Advice for Those What Want to Make Comics

Hi. I understand if you are surprised to hear from me. I have been absolute rubbish at keeping up my goal of blogging every week or so. On the bright side, the busy days have been reasonably creative. Thank you for your patience.

My friend (and technically, cousin by marriage) June Madeley asked me to speak to her class at UNBSJ about making comics, especially making them yourself. I have given this talk several times in the past and while some aspects of the talk haven’t changed, others have thanks to my own efforts to “level up” some aspects of what I do, from art to publishing and marketing. (Incidentally, if you feel like making a drinking game out of this post, take one every time I say “level up” in the following post.) I had a fine time babbling at the class for just under an hour. What follows is the notes that I more or less followed for that talk.

So if you want a nice long post about making comics from my perspective, you’re in luck. Here it is. If not, I promise the next post will probably be more of my usual nonsense. If you want more art and writing advice, I highly recommend you check out my tumblr devoted to exactly that.

Apologies for the formatting and scattered tone – someday I will pull all of this stuff together into a more helpful package. For now, it’s a bit of a brain dump.

  1. The Inspirational Part

I think, especially when we’re young, we look at other people doing things we want to do, and we think, it’s too much, it’s too big, I can’t do that, they have some kind of natural talent that I don’t. I remember thinking those things myself, and sometimes I still do even though I have been making, publishing and selling my own comics for over 25 years.

These fears are of course irrational. They come from the limbic system of the brain, which is sometimes called the lizard brain. It’s the little part of our brain that is in charge of the “fight or flight” instinct, but it’s not very good at distinguishing between actual danger and just stuff that just makes us anxious because it’s new or strange to us. I recommend that you start building the mental muscle that quickly and firmly tells that part of your brain – the lizard brain that wants you to be careful and safe- to shut up. Except in situations where you actually are in danger, of course.

Sometimes people ask me about writing or drawing or whatever and it seems like they are looking for a magic word or some secret knowledge or shortcut that will get them to where they want to go, which I assume is a lucrative and enjoyable career, perhaps with a side of fame. I’m happy to report that there is a magic word, but you might not like it: it’s “time.”

When you’re young, you don’t have much patience for the word time. You’ve already had people telling you for years to be patient, that all things will come with time. The good news is, you don’t have to be patient anymore. You don’t have to look for secret knowledge or shortcuts. You’re on the clock, starting now, and you have the rest of your lives, which I am sorry to inform you, will sometimes pass far more quickly than you would like.

The good news is that unlike when I started, the general public is pretty into comics these days, sometimes without even realizing it. Comics are all over pop culture and making their way into academia and even the fine art world here and there. In many ways, I see comics as the cannabis of the art world. Disreputable, regarded as kids stuff, but a secret guilty pleasure for many and as it comes into the mainstream, people are realizing that both could have benefits that we didn’t realize before. And much like cannabis, there are parts of the world where making comics (or the wrong kind of comics) will get you killed.

I don’t mean to scare you, or push you somewhere you don’t want to go. You’re here because you want to make comics. And I’m here to tell you: you’re ready. So go home tonight and take a few minutes to assess your goals and your skills and identify what you need to improve so that you can use your skills to achieve the goals.

Pick your first target, something you can achieve, and get it done. Celebrate getting it done. Post the results on the gram or tumblr or deviantart or whatever, as long as it’s a place where if there is an option for people to leave feedback, it should be an atmosphere of constructive feedback. Then pick the next target, and repeat for as long as you want to.

In the end, do what makes you happy. You only get one life, and let’s face it, this life can be hard. Your art can be a place for you to entertain others, but also to learn about yourself, and in doing so, hopefully, give you a regular dose of the happiness that comes with finishing something. Make it part of your process to step back and look for what you should level up next.

As I said in a blog post earlier this year, the older I get, the more I am convinced that fear is the thing that we must fight hardest against. The lizard-brain that makes us hate and suspect any stranger, any deviation from the path we think is safe. Kill it; kill your fear dead, and be free.

  1. My system

I thought it might be useful today to talk a little about my system. I’m not saying that it should also be your system, but hopefully you’ll find something in it that helps you get started on yours. I encourage you to check out my art advice tumblr as well.

