Post Tagged with: "comics"

Web Comic About Transgendered Life: Magic Girlfriend Eyes

Web Comic About Transgendered Life: Magic Girlfriend Eyes

Magic Girlfriend Eyes

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By Cuteosphere

(via Theremina)

May 23, 2013 1 comment
A Web Comic About Steve Jobs And Steve Wozniak As Young Hippies

A Web Comic About Steve Jobs And Steve Wozniak As Young Hippies

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Patrick Farley, the artist behind the pioneering web comic E-Sheep, has a series that started today. Steve and Steve follows the adventures of Apple Computer founders Steve Jobs and Steve Wozniak as young, acid tripping hippies in the 70s. The ending of the prologue makes me think this may be an alternate history comic. It also displays the fascination with early hominids found in Farley’s last comic the First Word.

May 6, 2013 0 comments
Jezebel: New Web Comic From Reich Artist Elijah Brubaker

Jezebel: New Web Comic From Reich Artist Elijah Brubaker

Jezebel by Elijah Brubaker

Jezebel is a new web comic by Elijah Brubaker, the writer and artist behind the Wilhelm Reich bio comic Reich. It’s humorous telling of the Biblical story of Jezebel.

The comic is being serialized at Study Group Comics every Wednesday. There’s a warning that this is not safe for work, but I haven’t noticed anything particular racy — but perhaps the comic will get more explicit as it progresses, so watch out for that.

My interview with Brubaker is here.

March 23, 2013 0 comments
Eddie Campbell Tells All About His Collaboration With Alan Moore

Eddie Campbell Tells All About His Collaboration With Alan Moore

From Hell Companion

Guess I missed this:

The “From Hell Companion” is “an astonishing selection of Alan Moore’s original scripts and sketches for the landmark graphic novel, with copious annotations, commentary, and illustrations by Eddie Campbell. Here for the first time are a set of pages, including some of Moore’s greatest writing, which have never been seen by anyone except his collaborator. Joining them are Campbell’s first-hand accounts of the project’s decade-long development, complete with photos, anecdotes, disagreements, and wry confessions. Arranged in narrative order, these perspectives form a fascinating mosaic, an opportunity to read ‘From Hell’ with fresh eyes, and a tour inside the minds of two giants of their field.”

Full Story: Cleveland Plain Dealer: Top Shelf Comics announces Alan Moore’s return to ‘From Hell’

You can buy it on Amazon.

Also: Three More Short Films From Alan Moore And Mitch Jenkins

March 9, 2013 0 comments
It Will All Hurt

It Will All Hurt

Panels from It Will All Hurt by  Farel Dalrymple

It Will All Hurt is a rad sci-fi/fantasy adventure webcomic by Farel Dalrymple, known for his work on Pop Gun War, Omega The Unknown and Prophet. It’s coming to print but you can read it online for free.

March 9, 2013 0 comments
Check Out This Beautiful Web Comic Adaptation Of “The 3 Snake Leaves”

Check Out This Beautiful Web Comic Adaptation Of “The 3 Snake Leaves”

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Full Comic: The 3 Snake Leaves by Emily Carroll

(via Ian MacEwan)

March 3, 2013 0 comments
Free Online Comic From Invisibles/Seaguy Artist Cameron Stewart

Free Online Comic From Invisibles/Seaguy Artist Cameron Stewart

Panels from Sin Titulo by Cameron Stewart

Cameron Stewart is known for his work with Grant Morrison on Batman and Robin, Seaguy, Seven Soldiers: The Manhattan Guardian and a few pages of The Invisibles, amongst other things. But he also wrote and drew a serialized online comic called Sin Titulo, a surreal mystery in the vein of Haruki Murakami or David Lynch that won an Eisner award. It will be released in print later this year by Dark Horse Comics, but you can read it online now for free.

Sin Titulo

Interview with Stewart on Sin Titulo

February 17, 2013 0 comments
The Fist: Objectivist Parody Web Comic

The Fist: Objectivist Parody Web Comic

The Fist

The Fist is a one-off lampoon of Objectivism by Darryl Cunningham. Warning: Includes cruelty to animals.

