Words: Hugh Goldring
Pictures: Nicole Marie Burton
Based on the research of Sky Croeser (Dept Internet Studies, Curtin University)
To order this comic as a booklet, visit our online store.
Words: Hugh Goldring
Pictures: Nicole Marie Burton
Based on the research of Sky Croeser (Dept Internet Studies, Curtin University)
To order this comic as a booklet, visit our online store.
a guest post by Seth Tobocman
Tucked inside AK Thompson’s largely political anthology PREMONITIONS (Selected Essays On The Culture Of Revolt) are two chapters about art that ought to be a wake-up-call to those who write about the subject. Including one about my old comrade and fellow poster paster Eric Drooker. What stands out about Thompson’s articles is that he discusses works of art in terms of their actual political use. Their social function. Their relation to praxis.
Much writing about art misses the importance of the social context in which, and for which, a work of art was originally produced.
For example, a few years ago my partner and I visited the city of Ravena Italy. There we were startled to walk into churches and see parishioners dutifully praying and lighting candles in front of paintings and mosaics that had decorated the pages of our art history books. It seemed like a glaring omission, to me, that I had been through two years of art history classes in college, had focused precisely on these works, with almost no discussion of their Christian religious content.
Likewise, if you look at cave paintings, you can certainly discuss the use of a simple outline on an irregular surface to create the illusion of volume and motion. But if you ignore the fact that these are the intimate observations of the lives of animals that only a hunter gatherer society can produce, then aren’t you missing the whole point?
Title: Premonitions: Selected Essays on the Culture of Revolt
Author: A.K. Thompson
Published: 2018 by AK Press
In an essay with the academic sounding title The Resonance of Romanticism, Thompson explores the relationship between the early 21st century anti-globalization movement and the works of two artists, Eric Drooker and Banksy. He’s not making this up. Drooker’s art was regularly used on fliers of the period. Eric’s books were distributed in the Anarchist bookstores where plans for big actions were discussed. His imagery adorned squats and dorm rooms and was tattooed on the bodies of some of those arrested. And Eric was a regular at the demonstrations, usually carrying a drum. With Banksy it is a bit more of a reach. I don’t know that Banksy was directly involved in politics. But his work was popular with activists of the time.
AK examines this work, not to determine its quality (he does seem to like it) but to understand what it tells us about the movement in which it was popular. His goal, in all the essays of this book, is to figure out why the anti-globalization movement, to which he has given the best years of his life, did not produce better results ( I’m biased, I kinda felt the same way about the squatters’ movement. ).
AK sees a nostalgic attraction to the imagery of 19th century romanticism in the art of Banksy and Drooker and wonders if this reflects a sentimentality in the character of the community that embraced this work. Unlike the current fad of “politically correct” criticism, Thompson does not use politics to critique art but uses art to critique politics.
In another chapter with an equally academic title, Matter’s Most Modern Configurations, AK Thompson investigates two major works of 20th century art which were censored by the powers that be. First he looks at Diego Rivera’s Man At The Crossroads, a mural commissioned for Rockefeller Center, which the billionaire later had sandblasted when he saw its overt socialist content. Thompson explores the painting in detail, showing how the artist co-opts both Pagan and Christian religious imagery to support an optimistic materialist message. AK examines and even graphs the compositional elements, only to lead us to the dramatic narrative of the mural’s destruction at the hands of a New York capitalist and it’s rebirth in Mexico City.
His second subject is Picasso’s Guernica. A tapestry reproduction of this great anti-war painting hangs at the United Nations building. But it was covered by a curtain when Colin Powell made his speech claiming that there were weapons of mass destruction in Iraq, initiating one of America’s longest wars.
Both examples demonstrate the continuing relevance of art to politics while illuminating the complex relationship between modern art and capitalism, which both financed and suppressed the work of masters like Picasso and Rivera.
AK Thompson is all about critique and I suppose I should critique AK a bit here. While the message of this writing is good, too much of the style bears the mark of the academy. He points out over and over again that his thought process owes a lot to the writings of John Berger (who I have read) and Walter Benjamin (who I haven’t read) and this gives me the (false) impression that I can’t understand what I’m reading without reading those other two authors. I understand the need to credit ones influences but this could be reserved for the footnotes and the whole book could be made accessible to a wider audience.