During the last couple of years I have developed a kind of loose project management method, inspired by some books that I’ve read and interviews with cartoonists where they talk about their process. I have what I call a “funnel” for creating things. It’s widest at the top, where ideas enter. As they get fleshed out, eventually they progress down to a narrow neck, where they get put into real production; I make a rough schedule for getting each thing in the “neck” done and then start writing and sketching. Eventually I finish the pages and they go to the final stage, publishing in print or online (or both), emerging as a finished project from the spout, ready for distribution, sales, and promotion.

I scribble down a lot of random ideas that get thrown into the funnel for later development, and I usually work on a few things at a time so that one thing might be just getting started, one might be halfway done, one might be nearly done and so on. Sometimes I go for a stretch concentrating on just one project, other times I might jump between 2 or 3 projects the same day. I don’t really care as long as I spend at least as much time creating stuff as I do consuming stuff.

  1. Leveling up

  • Take inventory of your skills, your goals, and while you’re at it, yourself. What are you good at now? What do you want to get better at? What kind of person are you? Do you like working with others or are you more introverted? Are you progressive or conservative by nature? (Digress about this if there is time)
  • Start generating ideas. You probably already have some dream projects. Start writing down what they would look like when they are finished. Are there any smaller ones that might make a good first project? Or even just a short scene that you could start with?
  • Don’t worry about tools. Worry about using your projects not just to tell a given story, but to also develop a given skill. Maybe you want to do a tribute to the classic Marvel comics of the 60s; wouldn’t that be an excellent place to work on colour, or action sequences, or hand-lettering and special effects? Or maybe you want to develop more on the writing side – what if you did a short story with next to no dialogue, so that you had to tell it with body language and other devices? Or what if it was all dialogue, with minimal art?
  • Develop your system, as I did with the funnel approach that I told you about. How your system looks and works will depend on how you like to work. But remember, just like your art and writing skills, your organizational and professional skills can level up too. Don’t be afraid to step back and look at where you could improve. There’s no right or wrong system or tools, as long as the system keeps you moving forward and finishing the things you want to make.
  • Don’t let your inner critic or any other lizard-brain tricks, or cultural indifference discourage you. Make your pages. Level up. Make more pages. Level up some more. Learn to be professional. Post your best work in an online portfolio. Take commissions. Charge what is fair for your prints and originals. Fan art is fine – keep making it. But when it’s time to be professional, be professional. That means knowing what questions to ask about an assignment, doing the work well, on time, on budget. Even if the publisher is you. Develop a professional mindset, learn some basic project management skills, and level those up as well.
  1. Best Practices, Tips, and Resources:

Check out my zine called “In No Particular Order” online for more of this kind of thing.

  • Try all the jobs in making comics, at least once, end to end from having the idea to publishing and distributing. It’s OK if the result is ugly. The ugly pages become the foundations for the beautiful ones.
  • Try deconstructing an existing comic. Draw thumbnails of each page and storyboard what happens with stick figures. Take the dialogue and revert it back to a Word document in script format.
  • Look for professionals online who have gotten where you want to go. Chances are at least one of them has written about or been interviewed about their process. If you’re an artist, do what apprentice artists have done for millennia: copy the masters. Learn the techniques they use and try them yourself.
  • There are many, many tutorials online for almost everything you will ever need to do to make comics. Some applications like Clip Studio have dedicated user support resources and channels.
  • Read your scripts out loud. Sometimes your ear will catch things that don’t sound right once they’re vocalized.
  • Get a sketchbook and start filling it. Practice drawing people, plants, vehicles, animals, abstract things. Do life drawing classes if you can. Get in the habit of drawing what you actually see, not just what your brain wants to autocomplete.
  • Remember the magic word: time. Time is what governs comics. We manipulate the flow of dialogue, artwork, and other elements in order to transmit a story to the reader. Do you know who else can manipulate time? Wizards. So if it helps, think of yourself as a wizard. Alan Moore does. (Please don’t turn me into a lizard, Alan. Or do. Maybe that would be for the best)
  • Recommended reading:
    1. On Writing by Stephen King (yes, that Stephen King)
    2. Understanding Comics and Making Comics by Scott McCloud
    3. Comic Book Inking by Gary Martin and Steve Rude
    4. Comics and Sequential Art by Will Eisner
    5. How to Think When You Draw by the Etherington Brothers
    6. Perspective for Comic Book Artists by David Chelsea
    7. The Human Figure by John VanDerPoel
    8. Directing the Story by Francis Glebas
    9. Drawing on the Right Side of the Brain by Betty Edwards
    10. Blogs and newsletters by Jesse Hamm (art advice), Warren Ellis (writing advice and thoughts)
  1. A hopeful conclusion

