Canadian Publisher Ad Astra Comix Launches Original Graphic Novel “The Beast” Exploring Alberta’s Oil Sands & Corporate Advertising
Ad Astra Comix is pleased to announce the release of ‘The Beast: Making a Living on a Dying Planet’, its fifth publication and first original title. Produced in partnership with Dr. Patrick McCurdy at the University of Ottawa, ‘The Beast’ explores the way advertising shapes our perceptions of the Alberta oil sands, the climate and the Canadian economy.
From environmentalists to oil sands workers, this book has something for everyone to chew on. Driven by economic uncertainty to work in Alberta, protagonists Callum and Mary struggle with doing good while making a living. While Mary flourishes doing oil sands advertising, Callum is dying of the exposure he’s paid in. Their crossed paths to success push them into conflict with each other and ultimately with themselves. Along the way, the book explores the advertising cliches that define oil sands discourse in Canada, from ‘Fort MacMurray is Mordor’ to ‘Diluted bitumen is good for the planet, actually.”
‘The Beast’ is a 112 page black and white graphic novel with six full colour ads that satirize real images produced by environmental NGOs, energy companies and grassroots oil sands supporters – yes, they’re real! Written by Hugh Goldring and illustrated by Nicole Marie Burton, ‘The Beast’ was released in February, 2018 and will launch on Earth Day – April 22nd, 2018.
‘The Beast’ is available through Ad Astra Comix’s online store, on Amazon and through AK Press in the US. Review copies available upon request.
MEDIA CONTACT: Please send correspondence to adastracomix at gmail dot com, addressed to either
Ad Astra Comix is pleased to announce that our crowdfunder for a classic work of Canadian comics journalism is now live. “EXTRACTION! Comix Reportage” is an anthology of journalistic comics about the damage caused by different sectors the Canadian mining industry around the world and within the nation state’s own borders. Using research, on-the-ground journalism and original comic art, the work features stories about the extraction of uranium, oil, aluminum and gold and their devastating impact on communities and the environment.
The human and ecological cost of this industry is too often buried in the fine print of annual reports. ‘EXTRACTION!’ can help stories from India, Guatemala, Alberta and the Northwest Territories reach Canadians – the people best positioned to challenge these companies.
‘EXTRACTION!’ touches on a number of issues of interest to our readers including colonialism, indigenous rights, ecological devastation and corporate malfeasance. It also features work by a number of contributors who have gone on to do exciting things, including journalist DawnPaley and artist Jeff Lemire.
Ad Astra Comix is an independent Ottawa-based comics publisher. We believe in the power of comics to share the stories of regular people and speak truth to power. We have no investors, stockholders or friends in high places – just an enthusiasm for comics and social justice.
Organizations, individuals and local book retailers are encouraged to participate in the crowdfunder. Funding rewards range from a copy of the book before it’s available in stores, to custom-made comics about the mining issue of your choice, to a lump of coal delivered to the Canadian Government, on your behalf.
‘EXTRACTION!’ has already been published once and has sold the entirety of its print run. By republishing it, we hope to share these stories and help Canadians understand the high cost of cheap commodities. By contributing to the project or simply sharing it with people you think may be interested, you can help us reach that goal.
If you’re interested in contributing to the publication of ‘EXTRACTION!’, or want to know more about the project, you can check out our crowdfunding campaign. For information about Ad Astra Comix, including other titles we carry, workshops we offer and critical coverage of political comics, check out the rest of this website. To get in touch, please e-mail firstname.lastname@example.org. You can also follow us on Twitter @AdAstraComics or like our page on Facebook.
Ad Astra Comix is pleased to announce that “EXTRACTION! Comix Reportage” 2nd edition is back from the printers! With a thoughtful combination of research, on-the-ground journalism and original comic art, ‘Extraction’ features stories from major industries–uranium, oil, aluminum and gold–and their devastating impact on communities and the environment in Canada, India, and Guatemala.
The human and ecological cost of this industry is too often buried in the fine print of annual reports. “EXTRACTION!” can help these stories reach Canadians – the people best positioned to challenge these companies.
