if there’s a self-contained work among the selections, maybe readers will seek out that creator and read more. In this way, we can make a quite impact well beyond the initial release of a volume.

CHAMBERLAIN: You’re talking about a quiet impact. You’re not exactly thinking in terms of setting a standard–or maybe you are, to some degree?

KARTALOPOULOS: I think we’re seeking out good comics. I’m putting together a larger pool of material, over a hundred pieces, for the guest editor. I select work worth considering…really give the guest editor a lot of options. Really select pieces that are meaningful to them. I try to give them a broad palette. The guest editor is applying their own sense of critical judgement of what they consider a good comic. If you look at the series from multiple volumes, you’ll see a consistency, a pretty high level of quality.

A mark of success for the series is how each guest editor leaves their personal mark.  This year’s volume, edited by Phoebe Gloeckner, feels different to me to the volume edited by Ben Katchor, which feels different to me to the volume edited by Roz Chast, and so on. There’s consistency, a high level of quality, and each guest editor brings in their own point of view.

CHAMBERLAIN: That’s a wonderful place to end. Thanks for your time, Bill.

KARTALOPOULOS: Thank you.

*****

We had a really good, insightful, and fun conversation. You can listen to the interview by just clicking the video link below:

You can visit Bill Kartalopoulos right here.

Leave a comment

Filed under Alt-Comics, Art, Best American Comics, Bill Kartalopoulos, Comics, Comix, Independent Comics, Interviews, mini-comics, Minicomics

Massachusetts Independent Comics Expo (MICE) this weekend 10/20-21

MICE 2018

The Massachusetts Independent Comics Expo (MICE) is this weekend October 20-21, 2018 in Cambridge, MA.

The Massachusetts Independent Comics Expo is a free weekend event showcasing the best in new and local comics!

For more details, visit MICE right here.

Leave a comment

Filed under Comic Arts Festivals, Comics, Jim Woodring, MICE

Review: THE BEST AMERICAN COMICS 2018

THE BEST AMERICAN COMICS 2018

The Best American Comics 2018, with series editor Bill Kartalopoulos, and editor Phoebe Gloeckner, is another impressive collection of comics that are offered to the reader as among the best of the last year. Think of it as a comics art festival all in one book. Don’t expect much in the way of mainstream comics: no big publishers, let alone superheroes. What you will find a great deal of is a treasure trove of activity on the fringes.

While comics can be created in a myriad of ways, some patterns hold true. The most distinctive common trait is that work in the alt-comics scene is usually the work of one original voice that knows the work best and is compelled to shout it from the mountain tops with little or not additional assistance. Here are some examples for this year’s BAC anthology:

Kevin Hooyman

Kevin Hooyman fits more into the heroic mold of the hermit cartoonist. There are any number of glorious examples of this type of commitment. It leads to some of the most idiosyncratic, and compelling, work around. People can take sides and claim this is the only kind of comics that really matter. The truth is that including Hooyman’s work in this alt-comics anthology helps to set the tone and continue to build on what is possible in this medium.

Richie Pope

Richie Pope is an excellent example of an indie-pro hybrid. It happens and more often that you might think: a rebel/eccentric who, when he is assigned a client, will naturally keep to deadlines and go to meetings. Consider Pope’s work to have that extra professional snap and polish.

Lale Westvind

Lale Westvind is another hybrid. This time: cartoonist-animator. This is always an intriguing combination of skill sets. Westvind can bring to bear her rigorous animation background in the service of art comics–giving it that added lift.

Tara Booth

Tara Booth is another example of a cartoonist identifying as an outsider and challenging the reader, whether mainstream or not. That said, she’s also a masterful artist with a deceptively simple style.

Max Clotfelter

Max Clotfelter is high on the list of cartoonists who aim to provoke. He is a guerilla artist who defies the general reader’s expectations. It’s an ethos rooted in punk and DIY: the more raw and simple the better. A more raw approach is something cartoonists like Art Spiegelman advocated and yet, as underground cartoonists progressed in what became actual art careers, refinement was never far behind raw. So, the balancing between the raw and the cooked will go on.

Geof Darrow

Geof Darrow is another independent cartoonist who is also at home with big publishers like Dark Horse Comics from which Darrow’s piece in the book originally appeared. Darrow is a shining example that technical skill and masterful creation within the traditional structures of comics is something to celebrate and not distance one’s self from in favor of seeking out the most experimental of creators.

Bill Kartalopoulos has much to be proud of in all his efforts to support and to better understand the ever-shifting world of contemporary comics as an art form. He makes choices as to what may end up in the book. Then an esteemed guest editor makes the final calls. After that, well, it’s up to the selected creators to take it from there. Some may find themselves relatively rising and some may find themselves relatively coming up short. And others may just slip out the back door and never be heard from again.

The Best American Comics 2018 is a 416-page hardcover, in b&W & color, published by Houghton Mifflin Harcourt. Visit HMH right here.

3 Comments

Filed under Anthologies, Best American Comics, Bill Kartalopoulos, Comics, Phoebe Gloeckner

24-Hour Comics Day 2018: Character and Narrative Development

Emily is haapy, right?

The unique character of Emily emerged in the mist of the night. Who is she? Well, if I could talk with Emily, I would tell her that she’s intriguing and deserves everything wonderful in life. It looks like I’ve found my main character. It is a very natural discovery.

When you’re building up a story, you do a lot of things on the fly and juggle as best you can until it’s time to settle down. What I started with was a whole bunch of background stuff.