I hope this has been useful for you. I hope that you go forth and start taking the steps down the road to completion of your comics goals, whether it’s a short minicomic or a phonebook sized graphic novel. I hope that if you have any questions, today or anytime in the future, you will reach out and ask. When you have something ready for people to see, I insist that you send me a link or tell me where to buy it. And I hope to see you at next year’s conventions, at a table with your comics.


So that was the talk I gave. I also wrote answers to some more technical and background questions that June has posed in the past, so for the sake of completeness, here’s that too:

  1. How did you come to be a comics creator?

I loved them growing up. When I was in college I was stuck for an idea for a paper for my Linguistics class and decided to write an essay about comics. Later, in grad school, I wrote a thesis about comics and how they work narratively, using Alan Moore and Dave Gibbons’ Watchmen – still relatively new at the time – as a case study. This caused a bit of consternation in my department, but they gave me the degree. We asked Will Eisner, one of the great American cartoonists, to be an external reader but he was busy with a book tour.

While writing the thesis I took a foundation year art class to try to understand the visual side of comics better, and after graduation I started making comics of my own. At that time, there was a rising wave of personal and autobiographical comics like Seth’s Palookaville, Julie Doucet’s Dirty Plotte, and Harvey Pekar’s American Splendor, among many others. My comics have always tended to be in that tradition. I sent some of the early ones to Eisner to thank him and let him know that I was continuing on from the thesis that way, and he replied with an encouraging letter. I think that pretty much sealed it. No matter how much or how little success I ever have selling the comics I make, and no matter what else I get interested in or where my life goes, I think I’ll always make comics of some kind because it’s how I most prefer to communicate with the world.

  1. What specific tools do you use to create and has this changed over time?

The parallel story of my comics career is of the technological changes. When I started in 1990, I went to art supply stores and bought the same tools that professional cartoonists used then, which were basically the same tools that advertising departments used to assemble pages in the 1950s. I had a burnishing tool for applying sticky alphabets of letters and zip-a-tone benday patterns. I had French curves, a T-square, a lettering guide, plastic oval and circle templates, assorted pencils and brushes and nibs and inks.

In the late 90s I trained to become a graphic designer, and my first job in the field gave me access to Photoshop and the other Adobe graphics tools, as well as a big scanner and an expensive colour laser printer. Eventually I was able to afford some of those tools for home as well, and bought a small Wacom graphics tablet. I eventually shifted to an entirely digital workflow, using an application that is now called Clip Studio Paint, and started making more webcomics than print comics.

These days I use whatever tools I like using the most at the time, which at the moment is a blue or graphite technical pencil for a lot of rough drawings, which I might scan and finish in Clip Studio, or I might ink and colour on illustration board or some other analog surface. In fact, the last thing I published was an 8-page comic where all of the original pages were created entirely with analog tools, including hand-lettering. I like doing a lot of analog sketching and colouring now, I feel like my art is leveling up more quickly as a result.

  1. Has comics ever been a full-time gig for you? If not is it hard to fit in time to create around a regular job and other obligations?

No, it hasn’t, and considering the kind of comics I make, I never really expected it would be. As for if it is hard to find time, yes and no. I have gone through periods where I take a break from making comics for one reason or another. In the last few years I think I have found a good balance, because I work from home but my wife is a student with a very irregular schedule, I can usually find a couple of hours a day to work on whatever I’m working on.

  1. What ways have you used to distribute your comics? Have some been more successful than others? do you have recommendations for good ways to self-distribute comics?

