Catching Up with Comics + Going with the Flow

"Research" materials

At the close of another semester and over the little "break" in-between, I'm also in-between gigs, and so will be prepping for the annual Ursa exhibit (see previous post), taking down the Pakalolo show, and catching up on my stack of books to read + comics to draw. Some of the notable acquisitions for my collection at the office include: Howard Cruse's "Stuck Rubber Baby" whom I had never even heard of before, and contains some of the most luxuriously rendered textures I've ever seen.

Also recently splurged on the deluxe canvas slipcase edition of Loeb/Sale's "Superman for All Seasons"; another in Brremaud & Bertolucci's wordless day-in-the-life series "LOVE: The Tiger"; and “Nuking Alaska: Notes of an Atomic Fugitive” from Alaska’s own Peter Dunlap-Shoh (review here + publisher's website here), and a bonus capybara (for reasons explained below).

Stop exaggerating how big it is

It appears that there has been a breakdown in the system... is it any wonder I have basic issues with trust? Many of us are into comics because we are somewhat of control freaks, and now my sense of fairness and justice in the world has been completely undermined. Seriously though, this is why I lose my mind even before starting to draw any goddamned thing, when the foundation you are trying to build upon is a lie.

But seriously, later on here I'll have another motherlode of a recap re: the comics class officially debut during a normal semester. In the meantime here's a little teaser of the next installment of studio art courses I'll be rolling out as the upgrading of the drawing department continues apace. I'm thoroughly excited to launch a personal passion of mine, and expand upon the fundamental medium of the entire program.

clockwise from top left: Garth Williams/E.H.Shephard/Frank Frazetta/Robert Crumb

And in closing I would be remiss in mentioning an absolutely wonderful & enchanting movie I was lucky enough to catch the last day it was on the big screen here in the 'Banks. Ginys Zilbalodis' "Flow" (trailer here) is a magical, transcendent experience - not since seeing "The Iron Giant" back in 1999 has an animated feature so enraptured me - this was pure delight. Also one of my pet peeves that prevents me from watching 99% of contemporary animated movies was blissfully avoided with an entirely dialogue-free production, so no intrusively annoying and tiresomely stupid famous-actor voiceovers. As a cat daddy, the adventures of the protagonist kept me on the edge of my seat for half the show, and it was quite emotionally exhausting, if not altogether rewarding and reflective afterwards. Not only are the reviews all outstanding, and the writer/director/producer even made the music, the entire soundtrack for which I promptly purchased, and have been replaying with earphones on at the studio - home and school - ever since.

New Comics/Old Favorites

I recently visited our local comic shop for the first time in over a year, and rejoining my fellow vaccinated + masked friends was a real treat. As usual a great team of friendly, knowledgeable folks was on hand to help me start catching up, and of course the Kevin the resident comics druid. I say that because I showed him the cover art for one book on my wishlist and he instantly recalled where the last copy was in his store amidst thousands of others. He’s one of those old-school shopkeepers who knows my taste so well I’d buy anything he recommends without question (Sue down at the old Hoitt’s Music was the same way – I’d walk in and she’d have stuff already set aside). But then you watch him turn and give equal treatment to an eight-year-old aficionado with encyclopedic trivia.

I got caught up on some titles that I've been meaning to check out, first and foremost of which was "Monster," Barry Windsor-Smith’s first book in sixteen years. He's an artist who sets the bar for pen + ink, and I showcase examples of his work in every drawing class - it's well-worth studying nomatter what the subject matter… just incredible linework and technique. It's the sort of tome you should read while standing up, at one of those old-fashioned lecterns or a vintage stand, with a tweed jacket + suede elbow patches. Also scored a few anthologies; the recent Comics Journal, The Nib, and unfortunately the final edition of Full Bleed from IDW.

front + back covers of the personally seminal issue #8

Probably one of the more sentimental purchases I've made was this ultimate homage to nostalgia, the amazing one-shot 50th anniversary capstone edition of Slow Death from legendary Last Gasp. I had commented elsewhere on another thread about how the original series got me back into not only reading but creating comics in highschool. At the time I had burnt out on superheroes, but then discovered a whole new world of underground comix by astonishing artists dealing with fun topics like extinction, nuclear contamination, war, and ecological collapse. You know, inspirational stuff.

