John Cei Douglas is a freelance illustrator based in London who got on my radar with his new book, All the Places in Between, which I recently reviewed. We exchanged some email and arranged to do a conversation. To prepare for it, I read a good bit of the comics that Douglas has done since completing his MA in Illustration from Camberwell College of Arts in 2013–including his Masters thesis, Show Me the Map to Your Heart.
All the Places in Between
One striking thing about the comics and illustration of John Cei Douglas is how fluid and effortless he makes it all look. There’s a certain calm and thoughtful quality to his work that is very appealing. There’s also plenty of action and frenetic energy to be found. It’s all part of a distinctive quirky universe.
The distinctive and quirky universe of John Cei Douglas
Another striking fact to keep in mind is that, even once you reach a point of success in a career in illustration, you can never take anything for granted. That is a point that Douglas can’t stress enough. He is in it for the long term and, from what I see, he’s found a niche from where he can continue to grow and prosper.
English Summer. illustration by John Cei Douglas.
I hope you enjoy this conversation where Douglas provides insights into his creative process. For the creation of his new book, All the Places in Between, Douglas relished in giving himself space to explore where the story was going. There was no set blueprint he was working from and I think readers will appreciate those unexpected twists and turns. As I stated in my review, this is a story as much about evoking a certain feeling as it is anything else–definitely a journey worth taking.
Visit John Cei Douglas at his site here. All the Places in Between is published by Liminal 11.
Manifesto Items #10. by David Lasky. self-published. Seattle, 2020. 60pp. $10.
When I find a worthy subject, I’ll add a dash or two of me into the mix. In this case, I present to you an ongoing series by cartoonist David Lasky. What I like about it is that I see some of my own passions. I guess, off and on, I’ve been following Lasky’s work for over twenty years. He’s a dedicated guy and he’s created some wonderful moments in comics through his various comic books and mini-comics. Where Lasky has trodded, so have I. The indie landscape is a very rocky road where you keep on truckin’ and, maybe with a little help from your friends, see what you can get.
Paul Gauguin used to ask, “Where do we come from? What are we? Where are we going?” These are the sort of big questions that pepper a lot of indie comics and done well a la Lasky. The Lasky universe is one that nibbles at a vast array of mystery and wonder and then finds a spot or two to feast upon and then dutifully report back to the hive. It’s a groovy gentle world of observations, hearty calls to action, and melancholic ruminations. Of course, we want to see more of this in comics but maybe some readers don’t even know what they’re missing until they stumble upon a Lasky gem. Well, with all that said, this latest Lasky work collects a bunch of quirky and offbeat content, as I’ve just suggested.
We begin with, well, it’s a little hard to say. It’s more like one little thing happens that leads to another slightly bigger little thing: a collage poem starts off with Bela Logosi and then gives way to a homage to comics and a tribute to the late great Tom Spurgeon; one exquisite corpse bends to another; tributes to cats lead to tributes to The Beatles; and, as we move along, some diehard fans might spot items that have appeared elsewhere like a page from an anthology about the US border patrol or comics from a workshop at Seattle’s Hugo House.
Walt Whitman a la Lasky
And then we’re hit with something special, like Lasky’s ode to Walt Whitman. Some of Lasky’s favorite, and best, work is literary adaption. For this collection, he provides a generous stretch of comics from Whitman’s “Song of Myself.”
A saucer in search of a cup.
Taken in as a whole, the slow rhythm of alternating images, the searching quality of it all, disparate items, enigmatic and uncanny, it all adds up to a David Lasky experience. It’s like mashing up sleepy Garrison Keillor with a touch of sly David Lynch. Case in point: A Lasky comic that depicts someone looking amused upon seeing flying saucers but actually more disturbed when they beam up her cup of coffee. I suspect that Lasky was zoning into a stream-of-consciousness experiment–his mind zeroed in on saucers and couldn’t resist matching it up with a cup. I’ll have to ask David about it the next chance I get or he is more than welcome to leave an answer in the comments section. Your observations are also most welcome.
