We’re Doing a Magazine

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Hey gang.

We’ve been steadily doing nothing for in these last couple of months of 2013. It’s been irking me tremendously. We’re in a constant rut between lack-of-motivation and time issues and it’s been effecting this project to the point I can no longer evidently hide it and I’m slightly embarrassed.

After talking with Estevan, we decided to take a shot at creating a magazine and releasing it…whenever. Most likely monthly, but promises are hard to keep when you’re lazy.

This magazine will be simply titled “Drawn Words,” and it will feature multiple comic artists and illustrators, as well as indie-comic reviews, interviews, and other tidbits. Possibly more outside of the comic realm come next issue.

We’re really excited to be presenting this magazine that will be debuting this weekend. We’ve worked hard on it these past two weeks.

We are having a call for submissions to comic book artists, illustrators, and writers. We will be taking submissions for doodles (rough sketches, preferably uncolored) for a section in our magazine, reviews (not limited to comics, but limited to things with high artistic merit), short comics (3-panel or 3-pages, it’s all good here), and editorials/features. Anything anyone would like to submit to us, even a simple drawing, can be sent to me at kevin (at) drawnwords (dot) com. This magazine will strive for a long while if we can have more people in on this project.

We’re trying to showcase the greater underground of comics and illustration. We’re releasing our first issue soon. It’ll be small, but there will be more to come in the second edition.

- Kevin

Comic Review: “Everything Takes Forever,” by Victor Kerlow

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Victor Kerlow Everything Takes Forever

Victor Kerlow, a Manhattan-based illustrator whose work has been featured in The New Yorker, The New York Times,MTV, and many other popular publications and networks, has recently released his Everything Takes Forever comic collection via small publisher favorite, Koyama Press.

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Everything Takes Forever is a collection of surreal and humorous comics, all short and illusive. Some of these comics are amusing, while some are translated as a bit more thoughtful; the entire book bleeds of absurdity and surrealism, with Kerlow using his signature ink-and-wash style of illustration to maintain comfort with the reader. That’s something I can definitely admire in Kerlow’s art style and writing after reading this book — while certain setups and comics seem a bit unreal and strange, the art style fits it perfectly, giving the reader a feeling of comfort rather than alienating them from the author’s motives and expression. Not many illustrators can do that, especially with this distinct art method.

And Kerlow’s technique certainly needs to be that pinpoint with comfort when presenting such trippy ideas, such as a human being bearing a taco head that coincidentally orders tacos at a restaurant, and a man who has shrunk in size and is extremely unhappy with his new physical feature due to the fact he can no longer eat sandwiches. The short, “The F Word, Starring Taco Head,” really helped grasp this feeling of ease, as I found myself relating to a man who was punching his taco shelled head away and shouting obscenities over a 12 paneled page. Characters in this compilation can relate with the reader, showing thoughts of normal everyday behavior, yet placing them in odd worlds and situations.

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Teetering between realistic ideas and bizarre worlds, Everything Takes Forever seems to revolve a lot around dreams and the act of dreaming. Characters throughout the book constantly flow in and out of a dreamworld, to a point it’s unknown if they are in fact sleeping or not, specifically in the stories “Big Mouth,” “Little Guy,” and “Weird Things, Downstairs.” Hand-in-hand with Kerlow’s illustrations, these strange tales present absurd situational humor and charming displays of nudity and vulgarity.

Everything Takes Forever is the greg display of balance between absurdity and humor without going too far. Here, we see Kerlow with an extremely comfortable style and display of art and satire, not once going too far or over the top with any surreal idea given. While the art isn’t exactly remarkable, it’s charming and useful enough to get its insane message across. Koyama has published another solid release — we could definitely use more comics like these.

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Comic Review: “The Golem of Gabirol” by Olga Volozova

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Published by: Sparkplug Comics
Retail: $7 at Spark Plug’s official online shop

The Golem of Gabirol by Olga Volozova is an unique case of storytelling, revolving around poet and scholar, Solomon Ibn Gabirol. The comic details bits and pieces of Gabirol’s life journey while introducing elements of magic, golems, and extreme surrealism. Themes presented in the book include Adam and Eve, Arabic and Hebrew lore, and several ideas conveyed in Kabbalistic context. In very short: this comic is about as spiritual as it gets.

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Using nonsymmetrical and dreamy art, the beautiful part about The Golem of Gabirol is its ability to provide such a dense piece of work within 32-pages. Demanding the reader’s full-on attention with its dreamlike narrative, The Golem of Gabirol fluidly displays the spiritual life lessons of Gabirol, as well as presenting multiple perceptional outcomes to the reader with each study. Comic readers will indeed find new perceptions of the story upon looking through the comic book again, which is something most comics lack in general.

