Today brings a new episode of Comic Book Decalogue, in which Greg Hunter talks to Anna Bongiovanni about Manic Pixie Nightmare Girls!, Bread and Wine, Kiki Smith, and so much more.
Meanwhile, elsewhere:
—Interviews & Profiles. Alex Dueben talks to Gina Wynbrandt.
I try to present the worst, most unlikeable version of myself. I know I'm not a total garbage human, but I don't need to prove what I good person I am with my comics. I'd rather people laugh at me and think I'm funny. Also, the fact that readers like this awful version of myself is somewhat validating.
The latest guest on the Virtual Memories podcast is M.K. Brown.
—Reviews & Commentary. Tom Spurgeon reviews Josh Simmons's Jessica Farm.
I'm not sure I wanted to review Josh Simmons' amiable, one-page-a-month horror fantasy as much as I simply wanted to make the joke, "S. Clay Wilson's Boyhood." Now that I've indulged myself, I'm a bit stuck for something meaningful to say. Deeper meaning is several years off with this project, whose next volume is due in 2024. We may have elected a celebrity genital mold to the office of president by the time Simmons wraps this sucker up. I have as much chance of finishing this series as I do D'Arc Tangent.
—Swipe File. John Adcock has posted an example of very early Yellow Kid swiping.
—Crowdfunding. Mike Dawson has started a Kickstarter to fund a new Sad-Boy Comix zine.
It's the alternative comics genre everybody loves to hate: sad-sack male autobiographical cartoons. Sad-Boy is the star of this 'zine, alone in his room with his artistic principles and his pen and paper. And his action figures. And his VHS tapes. And his copies of Yummy Fur and Palookaville. The best advice for writers has always been, "write what you know", and this issue delivers. Loneliness! Why don't girls like "Nice Guys"? Cross-hatching!
And this is the final week for the 2dcloud fundraiser, which is getting close to its goal but not quite there yet.
2dcloud is a small but ambitious publisher focused on authors and works by cartoonists in the altcomics scene. Our basic operations are funded via our Collections — where we sell groups of books together at a discount. Our very survival is contingent upon the success of crowdfunder presales like this one.