That said, AK Thompson is one of the more interesting voices that have emerged from the anti-globalization movement. He does not claim to have all the answers. Instead he asks important questions in a voice that is both humble and urgent.
Those of us who devote our lives to drawing alternative comics and political illustration are often amazed at the things people write about the field. Over and over again we see texts by people who just don’t get it. But AK Thompson is one of the guys who gets it.
I strongly recommended anything written by AK Thompson and I look forward to what he will produce in the future.
This project is a comic anthology that is focused on body positivity for queer men. Using health literature and personal experiences, artists that identify within the LGBTQ community are asked to create a comic strip regarding how society and culture influences body image and the impacts this has on the mental and sexual health of queer men, including gay, bisexual, queer, trans, two-spirited, and other men who have sex with men. It is our goal to capture as much diversity and as many stories as possible in the pages of this work.
Our team consists of students from Dalhousie University and Queens University working within queer healthcare. The team consists of Phillip Joy, Matthew Lee, and Stephanie Gauvin.
This project aims to:
The comic will be published in print copy and may be posted online through our website and social media accounts. Printed copies will be sent to various LGBTQ health, resource, and community centres across Canada. The comic book may also be presented at academic conferences or within university classroom settings.
Your contribution will make a positive impact on the health of queer men across Canada. In addition, artists will be paid a standard one-time fee of $200/page. You will also receive a copy of the published book.
This project is funding by Canadian Institutes of Health Research.
Submit an electric/digital portfolio that includes your contact information, website information, and a brief bio (max 250 words) that details on why you would be an excellent artist for this collaboration. Also include a short proposal (max 250 words or a few illustrations) that outlines your comic submission and details how it aligns with the overall project and its goals. This proposal may include concept artwork for the comic. Submission of a proposal does not guarantee inclusion in the anthology or payment. Selected artists will be contacted and asked to sign an artist contract detailing their rights and responsibilities. For those artists whose work is not selected, the rights to their proposal remain with them.
Please email your electric submission package as a single pdf to: email@example.com
Proposal Deadline: Oct 10, 2018
Please note that we will attempt to notify all artists within 3 weeks of the proposal deadline regarding their submission.
Storyboard Deadline: Dec 8, 2018
Final Comic Deadline: Jan 25, 2019
Comic Book Dimensions: 17.8 x 22.9 cm | 7″ x 9″ (It is critical for layouts and final product to format your comics to these dimensions.)
Colouring: Black and white is acceptable but coloured comics are preferred
Text Language: English text only
Comic Length: 4 pages maximum
PLEASE NOTE: It is up to the artist to complete and submit their comic with text on the date of above deadline to ensure publication within the anthology. Payments to the artists will only be made upon successful submission at the deadline.
Although there are many aspects to body image, we are focusing this work on two aspects that have been identified within health research to contribute to body dissatisfaction and health issues in queer men – weight and muscularity.
Your work should feature a story focused on how social and cultural influences in the queer community influences the body image of men and how body image may, in turn, affect their mental or sexual health.
The comic can be within any genre (realistic/fantasy/superhero/Manga).
The comic may contain your own real experiences with the topic or be drawn from the research. Below are some potential topics, identified from health research, your comic may address. You are not limited to these topics but should contact us if you have other topics to ensure it fits within the scope of the project.
The research shows that all of the above issues can shape the health experiences of queer men. These issues may also contribute to the exclusion of bodies on basis of weight or ethnicity through the images and language used in them.
Body dissatisfaction is “never benign” (Jankowski, 2015, p. 34).
Avoid stories that could potentially stereotype queer men.
Hours before I met Ben Passmore for the first time, I’d been informed that it was the first night of Mardis Gras in New Orleans. My partner and I were on tour in the American South and had not made any definitive plans for the space on the map between Atlanta and Houston. A friend of a friend put us in touch, and we gathered in a small group waiting for the Krewe du Vieux parade to start. The night’s theme: “politically incorrect”.