Another outstanding discovery was the recent graphic novel "Sabrina" by Nick Drnaso. I'll let a handful of other reviewers speak to the subtlety of this work, starting with The New Yorker's D.T. Max, who titled his article "Bleak Brilliance" and described it as "...a comic whose drab tonalities and deliberate slowness challenged a genre that leans toward the overheated.” Similarly Ed Park at the New York Times calls it a “profoundly American nightmare,” and no less a fellow purveyor of similar aesthetics, Chris Ware, writes in a Guardian review that Drnaso has created “…a perspicacious and chilling analysis of the nature of trust and truth and the erosion of both in the age of the internet.”

Drnaso illustrates sequences of “mundane” scenarios, almost equally boring regardless of whatever they respectively depict – and example in getting horrifying news is shown about as intense as getting ready for work in the morning - while “trapped in an atmospheric cloud that makes each quiet moment awkward and suspect” (John Seven at The Comics Beat). Daphne Milner for It’s Nice That notes “It is this visual subtlety that lends the graphic novel its power. Sabrina is, in many ways, a critique on the despondency that develops from hours spent scrolling through social media, a critique that is strengthened by Nick’s deadpan graphics.” Review after review notes how the limited palette, flat areas of sidewalk-chalk spot-color, is used hand-in-glove with a simplistic rendering style that, along with an anesthetized aesthetic of almost anonymous, barely-featured characters, sets up a muddied, emotional pace, a visual trudge. The slowly curdling sense of existential dread is metranomed with a font that reminds one of the fine print on the fold-out warnings inside bottles of medication. Even the uniform weight of his contour lines, in particular the establishing shots of interiors + exteriors, place the story in an empty setting reminiscent of traced architectural drawings from reference shots taken in any suburban dead zone. I'm currently analyzing Seth's penultimate publication "Clyde Fans," (review coming soon) and Drnaso joins the pantheon of introspective masters of the genre with this effort. It only took me two evenings of obsessive reading to consume the book, and like the other forms of popular media it mirrors, even such a relatively brief exposure left something behind that isn't rubbing off anytime soon.

Last but not least, much as I bitch endlessly about corporate blockbusters, crappy popcorn and sharing the same space with rude people, I really, really miss movies. I seriously need an IMAX fix. And hat-tip to Marvel for a touch of class with memorializing Stan Lee "That world may change and evolve - But the one thing that will never change – we’re all part of one big family."

"Nancy"

I’m pretty vocal about my opinionated perspective on “legacy strips” aka zombie strips – features that just won’t die, get lame retreads and/or are inherited or passed down in lineage. The turnover rate on the comics pages is so notoriously slow, and there is so much new talents out there, it’s no wonder folks read them on the internet instead of buying the local rag. Just like bingewatching entire seasons, these days the only strips I read I’ll wait catch up on in an annual anthology, or whenever they collect them all in a mass-market book, just like I also do with comic books (Saga, The Wicked & The Divine etc.).
 
Anyhoo – I stand corrected: an exception to that is the reboot of Nancy: it’s been like over twenty years since I’ve enjoyed a new syndicated strip this much. Now comes the Olivia Jaimes version, who started her run on this classic feature back in April, and the impact has been phenomenal.

“Prior to the change in creator, “Nancy” averaged about 5,000 page views a day, says the Kansas City-based syndicate. Last week, the Jaimes version of “Nancy” attracted 133,000 page views on Wednesday, then spiked to 390,000 views the next day, according to Andrews McMeel.” - Comic Riffs

It’s also pretty hilarious to see the extent of trolling that goes on: it’s the perfect storm of old-school dinosaurs losing their shit with get-off-my-lawn criticism plus the added bonus of toxic Comicsgate hatery.

“Girlhood has always been the center of this comic, but no one who experienced that state has ever written it. “It was a wise decision for the syndicate to go after a female cartoonist for this job,” Newgarden says. “The time has come. It’s 2018, my friend,” Karasik agrees. - Smithsonian Magazine

Most adults can simultaneously appreciate classics and embrace the change. Exhibit “A” would be the above quote from Newgarden & Karasik, the authors of my favorite book on comics in many years “How To How to Read Nancy: The Elements of Comics in Three Easy Panels.” This must-read volume - called "the best book ever written about comics" by The Comics Journal - deconstructs the elements behind Ernie Bushmiller's take on the strip.

The most recent incarnation of the character as realized by Gilchrist, aesthetically turned me off as being too Photoshoppy for my tastes - trying too hard, which I fall victim to many times when digitally coloring my own work.
 
