Tag Archives: Entertainment

Interview: Sarah Nesbitt and ‘Drawn on the Way’

I have always drawn and I’ve studied drawing in as many ways possible, all the way to university and lifelong learning. And what I’ve come away with is that drawing is a limitless source that just keeps on giving. Those of us who enjoy drawing understand each other. And one thing we all share in common is a dual nature of observer and participant. We’re the ones who like to linger while also able to  quickly size up a situation. We take a lot notes, all sorts of notes. We want to share our findings. Sarah Nisbett is one of us and she’s collected a bunch of her field notes on drawing on the spot into, Drawn on the Way: A Guide to Capturing the Moment Through Live Sketching, published by The Quarto Group. If you like to draw, or want to learn how to draw, then this book is for you.

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Book Review: ‘American Comics: A History’ by Jeremy Dauber

AMERICAN COMICS

American Comics: A History. Jeremy Dauber. W.W. Norton & Co. New York. 2021. 592pp. $35.

Jeremy Dauber’s narrative resembles a rocket ship as it blasts through page after page which is ideal for a book covering the entirety of American comics, from its early days to the present. Arbuably, this is the first survey of its kind and it proves to be compelling stuff. For myself, a Gen X cartoonist based in Seattle, I couldn’t help but begin with Chapter 8: Between Spandex and Seattle. Dauber dutifully recreates the scene leading up to the rise of indie comics in the early ’90s and, in the process, provides a window into the ever-evolving world of alienated youth. If Andy Hardy movies from the ’30s and ’40s helped to invent the American teenager, then comics, specifically indie, played a significant role in a more recent iteration of youth culture, one with a more nuanced argument for perpetual arrested development. Why not remain snarky, callow, self-deprecating, the whole immature shebang, all the way to the grave? The work of leading cartoonists like Daniel Clowes and Charles Burns made nihilism seem cool again, picking up where the sixties underground left off. If these cartoonists never meant for anyone to take them literally, it was besides the point. The impact of comics was never in doubt.

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Paul Buhle Honored by The Progressive

Paul Buhle

Paul Buhle is an eminent historian who, from time to time, graces this site with his writings on comics and related issues. Today it is my honor to direct your attention to a wonderful tribute to Paul Buhle in The Progressive. Here you will find a very useful overview of what Mr. Buhle has accomplished in his lifelong exploration and analysis of progressive politics–and how he’s incorporated his work into the comics medium. Paul Buhle’s contributions are essential!

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Comics: Hurricane Nancy: Happy Holidays and Tricky Demons

“Getting Rid of False Gods and Tricky Demons”

Today’s Hurricane Nancy comic strip: “Getting Rid of False Gods and Tricky Demons.” Nancy says, “This comic strip covers my current feelings and is dedicated to All the authorities who want to trap and subjugate individuals. They can try, but truth is they can’t!”

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Interview: Filipe Melo and Juan Cavia and BALLAD FOR SOPHIE

Ballad for Sophie

Ballad for Sophie is one of most accomplished works in comics of the year. You can read my review here. The following is an interview I had with the writer, Filipe Melo,  and the artist, Juan Cavia via email. Many thanks to both men. I hope to meet each of you in person in the future! You can pick up your copy at Top Shelf Productions. We begin with Filipe Melo.

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Review: DRAWN ON THE WAY by Sarah Nisbett

Drawn on the Way. Sarah Nisbett. The Quarto Group. 2021. 128pp. $22.99

Editor’s Note: This book is ready for pre-order purchases. Available in the US as of 12/21/21.

Sarah Nisbett had an idea on how to cope with the subway ride to work: sketch the world around her! This simple act of expression has opened up a whole new world for her and now it can do the same for you. Nisbett’s explorations in sketching have led to her first how-to book. There are numerous books on how to do just about anything and that’s just how it should be. We all love them and we take from each whatever we need. In the case of Nisbett’s book, you really feel like you’ve got a friend who is hanging out with you and will get you to pursue that dream of drawing you’ve been meaning to get around to. What’s kept you? Fear of failure? With this book, there’s absolutely no pressure. It’s a very comforting approach with real world workshop exercises you can do anytime and anywhere, even on a subway ride to work!

