Written by Jonathan Baylis
Art by David Beyer, Jr., Thomas Boatwright, Fred Hembeck, Eric Kim, T.J. Kirsch, Tim Ogline, Paul Salvi, Noah Van Sciver, and Paul Westover
If you've read any of the previous issues of Jonathan Baylis' minicomics series, you know what to expect with this one: autobiographical stories illustrated in a range of styles, possibly adhering to a theme of some sort. The theme for this issue is "movies", sort of, along with various somewhat-tangentially-related anecdotes. Baylis alternates between talking about his history and discussing movies and directors that he likes, touching on subjects like the New York Mets, origami, his time as a Marvel Comics intern, Jewish comedians, King Kong, Robert Redford, Sam Fuller, Jim Jarmusch, Dino DeLaurentiis, and OCD M&M eating, always lending a personal touch, as if he's having a conversation with the reader, a sense enhanced by his on-panel appearances. It certainly helps to have a number of talented artistic collaborators; regular series artists T.J. Kirsch and Thomas Boatwright bring a nice, cartoony familiarity to their particular subjects (candy, Star Trek, and Redford for the former, Kong, Jarmusch, and Alfred Hitchcock for the latter), while Fred Hembeck brings the Marvel Bullpen to life wonderfully, Noah Van Sciver gives New York sports fandom a nervous, jittery energy, and Eric Kim lends placid romanticism to the subject of origami. It's really nice work all around, another installment of good autobiographical comics in the Harvey Pekar mold. Baylis can probably keep doing this for quite a while to come, and he definitely should.
More More Mores
By Joey Jacks
Self-published; buy it from Quimby's
I always hate to get into a pointless "is this a comic or not" argument (even with myself), but it's hard not to at least address the issue with this minicomic/zine, which consists entirely of abstract drawings like the one on the cover, without any narrative linking them other than similarity in style. But whether or not it's worthy of the label of "sequential art", it's still pretty fascinating, all sorts of weird shapes smashed together to make whatever the reader/viewer wants to interpret it as. Are these topographical maps? Alien landscapes? Circuit diagrams? Inscrutable flowcharts? Who knows? The level of detail, which seems random, yet calculated, forming different configurations on every page, makes for page after page of examination, even if you have no idea what you're really looking for/at. There's little like it, which makes Joey Jacks a minicomicker to watch; I'd love to see what else he can do.
Coffee and Beer Money
By Becky Hawkins
Becky Hawkins seems to be operating more in the stereotypical minicomics mold than Joey Jacks, filling her pages with autobiographical tales and self-analysis, in an appealing, if not exactly groundbreaking, manner. This issue of her "French Toast Comix" series sees her enjoying karaoke with friends, having adventures while working on a cruise ship, and lamenting her interpersonal skills and relationship difficulties. It's engaging stuff, especially when she relates an art-based epiphany or considers her unflattering depiction of herself. The shifts in artistic style are also interesting, some pages drawn simplistically and sketchily, others using rougher linework, some experimenting with heavy shadows, some filling in nice background details; she seems to still be trying out different instruments and techniques from strip to strip, sometimes just jotting down a gag or observation, other times putting together multi-page anecdotes, working toward a consistent, natural personal style. I'll be sure to keep an eye out for more comics from her; it should be interesting to see how she develops.
By Nick Edwards
Published by Blank Slate Books
Blank Slate's Chalk Marks series seems to be a less-artsy answer to Fantagraphics' Ignatz line, taking the form of large-size pamphlets with high production values, but containing more populist types of stories, in the sci-fi, fantasy, kids' adventure, character-based drama, and autobio genres. This particular entry by Nick Edwards is pretty excellent, a great dose of wacky cartooniness that fills pages with detailed whimsy and beautiful designs. It follows a boy named Nigel and his talking dinosaur Brian on an archaeological adventure involving aliens, communicable diseases, and evil lizard-men, and it's funny, exciting, and adventurous in its cool use of the comics page, with the tails of word balloons and discriptive insets snaking expressively toward their objects, panel layouts taking unique forms like a tunnel winding across a two-page spread, and trippy inter-dimensional weirdscapes that seem like a cross between Steve Ditko and Brandon Graham. I wasn't previously familiar with Edwards, but after this, I'll be on board for whatever I can find by him, whether it's more adventures in this world (which is primed for further exploration, featuring likable leads, an arch-villain, a Basil Exposition-like dispenser of missions, multiple layers of secret civilizations and dimensions, and a sense of anything-can-happen fun) or something completely new. I hope I don't have to wait too long.
By Lewis Trondheim
Published by Papercutz
Lewis Trondheim is kind of a sure thing when it comes to making entertaining kids' comics, and this is no exception. This one is the second in a series (although, oddly, it is being published in English before the first book, perhaps in order to be out by the titular holiday) starring what appears to be super-deformed versions of the bird-creatures Trondheim uses to depict himself and his family in his diary comics, along with a four-armed, three-legged, ten-mouthed monster that sprang to life from the children's drawings and became a sort of family pet. This one sees them take a ski vacation, on which they end up meeting Santa and getting caught in the middle of a chase between him and another, more ferocious monster. It's funny and lively, told entirely through images accompanied by past-tense narration by the children, who relate all the details with a mixture of childlike wonder and incomprehension. Trondheim captures that kid's-eye-view of the action really well, the kids commenting on everything as if it's fairly normal, treating the crazy events as only slightly outside the norm, since most everything is new and exciting to children. The actions of the parents is especially well-depicted through this filter, with their irritation, exasperation, exhaustion, and fear conveyed mostly through captioned descriptions like "Dad says that to save Santa we'd risk getting ripped to pieces and smashed by the monster and that it might be dangerous. We say, 'Oh...okay.' So everyone gets back in the car to continue the trip". It's all wacky, lively, insightful fun, another entry in the growing library of good Trondheim comics for all ages that are available in English. Here's hoping for many more to come.