In May 2016, we sold pre-orders of “EXTRACTION!” through a 40-day crowdfunder. Organizations, individuals and local book retailers were encouraged to participate. We also offered special “perks”, like sending the Ministry of the Environment a lump of coal for the poor record on holding extraction projects to account, as well as custom-made comics about mining projects.
Ad Astra Comix is an independent Toronto-based comics publisher. We believe in the power of comics to share the stories of regular people and speak truth to power. We have no investors, stockholders or friends in high places – just an enthusiasm for comics and social justice.
Peter Kuper’s new graphic novel, ‘Ruins’, is a breakthrough, even though this veteran cartoonist has been publishing books since 1980, producing more titles than I can count.
Having known Peter since first grade, it could be argued that I am not objective enough to write a review of anything he produces. But I have never believed that art has much to do with objectivity. Rather, art is about the insights we gain through subjective experience. So here is what I have learned through knowing Peter Kuper that I think is relevant to a discussion of this book.
Peter Kuper grew up in a very unusual 1970’s suburban household. His mom, Ginger Kuper, was a very artsy lady. She had a desk job at the Cleveland Orchestra and was an amateur potter. The house was full of clay sculpture along with Native American textiles, block prints, plants and nature photographs. One of Peter’s uncles was an illustrator and his work decorated the walls. Another uncle was a Broadway actor. His older sisters were a dancer and a photographer. The family had a subscription to the New Yorker.
Peter’s father was a scientist, but not the kind who is lost in abstract thought. Alan Kuper (known as ‘Buzz’) liked to take walks in the woods. The family went on regular camping trips. Buzz had a subscription to National Geographic and would eventually become president of the local Sierra club. Alan Kuper was also outspoken in opposition to the Vietnam War, took his kids to peace demonstrations, allowed his son to become the first boy I knew to grow his hair long. My sister and I, along with most of our schoolmates, envied the Kuper kids for having “such nice parents”.
Peter picked up his mother’s love of art, but also his father’s love of nature. He had a butterfly collection long before he had a comic book collection and dreamed of being an entomologist before he decided to become an illustrator. From his family he gained a passion for traveling to exotic places that would continue for the rest of his life.
This background is evident in spades in Peter’s new book RUINS. The inside cover is decorated with a pattern of insects, delicately rendered. The main character is an entomologist. Most of the action takes place in the scenic landscape of Oaxaca Mexico. Many pages are dedicated to the migration and life cycle of the monarch butterfly.
It is the story of two Americans searching for their creativity in Oaxaca who run smack into the historic teachers strike of 2007 and the bloody repression that followed. The lead character is an out-of-work entomological illustrator who travels to Mexico in hope that he will start painting again. His wife wants to finish her novel and conceive a child. They meet a disillusioned photojournalist who is drinking himself to death because of things he saw in El Salvador. I won’t spoil the ending, but those who have followed events in Oaxaca can guess what happens.
But what really makes this book stand out is not what it shows but HOW it shows it. The full color drawings are lush and complex, with a lot of deep space. Both the natural beauty and the local culture are lovingly detailed. Peter knows just what the eye wants to see and he delivers, page after page.
Some will find fault that the book does not go into the political situation in Mexico that deeply. They might even accuse Kuper of exoticizing indigenous Mexicans. But Peter never pretends to speak for the locals or to be an expert on their issues. Kuper does not try to go beyond the subjective point of view of his tourist protagonists. I think this is a good and honest decision.
The mission of our generation of cartoonists has been to elevate the comic book medium; to take this “children’s toy” and make art with it. That’s a complicated project because art is a little word that covers a vast territory. It is not only Edvard Munch and Diamanda Galas, but Norman Rockwell, Paul Gaugin, Peter Max and the Beatles. There is more than one type of art. ‘Ruins’ is not an austere modernist exploration of the medium tied to important historic events like Art Spiegelman’s ‘Maus’. It is not an introspective examination of the drudgery of everyday life, like the work of Harvey Pekar, nor is it hard-hitting on-the-ground comics journalism like Joe Sacco’s.
Peter has tried on all of those hats but in ‘Ruins’, he speaks with a voice that is uniquely his own. ‘Ruins’ tells us that nature is endangered but it is also beautiful, that indigenous people are oppressed but their culture is beautiful, that creativity is hard to achieve but its results are beautiful: that life itself is short but also beautiful. Have I said the word beautiful enough times? THIS BOOK IS FUCKING BEAUTIFUL!