Comics distribution is wretched, in a word. I have distributed my comics in person to shops on consignment, through the mail in catalogs like Factsheet 5 or Broken Pencil; on the internet through various avenues; at conventions where I am a guest or tabling in artist’s alley; and now, thanks to the advances in print on demand, my book collections are available to stores, online and to the public through Amazon.

As for recommendations, I think your publishing and distribution options will be very much determined by the sort of material you produce. Everyone can make a webcomic, so that’s a good and low risk way to start. If the kind of comic you want to make is traditional Japanese manga, you may have to figure out that market or try to work with a publisher already in the market, like Tokyopop. I don’t mean to endorse any particular publisher, by the way – just giving examples. If the kind of comic you want to produce is on the fine art side, you might be able to work with a publisher like Koyama Press or a distributor like Spit and a Half.

I don’t do a lot of digital distribution – it’s a genuine deficit on my part that I should work on correcting. When I do, I will look more seriously at getting my books into channels like Comixology, as well as general bookstores and libraries. You can pretty much spend all of your time trying to get the word out about your books, if you have the patience for that. I don’t. As much I like the print design aspect of publishing, I hate promotion, so that’s something I need to start looking for help with.

Unfortunately, living in the Maritimes does not help matters either. The population is small, and while there are some great comic shops and bookstores, self-published and small press comics tend not to have the sales and built-in awareness of mainstream comics. If you live in a larger city like Montreal or Toronto, there would be a few stores that sell zines, and some of them should work with you from the Maritimes through the internet. Thanks to the population and the art school and other colleges, Halifax does have a thriving comic and zine scene despite the obstacles.

  1. How do you come up with the stories? Have you ever worked with a writer? We looked closely at a writer’s script and then at the final pages (Staggar Lee by Derek McCulloch), do you think it is harder to create on your own or do you prefer that? If so why?

I like working on my own because I’m a bit of an introvert, and because it allows me to change my working method or pause a project or drop it entirely if I feel like it. I wouldn’t feel so free to do that if I had collaborators to worry about. I collaborated with a couple of friends who wrote scripts early on, and I collaborated with my wife on a webcomic a few years ago, but otherwise I generally do most of the jobs myself.

During the last couple of years I have developed a kind of loose project management method, inspired by some books that I’ve read and interviews with cartoonists where they talk about their process. I have what I call a “funnel” for creating things. It’s widest at the top, where ideas enter. As they get fleshed out, eventually they progress down to a narrow neck, where they get put into real production; I make a rough schedule for getting each thing in the “neck” done and then start writing and sketching. Eventually I finish the pages and they go to the final stage, publishing in print or online (or both), emerging as a finished project from the spout, ready for distribution, sales, and promotion.

I scribble down a lot of random ideas that get thrown into the funnel for later development, and I usually work on a few things at a time so that one thing might be just getting started, one might be halfway done, one might be nearly done and so on. Sometimes I go for a stretch concentrating on just one project, other times I might jump between 2 or 3 projects the same day. I don’t really care as long as I spend at least as much time creating stuff as I do consuming stuff.

  1. Do you have some sort of art training? Are you self-taught. Which path would you recommend?

I had the aforementioned foundation year art class in graduate school, plus an art history elective in my BA. Otherwise I am self-taught. I know that there are programs out there where you can learn to make comics  – the earliest ones like the Kubert school were essentially updates of the illustration schools that used to advertise in comic books. Now, there are so many options that you should probably just do what works for you. Some people thrive in a classroom, with a bunch of peers to interact with in a specialized program. Or, you could watch instructional videos for nearly anything you want to know about on YouTube, or you could start going to drink and draw events if your city has one, or find other erstwhile cartoonists who want to rent a workspace together.

I’m a big believer in trying everything you can. Why not? My only cautionary note is not to spend money you don’t have. Fortunately, it is cheaper than ever to make near-to-professional-grade comics and get them in front of people. My main hope for today’s beginning cartoonists is that they will try all the jobs involved, really get their hands dirty making something new and personal instead of just trying to be the next Spider-Man artist or even the next Chris Ware. Be the first you in comics. No one else can do that.