I could hear wooden chips and beads crunching under my shoes as I struggled to distribute the seven jell-o shots I’d just purchased from a nice old lady pushing a cooler through the crowd along the sidewalk. We stood, drinking, smoking, and watched the floats pass: a pair of queens with enormous falsies, an old white man from the ‘NOLA for Bernie Sanders campaign’ wearing a fake indigenous headdress and throwing candy. It was somewhat surreal, somewhat entirely foreseeable.
Mardis Gras continues like clockwork every year, but a lot of New Orleans has changed since Hurricane Katrina. The largest residential building in the city is abandoned. Entire neighbourhoods are boarded up, next to other neighborhoods peppered with colourful and chic low-income housing built with donations from celebrities like Brad Pitt and Sean Penn. In many ways, post-Katrina NOLA became the poster city for explaining concepts like disaster capitalism, neo-liberalism, and gentrification.
It’s hard not to notice elements of this un-done landscape in Passmore’s online comic, D A Y G L O A H O L E, which he worked on for years while living in the city. Characters wander around a mysterious post-civilization wasteland. There are semi-familiar objects everywhere, but ‘civil society’ and all that phrase entails is gone. Washed away. Each new comic extends further into this post-apocalyptic future, and deeper into Passmore’s mind we go.
“Daygloayhole has consistently been too ambitious for my level of talent, but I think that’s what makes it fun. I’m not a huge sci-fi nerd, but what little of it I’ve consumed and enjoyed consistently pairs the recognizable with the fantastically alien.”
Passmore spent several years working on daygloahole, living in New Orleans. Life was a mix of work, going to shows, and fostering a burgeoning indie comics scene through the NOLA zine and comics fair. Of course a city known for its history of parades and grassroots activism will attract its share of artists, hippies, road punks, and anarchists. When I suggested that New Orleans appeared to solve the age-old mystery of where crust punks go to die, he said it was “more to become undead… There’s a lot of lumbering soulessness [here].”
And the anarchists were having a moment. Abandoned buildings were being squatted and used for political organizing or art projects.
The phrase ‘It’s all over’ appears again and again in daygloahole, which was funny because that’s all I could think when I was in New Orleans. And then, it doesn’t seem quite as funny anymore.
“I think that’s something that I enjoyed at first, the culture of collapse in New Orleans, until I really realized the toll Katrina took on people’s minds and lives, and the disparity it underlined.”
That disparity is one drawn clearly around race in New Orleans and Louisiana as a whole, whether we’re talking about segregation of schools and neighborhoods, police violence, or the state prison system. It was only in the last year that New Orleans removed several Confederate Monuments, which Passmore documented for the comics journalism website, The Nib.
The Confederate Monument fights became a flashpoint in the South for confronting fascist and white supremacist forces, who were being emboldened by Trump’s campaign to “Make America Great Again” (a perfect dog-whistle for the South’s “Lost Cause” sentiment, which sticks around like 100% humidity). From inside a jail cell for confronting the KKK at Stone Mountain, to the streets of New Orleans where a masked Mardis Gras parade took to a Confederate statue with paint and sledgehammers, Ben took names, covered it, drew it, and showed the rest of us what was going on.
“New Orleans created a feeling of urgency about white supremacy as a societal poison that I didn’t feel as much before I moved there.”
“And it for sure burned me out on white people.”
In 2017, Ben Passmore made international news for having his work, a short 16-page comic called “Your Black Friend,” nominated for an Eisner Award. For those of you not in the comics industry: that’s kind of like being nominated for an Academy Award. Needless to say, as an anarchist, but more as a political comic enthusiast, I was pretty stoked about the news.
‘Your Black Friend’ is a comic for that person who wants you to know they’re not a racist. It’s a comic about micro-aggressions, cultural appropriation, and lefty-progressive virtue-signalling. It is a short but poetically full-circle sampling of how annoying, depressing, terrifying, and frustrating it is to share space and community with white people (even those nice ones) in a white supremacist world.
Passmore’s first 20 years were in and around Great Barrington, Massachusetts. “My mom was/is an artist and she encouraged me to draw a lot. I think she would’ve liked me to draw trees… I drew a lot of muscle guys in spandex covered in spikes.”
Ben would eventually go on to art school and major in comics with a minor in illustration.