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Review: ‘COVID Chronicles’ published by Graphic Mundi

COVID Chronicles. edited by Kendra Boileau and Rich Johnson. Graphic Mundi. 2021. 296pp. $21.95

COVID Chronicles is a unique comics anthology, a testament to the collective response to COVID-19. The comics medium is exceptionally well-suited to convey, evoke and process the massive tangle of information and expression involved. We often say that comics is known for superheroes. However, on an even grander scale, comics is known for being a communication and educational tool able to make it possible to see the forest for the trees. This remarkable anthology was put together during the first half of 2020. We were lost amid the trees then and we’re still finding our way today. As a comics creator, I fully appreciate the challenges for a book like this to stay on point. I have seen countless comics anthologies and the biggest stumbling block for such an endeavor is a lack of consistency and vision. And then we have those gems that prosper because of a clear and compelling purpose. This is such a collection.

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Review: HELEM by Stanley Wany

Helem. Stanley Wany. Conundrum Press. Wolfville, Canada. 2021. 240pp. $20

A work of comics will sometimes go from one form to another and such is the case with a couple of titles by Stanley Wany. Agalma (2015) and Sequences (2017) were both published by Trip which have recently been combined, with added material, into Helem, published by Conundrum Press. So, two works have been combined into one which is fascinating given what seemed to me to be open-ended options in two mostly wordless comics. However, there’s a narrative running its way through both titles, and now more emphasized in the final version, Helem.

We will first take a look at one of  Wany’s previous titles, Sequences, as a way into the new book, Helem. As the title to the older book suggests, we are dealing with sequences, one page at a time, and in connection with each other. If you were to view this as a show in an art gallery, you might accept each page as just a set of four small drawings. As the reader takes in more pages, something sequential emerges. What follows are three pairs of sequences.

Pages 22 – 23 from Sequences

In this first pairing, Wany offers us a look into the inner life of a call center, complete with its peculiar hum of activity. It’s hard to say if there is any hint of irony on display and maybe that’s the point. People working in call centers is so common that it’s most likely you have worked in one or know at least one person who has. It’s a strange and highly artificial world but, when you are in it, it’s the only world you know.

Pages 36 – 37 from Sequences

Our pairings become progressively more surreal moving forward. We start off with two friends chatting on a walk in the city. But what exactly happens next is anybody’s guess and best to chalk it up to dream logic. Mr. Death appears to be in a foul mood and not to be ignored. And then there’s a crack in the system, a sign of greater concerns ahead.

Pages 106 – 107 from Sequences

Finally, our last pairing of pages takes us to a higher plane of existence. Our protagonist appears to be lost but soon finds a potential ally, a queen no less. Who is this queen? Does she possess supernatural powers? Our friend will soon find out.

Wany is a master of manipulating the quotidian and transmogrifying it. With Helem, the final and complete version to his two previous books of art-comics, he takes the reader into the heads of two lost souls. The two main characters, both relatively young, are adrift, in an existential crisis. This is Wany’s landscape of the inner world and welcome to it. In both stories, the reader first experiences the world through the eyes of each protagonist and it is only towards the end that we get some closure through actual remarks. In the second story, originally from Sequences, it turns out we have a man wondering where some of the best years of his life have gone. He loops in and out of reality to discover that some of his most compelling moments are in his nightmares.

Stanley Wany is in that select group of artists who are diligently creating comics as art or art that is also comics. A cartoonist who makes art. An artist who makes comics. Wany’s linework is exquisite. The lines dance upon the page and seem quite capable of anything–and telling more than one story all at once. Wany delights the reader on many levels with his flights of fancy; he offers gifts for both the eye and the mind. It really would be no surprise to me if these same pages were to be sliced and diced yet again to tell a completely different story! Isn’t the comics medium malleable by its very nature? Of course it is! Any work by Wany is a delight and I look forward to seeing more from this exciting artist.