 

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50

A week ago today, I turned 50. Up until then, I spent the year alternating between not really caring, feeling apprehensive, and feeling a bit depressed. So on the day, it was a relief to finally get there and find that it was not really that different. And it was a really great day. My son Jack was here all week visiting, so I got to spend the day with him and Nicole. I took a surfing lesson and stood on a board (more than once!) for the first time. We ate dinner at Swiss Chalet and watched Roman Holiday. Oh, and I bought a Nintendo Switch with the new Zelda game and Mario Odyssey. :)

The rest of the week was good too. We took day trips to the nearby animal preserve and a nearby waterslide park, saw several movies, and the rest of the time stayed in and binge-watched Brooklyn 9-9 or played the Switch. And the movies, since you are no doubt wondering, were The Equalizer 2 (**), The Meg (**1/2), and Crazy Rich Asians (***). The first two are worth streaming when they come around but Crazy Rich Asians is delightful and well worth seeing in theatre.

Unlike films like The Great Wall, Skyscraper, or The Meg, where you can see the seams of how Hollywood and a Chinese film company are combining their efforts, Crazy Rich Asians is seamless and charming. It is the best Westernized expression of a Chinese genre film since Crouching Tiger, Hidden Dragon. If all of this sounds like a strange tangent, fear not: I have literally watched hundreds of Chinese films, most from the very busy Hong Kong studios, and continue to love them.

Anyway. It was a good week, of much needed relaxation. While Jack and Nicole played Nintendo or watched TV, I did some drawing and tried to slap together something new for DCAF, but in the end time and some technical issues prevented it. I made a point of not stressing about it, because I still have copies of the “Hey Judas” comic that I made last year after DCAF, plus Story Mode cards and other stuff that was new to DCAF. The show was yesterday and it was great as usual. I had enthusiastic fans chatting to me not only about comics, but also some of my prints (Donair Trail was a particular hit), the Story Mode game, even the page I was sketching in between chats.

I finally feel like I’m leveling up in some areas that I care about. Was I just waiting for the birthday? Who knows. I’m glad for it in any case.

A New Decade

As I write this, I have exactly one week left in my forties, and that is a strange feeling. Not a bad one, exactly. But very strange. I was talking with my mother recently, as we sometimes do on the phone, about the disconnect between mental age and physical age. Because they had me in high school, my parents were always younger than other people’s, and my mother could justifiably say stuff like “I can’t believe my son is 30!” when she was not yet 48 and could still pass for 40.

Anyway, she said something that I had been feeling for some time but hadn’t really articulated. It is simply that once you hit a certain age, your hypersensitivity to how old you are drops off. Perhaps you remember being a kid under 10 and demanding that people recognize you were 7 and a half, not just 7. I grew up younger than my cohort after skipping grade one and it was a bizarre experience, in retrospect, to go to college having just turned 17. What the hell were we thinking back then?

Mom told me that even as she approaches 70, she feels like she’s about 50. And I, at nearly-50, feel like I have the energy and kind of engagement with the world that someone in their 30s would have. Or that is just the age group I relate to? She told me how her mother, the late great Alice Amero, always talked about feeling young. It is a good way to be, I can’t deny it. Where does this ability come from? Does everyone have it? Is it healthy? I couldn’t say. But this vague and probably unimportant delusion is where I currently rest, like an old man on a bench in a mall, waiting for his wife to finish smelling things in Lush.

So how are you doing? Well, I hope. I last posted here two months ago and joked about how infrequent I have gotten with posting. That’s the kind of year it’s been, like we are in one of those weeping angel episodes of Doctor Who. Every time we blink, something weird and disturbing appears behind us. But you can’t just go around with your eyes bulging open, so we carefully blink and keep making adjustments to whatever new horrors have appeared.

These days I am mostly trying to get some drawing done and finish up some comics in time for DCAF, which is less than two weeks away. I am fairly certain that I will get at least one of them done. And then, after the show and the week off that precedes it, I will rest; by which I mean I will go back to my day job, but at night I will relax and play video games or something until my guilt overtakes me and I start spending my evenings trying to learn a 3D sculpting program or something.

Meanwhile time keeps on slippin’ slippin’ slippin’ into the future as Steve Miller so infuriatingly predicted. My very general plans are to draw comics this month, finish and revise a short novel next month, do Inktober in October, do National Novel Writing Month in November, and then do my usual December rituals of making some gifts and gift tags, updating my website and scanning stuff, and generally getting organized for next year. What was 2018? Where did it go? Blink.