January 27, 2013 0 comments
Alan Moore On The Subversive History Of Comics

Alan Moore On The Subversive History Of Comics

Wired published Alan Moore’s contribution to Occupy Comics, an essay of the history of comics as subversion:

In the derivation of the word cartoon itself we see the art-form’s insurrectionary origins: during the tumults and upheavals of a volatile seventeenth century Italy, it became both expedient and popular to scrawl satirical depictions of political opponents on the sides of cardboard packages, otherwise known as cartons. Soon, these drawings were referred to by the same name as the boxes upon which they’d been emblazoned. As a method of communicating revolutionary ideas in a few crude lampooning strokes, often to an intended audience whose reading skills were limited, the power and effectiveness of the new medium was made immediately apparent.

This may also be the starting point for the receding but still-current attitude that comics and cartoons are best regarded as a province of the lower-class illiterate. However, following the realisation of the form’s immense political utility, it’s only with increasing difficulty that we can find a political event of any scale that has not been commemorated (and, often, most memorably commemorated) by the means of a cartoon.

The eighteenth century, with its more readily available print media, saw the promotion of the scathing cartoon image from its lowly cardboard-box beginnings to the cheap pulp paper mass-production of the broadsheets and the illustrated chapbooks. Consequently this same period would witness the emergence of the form’s first masters, artists who could see the thrilling possibilities in this unruly and untamed new mode of cultural expression. We can see this evidenced in James Gilray’s often-scatological and lacerating barbed caricatures of the dementia-prone King George the Fourth, in William Hogarth’s stark depictions of society’s deprived and shameful lower reaches and even in the sublime illuminated texts of William Blake, in which the visionary’s radical opinions… He’d stood with the firebrands of the Gordon Riots, in a red cap denoting solidarity with the French revolutionaries across the channel, watching Newgate Prison burn…were of necessity concealed beneath a cryptic code of fierce spiritual essences; invented demi-gods with grandiose and punning names that can be viewed as having much in common with the later output of the superhero industry’s presiding genius, the genuinely great Jack Kirby.

Full Story: Wired: Alan Moore’s Essay for the Activist Occupy Comics Anthology

December 8, 2012 0 comments
Can Art Be Comics?

Can Art Be Comics?

No, I’m not asking whether comics can be art — that’s a tired question that I think has been decisively answered in the affirmative. But if we look at Scott McCloud’s basic definition of comics, “juxtaposed pictorial and other images in deliberate sequence.” Does that include, for example, gallery exhibitions?

After all, what is an art gallery but a collection of juxtaposed pictorial images? Perhaps not all are in deliberate sequence, but at least some consideration is paid to how the pieces are arranged. And of course that’s to say nothing of paintings or other visual arts meant to be displayed in a sequence, such as the sequence of images in The Scrovegni Chapel and Alex Grey’s Chapel of Sacred Mirrors (to name the first two examples that spring to mind).

McCloud would seem to include art in his definition. He mentions hieroglyphs and Max Ernst’s “A Week of Kindness” in Understanding Comics. But overall fine art doesn’t get much attention. McCloud seems to imply throughout that comics is about storytelling, but his definition doesn’t include narrative, and surely there are examples of non-narrative comics.

Other definitions, such as David Kunzle’s would seem to exclude art (as well as hyroglyphs) like by definition. According to Jessica Abel and Matt Madden’s Drawing Words & Writing Pictures, Kunzle’s prerequisites for a comic strip include the following: “The medium in which the strip appears and for which it is originally intended must be reproductive in nature; that is, in printed form, a mass medium.”

That definition would toss gallery art right out then, since even though it may be reproduced on posters or in coffee table books, those aren’t the media for which it was originally intended.

But defining a medium by the intent of its creators is slippery, especially in an age in which artists may expect their work to be printed in some form. And what to do about the existence of art exhibitions that are deliberately created to be comics, such as Daniel Duford‘s Sleeping Giant (pictured below)?

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It’s not a terribly important question — I’m not interested in seeking “legitimacy” from the arts establishment anyway. But I think it’s an interesting one.

November 8, 2012 2 comments