So, as I say, this is weird art for art’s sake, good ole fashioned unapologetically offbeat stuff. The humor is so dry that a slight wind could knock it over. But that’s what makes it so distinctive. That is what I am attracted to since my humor can veer off into very dry territory. Maybe David and I have that in common. We’re both rather sensitive souls I’ll have you know. Maybe it’s something in the Pacific Northwest air that we’ve been breathing into our lungs all of these overcast years. Something about it that compels a cartoonist to match a flying saucer with a cup of coffee.
I ask that you keep going on this journey with me. I have been carving this niche for years and I feel like I’ve got it at quite a cozy level with just the right content and pacing. That said, it’s time for another thoughtful interview. For my video interviews, I add here a few notes and observations. Traditional journalism, like hard news reportage, will take an interview and create a concise summation. Some magazines are known for their long sprawling interviews where everything is transcribed. Of course, we also have a long tradition of various talk show formats, some thoughtful and some that are so casual as to blur right in with a dance segment on Tik Tok. Hey, I have nothing against fun and entertainment and I’ll engage in that when it makes sense. But, for interviews, I take them seriously, prepare for them, take off my Joe Cool hat and don’t engage in any dancing. Although, in a metaphorical sense, a good interview is sort of like a dance. The person conducting the interview leads while the person who is the subject of the interview goes about picking up one cue after another and making something out of it.
A bus driver finds solace through the suspension of disbelief.
Anyway, I say all this because it’s particularly relevant to this interview. Essentially, this is an interview about interviews: how to conduct one, what it means, what you attempt to get out of it. I interviewed Julia Wald about her new book, The Suspension of Disbelief (review), an illustrated collection of interviews she conducted about life and work during Covid-19. In the course of the interview, we ended up talking about what it means when you’re working at a restaurant during a world-wide pandemic and suddenly it’s like all the lights are out and then, just as suddenly, you are out of a job, your source of income. We discuss who might have stepped in to help and who didn’t.
A disadvantaged man finds hope through knowledge.
And, finally, once an artistic and talented person is inspired to create a book about Covid-19, what responsibility, if any, does she have to the vulnerable people she has interviewed? Well, part of the answer goes back to the dance. If the dance partners have established a sense of trust, then there’s a very good chance that something worthwhile will result that everyone can be proud of. We focus in a bit on American journalist Studs Terkel (1912-2008), the icon of what came to be known as “literary journalism.” Terkel was most active from the 1950s to 1990s, creating his seminal collection of interviews, Working, in 1974. He was part of that old-fashioned gumshoe journalist/creative tradition: loyal to his readers and listeners, to his Chicago, and to the art and craft of journalism. Julia says that Terkel inspired her on her Covid-19 project and it shows and, ultimately, it demonstrates that she did right by all who she interviewed. Julia did it the right way, the old-fashioned way that involves hard work and integrity. It’s the best way. And it’s what inspires me to keep going on this journey.
Comic arts festivals are the backbone of a lot of indie comics activity. During Covid-19, we’ve seen many of these events converting to online versions. Welcome to Exterminator City (part of Push/Pull co-operative), the 10th edition of this Seattle indie and small press festival. Beginning on Thursday, December 10th, you can enjoy programming and events during this 4-day event.
Sample video: Julia Wald chats about her new work, Suspension of Disbelief, with special guest Vladimir Verano of Vert Volta Press and Maxx Follis-Goodkind:
At 12:00 pm on December 10th all artist tables go live. Artist tables are pages on the Exterminator City website that include artist video introductions, their products, and information about them and how to follow them online. You can purchase directly off their tables – it is the next best thing to being with them in-person!
So, check it all out at Exterminator City right here.
There will be a wide selection of video content from online tutorials to interview panels. Here is the full lineup:
December 10th, Thursday – all events are live at 6pm PST
David Lasky speaks with John Porcellino of King-Cat Comics about making the King-Cat series for 30 years, the political nature of zines, and creating in 2020.
Maxx Follis-Goodkind interviews Craig van den Bosch and Marty Gordon of Microverse Press – a conversation about collage & collaboration.
Sarah Maloney teaches you how to make a mini zine of your own!
December 11th, Friday:
7:30pm– Catch special events over at VeraTV! veratv.org Friday only.
Featured events include:
Abridged interviews with Julia Wald and Jose Alaniz about their 2020 book releases.