In stark contrast is Jaimes' stilted rawness in rendering, which fits in perfectly with postmodern sensitivities (comparatively crude but “hey this is just “my Style”), including barely-there hatching for extremely limited textures, and a flat color palette that's is hand-in-glove with the line art.

 “the Nancy I know and love is a total jerk and also gluttonous and also has big feelings and voraciously consumes her world” - Vulture

Updating content and props with mechanical pencils, selfie-sticks, recycling bins, ubiquitous plastic water bottles, apps, texting etc. are all cultural cues that mesh perfect with the attitude and sensibilities of the strip. And the irony extends into frequent breaking of the fourth wall with its self-awareness - not just the personalities of the characters but the strip itself is infused with snark.

“One of the great joys of Nancy, like the best comedy characters, is she’s all id. She’s immature and impulsive, seeking only immediate gratification and unfettered comfort at all times. In comic strips, this is common with little boy characters, like Dennis the Menace or Calvin, but it’s hard to name another comedic female comic protagonist who is wholly defined by her negative traits and doesn't feel ashamed of them.” - Grant Pardee/Vice 

I’ll even go a step farther in audacity and state it approaches the same level of pathos as did the best of Shultz (see excerpted panels below). I'll be impressing on my own students many an exercise + accompanying lecture comparing & contrasting this feature with both classic and contemporary peers in the field. Not to mention reading the feature myself, not for the least because it simply makes me laugh.

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"Long Way North" + RIP's

Gotta give a little writeup on this movie: "Long Way North” directed by Rémi Chayé (one of the animators behind "The Secret of Kells," among others)... “In the 19th century, a young Russian girl embarks on an adventure-filled quest to find her grandfather at the North Pole.” Here's the official trailer that will give just a slight taste of the films incredible flavor. "... but it's so beautiful"

Personally haven’t enjoyed an animated film this much since 2007's "Persepolis" – an absolute delight in every way. Like the current overdosing on Marvel/DC superhero movies in a world where the feature animation menu seems like it’s always either a choice between Studio Ghibli or Pixar, this unique French/Danish film is a rare gem. Even though it came out several years ago, it just got recently released on DVD. As mentioned in every review of the film, and as easily seen from the couple screen grabs I made of stills from the film, the style + palette is a pure joy to watch, and is testament to the adage “less is more.”

“Right off the bat, it's hard not to mention the film's stunning designs and animation. Foregoing contour lines, the images here are almost completely made up of vibrant color fills, which give the picture a distinct, painterly look. Between the production's masterful coloring and sublime sense of scale, nearly every single frame of the movie looks like it could be an art print ready for hanging. In a world overrun with CGI and photorealistic texturing, Long Way North's abstract style is a breath of fresh air.” - IGN

Bonus in that I didn’t recognize any of the voice actors doing the dubbing – a pet peeve of mine in how 90% of animation films use famous American actors who couldn’t emote if they were shoved off a cliff (which becomes painfully obvious when you work with movies playing in the background).

“In this case, Chayé collaborated with screenwriter Claire Paoletti on an idea inspired by Ernest Shackleton’s exploits, and specifically diary accounts of how his ship Endurance was trapped in pack ice during one of his attempts to set Antarctic records.” - Variety

Also want to note the passing of "Mirthful" Marie Severin, who left an indelible mark upon the comic book industry after an under-utilized stint at EC:
In the ’80s, Severin worked on Marvel’s toys and books, and stayed at the company well into the 2000s. She was inducted into the Will Eisner Comics Hall of Fame in 2001 and named a Comic-Con International Icon in 2017, in recognition of her groundbreaking contributions at a time when the comic-book industry was dominated by men. - Atlantic

Some of her hand-coloring on cover art by Jack Davis (left) & Wally Wood (right)

And lastly, here's to one of the titans:

Lee as creator of the Marvel Universe was a myth. Kirby and Ditko were the main creators of the characters and they plotted out most of the stories they worked on. Lee added the dialogue in after the fact. And the dialogue was always the weakest part of any comic he worked on. Lee’s true genius was not as a writer or creator but as an editor, who brought the best talent to Marvel and pushed writers in the right direction, helping them flourish. - The New Republic 

By far and away his unique, distinctive style of parsing phrases added herculean weight to the lexicon of comics, the "natural rhythm and relentless percussive cadence of Lee’s dialogue and narration" best described as "half Lovecraft, half Dr. Seuss." Upon the news only one relatively obscure image immediately came to mind, ironically enough not from one of the landmark comic titles that he co-created, but a Hollywood adaptation (one of the better ones, and one of the few he didn't have a cameo in). X-celsior if you will.