It is an affirmation of life in the face of death. It will warm you up in a cold day. ‘Ruins’ is anything but. Buzz and Ginger would be proud of Peter, and so am I.
Seth Tobocman is a radical comic book artist who has been living in Manhattan’s Lower East Side since 1978. Tobocman is best known for his creation of the political comic book anthology World War 3 Illustrated, which he started in 1979 with fellow artist Peter Kuper. He has also been an influential propagandist for the squatting, anti-globalization, and anti-war movements in the United States. We’re very pleased to be working with Seth, and to share his experience and knowledge with Ad Astra readers. -NMB
Why does one read a book? One reason is to inform oneself.
Why does one create a work of art? The earliest art referred to hunting, which was the means through which we survived.
Climate change is a matter of survival about which we are very poorly informed. So it’s natural that there are comics about global warming. Here are four good ones.
Author/Illustrator: James Romberger Published: Uncivilized Books (2012) Pages: 40 Dimensions: 8″ x 11″
If you want to know exactly what New York City will look like when its permanently flooded up to the second floor, then James Romberger is probably the guy to show you. James is one of the best draftsmen in comics. He can draw anything, from any angle, without reference. He has the kind of skill that we are all jealous of. His pastel cityscapes are in the collection of the Metropolitan Museum of Art. Yeah, you heard that right, in the Met with Rubens and Rembrandt.
James wrote POST YORK in collaboration with his son Crosby who is a rap performer. A disk of Crosby’s music is included in the package. It is the story of two teenagers, a boy and a girl, living in the ruins of Manhattan who encounter each other by chance. It is a concept reminiscent of the movie PLANET OF THE APES and the comic: KAMANDI THE LAST BOY ON EARTH, by one of James’ big influences, Jack Kirby. Romberger also uses a plot device from the experimental films of the 1960s: The story has two endings. The encounter can turn out to be fortuitous or fatal. It is, in the end, a pretty simple story, but Romberger has great compassion for his characters, whose vulnerability is made clear.
There is not much information or analysis of global warming here. But I’ll take heart without analysis over analysis without heart any day of the week. And POST YORK has heart!
You understand science. Or more accurately, you could understand science. Although there’s no denying it can be difficult, I’ve too many times heard people exclaim that while they love science, they simply can’t wrap their heads around it. Instead, a love of science expresses itself as a fetish, with obscure facts, like how often a fly poops, being touted around as worthwhile knowledge.
When it comes to the biggest environmental issue of all time for the human species, climate change, you see alarming headlines that mix alarming (and sometimes misleading) facts without actually informing you on how it’s happening, and how your behaviour influences it. This is the gap Climate Changed by Philippe Squarzoniv attempts to fill.
Title: Climate Changed:A Personal Journey through the Science Author: Philippe Squarzoni Illustrator: Philippe Squarzoni Published: 2014 (Abrams Comic Arts) Pages: 480 Dimensions: 16.5 x 3.2 x 23.5 cm Get Your Copy: In the Online Shop
Squarzoni’s book is as thick as a textbook, though far less dense and plodding. Its pages mix images of the author’s personal life with interviews and charts that make up much of the evidence for climate change. Though not as slick as a high budget movie, it walks the problem forward from the beginning, and then thoroughly examines the issue in a level-headed way.
Squarzoni found himself in a position many others share, a believer in climate change who only knew it was something to worry about. His journey through the research walks each reader through not only the changes we might be seeing, but how they’re happening. The way his life is juxtaposed with the research brings the science home, making it a journey that doesn’t just make you reflect on scary factoids, but genuinely try to understand them in the context of your own life.
It may be that being presented in a comic makes the subject far less intimidating, yet still gives you the chance to dwell on each page. Instead of a movie or TV documentary, you can linger on each page, rereading points that flow so easily off the tongue of an expert, better acquainting yourself with a trickier point. You can also take time to understand a graph or see the small changes in an image of landscape. You likely won’t finish it in one sitting, but it doesn’t take too much effort to keep it out of your shameful pile of unfinished books.