A panel of zine experts – Maxx FG, Anne Bean, and Sarah Maloney will be giving you their best tips for zine newbies
Plus a tutorial from MaxxFG explaining what is saddle stitch and showing you two ways to do it
December 12th, Saturday – all events are live at 6pm PST
Sarah Maloney interviews Nicole Georges of Invincible Summer about changes and creating during the covid-19 pandemic
Plus! a full interview with Julia Wald about her latest release Suspension of Disbelief, with special guest Vladimir Verano of Vert Volta Press
And zine experts – Maxx FG, Anne Bean (Emerald Comics Distro), and Sarah Maloney – are back with their full list of things you should know before making your first zine.
December 13th, Sunday – all events are live at 6pm PST
A full interview with Jose Alaniz about his latest release, The Phantom Zone, a collection of works from the 90s through recent creations.
Seth Goodkind gets a lesson on the history of Seattle’s underground comics with artist Pat Moriarity and discusses what Pat is up to now.
Cheryl Chudyk invites you to participate in her surrealist poetry zine. And T. Pratt teaches you the secrets behind his pop-up zines.
“Exterminator City is about connecting our community to people self-publishing zines and comics. When we realized that the current pandemic meant all of the in-person shows for the year would be cancelled we felt it was our responsibility to step in. Our hope is that you learn about people creating, connect with someone new, and get some inside information from our panels and interviews. And of course enjoy yourself!”
An eyeball plops onto the floor, is picked up, and then turns into a doorknob. That is the best moment in comics for this year. 2020 has been a very spooky and sad year and so this little graphic novel is all the more made for this moment.
There’s a lot of comics theory out there being tossed around. It’s very easy to start one of those erudite conversations about comics and ponder about what lies between the panels. Well, it’s a vast nothingness. It’s the gutter space. And, while you’re advised upon how you can manipulate the gutter space, slice it and dice it, the fact is that, in general, you don’t really want to call attention to it. No, it’s mostly the panels where the action is and that is what cartoonist Katie Skelly mindfully builds. Her gutter space is neutral. That’s where time passes. In fact, the panels could all be nothing more than a grid and we, as readers, would be satisfied. But a good variation in panels can do a lot of the heavy lifting in order to enhance the reading experience. Maids is Skelly’s latest graphic novel and it is quite an experience.
Beautiful narrative flow.
If you aware of this book, then you already know this is a stylish take on a true crime story, set in 1930s France, with the simple enough plot of two maids who murder the mansion’s inhabitants. For a story such as this, it is all in the telling–or showing. Skelly takes delight in presenting us the two culprits, two young women, Christine and Lea. These are two down-and-out girls who stumble upon working together for a rich family. By and by, we get to know the two girls, just barely out of their teens. What’s interesting is that they are far from likable. In fact, they are more likely to steal and loaf around than much of anything else. In turn, the rich family is not particularly villainous. They are more or less right to find the two girls to be repulsive. So, plenty of gray area to consider. No clear hero or villain. And yet, some may read a story here of a worker’s revolt. What is happening here is more open-ended than that. This is less a call for class warfare and more of a macabre journey we might enjoy on a cold winter’s night and, for that, Skelly has masterfully delivered.
Rise and shine!
For more details, visit Fantagraphics Books right here.
The Complete Works of Fante Bukowski. By Noah Van Sciver. Seattle: Fantagraphics Books, 2020. 452 pp. $39.99.
Noah Van Sciver is an interesting cartoonist. He’s long graduated from being one of “those to watch” to an artist with a substanital track record. As a cartoonist myself, I admire and appreciate what he’s doing. He is best known for his lovable loudmouth character, Fante Bukowski, a confused mashup of Charles Bukowski and John Fante. The ongoing joke here is that Fante Bukowski is a perpetually aspiring writer, both artless and clueless. If you haven’t jumped on the Fante Bukowski bandwagon yet, now is the time with the release of The Complete Works of Fante Bukowski, which collects every mishap and stumble all the way on a crazed quest for fame and fortune.
Fante dreams big.