Ink & Snow Review: "Zombeavers"

Sneaking in a bonus Friday post here, which will dovetail quite nicely with tomorrow's biannual beaver extravaganza. This film has been, uh, eagerly anticipated here at Ink & Snow/Nuggets brand studios for quite some time now, needless to say there was quite a captive Castor canadensis crowd in the studio for our screening of "Zombeavers."

"We cannot turn against each other right now. That's exactly what the beavers would want."

Directed by Jordan Rubin for his big-screen debut, it's most definitely a "B" (for beaver) movie: but it rated four tail-slaps at our lodge on account of the simple satisfaction at a well-done homage to creature features of old. Standard horror tropes were in abundance, starting with the canister of toxic waste that rolls off a truck when two bros (including cameo from John Mayer of all people) in a biohazard delivery truck accidentally nail a deer in the road. Cue the three sorority sisters on a supportive breakup retreat out for a boy-free weekend at a cousin's country cottage. Cut to an interlude with a kid fishing for the first victim, the creeper neighbor with his gun, and a grizzly bear who will make one of the best-ever call-backs later in the film, and as soon as the boyfriends crash the party, all the ingredients are in place for what will be a very long, bloody night of beaver pandemonium.

Half the comedy comes from the the underlying interpersonal dynamics that lurk just beneath the surface like a, well, ahh... nevermind. Any seriousness gets shed about as fast as everybody's clothing, with oodles of gratuitous skin on display as throughout most of the film the women manage to stay clad only in either bikinis or their underwear. This was nothing compared to the groaning gags that a movie like this just screams for constant setups: Leslie Nielson would be proud.

Personally I recommend something nice & noisy like celery + carrots to accompany your viewing

At just about the half-way mark the Castorial carnage really kicks into high gore with some classic old-school practical effects, blissfully no CG which is a relief after getting beaten in the eyeballs by the usual barrage of overkill effects from the latest Avengers et al. That said the zombeavers themselves at times had the off-putting clumsiness that was reminiscent of Rodents of Unusual Size - I was somewhat surprised after reviewing the special features that is wasn't puppetry but robotics.

Just when you're ready to write it off as a spoof, to its credit the film does abandon predictability with more than a few WTF moments: the fate of the poor doggie, some truly amazing hybridizing, a wincing crotch-shot revenge that'll leave you with a gnawing sense of disquiet, and some gleefully over-the-top transformation sequences that bore repeat viewings in slo-mo no less. I'll defer any more review to the expertise of Arrow In The Head, who covers it with his usual candor, but definitely put this in the same campy horror league as "Black Sheep" and Peter Jackson's "Dead Alive." I know what'll be twitching in my stocking come this holiday.

From The Reading Couch: New Comics

The Editor-At-Large about the cabin, Atticus, sez: "Another gorgeous spring day outside: warm weather, clear, sunny skies… perfect for spending the day indoors reading comics."

The main book pictured is probably the most epic book I’ve bought in years (a collector’s facemelt in league with the pantheon of Chris Ware’s 2012 “Building Stories” and 1,000-page, double-volume boxed set of pure joy that is “The Completely Mad Don Martin”): "Dream Another Dream" is 120+ artists paying homage to Winsor McCay’s “Little Nemo In Slumberland” in an oversized (16x21”) hardcover tome filled with luscious renderings.

Published by Locust Moon Comics in West Philly, the project was a Kickstarter success story with over $150k raised by 1,087 supporters. The compendium is "oversized" only in the sense that compared to the paltry publications of strips by contemporary syndicates one will be aesthetically overwhelmed with this resurrection of the historical dimensions of newspaper comics. Now this is the way they ought to be seen + read!