Anyway, since I am posting so infrequently now that you could fairly assume that I have taken up residence on the event horizon of a black hole, here are some things I should plug while I have your attention:

  • I have a new online store! I spent a long time tinkering with it and trying to ensure that the shipping costs were going to be fair. If you want an autographed book, or Story Mode cards, or if you want to commission a piece, you can do it all there.
  • Come say hello at DCAF on Sunday, August 19th at Alderney Landing in Dartmouth if you are going to be in the area. It is always an enjoyable show with cool stuff to see.
  • I finally launched the Story Mode card game, and you can try it yourself for free by downloading and printing the cards or you can order a set from me while supplies last through the new online store, or you can get some from me at DCAF. If you are an English Lit or drama nerd, a teacher, actor, improviser, or card game nerd, you will probably find something to enjoy in Story Mode.

That’s it for now. Thanks as always for reading. I hope you are having a good summer.

In Lieu

I didn’t feel it was appropriate to entitle a blog post “How The Fuck Is It Already June?!” but I couldn’t think of a better one either, and I think that is probably a good metaphor for the times, but it’s best not to think about it too hard. Which is a good general guideline for the times.

Anyway. June, yes. When I last wrote, over a month ago I am so sorry, I had just attended a small convention in Saint John and was attending a larger one in Moncton. That show was lovely and now I am looking forward to DCAF in August. I hope to get a bunch of stuff done before then, especially some new comics I am excited about.

A good chunk of my time since early May was spent fine tuning and printing and sorting and preparing my new card game, Story Mode. You can download it and play it or you can order a copy from me while supplies last. Please check out the site for an explanation of what the game is, how you can use the cards in different ways to inspire stories, and how you can try and even contribute to the game’s development.

It’s been a strange, stressful, emotional year, and it doesn’t look like that is going to change anytime soon. Part of it is external – the general insanity of a world where Donald Trump has any kind of real power – and some of it is internal, or at least a lot more local. It has forced me to take a more practical, triage-like mindset in my day to day life. Like a less-than-ideal kind of mindfulness that is not rooted in joy, but fear or anxiety.

The older I get, the more I am convinced that fear is the thing that we must fight hardest against. The lizard-brain that makes us hate and suspect any stranger, any deviation from the path we think is safe. Kill it; kill your fear dead, and be free.

As always I am tired and rambling on Sunday evening, so now I will just recommend things I enjoyed for a while:

There is a new film out you may have heard of called Hereditary, starring Toni Collette. It is an amazing twist on the demonic horror of Rosemary’s Baby, genuinely horrifying and very suspenseful. It is a type of horror- a Lovecraftian, ordinary mortals resist in futility against ancient evil- that is filmed fairly often lately but this is far and away the best recent example of the genre. It has jumped into my top 10 horror films.

We also went to see Ocean’s 8, which I guess is doing well and good on them. I thought it was fine, the script is dubious in parts but no worse than it was in any of the Clooney films and certainly no worse than the Sinatra film. What feels lacking in Ocean’s 8 is the absence of Steven Soderbergh; the angles he would shoot, the holds, the lighting, the edits. I speculated that if this one gets a trilogy, the next step would be to make Ocean’s 14 through 16 starring the remaining casts from both trilogies. Why not?

I took Jack to see Solo before that, and I thought it was fine. I didn’t enjoy it as much as Rogue One, probably about as much as Episode 7 amd a bit less than 8. I’d like to see more of those characters doing stuff, if that is ever an option.

The best book I have read lately is Leah on the Offbeat by Becky Albertalli. It is a sequel to her debut novel Simon and the Homo Sapiens Agenda, which was recently made into the charming film Love, Simon. Leah focuses on Simon’s longtime female best friend who enjoys drumming, feels inadequate compared to wealthier classmates, and is getting curious vibes from a same-sex friend. As a child psychologist, Albertalli is very good at giving her characters authentic-sounding voices and small moments that build a world I wish I could visit more often.

I finally finished The Peripheral by William Gibson. I don’t know why it always takes me so long to read his books, because I love them and it’s not due to a lack of interest, I just have to absorb them slowly I guess.

