Posts tagged Worst Hobby or Worstest Hobby?
Posts tagged Worst Hobby or Worstest Hobby?
The Good Hulk: Lawyering And Superheroism in ‘She-Hulk’ #1
Yet as a profession, lawyers do not represent “good” the way that superheroes do. Soule, a practicing lawyer himself, clearly recognizes this; he even has one character state, “I am neither bad nor good. I am simply Legal.” The muddy ethics of lawyering provide a very different set of challenges to a superhero used to punching out their problems.
Stuart Immonen 2008: Centifolia I
In 2008, Immonen published pages from his sketchbook in a volume called Centifolia. Though he downplays the work within as "giving one’s houseguests a tour of the closets: here’s the dustpan, the toilet brush, the towels and sheets," this is nothing less than a book of gems. The non-commercial work gives the viewer a tiny glimpse into the artist’s personality and further solidifies his reputation of a master of diverse artistic styles.
I can’t get more than ten pages into this book without getting the urge to create. And I can’t think of a higher compliment. If you’re an Immonen fan, I strongly urge you to pick up a copy of this book from Maison Immonen before they’re sold out.
I found this blog at the tail-end of an Art Adams retrospective. After that, they launched into this Stuart Immonen retrospective that I’ve really quite enjoyed, and got to watch from the beginning this time. Getting to have it come onto my dashboard every so whenever, it’s really been a nice experience to see the guy improve, from the very beginning of his career, job by job. Just little by little, over years and years and year, a lot of ho-hum years too, (sometimes working on some pretty terrible comics)(that I bought and read)(I thought there’d be nudity)(female)(sometimes male). But seeing all those years collapse down and getting to 2008 and the guy being pretty, pretty good at the thing…? Pretty swell experience. It’s a nice little object lesson in the value of the whole “just start” school of creativity-stuff.
I stumbled upon this 2011 "Comics Journal" article last night, interviewing Comic Phenom, talent and creator, Brandon graham (Prophet, King City, Multiple Warheads anthology) and his detailing his early beginnings in comics and his quest to move to NYC to build a career back at the turn of the century. I remember it like it was yesterday, but reading his version of it brings a smile to my face. It was only 2 weeks after he moved to NYC when he decided to walk into that Starbucks on Astor Place near St Marks. I was just a snot-nosed 24 year old then, too. I was just happy to meet another artist back then, as well. I was working hard on my Battle seed web cartoon character designs. Through that one meeting we would later meet and work with others through my employer UBO, meeting Darel Farymple (Pop Gun War, Omega The Unknown) animator/Cartoonist Chris McDonell ( MeatHaus), "Filthy" Rich Miller and the infamous Becky Cloonan (Demo, East Coast Rising, American Virgin, The Mire) who, ironically, I’d hired fresh out of college to help me on my web cartoon as well (digital inks) at the time.
Considering how we were all fresh, baby-twenty-somethings, It’s awesome & inspiring to see them all become luminaries in their respective fields 14 years later. By the way, If you haven’t seen it already, please catch Image comic’s "Prophet," written by Brandon & drawn by Simon Roy. it’s on of the best things happening in comics right now. The most recent issue features work by none other than Ronald WImberley (Prince of Cats, Sentences:The Life of MF Grim), another NYC alumni and homie.
"Good Lord! Can Anyone Withstand the Hard-Hitting Questions of the Comics Press?"
I’ve thought about this page at least once a month since the day it was published.
(Sewer, Yoshihiro Tatsumi)
jog is the BEST
The best dating advice.
don’t think I ever tumbld this old Kitty Pryde fanart. Still quite fond of it esp the Dragon Ball style Lockheed
Good advice: Make your comics and put them online, then make more then keep doing that without stopping for at least 2 or 3 years before you expect ANYTHING in terms of recognition or readership.
This accomplishes several things. 1) It keeps you from viewing your work as precious. Don’t obsess over one piece, draw and redraw, correct and perfect it all while never posting it. You get better by making MORE comics. Not by making the same comic over and over. 2) It gets you accustomed to the cycle of creativity. Have an idea, refine it, make it, put it up, repeat. 3) It gets you accustomed to taking and responding to feedback and criticism. The more work you post the more readers you’ll get and the more opinions you will start to receive directly or indirectly about your work.
