• Comics Club Camp - This August!

    color_ccc_flyer_version 2Hey Pittsburghers!

    Know some kids who want to make comics?

    Here’s their chance to learn how to co-mix with other kids!

    I’ll be teaching a weeklong camp where we’ll be going through the entire comics process from idea generation to publication. We’ll talk tools, techniques, and how to put all those great ideas together to make some real funny books!

    That’s 6 hours chocabloc with writing, drawing and reading everyday for 5 days.

    Kirby, Schulz, Barks. ** Astro Boy, Tintin, Nancy.**

    We’ll cover all the bases!

    For more information call 773-425-1531 or contact literaryartsboom@gmail.com

    To register, hop on over to http://comicsclubcamp.eventbrite.com/

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  • Occupy Gezi - this is nuts - here are some resources

    I normally don’t post non-comics related things, but this is important.

    A helpful note my American friend shared. Her friend Hannah, who’s currently living in Istanbul wrote this:

    Dear friends from afar, Most of you have probably gotten wind of what’s going on in Turkey due to the explosion of international media coverage of the events of the past few days. For those of you who want to learn more and may not know where to start, I’ve consolidated a list of recommended readings/viewings, which you can find below. It’s so important that the international community stay informed about what’s happening in Turkey so we can find creative and effective ways to demonstrate our solidarity for the protesters here from near and far! In love and solidarity, Hannah

    BACKGROUND INFORMATION: -http://defnesumanblogs.com/2013/06/01/what-is-happenning-in-istanbul/ -http://www.whatishappeninginistanbul.com/?p=124#more-124 -a very basic, helpful timeline with visual aids:http://howcanyousupportturkey.com/pictures-videos/ -http://www.bbc.co.uk/news/world-europe-22749840 -http://www.theatlantic.com/international/archive/2013/05/protests-show-turks-cant-tolerate-erdogan-anymore/276447/

    LIVE UPDATES:

    IMAGES: -Nar Photos is doing an UNBELIEVABLE job of collecting and disseminating images from the demonstrations in Istanbul. -The #occupygezi tumblr is amazing: http://occupygezipics.tumblr.com/

    LONGER, MORE ANALYTICAL PIECES: -http://www.foreignpolicy.com/articles/2013/06/01/here_s_what_you_need_to_know_about_the_clashes_in_turkey?page=0%2C0 -http://www.jadaliyya.com/pages/index/11978/the-right-to-the-city-movement-and-the-turkish-sum -http://muftah.org/why-the-gezi-park-protests-do-not-herald-a-turkish-spring-yet/

    TAKE ACTION: -Put pressure on Turkish media, which has been doing an AWFUL job of covering the recent events, by petitioning CNN International to pull it’s name franchise from CNN Turk: http://www.change.org/petitions/cnn-international-must-pull-its-name-franchise-from-cnn-turk#share -For the amerikanski folks: I signed this White House petition…don’t really know how much it’ll help but it doesn’t hurt to try:https://petitions.whitehouse.gov/petition/condemn-actions-taken-against-peaceful-protesters-istanbul-turkey/zDGtGCDZ -Keep your eyes peeled for other online petitions (there are more) -Call/email the Turkish embassy in your country to tell them how you feel about what’s happening here, how it might affect your decisions to travel to Turkey etc… Contact info here: http://www.mfa.gov.tr/turkish-representations.en.mfa -Reach out to the media: http://howcanyousupportturkey.com/take-action/ -Post articles, images, videos, feelings etc. about what’s happening in Turkey to your facebook walls etc.

    FAŞİZME KARŞI OMUZ OMUZA // SHOULDER TO SHOULDER AGAINST FASCIM

    Photos from the Carlboygenius tumblr.

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  • Spoils of the flesh

    Here’s a look at new comic I made.

    Inspired by the work of Warren Craighead, I’m trying loosen into a new way of drawing. Still pretty traditional in terms of figurative drawing, but I feel I’m moving somewhere new, ya know?