Volozova told this tale using all possible ways she could with the comic book medium, creating a dreamy blank and white atmosphere to play in, and curving words and letters around each page for the average untrained eye to get lost in. While most would deem this comic as “weird,” and dismiss its direction of storytelling and ink usage, it’s truly a magnificent, charming tale, that mature readers will definitely enjoy.

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Comic Review: “š! #12, Future 2.0″

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I’m going to be honest when I say I haven’t heard of kuš! until last month, however, after reading through š! #12, Future 2.0, I’m seriously smacking myself for being so behind schedule as I’m seeking their older anthologies. kuš! (pronounced ‘koosh’) komiksi (comics in Latvian) is a comics anthology based in Latvia that specializes in publishing preferably Latvian comic artists, but also shares page space to others from North America and all over Europe.

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This collection carries a very diverse lineup of artists, with an even more diverse sense of style and emotion revolving around one common theme: the future. And while there are many different styles and comic artists, the book does a great job of standing up as a whole to revolve around that sole theme. This is a damn hard task to do, especially when you’ve got so many illustrators from North American and Europe chiming in at once.

Featured in this edition of š! are: Michael DeForge (Canada, cover illustrator), Anja Wicki (Switzerland), Charles Forsman(USA), Chris Kuzma (Canada), Dace Sietiņa (Latvia),  Dustin Harbin (USA), Ernests Kļaviņš (Latvia), Ginette Lapalme (Canada), Irkus M. Zeberio (Basque Country), Jane Mai (USA),Jesse Jacobs (Canada), John Martz (Canada), Jon Boam (UK), Julie Delporte (France),König Lü.Q. (Switzerland), Kuba Woynarowski (Poland), Léo Quievreux (France), Luke Ramsey (Canada), Maciej Sieńczyk (Poland), Mārtiņš Zutis (Latvia), Melissa Mendes (USA),Michael Comeau (Canada), Michael DeForge (Canada),Nicolas Zouliamis (Belgium),Oskars Pavlovskis (Latvia), Patrick Kyle (Canada), Paul Paetzel (Germany), Ryan Cecil Smith (USA), Steve Wilson (Canada) and Tiina Lehikoinen (Finland), and also featuring special co-editor:Annie Koyama (Canada).

This collection is 180 pages worth of 29 artists you’ve maybe heard of and many more you might have not. This is fine, and the collection does a beautiful way of presenting itself, though some of these shorts are a bit too short. The effect may seem a little pretentious, however none of these comics come off as being better or smarter than their audience. They’re more inviting. With comics that end abruptly, most endings are left usually ambiguous, but it’s a great thing for those wanting alternative or independent work from their comics. The diversity in the collection is especially needed for this reason, since there’s something for absolutely anyone to pick up and enjoy.

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None of the comics stray far off from the subject of the future, either. Efforts by Michael Deforge (Leather Space Friend), Chris Kuzma (Life Drawing), and Luke Ramsey (Letting Go of What the Future Holds) are showcases of a charming art style that succeeds in giving readers a fun puzzle of thought for the future. Oskars Pavlovskis (Curious) and Melissa Mendes (Animals) provided stunning artwork for such a pocket-sized comic collection. I’ve also found a slew of other artists through this collection I’m going to be following.

Honestly, that brings up the best part of this package aside from its sleek look and awesome roster of illustrators: the bang you get for your buck. This anthology is only $13. That’s a bargain considering the amount of folks promoted in š! #12, Future 2.0. After reading the anthology, one will have indeed found a new favorite illustrator. kuš! chooses to showcase the best and provide a consistent and concise raw quality in comics that I feel most smaller publishers can’t quite grasp. That’s a beautiful feat for comics in general.

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Comic Review: “Sunday in the Park with Boys” by Jane Mai

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Koyama threw a drastically different comic book at me recently, titled Sunday in the Park with Boys.

Author Jane Mai created an intimate diary used to describe depression, leaving the reader in an odd, yet compelled position.

While it’s not directly stated in the comic book itself, Jane Mai illustrates a life of depression, self loathing, and misunderstanding. It’s a pretty harsh read, and it could possibly be difficult to relate to since Mai is a bit (purposely) vague when displaying her emotions, but it’s a terrific display of pacing from the artist that works well for the reader. Sunday in the Park with Boys conveys feelings that are hard to pinpoint when you’re under deep depression, but it never feels like it’s forcing you into pitying the author in any way. I believe Mai just wants you to understand.

Throughout the comic book, Jane illustrates centipede like creatures that cover certain panels and areas on pages that sort of symbolize depression that is illustrated as almost literally “eating” at her. Every couple of pages, a new idea is introduced about the character and her state of being, represented with personal opinions and thoughts by the character. It can be a bit uneasy to read the author mentally beating down on herself so hard, but by the very last page, you do have a sense of understanding on how self-loathing has indeed been eating at Mai.