More good advice: ALWAYS ALWAYS ALWAYS ALWAYS be kind. Be kind online, be kind in person, be kind to your readers, be kind to your fellow artists, be kind to the world. This is important above all else because 1)Being an online persona means YOU are the product you are selling. If your product is a total dickbag, the only people who buy it will be total dickbag enthusiasts. 10 years down the road and you realize all of your readers are assholes and you’ve hand picked them because of how you acted. 2) Your peers talk about you when you aren’t around. They decide who to work with on collaborations, who to bring in on new opportunities and who share hotels/booths/wonderful experiences with at conventions. Word will get around SO VERY FAST if you are not a nice person and you will start to wonder why fun projects keep passing you by. 3) Can anyone honestly come up with a reason to NOT always be kind? When looking for a default behavior, you can’t do much better than this.
Even More good advice (lightning round): Don’t worry about merch. Worry about making good comics. Dont worry about getting more readers. Worry about making good comics. Don’t EVER compare your perceived success to that of your peers. You don’t know their situation, or how they came about what you think they have that you might want for yourself. Just worry about making good comics. Never envy your peers money, readers or success (sounds a lot like the last one right? That’s because it’s super important.) Instead, envy how hard they’ve worked and try to emulate that. Also, just worry about making good comics. Don’t try to find success by doing exactly what another artists has done. We all have different paths to success and you’ll do better finding your own rather than copying someone else (in art as well as in business). Also just worry about making good comics.
The worst piece of advice I ever got: Get an invitation to the cool kids table, i.e. Get in with this certain clique and you’ll be instantly welcomed into the secret world of webcomic success. This secret club, community, group, whatever you want to call it DOES NOT EXIST. I spent too many years waiting for artists I admired to take notice of me that I eventually started to obsess over making them like me. Spoilers, it never happened and I had nothing to show for all that worry and grief. I gave absolute strangers power over my mental well being that they didn’t even want and certainly didn’t deserve. Don’t worry about making “powerful” friends. You will make more friends in this industry by BEING a good friend first. Offer help, offer support, share your audience with artists whose work you admire. Be honest, be genuine and be kind. Repeat that 1000X in your head every day until it’s the only thing you even understand anymore.
By the way, the person who gave me that terrible advice was me.
Good advice: Your daughter will eventually receive sexually aggressive messages if she identifies herself as female and has public contact information available (e-mail, social media etc). It’s possible her work and contact information will stay in a small circle of unaggressive people, but if she works hard and tries her best, it doesn’t seem very likely.
If you haven’t already, you should ask advice from a female cartoonist. They’ve dealt with different things, and I’m sure your daughter has a female cartoonist she looks up to already. Someone else could tell you a lot more about what it means to be a woman with a public identity. It seems like it is different for everyone, but probably worth talking about!
More good advice: ALWAYS ALWAYS ALWAYS ALWAYS be from an upper-middle class background, preferably white and North American. This is important because above all else: YOU are the product you are selling. If your background isn’t similar to the demographic of people who have free time and capital they want to spend on funny internet pictures, you may not receive much money for your funny internet pictures. I’m talking jokes about Star Wars, I’m talking jokes about Siri, I’m talking jokes about having more money than you need and buying things you don’t want.
If you don’t want to tell jokes, the important thing in a medium free from all restraint is to mimic corporate content as closely as possible. You can use anime, manga, nickelodeon, disney, saturday morning cartoons, anything a listless suburban child might rest their eyes on for respite from the white walls and identical houses.
Even More good advice (lightning round): The only thing you should worry about is making good comics. Don’t worry about what “good” means, or what “comics” mean, and don’t think about what “you” means. You should do a thing that is impossible to define, and when you are done say to yourself, “I have accomplished that thing I can’t describe.” You could think about how your comics are “not good” but what does that mean? Instead, brown sliced onions in a pan with olive oil, salt and pepper at medium temperature for about half an hour. Afterwards whatever else you put in there will taste pretty good. Get some rice or noodles or bread going. Comics don’t exist.
