Tag Archives: Mini-comics

Comics Shop Focus: Orbital Comics in London, England

ORBITAL COMICS!

While they stock all kinds of comics, Orbital Comics in London has quite an impressive collection of small press comics. Will Humberstone, Orbital Comics indie comics expert, assisted me in tracking down some of the store’s best titles currently in stock. I include here all the titles that he suggested. While I was in the store, I was impressed with a very tidy and organized shop. I found an upbeat environment with first-rate customer service. By all means, while in London, do make sure to visit Orbital Comics! I begin with some photos of the shop. This includes staff members who worked on some of the titles reviewed here: Ryan Jenkyns on Forged #1, and Valentina Sannais on Starfall #1.

Orbital Comics

Orbital Comics

Orbital Comics

Orbital Comics

Ryan Jenkyns and Valentina Sannais

Small Press Reviews

Forged #1 by Michael Eckett and Ryan Jenkyns

Forged #1, written by Michael Eckett and illustrated by Ryan Jenkyns, is a sweet all-ages ongoing series that proves to be a rather nice showcase of talent. I can see big things ahead for this series mostly geared toward younger readers. A boy off on big adventures! Stay tuned.

Starfall #1 by Adam Blackhat and Valentina Sannais

Starfall #1, written by Adam Blackhat and illustrated by Valentina Sannais, is an action adventure story with quite a lot to unpack. It seems that we are picking up the story right in the middle of momentous events with characters dealing with a lot of issues. Oh, and they also happen to have superpowers! Much to enjoy here and we’re only getting started. Visit the webcomic here.

Barky and the Bootmaker by Jasmine Parker

Barky and the Bootmaker, by Jasmine Parker, raises the bar high as this is a professional illustrator so maybe it’s a little unfair for someone with finely-honed artistic chops to blast into the slower-paced world of indie comics–or is it? It’s debatable, I suppose, but I really truly favor those comics creators who do work hard at their craft, keep polishing it, and demand a high level of excellence in their work. And then you have to ask, When is a work too slick? Ah, now there’s the rub–when to know you’ve got just the right vibe in your comics! I guess you have to sniff it out. In this case, Ms. Parker does a fine job with a very silly story that will have the tikes rolling in the aisles.

The Blade of Arozone by J. Edward Scott

The Blade of Arozone, by J. Edward Scott, is one of those little books where maybe I’m just not connecting with it all the way even though I really want to. If you enjoy a bit of sword and sorcery, then this might work for you. I think the best thing going here is the artwork. There’s a lot of promise here. For such a short work, you need to wow your reader with something really tasty. Not too busy either. So, keep on truckin’ and really have fun. Maybe I’m not seeing quite enough fun in these opening pages while I do see that elsewhere from this artist online.

Stutter by Joe Stone

Stutter, by Joe Stone, almost lost me with the cover. But, once I leafed through it, I knew that here was a serious cartoonist that I would need to focus on and give him his due. I can see that care has been put into character development, composition and pacing. Yes, it is an autobiographical story about one man’s struggle with stuttering. It has a nice crisp clarity to it. The style is a confident clean line, a cartoony semi-realistic approach that a lot of cartoonists use today. Stone is among one of the better examples I’ve come across. It’s an impressive and sharp mini-comic.

Shivers in London, Part 1 by Niki S. Banados

Shivers in London, Part 1, by Niki S. Banados, is another all too brief work that leaves me wanting more. Again, lots of promise here just like in Mr. Scott’s The Blade of Arozone. The art does have a nice ethereal quality to it but I’d just have to see a lot more of it. If this is an opener meant to entice the reader, then I need more of a wow factor. That said, I’m intrigued and look forward to more.

Cat Disco by Rebecca K. Jones

Cat Disco, by Rebecca K. Jones, is a work that has come to the party prepared to rock out. Now, fair warning, Ms. Jones is a seasoned illustrator so she has a lot more toys to play with and a lot more experience. I highly recommend this book to anyone looking for a fun read or anyone interested in becoming a better cartoonist. This story is told with sly wit and great confidence. It’s not easy to pull off but this is the sort of work that can carry the reader away. It’s a story about a house cat who decides to take a walk on the wild side and see what the street cats do at night–and then it goes on to deliver! You too will believe that cats love to disco! Bravo!

Heads by Ed Stockham

Heads, by Ed Stockham, seemed at first glance to be one of those classic twee mini-comics that tries one’s patience. However, years of mini-comic reading have taught me to not rush to judgment. Now, the art is very simple and raw but there’s a confidence running throughout that won me over. I think Mr. Stockham’s work, based on this little book plus what I see on his website, has just the right combination of a good sense of timing, artistic sensibility, and joie de vivre.