Though the tone may be serious and gloomy, it does an incredible job of representing what many feel every single day with total unhappiness. Mai’s black and white illustrations do a great job accompanying the vibe of the story. The dialogue, while a bit hard to digest at times, also holds strong in Sunday in the Park with Boys, leaving behind an impressive memoir and solid read, especially for the comic book medium.

Comic Review: “High Score: A Microcomic Anthology on Videogame History”

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High Score: A Microcomic Anthology on Videogame History is a collection of charming short comics published by 2D Cloud, featuring works from artists Hanna Blumenreich, Peter Wartman, Eric Schuster, Saman Bemel-Benrud, and Toby Jones. The comic was originally a reward given out to those who pledged to Rusel DeMaria’s Kickstarter for the third edition of High Score: An Illustrated History of Electronic Game, but 2D Cloud has allowed for this wonderful mini-comic to be purchased online via their shop.

I’ve never seen a more delightful collection of comics compiled in such a small amount of space before. Through 24 pages, this mini-comic presents five different artists with exceptionally different styles, retelling a piece of video game’s past. Hanna Blumenreich tells a tale of being a young female gamer, with the help of radical coloring done by Raighne Hogan, the microcomic’s editor and designer. Peter Wartman recalls his first playing of a Metal of Honor game. The most vibrant and interesting story comes from artists Eric Schuster and Saman Bemel-Benrud, who illustrate the history of one of the worst video games of all time: E.T. the Extra-Terrestrial for the Atari 2600 game console. Toby Jones gives a great laugh with his gamer jokes, with the final pages of the anthology end with impression images by Raighne Hogan’s nostalgic gaming art.

The actual book measures 4″ x 5″, so it’s pretty tiny, bearing 24 small pages. I’m new to this microcomic scene, but it was a surprise to see such a fantastic short print released in such a tiny package. It definitely works though. High Score: A Microcomic Anthology on Videogame History is an entertaining read, and at $4, it’s a fresh addition for any comic collection.


50 Great Games, #3: The Neverhood

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I’m happy to present entry number three in our 50 Great Games series, featuring art AND words from our recently interviewed and multi-talented amaze-man, Jess Smart Smiley!

My dad has introduced me to some pretty cool games. I piloted ships in X-Wing and Tie Fighter, I cried out of pure frustration over Archon Ultra, and I even went through a short Duke Nuke ‘Emphase. The game I remember most, though, and the game that still fascinates me 16 years later is a cult classic called The Neverhood.

The Neverhood is a clickable adventure game, way back from the days of CD ROMS. While the game was released by DreamWorks Studios, it is the brainchild of artist Doug TenNapel. There are so many aspects unique to the game and so much to love about The Neverhood that it’s difficult to find a starting point. We’ll start with clay, because that’s what the game is made out of. 2 tons of it, if I remember right. Everything in the game is made out of clay: the characters, the buildings, the televisions and trees. Everything is stylized in a colorful, funky cartoon vision and was nothing like I had ever seen before.

You play as Klaymen, who wakes up not knowing where he is or what to do. Immediately there are puzzles and games inside The Neverhood (also made of clay) that unlock doors and elevators, bridges and cities. The puzzles aren’t your typical move-a-tile-here-then-move-another-tile-there breed, either. These puzzles include things like spitting water into tubes and feeding monsters in the correct order. One of the puzzles involves navigating a car that runs on the sides of cliffs. Some puzzles don’t even appear to be puzzles, but a collection of symbols, or a series of doors. There are rarely any straightforward instructions on how to play, and the longest-running puzzle of all is learning how the world of The Neverhood works — its nature. Even the music is like nothing you’ve ever heard before. Terry Scott Taylor has put together one of the most unique game soundtracks in existence and it’s filled with a dabble of splurting horns, bubbling dixieland scatting, and musical coughs accompanied by acoustic guitar. It’s something you just have to experience, so check out the title screen already and see what I’m talking about.

I loved The Neverhood because it was just as much fun to play as it was to wonder how such a thing was even made. Fortunately for players like myself, there were not only animated sequences that were unlocked throughout the game, but there was also a “making of” video included in the bonus content. In the video, we get to see TenNapel and the Neverhood crew at work, building sets, animating characters, and slathering everything with clay.

This game has been such a big influence on my art, and on me as an individual. It has given me permission to make pictures that I was never taught about in school, and the game has helped me to trust my instinct as a creator. I owe a lot to Doug TenNapel, and for me it all started with The Neverhood.

Words and illustration by Jess Smart Smiley