Passmore seems somewhat surprised that younger people are inspired by his work.
“I get messages from other weird black cartoonists and people that get stuff out of my comics. A couple times people have told me that they’ve been “reading my comics for years” and they’re in their early twenties which is such a crazy thing to be a part of someone’s cultural scenery when they’re turning into an adult.”
There’s a lot being processed in Passmore’s comics, from the low-key racism of his friends, to his Mom voting for Trump, to his own relationships with addiction, depression and impulses to self-harm. Ben has made space for it all, while never taking himself too seriously.
A current project of Passmore’s –not yet released– deals with identity, inspired by the pronounced dysphoria he experienced during the last two years’ living in NOLA. I’m looking forward to seeing that, given the nuance he gives to subjects like blackness and queerness. “I’ve never subscribed to the ‘destroy everything/destroy my body’ that characterizes some queer nihilism. Not because I don’t think that strain has validity, it’s just it feels complicated to be black and to desire physical deconstruction.”
Leftist comics – much like “the Left” in general– have a tendency to forget the nuance in their attempt to promote a cause. And that’s a fine strategy, if you’re designing lawn signs for an election.
Passmore’s work shows us that a comic is capable of something infinitely more sophisticated.
His advice to folks who want to make political comics: “Don’t be preachy… if peeps don’t at least recognize your point of view, it’s cause you didn’t make your case well enough.”
Title: The Beast: Making a Living on a Dying Planet
Publisher: Ad Astra Comix, 2018
Additional Specs: 118 pages, black and white (with full-colour satirical ads at the front and back of the book).
Meta tags: environmentalism, media literacy, advertising, communications
This graphic novel is based on the research of Dr. Patrick McCurdy, Dept of Communications (Ottawa University)
From environmentalists to oil sands workers, this book has something for everyone to chew on. Full of difficult questions and imperfect answers, ‘The Beast’ offers the kind of uncomfortable chuckle that comes from the creeping tendrils of existential dread tickling our sense of uncertainty. Join Callum and Mary as they drift through bars, strip clubs and vegan wing joints not so much struggling to answer life’s difficult questions as doing their best to avoid having to ask those questions in the first place. Peppered throughout the narrative is a dismantling of the glib cliches that make up our current, intractable discussion of energy policy.
Author: Hugh Goldring
Illustrator: Nicole Marie Burton
Production Assistance: Patrick McCurdy
Recommended reading level: 16 and up (depictions of drinking, smoking, and sexual harassment in the workplace)
While we were traveling America last year, we came across Vol 3 of Larry Gonick’s fantastic ‘Cartoon History of the Universe’ series. Endorsed by everyone from Doonesbury’s Garry Trudeau to the late Carl Sagan, the series more than lived up to the hype. This led us to his website whose work spans topics ranging from history to physics to pure math.
That’s how we found out that since the very beginning, Larry has seen comics as a way not only to entertain and inform, but to change the world we live in. Once we’d seen that, we knew we had to interview him. Thankfully, he obliged.
1) How did you get into reading comics? What was the first comic you ever owned?
My father used to read me the comic strips from the Sunday Denver Post when I was four years old. I’ve been reading comics ever since. I couldn’t possibly remember my first. I’m pretty sure I Go Pogo entered the house by the time I was six. Kelly was surely my strongest stylistic influence.
2) On your website, it says you dropped out of math in 1972. What’s the story there?
3) You also say that “My crazy hope is that this crazy medium will somehow improve this crazy world.” That describes our work pretty well, too. But you’ve been doing this since the 70s. What made you think comics were a good medium for social change?
4) Your background is in math, but your bibliography covers an incredible diversity of topics from history to chemistry to sex! Did you have co-authors for some of those titles, or did you research it all as you went along?
5) Something that really stood out to me when I was reading the first three volumes of ‘Cartoon History of the Universe’ was how deliberately you avoided falling into a Eurocentric narrative of history. The Islamic world, the Indian subcontinent and China all feature prominently in your account of world history, with attention paid to the Eurasian steppe and sub-Saharan Africa as well.