Seller on the Threshold by Claude T.C.

Seller on the Threshold, by Claude T.C., is a masterful little work by someone who spends a lot of time drawing and loves it. I see here a wacky sense of humor and the creative discipline to back it up. Is this the work of an inspired amateur who works at a professional level? Or is this the work of a professional who works at the level of an inspired amateur? You see what I mean, don’t you?! It’s polished, but not so slick that the life has been sucked out of it. This is the good stuff.

Some Short Stories by Knifeson Yu

Some Short Stories, by Knifeson Yu, is a collection of light vignettes where very, very little happens. This is an all too brief wisp of a sampler. But I like the wee bits of teaser found here. Seems like the work of an animator who is happy to just dabble in comics for now. We shall see.

Cindy and Biscuit: Sundays by Dan White

Cindy and Biscuit: Sundays, by Dan White, is another impressive work by a professional illustrator. This is A-game work. The story is a lot of silly fun, reminiscent of Calvin and Hobbes but very much its own thing. Cindy keeps seeing all sorts of amazing creatures and going off of all these larger-than-life adventures. Okay, maybe it’s a lot like Calvin Hobbes but it’s still very much its own thing! Five stars and lots of glitter!

Endswell by Peter Morey

Endswell, by Peter Morey, pay perhaps be the most ambitious work of the whole lot here in its own way. I mean, it has an ambiguous and quirky cover. You can only hazard a guess as to what it’s about. And, even once in, you don’t know for sure where it’s heading but you’re hooked. The opening pages have that ideal crisp and clear quality that is so crucial to bring the reader in. The characters are really saying things that are interesting and advancing the plot. You know the main character has got some problems and he’s taking part in some sort of therapy, whether he really wants to or not. All very intriguing. This gets an A-plus and whatever else I can say that is upbeat and supportive. Seriously, really good stuff!

Archie vs. Orbital by Joe Jinks and Will Humberstone

Archie vs. Orbital, art by Joe Jinks and script by Will Humberstone, is a fun little book that pits the Archie gang against the Orbital Comics staff! This is lighthearted fun as you might expect. That said, it is far more involved than you might expect too! The pacing is spot on and it has a tasty factor about it. Archie and the gang are not very nice in this comic. Think horror, scary horror. I recommend you pick it up.

Orbital Comics

When in London, visit Orbital Comics!

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Review: ‘My Brother the Dragon’

My Brother the Dragon

Here is something else that I picked up at Short Run over the weekend. My Brother the Dragon is written by Galen Goodwin Long, illustrated by Jonathan Hill, and published by Tugboat Press. I had a nice conversation with Galen. She said she was quite happy with the results. I certainly agree. This is something of a hybrid: a mini-comic and a children’s book. I am very impressed with the level of sophistication and understated grace. If you aspire to creating a children’s book of your own, this is an excellent example of what is possible within the indie community.

My Brother the Dragon

This is the story of a little boy who sure loves dragons. He loves them in every possible way. The story is told my his big sister who has a problem with her brother’s dragon obsession. The story is simple and easy to follow and the artwork is spot on and delightful. This book came out in 2016 and I’m happy to have stumbled upon it. Visit Tugboat Press right here.

 

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Interview: Jason Leivian, owner of Floating World Comics

Jason Leivian, owner of Floating World Comics

During a recent visit to Portland, Oregon, I interviewed Jason Leivian, who runs Floating World Comics, one of the best comic book shops you could hope for. This is a comic book shop taken up to the level of a curatorial experience with everything neatly organized in different categories.

Floating World Comics holds the distinction of being one of few comic book shops that also functions as a publisher. During this interview, my goal was to bring out all that is special about Floating World Comics, and Jason Leivian proved to be a most excellent host. I hope you enjoy the video interview below:

I’ve come back with some choice titles published by FWC and we will be taking a look at them in the coming days.

When in Portland, or whenever you wish to find something exceptional in comics online, be sure to visit Floating World Comics.

 

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Review: DOCTOR DRACULA and JOURNAL by Kalen Knowles

DOCTOR DRACULA and JOURNAL by Kalen Knowles

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.

From JOURNAL

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.

SNOWMAN by Kalen Knowles

You can find Kalen Knowles on Instagram and on Tumblr. And you can purchase his work here.

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Filed under Comics, Comix, Cthulhu, Destiny City Comics, Dracula, Horror, Seattle

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.