The worst piece of advice I ever got: Don’t criticize other people, it will come back to haunt you. These are small social groups and we need everyone’s support. Everything is fine, the power structures are fine. The stories being told are fine, the people with the money to fund the stories are fine. The cultural expressions pushed to the periphery are fine, the suffering people our cultures ignore are fine. Actively choosing privileged voices and perspectives to be told, repeated, and propagated, that’s fine. Manufacturing huge amounts of living matter into dead objects meant for the garbage dump are fine. That the voices in authority are still primarily male, affluent and light-skinned, that’s fine. They can tell us which non-males, which poor people, which dark-skinned people we should pay attention to, which deserve to be allowed into our social and economic groups, and that will be fine.
Reading an Eric Stephenson interview. I don’t know— it’s really difficult to talk about race or gender or whatever intelligently without sticking your foot in your mouth. It’s such a weird, horrible, weird topic. At least, I’ve done it— I can think of times I tasted foot (in a bad way, not in a super-sexy way). But I don’t feel like the Don’ts are that obscure either, that it’s always that hard to solve for Goofus on that Goofus-Gallant quadratic equation. Or maybe I don’t know, maybe I don’t have any idea— it’s just hard to ever figure a good time to say “nobody wants a quota" in a serious conversation between adults. Why not just turn off all the lights and yell "Run, run— it’s the boogeyman"— that’s about the only rhetorical equivalent I can think of to bringing up quotas? But maybe serious people actually are out there saying that stuff and I’m just privileged enough to not know they’re out there. (I should check my privilege— hello, privilege? Hello? Privilege? Damn, my privilege must be busy, taking a monster dump).
(Plus, I was bummed the “yo, why does only one person handle all your submissions” talk gets drowned out by “How dare anyone ever suggest I’m not the most enlightened person ever” defensiveness which … not because I minded that defensiveness in that case, so much as I maybe would guess that one person really actually isn’t enough to handle submissions in a timely manner, regardless of any larger sociopolitical issues at stake, but).
Still, even though I don’t want to read 90% of those books featured in that interview, heavens no, they’ve assembled a pretty reasonable little line-up over there, I figure, for the fans at least, so good for him on that. Some of the answers were pretty good. You know, strikes and gutters.
… There’s a French comic book adaptation of David Fincher’s screenplay for James Ellroy’s The Black Dahlia?? That’s something I didn’t know that existed. Here’s an interview about it in French, which makes it sound more romantic; Fincher Fanatic was on the case. Fincher sounds pretty involved:
The fact remains that David Fincher had already thought a lot about the adaptation, and I have to say that he had a completely decisive and absolutely crucial idea for the album, that of the “rule” we apply over the cutting of the story, that is this idea to create (in a very regular, almost obsessing way) three streak by page, of one comic strip “box” each. Of course, there are variations, but it is the rhythm of the album. And from the moment he told me about it, I saw that it was possible to adapt the book as a graphic novel and how I could do it.
'Boulet was one of the first purveyors of the online comic, so it's perhaps fitting that he's 5 steps ahead of what everyone else in web-comics is doing, but it would be nice to see the parameters of the platform tested more by others, too.Where people still seem unsure or even afraid to play around or test the web-comic platform, Boulet is having a ball- producing every kind of comic you could conceivably think of. His range of art style and techniques, and the manner in which he manipulates them to show a shift in tone or feeling, a movement from place or time, via colour or layout, is astounding.'
Written in the Bones. New comic, written by Christopher M. Jones & illustrated by Carey Pietsch.
I’m hoping to have printed copies of this at MOCCA, ABPCC, and TCAF this spring, and SPX in the fall! More info to come.
Me and Carey worked really hard on this comic; if you got something from it I’d love for you to reblog it, and maybe even buy a copy from Carey when she’s in town or even if she’s not. Thanks so much for reading.
Bane - I Whupped Batman’s Ass
Me, 10 seconds ago: “Hey, I wonder if anyone ever bothered to make this.”