There have been some good comics launched recently- the new Nancy Drew, of all things, is queer as hell and very promising. Evan Dorkin and Veronica Fish have a nice new teen (dark) magic title called Blackwood, and John Allison is writing a new miniseries called By Night. The New Mutants: Dead Souls by Matthew Rosenberg and company has been brilliant and I am looking forward to reading his new book about Multiple Man.

All that said, the best comic I have read lately is the new issue of Love and Rockets, in which we get classic Hopey-Maggie conversations, childhood flahsbacks, intergenerational and intercultural dialogue, magical realism, and beautiful artwork.

My TV watching these days alternates between shows starring Gordon Ramsay and/or his family, shows about travel and possibly buying homes or at least eating local foods, and Noah Hawley’s shows, specifically Season 2 of Legion and season 1 of Fargo, which I just finished. I know, I’m behind. But I won’t be for long. Both of those shows are amazing.

I’ve also been enjoying Westworld (even if it does feel like a pale imitation of a Noah Hawley series in comparison), Elementary, and much to my pleased surprise, Fear the Walking Dead. I had actually skipped that series all of its third season and checked out the beginning of the new season because Morgan from the main series was going to be on it. They did some interesting retooling as part of that move and have written a very strong season so far, as compelling as its parent series when it is at its best.

That’s it for now. I will try to write more regularly. I hope it is a consolation that if you don’t hear from me, it’s because I am busy doing stuff I enjoy and it is helping me cope with some stuff that I don’t. I hope you are having a good summer. We deserve it.

Spring in Your Step

I feel like I emerge from every winter like a wild-eyed man who catches a glimpse of himself in a mirror and notices that his face is smeared with dark blood. At first he is startled and concerned, then he notices he is holding a severed and partially devoured human arm, and thinks to himself, ah, right. We do what we must to survive a Canadian winter, literally and figuratively.

Anyway. I have been letting some creative stuff slide – most notably the Sunday Night in Cinema 3 podcast and this blog – partly due to a busy stretch at work, partly due to preparing for conventions. I just spent the weekend in Saint John, New Brunswick, where I lived for nearly 20 years. It’s the kind of place where I saw someone I know immediately upon stepping out of the car. The trip had a dual purpose: a one-week-early birthday party for my son Jack, and attending a relatively new comics convention called Fog City Comic Con at the central library.

Jack and I snuck in a viewing of The Rock’s new film, Rampage, which is more fun than it has any right to be. The next day I gave him his presents (an Xbox game he wanted, a trade paperback of Star Wars comics, and Nick Offerman’s book Paddle Your Own Canoe) and took him and his friends to see Infinity War on Saturday afternoon. It was the second time for me but no less enjoyable. It’s not a perfect movie by any means, but it reminds me in a weird way of the last episode of The Fugitive – a huge event that had to stick the landing, and I think it did. We ate some pizza and chatted about it and the upcoming Marvel films afterward.

The next day I took my bag of tricks to the library and led a “how to make comics” session in their lovely new maker space. I also agreed to fill in on a panel about adapting other media to comics, moderated by my friend and cousin-by-marriage June. The rest of the time I relaxed at my table and chatted with a bunch of people I haven’t seen in ages, and I got a copy of a new comic book called It Came From The Public Domain that was published by a group that is developing local comics talent. It was an inspiring time and a perfect way to kick off my own convention season. It was also a pretty good dry run for the next show I’m doing, the East Coast Comics Expo in Moncton on the 19th, in terms of how I want to lay out my table. I also sold my last copy of The Insult collection, but with any luck I should have a new shipment in time for ECCE.

New Brunswick gets a lot of stick from the rest of Canada, and the last thing they need is the worst-in-two-generations flooding along the Saint John river that is happening right now.  It is supposed to start receding later this week but in the meantime, people are fighting to prevent their homes from flooding and contending with potential sewage backup and other issues. I have no doubt they’ll get through it, but in the meantime, all respect to the people of NB and the Saint John river valley in particular who are pitching in to help their neighbours.

Hair Trigger

Last week was stressful; not due to one particular issue, just a confluence of work stress, personal issues, and maybe a dash or two of “enough with the winter already” irritation.