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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.

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

Cartoon Crossroads Columbus (CXC) this weekend 9/29-30

Cartoon Crossroads Columbus (CXC)

Cartoon Crossroads Columbus (CXC) is one of the newest comics art festivals, founded in 2015 by Bone cartoonist Jeff Smith and comics journalist Tom Spurgeon. If you are in the Columbus area and your passion is comics and graphic novels, then CXC is for you. The “backbone” of the four-day CXC is this weekend’s Expo and Book Fair which brings together 135 comics-makers on the second floor of the Columbus Metropolitan Library, Main Library.

Comic books. Mini-comics. Graphic Novels. That is the main focus. Cartoon Crossroads Columbus is free to the public. It is a distinguished event featuring impeccable talent like Katie Skelly, Derf Backderf, Nate Powell, Zack Soto, Gemma Correll and publishers like Fantagraphics and Silver Sprocket.

The festival takes place at various locations in the University and Discovery Districts, including buildings on the Ohio State University campus, the Main Library, the Columbus College of Art & Design and the Columbus Museum of Art.

“For Better or For Worse” cartoonist Lynn Johnston (Ron Bull/Toronto Star/Getty Images)

This year’s main speaker is “For Better or For Worse” cartoonist Lynn Johnston, appearing at 7:30 p.m. Friday, September 28th, at the Wexner Center for the Arts. Also on the docket is a jammed-packed schedule of talks and panels, screenings, exhibitions and networking. Make sure to hit up the after-parties on Friday at Brewcadia (467 N. High St.) and Sunday at Pins Mechanical Company (141 N. 4th St.)

For more details, visit Cartoon Crossroads Columbus right here.

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Filed under Cartoon Crossroads Columbus, Comics, CXC, Jeff Smith, mini-comics, Tom Spurgeon

SPX 2018: Time for Small Press Expo, September 15-16!

SPX illustration by Molly Ostertag

Time for Small Press Expo, September 15-16! SPX, created in 1994, is the cornerstone to the comics community. It is at the forefront in promoting and providing support. Each year, more than 4,000 cartoonists and comics enthusiasts gather in Bethesda Maryland for North America’s premiere independent cartooning and comic arts festival. Let the latest news speak for itself. This is from a press release that just came out:

“Small Press Expo announced that it will immediately make available $20,000 and also launch a legal aid fundraising vehicle to support members of the SPX community who are currently facing a defamation lawsuit. The fundraising vehicle, administered by SPX, and created in consultation with the Comic Book Legal Defense Fund, will be established for the purposes of defraying the cost of legal representation for the eleven members of the independent comics community named as defendants in the ongoing lawsuit.”

So, yeah, it’s September and that can only mean one thing for die-hard indie comics fans: Small Press Expo! Yes, indeed, each year Bethesda Maryland suddenly becomes, for one weekend, the lightning rod for some of the most cutting-edge comics. If you’re in the area the weekend of September 15-16, then come out to this event and check out some awesome alt-comics.

Now, I must admit that, although I’ve gone and I’ve participated in numerous comics festivals and events as a journalist and as a comics creator, I have never gone to Small Press Expo. Some folks there will have heard of me and some know me from years back. But that doesn’t change the fact that I’m new to SPX. So, I hope to do my best to provide some stellar coverage to this most venerable and respected gathering. Small Press Expo is where much of the indie comics scene gained traction and it remains the jewel in the crown.

So, say hello if you see me and we make eye contact or somehow slip into conversation. We’ll figure it out. Or say hello here at Comics Grinder. If you’re a creator, let me know what you’re up to and maybe we can set up an interview or I can plan to review your work. I don’t exactly expect an avalanche of responses– but I always end up making a decent number of connections at these events. I understand that things will get hectic and maybe you’re shy to begin with. I understand– and I can only focus on so much myself. The main thing is to have fun and to always strive for authenticity. The rest works itself out.

The full press release on the Legal Aid Fund for Cartoonists follows:

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Filed under Alt-Comics, Alternative Comics, Comics, Comix, Independent Comics, Indie, Millennials, mini comics, mini-comics, Minicomics, Self-Published, Small Press, Small Press Expo, SPX

Comics Review: SPINADOODLES 8: MOOZ BOOSH by Sam Spina

Mastering the “Uncomfortable Smile”

Mastering the “Uncomfortable Smile.” Who knew that was a thing. Apparently, it is a very big thing among cartoonist Sam Spina and his friends. Seriously, Spina is masterful at spinning gold from ephemera. It’s an art form that carries over to all kinds of storytelling. So, it makes total sense that Spina could transfer the skills he honed as a cartoonist and use them as a storyboard artist for Cartoon Network’s “Regular Show.” Spina has a golden touch which you can enjoy in his latest collection of diary comics, “Spinadoodles #8: Mooz Boosh,” available at Kilgore Books.