As excellent as it is, the book does have a few flaws. Some of the research, particularly the section on nuclear power, was a bit thin. For instance, a statement on nuclear waste taking decades to decompose with no solution to that in sight, when it’s been reduced to years, is misleading. Although small errors like that one inadvertently demonstrate one of the other great joys in science: being sceptical. If there’s one more thing a reader might take away from this book, it’s how to look at science not as something to be passively received, but something to actively engage with and attempt to understand personally.
By looking at the issue from so many angles, a reader can begin to grasp just what climate change means both scientifically, and in their own life. It makes science something that isn’t a fun curiosity, but rather a pursuit that belongs to all of us. One of the great limitations of science is how too easily people assume it’s a pursuit for the intellectual elites. Though scientists sometimes fail in communicating their ideas, it’s time people started making greater efforts in understanding it. It’s a knowledge base that belongs to everyone, and books like Climate Changed help bring it to us, if you make the effort in picking it up first.
It is a simple thing for the analytical mind to pry open the panel of oppression and see the whizzing cogs and grumbling gears of race, class and gender working mechanically to produce social relations. How neatly our familiar intellectual frameworks structure our understanding of human life! There is a reassuring consistency with which these lenses are employed, reducing the world’s complexities to a comfortable, mechanical pattern. Useful as it is, the cold-blooded methodology that sees the operation of capitalism, patriarchy and racism in all things fails to capture the essential ambiguity of our humanity.
It is this ambiguity of the human experience that Kate Beaton has captured in her recent series, Ducks. Threaded beautifully into starkly political themes of environmental destruction, corporate recklessness and workplace safety are more explicitly human experiences: isolation, camaraderie and the moral complexity of survival in one of the world’s deepest wounds. The essential humanity of surviving in such a profoundly dehumanizing environment defines this painfully nuanced piece.
Humanity is a dangerous concept, but an important one. It is too often emphasized by exclusion, used to demonize some people to serve the ends of others. Still, it is too important an idea to abandon. When the easy tautologies of political analysis fail us, it is the idea of our shared humanity that helps to explain what makes people hang together. For students of struggle, insights into this frustratingly elusive element of history are precious.
Like generations of easterners, Kate Beaton left her home town of Mabou, Nova Scotia to make a living in the scabrous sprawl of the tar sands. With few economic prospects at home and the promise of good pay, thousands have followed its siren call into the maw of destruction. ‘Ducks’ recounts Beaton’s experiences working on one of these sites, centred around the deaths of hundreds of ducks in a tailings pond near Fort MacMurray, Alberta.
There are no easy truths framed by these panels. An action by Greenepeace that clogs a tailing pipe endangers the lives of workers on site. A sex worker finds herself frightened and cornered in a work site bathroom. Kate Beaton discovers that working in the tar sands comes with a persistent skin rash. Her equipment is covered in dirt, even indoors. Workers die on the job.
The comic is shot through with death: the ducks, a man falling from a construction crane, others killed in an accident on the highway. In the last case, Beaton hears the dead men were Cape Bretoners and seeks out another islander to see if she knew them. Even halfway across the country, the threat to home is real.
Beaton exposes a vein of callous indifference in her subjects. Men grumble about traffic on the highway on the day of the accident. Workers joke through an announcement on the death of the crane operator. The corporate response to the duck deaths is a scarecrow and some noisemakers. But for every example of inhuman indifference there is a counterpoint of dignity or sorrow.
There is the memory of home, too, in gentle jibes about Newfie Roundsteaks – a teasing nickname for baloney. A man shares photos of his children at home. The lethal crash is framed in terms of the phone call to the families. When Beaton confesses she hates it there, her coworker response captures the essential truth of the situation, and the strip. No one wants to be in the tar sands, watching the planet die. But they don’t have much of a choice.
Kate Beaton is not always a political artist – she is not even always serious. But in framing a part of her own experience, she has given expression to an often difficult truth. We survive in the little acts of kindness, in shared experiences and frustrations that complicate our day. Though we may grow numb or compromised, at the end of it all we are bound together by our common humanity and our ability to find beauty – and absurdity – in even the most trying situations. That is a political lesson than captures an intangible truth outside the reach of cold analysis. How we apply the lesson is up to us.