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  • Reflecting on TCAF 2013

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    A couple of weeks ago I went to the Toronto Comics Arts Festival.

    I hoped to write a comprehensive post  but, silly little me, I hadn’t realized what a huge happening TCAF was. I knew there was a lot of things going on, but I hadn’t imagined how much goes on at once at the Festival.

    While, I only have a few things to say about this years’ TCAF, the TCAF write ups of veteran convention go-ers,  Tom Spurgeon and Dustin Harbin, are choc-a-bloc with information on the festival.

    Dustin Harbin’s post covers a lot of ground, but a point he touches upon, that I don’t happen to hear mentioned enough in the North American comics community is the payment models for these kinds of events:

    The comics industry seems to run mainly on low or no pay. It can–and obviously _does_–lead to great and valuable work; but overall I think of it as an enormously unhealthy business model longterm, both in the macro sense, from publishers to event organizers to criticism, and the micro sense, in terms of the artistic work being done and the space for artists to be paid enough to create. Comics is unique in that this volunteer spirit seems to be present both at the top and bottom of the spectrum, but I think it would be stronger if there were a visible model of payment and value at work. There will always be room for those of us with the passion and energy to donate spare time and skillsets to projects we believe in, whether paid or not. But for the health of the larger industry, I think volunteerism should be the exception, not the rule. - Harbin

    I feel we’re at a really interesting point in time in terms of comics shows and zine-fairs. Young folks seem more engaged than ever in terms of exhibiting and there seem to be many more small, local shows with low barriers of entry for exhibitors. Besides that, it seems that veteran creators are getting their due on panels and as special guests to many of these shows cough Hernandez Brothers cough.

    What with the unfortunate departure BCGF from the expo ecosystem, there’s a real absence that should be filled. Hopefully that absence is an impetus for folks to come out of the woodwork to try work out new models for the ways shows work. Above all, there is a real possibility, that with some real thinking, we’ll see models where volunteerism is the exception.

    Careful long-term thought from the outset might just allow all the energy and excitement that has developed over the past 4 years in the American comics industry to transform into a reliable and sustainable network of shows and conferences.

    I’m excited to see how the Chicago Alternative Comics Expo and Autoptic turn out this summer. Here’s hoping that in the next year or two folks come out of the woodwork and they break some new ground…

    Back to TCAF!

    Among the comics that I read during the festival, the most noteworthy for me were the works of Finnish cartoonist, Maria Björklund and Montrealaise cartoonist Antonin Buisson.

    Maria Björklund is a cartoonist and animator who resides in Helsinki. I came across her work when I discovered Planeetta Z(Planet Z) at the Finnish Comics Society’s table. Her Planet Z comics are published in several papers, highlights of which have been gathered in her book. 

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    Björklund’s comics explore the wild and wacky ecology of Planet Z through expertly crafted 4 panel gags. Björklund’s color choices show off juicy and vibrant characters.  The comics depict a cheery survival of the fittest. The comics are filled with many playful instances of recursion and of the cyclic nature of food chains.

    A bit like a nature documentary in four panels the strip is a mix of cuteness, mystery and cruelty. The comic has no main characters, but some of the animals do have recurring roles in the strips.857756_540585139305200_570620661_o

    The moment I picked up the book I knew it was something special.

    Bjorklund was present as a representative of the Finnish Comics Society. It was great to experience such a wonderfully curated selection of new comics from Finland firsthand.

    The Finnish Comics Society is an association of makers, readers, collectors and researchers that presents comics both to the wider public as well as to the cultural establishment in Finland.

    They put on the annual Helsinki Comics Festival, the largest comics event in Northern Europe. The society also maintains Comics Center Helsinki, an open cultural center for comics and related art, publishes anthologies and albums featuring Finnish, Scandinavian and Baltic artists and organizes several international projects every year.

    It was great to see a large Finnish contingent in Toronto.

    sacapatatesThe moment I first read Antonin Buisson’s comics was pure joy.