The whole page about uncomfortable smiles.

The whole page about uncomfortable smiles, entitled, “It’s My Sad Eyes,” is fun to read and indicative of what you’ll find here. Spina is recalling a moment from a trip to Arizona. The locale is mentioned simply to add a little flavor. The focus is on the interactions between friends. Spina uses a very casual approach which welcomes the reader. Everything feels like it is accessible and evoking an easy-going conversation. Nothing appears to be overworked. The characters are drawn, not in a slapdash manner as much as a slapdash style. That’s a huge difference. Less careful, less thoughtful, and less skilled cartoonists tend to lean too heavily upon an artistic sensibility that would embrace any mark on the page. In fact, any mark on a page is not golden. There are standards to this thing and cartoonists that create comics at the level of a six-year-old seeking praise from grandma are doing themselves a disservice. Just saying.

Spinadoodles!

Diary comics actually have a long history, inextricably linked to independent comics. And it is John Porcellino’s ongoing zine, “King-Cat Comics and Stories” (May 1989 – present), that casts quite a long shadow. I think there is room for everyone under the comics tent–and I know a lot of cartoonists are influenced by John P’s approach, be it the pared-down artwork, the spare compositions, right down to the self-deprecating humor–but it often does not quite work in other hands. The best one can do is to honor what he’s established and add to it. I think Sam Spina falls within the group of cartoonists that are not just coasting along but creating compelling work.

SPINADOODLES 8: MOOZ BOOSH

Sam Spina is having fun and he has taken the time to give his comics a distinctive charm and sparkle. His humor is not particularly satirical as much as it is in keeping with the slice-of-life tradition of much of alt-comics. Within alt-comics circles, authenticity is highly regarded although not always followed through in practice. Spina’s work has a refreshing honesty and irreverence that, at its best, can rise above anything trendy and cute and just be plain ole good storytelling.

“Spinadoodles #8: Mooz Boosh,” is available at Kilgore Books.

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Filed under Alternative Comics, Cartoon Network, Comics, Comix, Humor, Kilgore Books, mini-comics, Minicomics, Zines

Comics Review: GARDEN SALAD by Tristan Wright

“Garden Salad” by Tristan Wright

“Garden Salad” is a mini-comic that exceeds expectations and enters the realm of a model of excellence: the story is engaging; the art has a dazzling and quite intoxicating quality; the whole work is delightfully original. Tristan Wright is new to me but I’m so glad that I stumbled upon his work! Honestly, the solid craftsmanship and originality immediately won me over.

Creating something with a real spark and kick to it is never easy. What Wright accomplishes with this work involves a lot of groundwork and revisions. I suspect that he enjoys every bit of it as there is an effortless and joyful vibe throughout these pages.

Nice day for some sveedle!

Our story is a deceptively simple one: an old man is gathering items from his garden for his mid-day feast. Like many stories that have the reader see things from an unconventional vantage point, events focus more on what the old man is foraging: vegetables, for sure, but not good ole veggies exclusively. How about a veggie goblin? In our tale, we see quite a bit of this little critter and then we come to find out that the old man is all too aware of this bewildering force of nature. He even has a name for them. These critters are known as “sveedle.” Sounds like something out of a Stephen King novel! Yum, sveedle, them’s good eatin’ goblins!

Running after the garden goblin!

Yessir, these here goblins are pretty hideous and intense little beings. With a wedge of leaves upon their heads and bulbous jiggly bodies, they resemble what they eat: veggies, but also worms and other creepy crawlies. The big hint here is that these ghastly little monsters are violent–and potentially dangerous to humans. But the old man seems to be up to the challenge. In fact, the old man is relatively hideous and dangerous in his own right, surely a formidable match for any veggie goblin.

Wright’s intricate and detailed drawing style keep the reader glued to each page. This is a masterfully crafted tale with a philosophical bent; a wonderfully ambiguous tale of veggies and goblins. Let’s go ahead and bring out a nice shiny star and give this one a 10/10.

“Garden Salad” is a 32-page black and white comic book written and drawn by Tristan Wright. For more details, and how to purchase, go right here.

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Filed under Comics, mini-comics, Minicomics, Tristan Wright