But in Vol 4 (rebranded by the publisher as Cartoon History of the Modern World, Vol 1) the focus shifts dramatically to Europeans, apart from a good account of Meso-American civilization and some coverage of the Inca. There’s still some coverage, but it isn’t at the level of the previous books. Why was that?
6) I know you’ve just finished a book, and there’s a question about that coming up. But do you have plans for any future ‘Cartoon History’ or ‘Cartoon Guide’ titles, or anything else?
I’m in the middle of The Cartoon Guide to Biology with Dave Wessner, a biology professor at Davidson College (Steph Curry’s alma mater. Go Warriors!). It will surely be the longest of all the science books. I’m also working on my first project explicitly meant for the classroom: a large series of quiz questions for beginning physics.
7) Looking at your website led me to the ‘Commoners’ series, which I read as short comics about the enclosure of different commons by transnational corporations. What led you to produce those?
An old friend and associate, the late Jonathan Rowe, who spent his life in activist writing, put me on to the idea and found some funding to support the strip.
8) Do you still make time to read comics? Have you read anything good lately?
I have the time to do it but little inclination. I mostly read novels, with a little non-fiction on the side. My problem with graphic novels is that they’re quick to read and you rarely want to go back. In this, they’re different from the great comic tradition of work like Pogo, which I re-read until all the pages fell out. I’m proud to say that the Cartoon Histories are books that people return to again and again. I realize this sounds dismissive, and in fact I still read comics. I love Kate Beaton’s Hark! A Vagrant and check in with Randy Monroe’s xkcd pretty often. Of more-or-less recent book-length pieces, my favorite by was Roz Chast’s Can’t We Talk About Something More Pleasant?
9) You’ve got a new book coming out in the winter: “Hypercapitalism?” Can you tell us a little bit about it? What moved you to write it?
Tim Kasser, a psychology professor at Knox College, approached me about doing a book on capitalism and responses to it. I thought, Hm, why not go back to my political roots? The time was right. I especially liked approaching the subject from an unconventional direction: the psychology of money-chasing and material gain and what it does to more humane values and pursuits like community feeling and care for the planet’s future. Tim insisted that we finish the book with a long section on what people are actually doing to address our out-of-whack values, and I’m hoping that the book will stimulate some productive discussion out there in the discussion-sphere.
10) Inevitably, interviewers miss an important question. If there’s a question you wish I’d asked but didn’t, feel free to pose it yourself and answer it here.
The Left was baffled in 2016 to learn that Trump was taking a stance against the Trans-Pacific Partnership, or TPP. As the new administration fires up for trade wars, perhaps it’s time to review what we know about the role of the American state in international trade.
I’m on tour at the moment and am moving like molasses, but I’ve finally gathered myself up from drawing my own comic that takes place in Alberta, to talk about my *favourite* comic that takes place in Alberta. Michael Comeau’s ‘Hellberta’ has been described elsewhere on the internet as “one of the most meaningful and interesting” variations of a Wolverine comic, and I must agree. It explores the Canadian home of one of comic fandom’s most celebrated characters, against a background that is at once both more realistic and more surreal than your garden-variety Marvel title.
My conversation with Michael is below. For a better run-down on the plot and cultural significance of ‘Hellberta’, I recommend reading the Barbed Comics review linked above. To pick up a copy for yourself, you can do so here.
N: What was your relationship to comics growing up? To X-men and Wolverine in particular?
M: I collected the “Uncanny X-men” from the Mutant Massacre story arc to when Jim Lee branch off to the merely “X-men” title approximately 1986 to 1991. Wolverine emerged as an intriguing character for me and many others. The Chris Claremont, Frank Miller mini series is the quintessential statement on the character. I bought an old “Inferno” issue of Uncanny X-men in Drumheller Alberta and began drawing Wolverine. I didn’t pay attention to super hero comics for around a decade and was mildly annoyed to find out they filled out Wolverine’s back story to be that his name was no longer Logan but James Howlet and he was originally British. I can usually recognize when a writer can’t grasp the Canadian hoser Logan archetype so it poses the question what would I do with the character. The reclamation of Wolverine opened up notions of Canadian identity like collaging the archetypes of Neil Young and Logan.