Also included in the image are a handful of miscellaneous recommended recent acquisitions, all of which have been a delight to peruse at leisure. I've been obsessively burning through the Neal Gaiman "Sandman" spinoff series, Mike Carey's "Lucifer," which has been a fun read that keeps me up at night turning pages (and dutifully driving back to the Comic Shop for the next installment - yet another hat-yip to the folks working there who I regularly trust to put spiffy stuff in my hands that I haven't yet heard about). Here's a little list with linkage to reviews of the other titles:

"Delilah Dirk and the Turkish Lieutenant" by Tony Cliff  

"Through The Woods" by Emily Carroll  

"Ms. Marvel" by G.Willow Wilson 

"In Real Life" by Jen Wang/ Cory Doctorow 

Clockwise from upper left: Excerpted panels from Carroll, Wilson, Wang, Petersen, Cliff

Anchorage: Last 1st Friday

     As a cultural bookend to our brief residency in the Mat-Su area (more on this new development in a follow-up post), it was great to wander about downtown and catch a few art openings for September's "First Friday" in los Anchorage. Courtesy of the Alaska Dispatch, the evening's roster was for the most part a complete surprise, as their posted schedule had actually been for last year's lineup at a couple venues, but it didn't matter much in the grand scheme of things. Three galleries were on our initial list, with an impromptu diversion to a fourth, and the ultimate abandonment of some ones farther away from the core downtown area as the evening began to run down. The International Gallery of Contemporary Art, the Alaska Native Arts Foundation and the Arctic Rose Art Gallery each had a diverse range of aesthetic offerings, but the main show was waiting at the end.

Review: The Dogyard Melodrama of "MUSH!"

Image ©2011 First Second: Art by Joe Infurnari

*Note: this is the unedited version of a review originally done for The Anchorage Press that appears in the June 14-21 issue (Vol. 21, Ed. 24) now with bonus supplemental hyperlinks). Special thanks to Joe for the email exchange.

“Mush! Sled Dogs With Issues” 

Glenn Eichler and Joe Infurnari, 2011 First Second 

   Not many graphic novels ever get pitched on The ColbertReport, but author Glenn Eichler is also an Emmy Award-winning comedy writer for the show, along with stints with Rugrats, Beavis and Butthead and others. In this graphic novel he serves as double lead-dog with Canadian-born artist Joe Infurnari in a story about a dog team and their two humans. Anthropomorphic projection onto talking cartoon animals has long been a hallmark of the medium, and something that a majority of Alaskans can easily relate to, but this book combines canine commentary with behavioral traits that assume deeper dimensions than the usual Garfield tropes. Pack dynamics and interpersonal psychology are interspersed with cut-aways into their human counterparts, with emotional issues and petty politics that will be familiar to anyone living and working with animals (human or otherwise).

   Publisher First Second has been making a name for itself in alt-indie comics ever since it’s flagship release of Eddie Campbell’s meta-biography “The Fate of the Artist” in 2006. If that title was the company’s benchmark for intellectual content, “Mush!” is a couple channels over representing soap-opera slapstick (think in the classical tradition of Apartment 3-G or Rex Morgan, M.D. but set in the Bush). And as is more often the case, using critters as stand-ins or a simulacrum reveals more insights about the human condition than any straight fictional narrative would accomplish. And what better characters than this gang, as Dolly, Guy, Buddy, Venus, Winston and Fiddler mull over the meaning of life (“Any thoughts vis-à-vis going on a run?”) and what “mental masturbations” must occur to a sled-dog. The punctuated equilibrium of down-time routine is fertile ground to explore through conversation and gossip around the water-cooler - or in this case, the water-bowl. Complicated relationships are turned into an existential chew-toy over matters of mating, and teamwork is constantly undermined by territorial pissings… sound familiar?

Image ©2011 First Second: Art by Joe Infurnari

   One exceptional aspect of this book is the artwork of Infurnari, whose loose, sketchy linework, using a japanese manga quill pen, lends a spontaneity to the drawings that thoroughly suits the subject matter. This is in part due to his creating the artwork at 100% print scale, as opposed to the usual industry standard practice of drawing at twice the size that it will be reproduced. Which according to correspondence with Infurnari, gives “some sense of potential energy in the drawing” and a more “lively and spontaneous” look to the art. His crosshatching and rich textures are balanced out with a pastel palette that captures the environment of both winter and wood, and every page has varied and interesting panel compositions in perfect synch with the rhythm of the story. “Mush!” is also illustrative in how it seamlessly blends traditional hand-drawn elements with contemporary digital treatments, as in the computer coloring, which retains an organic flavor not usually seen in comics. Overall these manual touches make for an overall “real” look for the book, as opposed to the stereotypical superhero fodder that most readers are anesthetized to.