Not so happy.

And then, as I wandered along, a character fell into place that could carry along and support the background. We see her smiling. Next panel, we already see her not smiling. Okay, what’s up?

Radio silence.

By the third panel, everything has gone quiet.

The plot thickens.

And on the last panel, we’ve got some conflict. The plot thickens. So, suffice it to say, I am intrigued with Emily and I wish her well on her journey.

2 Comments

Filed under 24 Hour Comics, 24HCD, Alt-Comics, Alternative Comics, Comics, Comix, Henry Chamberlain, Independent Comics, Indie

24-Hour Comics Day 2018: First Steps in Process

Creating Characters.

I have gotten situated. I have lots of books and various reference material. I’ve got the whole frick’in internet! And, with the Mayflower Park Hotel, I’ve got a wonderful and stimulating environment.

I try to include a bit of everything during these precious hours of creativity. Brett Kavanaugh is certainly fair game as he dominates the news. You’ll find him in the background music to the above video.

Leave a comment

Filed under 24 Hour Comics, 24 Hour Comics Day, 24HCD, Comics, Henry Chamberlain, Mayflower Park Hotel Seattle, Seattle

24-HOUR COMICS DAY: Henry Chamberlain at Mayflower Park Hotel Seattle, October 6th, 2018

Mayflower Park Hotel Seattle

I am looking forward to this year’s 24-Hour Comics Day, kicking off world-wide this Saturday, October 6th. I want to approach it from many sides. As I always do, I will include the hotel I’m staying at. This year it is the Mayflower Park Hotel. As a lot of my regular readers know, I like to include sketches in my observations as much as possible, whether for a book, travel, hotel review, or whatever it might be.

24-Hour Comics Day 2018

I will have my comics-making coincide with the internationally observed 24-Hour Comics Day. I will start drawing from 10 am on Saturday and continue from there to 10 am on Sunday. There are a bunch of guidelines to this activity. The goal is to create a 24-page narrative in sequential art. If you finish early, great. Or you can take a detour from that goal and work on whatever comics project you like. There are other variations, like creating two 12-page comics. I will attempt to do as much as possible, leave the process open-ended.

Okay, with all that said, I anticipate doing a lot of drawing. I foresee doing a lot of full-on comics as well as creating a bunch of drawings that I will end up in need of a proper comics framework at a later date or may end up just standing alone, as is. And, suffice it to say, I intend to honor my gracious host, the Mayflower Park Hotel.

2 Comments

Filed under 24 Hour Comics Day, 24HCD, Cartoonists, Comics, Drawing, Henry Chamberlain, Mayflower Park Hotel Seattle, Seattle

SPX 2018: Observations & Recollections

SPX 2018: “Three tickets, please.”

Whenever I go to anything creative, be it a play or a reading or a comics art festival, I do a lot of processing: What have I learned? How does this fit into the world? So, Small Press Expo is no different in that regard. Once you drop into SPX, it is like being inside a giant pinball machine as you’re being thrown in one direction after another. For me, with many years of experience in creating comics and writing about them, I rely on my internal database to make sense of it all.

For this post, I will introduce some pieces of the puzzle that I will discuss further in upcoming posts. I’m as much cartoonist as journalist in the sense that I feel most alive when I’m tackling a project that requires a good bit of deciphering.

It is my strong belief that you can’t study the art of comics inside a comics bubble. I mean, you run a high risk of doing yourself and the reader a disservice if you come to the subject of comics only as a comics enthusiast. I’m digressing here a bit but I’m just trying to say that comics fit into a much bigger picture. You can, as the saying goes, lose the forest for the trees. Where do you begin with such a colossal subject as comics? You look at it, walk away for a while, then refocus–and always keep in mind those outside of comics or just entering the world of comics.

One thing I do know is that people still read. And I’m always pleased when some folks make their way over to my posts. I do my best to provide concise text with a decent sampling of images as needed. Here I will post some creators I will spotlight in some upcoming posts. I think this will result in giving a sense of the wide range of activity and talent at Small Press Expo. Here are some representative talent: Kati Lacker, Luke Foster, and Sophie Goldstein:

Kati Lacker

Luke Foster

Sophie Goldstein

Let’s make a quick detour. I want to share with you a little taste of the comics workshops at SPX put together by Comics Workbook. I had the honor of participating in one led by Dash Shaw. We covered quite a lot of work in one hour! I include a sample in this below video. I even got a chance to participate in the informal Q&A. I wasn’t planning to but then I did.

I put a question to Dash Shaw: “This may sound silly but is the only true work in comics created by one person?” His response was interesting: “It’s great that a work in comics can be created by one person. Not all things can be created by one person. You can’t make a baby with just one person.”

Dash Shaw leading a Comics Workbook session at SPX

I enjoyed that response very much. But it was only the next morning that I thought of a much better way to frame the question–or my own answer back: “It can hold true that, just like the lone painter creating a painting, and we see painting as the act of a singular vision, so too can we see that in the creation of comics, there is a singular vision by one creator.” That is exactly what each student was doing in that session with Shaw: creating one work by one person. So, anyway, that for me was good to think about. Of course, there can be other factors that come in, like hiring a colorist. In the end, comics are about a driving force and that usually means one very determined creator started the ball rolling or kept the ball to themselves.

Leave a comment

Filed under Comics, Illustration, Illustrators, Kati Lacker, Luke Foster, mini comics, mini-comics, Minicomics, Small Press, Small Press Expo, Sophie Goldstein