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Review: ‘The Domesticated Afterlife’ by Scott Finch

The Domesticated Afterlife. Scott Finch. Antenna Works. New Orleans. (available thru Domino Books) 200pp. $18

There are certain things I love and respect: compelling art like finely-crafted comics; and places that can make your heart sing like Louisiana. So, it’s a double-pleasure to feast upon this work of comics by Baton Rouge artist Scott Finch. He is the real deal: an artist who can make art-making look easy, as natural as breathing, because of all the work that he does to reach that level of grace and ease.  Too many artists can fall into a perpetual trap of producing slapdash work which is lifeless to say the least. The more that I’ve seen of Finch’s work, the more that I appreciate his level of commitment. Finch treats the comics medium with a genuine artistic sensibility. What Finch does is precisely what I aim for with my own work so I know of what I speak. If you’ve spun a comics narrative about animals in some domesticated afterlife, and you’re an artist with a consistent vision like Finch, then expect to find your very essence deep in that world.

We are decades away from a true metaverse, a complete virtual reality landscape where we are totally sucked into another world. That’s a good thing so enjoy reality while you still can before everyone has drunk the Kool-aid. What we’ll experience now with such entities as Facebook lurching into the future should be bad enough. That said, the metaverse is alive and well in fiction and comics is especially adept at evoking such a loopy terrain in the right hands. Finch is just the kind of artist to tap into the potential of the comics medium. This is both a philosophical and mythological work on a grand scale; a grand opera about a metaverse of humanoid animals, mostly dogs and cats, at the mercy of chicken-like creatures. The dogs and cats fend for themselves as best they can in this virtual world. Their minds, their psyches, have been tampered with to such an extent that all they know is that something isn’t quite right and maybe they want to reach for a portal to the outer darkness, what they assume is the real world.

Finch’s arcane sense of humor informs this comic’s cryptic sense of logic–which is totally cool. It’s difficult enough losing yourself in a work of comics given that a lot of comics doesn’t even try to challenge or engage the reader. Don’t get me wrong, there’s plenty of the good stuff out there but you need to look. This comic delivers with page after page of striking imagery and a whipsmart narrative. Finch is a painter and that special insight shows here as you’ll delight upon one panel after another that could easily be worked into a stand-alone drawing or painting. As I’ve always maintained, it takes someone with a well-cultivated sensibility, part novelist, part painter, to truly make the most of comics as an art form and Finch proves he’s up to the task.

Single Panel Excerpt from The Domesticated Afterlife

The story itself, with its byzantine subplots, provides so many delicious and thought-provoking moments that you are bound to get hooked. This is a world where animals act like humans: they don’t eat to live; they live to eat. They are utterly disconnected from the natural world–and what kind of life is that? It’s a twisted world where dogs and cats are outsmarted by chickens. Everyone is weak but just strong enough to claw at each other. We naked apes are so prone to folly that our own metaverse, with chickens ruling over us, could be our destiny. Finch’s book is one part cautionary tale and one part just good old-fashioned loopy fun.

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Comics: ‘Leaving Home Planet’ by Hurricane Nancy

Making Changes comic strip by Hurricane Nancy

Hello, friends, Hurricane Nancy graces the site with another Making Changes comic strip. This one is entitled, “Leaving Home Planet.” Here are some notes from Nancy on this comic strip:

“Leaving the Planet is the old story, your parent kicks you out to go to college some such thing and on the planet of the Teddy bears there is public transportation to the college planet (and others not in this strip). So our teddy goes. There are sentient beings from other places.

The teddy also hooks up with a gal from another planet at college and heads back  to teddy planet with her and their kid. By public interstellar transportation.”

Be sure to visit Hurricane Nancy at her website right here.

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