It got bad enough, pushing at my mind and demanding its focus, that I dug in a little harder with my meditation training and pushed back, forcing myself to put the various things in perspective and admit that everything will be fine. And then I felt better. But it’s funny how I had to go through a week or more of generalized, lower-level anxiety before the additional stress backed me into enough of a corner that I reached for that solution.

When we talk about mindfulness and staying focused while we meditate, we are essentially training our minds to have a hair trigger when it comes to putting problems in perspective and regaining equanimity. Building the reflex that promptly and effectively deals with discursive thoughts and real-world problems.

That in turn reminds me of one my favourite books of Buddhist lore, a collection of talks by the Korean zen master Seung Sahn entitled “Wanting Enlightenment is a Bad Idea.” It’s a great book. One of my favourite parts is his discussion of the concept of keeping such an open mind as we move through life that we don’t even form attachments to concepts, so that our honest answer to any question would be “I don’t know,” because you are not attached to any knowledge I suppose. He repeatedly advised maintaining this state of “don’t know mind” as the best outcome of a zen meditation practise, since he did not believe in attaining enlightenment, and as the title of his book implies, he felt that the pursuit of it could be detrimental.

I went to the library yesterday and signed out a few classic films and Norm MacDonald’s celebrated autobiography, which I look forward to starting tonight. It is incredibly already mid-April, which means I have three weeks to prepare for my first appearance back in good old Saint John at the Fog City Comic Con. I should just about make it.

Norm beckons. Check out two new episodes of Sunday Night in Cinema 3 and a new Insult. There will be a new Insult weekly on my Patreon page as well for a while. Thanks and have a great week!

Responsible Couch Ownership

Greetings from Halifax, where we are in the part of winter where it snows, then rains, then freezes, then thaws, and this cycle continues. I am seated on a soon-to-be-replaced futon with Black Lightning on TV and a fat cat slumbering against my hip. The weekends are too damned short.

The futon is soon to be replaced because my dear wife and I decided to be practical with our shared Xmas gift this year, deciding at the last minute to buy a new sofa instead of a Nintendo Switch. The sofa was a special order that is due to arrive soon. I’m not sure what will become of the futon yet. In any case we are taking this opportunity to rearrange the apartment a little, get more organized and such.

This gave me a good reason to try to learn Sketchup again, and this time I think it worked. I made a simple 3D map of our living room and the furniture, grouped the planes, moved and rotated them around, learned some of the shortcut keys. I think that’s when you know you are a serious user of any graphics application- when you know the shortcut keys.

LivingRoom

My wife has been sick all week and I felt pretty low-energy myself for a couple of days, but otherwise the end of January passed without complaint. I did manage to get some penciling done one a new short comic that I hope to get done in the next week or two. The resulting mini-comic will be the first exclusive printed thing for my Patreon.

There is a fun-sounding afternoon comic convention called Fog City Comic-con, organized by the public library in my former home city of Saint John, New Brunswick. This will its second year, occurring from 11-4 on Sunday, May 6th. I was just debating with myself earlier this week about applying for a table and making the drive and so on, when someone from the library kindly invited me to attend as a guest, maybe do a panel of some kind, so I took that as a sign and said yes. Assuming all goes as planned, that will be my first con appearance for 2018. I will update the appearances page with details for that and upcoming shows as details become available. And Fog City, thanks very much for the invite!

Speaking of comics, my LCS is the wonderful, Eisner-Award-winning Strange Adventures in Halifax. They were having a prize draw where a ballot would be entered for you if you picked up your pull list promptly, and I won this month! The prize included a copy of the Marvel 75th Anniversary Omnibus, a fancy Batman figurine, and several trade paperbacks. So that was a nice surprise, and let that be a lesson to you all- if you have a pull list at a comic shop, pick your books up promptly!

That’s all I can think of to say for this week. I haven’t posted them yet but there will be updates to Faith of the Heart, The Insult, and Sunday Night in Cinema 3 later today. I also started designing a sort of welcome package thing for Patreon a few days ago, and came up with a name for a card game I’m working on. I think I will try to have some prototypes ready to sell for this spring’s shows. More on that as this month goes on. In the meantime, thanks as always for reading.