I think that Fante is a very successful character. Van Sciver has developed something that people can easily relate to. Despite the fact that Fante is associated with the literary crowd, there’s nothing highbrow about him. If nothing else, Fante is accessible. You can think of him as the Homer Simpson of lost souls. In a higher sense, Fante is a perfect vehicle for Van Sciver to skewer any lofty notions about art. But even suggesting this may only make Van Sciver laugh. For something really serious and dark, he’d direct you to his graphic novella, Saint Cole. There’s definitely loads of irony and irreverence attached to Fante. On a more basic level, you can replace any literary stuff in here (replace it with general office culture, academia or even indie comics culture) and enjoy this as a story about a guy who is not much more than a professional wedding crasher, a latter day Groucho Marx out to expose hypocrisy and pretentiousness in all its many forms even if he’s not aware of it. The character is funny, gets into silly situations, and will make you laugh. But there’s more.
Fante Bukowski demands to be taken seriously as a writer. Van Sciver presents us with the journey of a misguided young man who really has no great talent, skill or genuine passion. Fante simply feels entitled to be a success. Fante will make some effort, just the bare minimum, towards his dreams, and expect instant results. His bare minimum efforts are garbage but he refuses to take no for an answer. All in all, this is very funny stuff. Imagine Steve Martin, in his prime, in the role of Fante. Or Ricky Gervais. However, given all the work it took to set up the premise of Fante, it would have been interesting if the satirical aim was a bit more precise if that were possible. As it is, Fante does indeed have hilarious moments like when he’s courting favor with a “literary journal” he’d like to have his work in, the Firewarter Journal, with such a perfectly pompous name and a circulation of a dozen to match. These are the sort of pleasant jabs that you might expect from the comic strip, Doonesbury, but more generic. Ultimately, Van Sciver succeeds by keeping his humor broad.
A romantic but stupid idea of being a writer.
Van Sciver seems to root for irreverence more than anything as a way to move things along. He doesn’t want anything to be taken too seriously, including his own work. He’s not trying to be Dash Shaw. And he doesn’t seem to aspire to write a true comedy of manners like cartoonist Posy Simmonds although he does a fine job with the social commentary he does end up doing. More importantly, he has definitely invested quite a lot in the idea that Fante Bukowski is a clueless young loudmouth who is completely absorbed with entitlement. That alone is key. A lot of other tidbits up for satire can be lightly played with. The big takeaway is that Fante Bukowski is a young empty suit. He feels he is owed something with apparently nothing to show for his outrageous demands. If, in spite of this fact, Fante did find his fame and fortune, then the joke would truly be on us.
While much care has been taken, Van Sciver has also made sure to leave a certain amount of a raw quality to what he does–and there is a long-standing tradition for that in indie comics and in art in general. You want to avoid getting too polished, too slick. You want to look the opposite of “corporate.” So, you’ll see the artwork is only refined up to a certain point. Some cartoonists, for example, will deliberately misuse digital coloring to subvert the idea of making things look too pretty. Van Sciver, for example, could have easily chosen a way to seamlessly clean up any mistakes in his text but he wants you to be aware of them. He has pasted over by hand every correction to his text and made it so that you clearly notice it. Whatever the reason, it reads as a style choice.
Unlucky in love.
Following this subversive impulse, Van Sciver does the same for the actual story. Nothing is supposed to be taken too seriously–and that does make sense when you’re poking fun at all those “highbrows” who take themselves too seriously, right? That notion is where you might find some subtext. Van Sciver peppers his comics with all sorts of quotes from various famous writers and artists and, within this loopy context, even the best lines from Hemingway or Fitzgerald all sound like sayings from fortune cookies. For a book that seems to be in it just for laughs, taking a blowtorch to the old masters has some bite to it. But no one really wants to topple truly great writers, do they? Maybe so but going down that rabbit hole is a pretty tall order. In the end, it seems that we’re supposed to turn our gaze back to Fante Bukowski and maybe pity the poor fool.
Noah Van Sciver is an Ignatz award-winning cartoonist who first came to comic readers’ attention with his critically acclaimed comic book series Blammo. His work has appeared in the Best American Comics and the Fantagraphics anthology series NOW. Van Sciver is a regular contributor to Mad magazine and has created many graphic novels including The Hypo and Saint Cole. His latest, The Complete Works of Fante Bukowski, collects all three volumes of the Fante Bukowski series in an expanded hardcover edition with extra features and special material. His follow up, Please Don’t Step on My JNCO Jeans, will be published in December.
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.
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.
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.
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.
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.