   What makes the individual personalities in the cast of characters really come alive is attention paid to non-verbal elements, such as subtle details in the range of postures and expressions, and other quiet “beats” in the storytelling that connect with the reader. Of particular note is the dialogue, from novel sound effects and onomatopoeia, to subtle touches like the visually gruffy speech balloons for the dogs, and the hilariously undecipherable “wharrgarble” from their point of view on what people sound like.

   “Mush!” is much more of a hairy and honest portrayal of mushing than the glossy centerfold version of the professional sport that Alaskans are inundated with every season. This book should be enshrined in the outhouse as required and repeat reading for any aficionado – check your local independent comic shop or library for a copy.

Image ©2011 First Second: Art by Joe Infurnari

Comic (Book) Tragedy

Image: James Sturm

*Update: As if I needed another reason to not watch another shitty movie by Marvel.

Amidst the constant sound and fury of cinematic regurgitations from superhero movies that seem to have taken up permanent residence in movie theaters, comes the ramping up of "The Avengers." James Sturm (also see Center for Cartoon Studies post here) has a provocative essay up on Slate that broaches the subject of corporate ethics in regards to these endless Hollywood franchise cross-overs with comics, with a focus on the legacy of Marvel artist Jack Kirby.:

"What makes this situation especially hard to stomach is that Marvel’s media empire was built on the backs of characters whose defining trait as superheroes is the willingness to fight for what is right. It takes a lot of corporate moxie to put Thor and Captain America on the big screen and have them battle for honor and justice when behind the scenes the parent company acts like a cold-blooded supervillain. As Stan Lee famously wrote, “With great power comes great responsibility.”

The ensuing comment thread (and many others) further expands upon the inherent moral minefield, one additional case in point being seminal writer and perennial industry critic Alan Moore's fear & loathing of DC's announced Watchmen prequel series. Moore's reaction is predictable given his longstanding and outspoken attitude towards lamestream publishers, but it is hypocritical when one considers his own fame and success in comics is in no small part derived from hinging works on already-established characters. Mark Hughes, among many others, points up the glaring relativism in a Forbes essay:

"Does anyone want to guess how the original authors of those stories might feel about Mr. Moore creating a comic depicting those kids having explicit sex constantly in a comic book? They might be as angry as Mr. Moore is about his comic getting prequels. (It’s also worth noting that Moore was dismissive about the licensing claims made by the copyright holders of Peter Pan due to his use of characters.)"

Corporate cannibals picking over the profitable corpse of pop media is no surprise, but what makes this interesting is juxtaposing Moore's criticism against Sturm's, and contrasting the relative merits of both positions. One irony is that Sturm's Fantastic Four book "Unstable Molecules" was one of the exceptionally rare instances which I not only bothered to buy a contemporary comic - the anthologized edition that collected all of the miniseries into one book - but really enjoyed it. The above-posted sample panel mirrors the deliberate aesthetics used in "Molecules," chosen as an homage to Kirby's original style (as illustrated by Guy Davis). So, fast-forward to today, there is quite a turnabout in position as compared to the criticism of The Avengers.

One salient point is left out: ethical issues aside, there's no need to boycott what you'll never see anyways, due to the overwhelming majority of comic book movies being just as predictably shitty as the source material.
 
And if you missed the Superbowl debut of the new Avengers trailer (only in the ADD world of sports + comics would sixty-five seconds be considered an "extended version") fortunately it is also now available on YouTube.

Making Faces II: Charles Addams

Photograph by Al Fenn (1946)

Another image unearthed while exhuming researching the thesis was this one of Charles Addams, who came back to my attention (or, one should say, was resurrected) as a result of focusing on single-panel cartoons. Addams work, exemplified by his distinctive, signature style, can be held up as a prime example of the upper echelons of the medium. Aside from the weird and twisted nature of his panels (in league with Gahan Wilson), his popularity and position among the pantheon of cartoonist greats is evidence of Addams' influence and legacy. His lush, hallmark washes created pieces and iconic characters that were not just infamous because of their macabre subject matter, but also due to his craftsmanship and skill in creating often detailed compositions and subtle, if not outright creepy cartoon atmospheres. Many years ago my father gave me a copy of the huge hardcover tome "The World of Chas Addams" that was published in 1993, and it's a wonderful way to look over the cartoons in such a luxurious and large format, which only deepens ones appreciation for his work.