    Overwhelmed by the hundreds of new books that weekend, his simple black and white comics caught my eye for their subtlety. They were soothing in their silent absurdity. I picked up a copy of his 44 page collection of silent, unedited absurd short stories, Garder le Rhythme (Stay on beat).

    I’ve been reading it before bed every night.

    Regain All in all, I had a wonderful time, floating from tables to panels to friends. I hope to do it again next year!

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  • Coming up for Air

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    I’m now in Pittsburgh, coming up for air, finally able to look back to the wacky world of comics I’ve been knee-deep in for the past couple of months.

    It’s been quite a spring. For now, the dailies are on hiatus, I’m teaching kids how to hone their comics making skills, working on some large screen prints, doodling daily and trying to wrangle some longer form stories.

    As you may have heard, I’ve been editing a new comics magazine called Dog City with two friends Luke Healy and Simon Reinhardt. The first issue is out!

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    It feels like we’re on the right track with Dog City, seeing as how some folks have even liked it enough to write about the first issue. Steve Bissette gave his detailed impressions on his blog and Jose Luis Olivares even named it his “book of convention” in his write-up of the Maine Comic Arts Festival just a few weeks ago!

    Here’s a look at what you can find in this first issue.

    Dog-City

    This self-published magazine aims to curate a collection of minicomics of the highest calibre. We’re really excited by the work of all our contributors and we hope Dog City will help make their work more widely available to readers around the world.

    This first issue contains the following stories:

    Pigs Incorporated by Iris YanLanding by Ben EvansLuke HealyJosh Lees and Iris YanAll Set by Simon ReinhardtVisits by Luke HealyHelene by Me!, Dead Bulb _by Mathew New, _Starship Booby-Prize by Eleri Mai Harris and Restricted by Ben Gowen.

    Though we’re starting out small, we have high hopes for Dog City.

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    The first finished box.

    Dog City has been a great project for honing my screen printing skills. With as many screen-printed objects as we included in the collection, it seemed inevitable that I’d become a proficient printer.

    The decision to hand craft so many of these covers stems from the printing culture at the Center for Cartoon Studies. Self-publishing, both physically and digitally is a huge part of the ethos at CCS. You make a comic, you print a comic.

    Instructors like Robyn Chapman and Jon Chad  and graduates like Sean Knickerbocker provided invaluable support in making this potpourri of books a possibility. Countless thanks goes to them for their advice and support.

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    Working with Simon and Luke has been an invaluable experience given that the three of us are quite different. We think differently, we work differently, we read differently. Despite that, a shared love for quality cartooning and top-notch storytelling trumps these differences.

    We provide great checks and balances to each other while trusting each other editorially. It’s very satisfying work.

    If you’re interested in picking up a copy of Dog City Issue 1, hop on over to our shop!

    Besides Dog City, this Spring saw me spend a lot of time crafting an 80 page full color book of 4 panel comics, but I can tell you about that another day!

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  • Bartkira - Channeling

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    About a month and a half ago, artist James Harvey saw some Akira/Simpsons fan art done by Ryan Humphrey.

    Inspired by the energy of the energy of the combination, Harvey proposed a group project to folks on the internet that was as silly as it was monumental. Harvey proposed they redraw the entire 6 volume, 2160 page Akira saga, transposing it into the Simpsons universe. The Bartkira project was born.

    It’s been really interesting to see the hands of so many creators distort and warp the Akira saga.

    I was assigned pages 276-280 of the second volume of  Akira. Last week I finished my 5 pages.

    Having just returned to Pittsburgh, PA, I haven’t had access to a scanner nor tablet. Despite that, I wanted to create something exciting, that distilled and slightly abstracted the core elements of Otomo and Groening’s respective universes. I also wanted to make the pages a bit garish.

    Here’s what I  worked out. I’d love to hear what you think.

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    If you’re interested in seeing more of the work that people have churned out for the Bartkira project, hop on over to the Bartkira Tumblr page.