I often find myself fantasizing about the ability of the supernatural (and by extension, superheroes) solving the world’s social and political problems, beyond what I would see in your standard comic book. So I’ve found that Hellberta has been really satisfying for me and other activist folks I’ve shown it to. Would you describe Hellberta as a kind of political revenge porn, like Inglorious Bestards is to nazism or Django Unchained to slavery and racism?
I am a straight/cis/white man from Ontario who learned about Albertan activist culture among the oil sands boom while living and traveling with queer and trans people from Calgary. I was unsure how to depict the queer flight from Calgary or the environmental impact of the tar sands so I took a popular myth from the area and supplanted it onto the situation. What would Wolverine do? Superheroes are extensions and exaggerations of our hopes and fears I don’t really see them as rising above anything. I’d rather see them struggle with our same mundane problems in spite them being so exceptional.
I would hate it if someone compared anything I’d done to a Tarantino film, so in your own words – what were you going for with Hellberta? What would you say were your influences or sources of inspiration?
A: Initially it was a cahier de voyage with rough drawings that were somewhat related to our adventures on the road. Then I included the Wolverine vs. the tar sands as a way to learn how to make a comic. It had direct X-men references like how Wolverine would “hunt” deer by creeping up and touching them or the Phoenix as an arbitrary global catastrophe and an Osamu Tezuka style time lapse of total destruction to gradual renewal. The photo comic section was based on the relationships Logan has with young women. He is a good archetype for intergenerational friendships with women. The “Sackville Slapper” section is more about trajectories across provinces. It is inspired by Donald Shebib’s “Going Down The Road” movie and the SCTV spoof of it. Both of my parents are from New Brunswick and i wanted to reference the east coast. The idea was Logan as Popeye and Puck as Wimpy in an east coast Tijuana Bibles style book which is a paradigm shift away from the photo comic.
There’s a lot of Christian iconography in this book that can’t go unnoticed. Harper and his harlots fly around on a cross, but it is Wolverine who is martyred and rises again. How did you decide to incorporate this imagery?
Christianity is a conquering ideology used in colonization. It severs a localized spiritual connection to the land. I often think of what therapists call the “reversal of desire” regarding someone feeling repressed and ostracized by images of Christ and finding comfort in Satan etc. Like a metalhead teenager. In processing my own catholic repression I enjoyed drawing from medieval christian imagery. Wolverine is a classic christ figure. Sacrificing himself to be resurrected through his homo-superiority ie. healing factor. He regularly gets crucified onto X’s in comics. The Right Wing wields notions of God as a weapon and I wanted to counter that with what is essentially the same human impulse to create heroes/gods but from a far more transparent place as pop culture.
One question for the printing nerds: take us through the printing process of this book, because the dual tone is enough to make your brain want to explode. It kind of feels like a throw-back to those cheap 3D graphics with the red & blue ink that you could dig out of the bottom of a cereal box. How did you decide on this technique?
I’ve created and printed many 2 colour screen printed posters. The first issue was printed on Jesjit Gill of Colour Code Printing’s very first risograph machine which only printed one colour at a time so the registration had to be very loose. I was doing the dot tone with a photocopier. Copying over top the lines or turning the breakdown into a negative, copying over a negative dot tone and reversing back to positive and then copy over top the line work. I am fascinated by the timbre of an image and use of tone. It is constantly evolving through out my work.
Do you see yourself making anything in this vein again?
There is an Alpha Flight story in my head that has haunted me for years. I have done my own riff on Son of Satan but now for the most part I am working on original stories with only some sketchbook strips that might be bootleg. Lately when I don’t know what to draw I do without reference Superman, Wonder Woman and Batman. No matter how crud the drawing is you still project the characters onto them. So naturally I have thought of dumb, petty dialogue for them to exchange.
Since this comic was created, pipeline projects (and their messes) continue to dot the North American landscape.We’re also entering a “Trump era”, which shares a fair bit of common ground with the Harper Government. Do you think Wolverine is an important hero to have in an age like this?
Heroes are as important as we make them. Each situation is gazed at through the lens of the hero prism. Be it Wolverine, Jesus, Tupac or Joni Mitchell. Logan is post-human, a homo-superior, so he points to the future but is from the far past.