"Trickster" anthology

from "Dangerous Beaver" (art by Jim8ball, as told by Mary Eyley)

By far one of the best and most interesting comics I've picked up while in Maine is "Trickster - Native American Tales/A Graphic Collection" edited by Matt Dembicki (2010 Fulcrum Books). This publication features a collection of Native American comics: twenty-one stories are recounted by contributing representatives from such nations and tribes as Winnebago, Choctaw/Chickasaw, Aquinnah, Wampanoag, Blackfeet, Pueblo, Abenaki, Cherokee and others. Dembicki orchestrated this project's collaborative process by pairing up writers with carefully selected artists, and the result is a beautiful, rich and rewarding anthology showcasing a diverse range of artistic styles.
Dembicki, one of the contributing artists himself, addresses the trepidation of approaching this project from the perspective of one who has heightened awareness and sensitivity of the "heavy historical baggage" accrued by generations of white folks who really don't have all that great of a track-record on such matters. In the afterward, Dembicki clearly states his inspiration and motivation behind developing "Trickster":

"I hope this book serves as a bridge for readers to learn more about the original people of this land and to foster a greater appreciation and understanding among all inhabitants."

Coupling these narratives with comics results in a distinctly powerful and unique medium, and despite it being a genre that's particularly guilty of perpetuating stereotypes, this book successfully navigates the potential moral minefield of culture appropriation by treating the project with respect and careful authenticity. On an interview for NPR's Weekend Edition, Dembicki said:

"It wasn't easy convincing everybody," Dembicki says. "Some people really couldn't see it being done this way. Other people had some cultural issues. They were very adamant — these were mostly oral stories; they were told orally, and they should be told orally."

Four different takes on Trickster
(Clockwise from upper left: art by Jon Sperry, Mike Short, Jacob Warrenfeltz and Pat Lewis)

Posted above is a sample of four different panels showing just how different the rabbit character is portrayed in some of the stories, which serves to illustrate the diverse range of styles contained in this volume. This visual diversity in turn reflects the tonal and textual range of storytelling techniques and voices both heard and seen throughout "Trickster." It is revealed, for example, why geese fly in a "V" formation; how islands and stars were formed; explanations are given as to how the alligator got scaly skin, how the coyote got yellow eyes; how the buzzard became bald, and even why the rabbit's tail looks that way.
Along with these creatures a host of other characters appear in the stories: the horned toad, crayfish, mink and wolf are pitted in a battle of wits against the myriad manifestations of the Trickster, whose the archetypal shapeshifting spirit inhabits raccoons, coyotes, a wildcat, rabbit, dog, a human being and my personal favorite, a beaver. 
As a long-time Alaskan it was refreshing to read of different takes on the Trickster mythos, but along with a beluga whale, another familiar arctic character debuts in the wonderful Yup'ik story "Raven the Trickster," by John Active and illustrated by Canadian artist Jason Copland. Another Alaskan connection is represented with what I believe is the only Native American artist in the collection, Dimi Macheras. He is also the creator, along with writer Ishmael Hope, of the phenomenal comic "Strong Man" from the Association of Alaska School Boards. And my current state of Maine is also included with a story as told by Penobscot Nation member John Bear Mitchell in "Espun & Grandfather."

Which leads me to perhaps the only criticism I have of the collection - a mild observation at best - in the curious and regrettable imbalance of Native American artists, of which there are only a few (at least from what can be ascertained by the contributor's bios). However this brings up what I believe is perhaps one of the strongest selling points behind this publication's accomplishment: the potential of comics is how they can be both such a personal and public form (and forum) by which to address issues, or simply spin a good yarn. So this collection serves as a prime example of potential empowerment for people, whatever their background, to embrace, explore, promote or even challenge their particular cultural or social history. A copy of "Trickster" belongs on the shelves of every village library, classroom and art studio across Alaska, and one would hope that this first pebble cast into the cartoon pond will continue to ripple out and in turn inspire others to pick up a pen themselves. As I've told many a student in my own comics class, never mind consuming the generic, mass-produced, commercialized crap that's out there: it's your tale, you tell it. And I couldn't think of any better way to foment a creative impulse than by handing someone this book and then asking them afterwards to draw their own story. And the collaborative nature of the medium encourages the folks who maybe don't draw so well to perhaps find someone else who can, or vice-versa, and begin a creative process together.
You can listen to an Inkstuds interview with Dembicki, and also follow further reviews and news about "Trickster" plus preview more images at the anthology's blog.