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  • Andromeda Quarterly #3 Release Party

    For those of you in or near Pittsburgh, PA next week:

    Come join the Andromeda Quarterly this Thursday, the 23rd from 6pm to 8pm at the Copacetic Comics Co. for an evening of celebrating Pittsburgh’s own Rustbelt Comics Anthology. Click here for more event details.

    The publication is now on Issue 3 and I’ve got a couple of comics in the issue. Come check it out, talk comics and meet some of the contributors in person. They’d love to have you.

    The new issue will be for sale as well as past Quarterly and Monthly issues. If you’re interested in submitting you’ll have a chance to talk to the editors and get advice/feedback on your work.

    I’ll be there. Hope you can make it!

    (Of course, if you can’t make it, you can order a copy online! )

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  • Crinkled Dailies: Week 11

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  • the Drawing Power Report

    This article was co-written with Simon Reinhardt. It originally appeared at Dog City Press. __image

    This past weekend a couple of us from Dog City trekked down from Vermont to Pittsburgh, PA for the Drawing Power conference at the Carnegie Museum of Art.

    The museum setting established a wonderful tone for the conference. It was a breath of fresh air to go to an intimate event with such a clear focus on discussing comics.

    A big thanks is due to Jude Vachon, zine librarian at the Carnegie Library of Pittsburgh. Vachon was the core organizer of this event and responsible for steering it toward such a success.

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    The days events ran from 10 AM until 5 PM. Each panel was a jam packed 45 minutes.

    The first panel of the day was moderated by Bill Boichel, owner of the Copacetic Comics Company. It focused on the idiosyncrasies of the local Pittsburgh comics scene. The panel consisted of Lizzee SolomonAndy ScottPaulette Poullet and Nate Mcdonough.

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    The panelists spoke about their experiences self-publishing and the role that the Pittsburgh community played in their work practices.

    Scott spoke about his anthology, Andromeda and the restructuring of the publication in late 2012 from a monthly to a quarterly format. Solomon spoke about cartooning being at the core of her multi-disciplinary work practices while Nate McDonough retold the beginnings of his_Grixly_ publication.

    McDonough, Solomon and Scott spoke of their times drawing together during the early issues of Andromeda and the competitive one-upmanship that their drawing parties would foster.

    The panel explored the inroads that the four cartoonists had made into self-publishing and the external factors in their lives that had driven them to continue to self-publish in Pittsburgh.

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    Following the Pittsburgh cartoonists panel, French cartoonist, Boulet (Gilles Roussel) , author of the 24-hour comic Darkness took the stage to give a lecture on the evolution of his cartooning practices.

    He spoke about streamlining his creative process and the increased emphasis on improvisation that he had developed in his work. He spoke about working with Joann Sfar and Lewis Trondheim on the series, Dungeon along with the exquisite corpse comic, Chicou Chicou, that he developed with several French cartoonists.

    The aim of Chicou Chicou was to create a fictional “auto-bio” group comics blog. The cartoonists would pass strips back and forth over the internet adding pages until they were complete. Each of the cartoonists involved created a persona and crafted a drawing style that suited their character. Boulet played a small, geeky girl named Ella.

    Besides discussing the subtleties of drawing stories from the perspective of a female character, Boulet talked about the harassment he received online when writing under a female pen-name. He reported receiving unsolicited love letters and invitations on dates and noted that when he got into disputes people would ask “are you on your period or something?”

    At the end of his talk, Boulet spoke succinctly of his influences and of his current project, a 200 page improvised story in which he is neither pencilling nor scripting. He showed several of the 60 pages that he’d  completed and the audience was in awe.

    Freelance writer, illustrator and graphic designer, Joan Reilly then took the stage and talked about her work editing the forthcoming feminist anthology, The Big Feminist But. Joan presented the book’s contents and the genesis of the project.

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    The Big Feminist But arose from Reilly and O’Leary’s attempts to learn why so many of us, women and men, couch discussions around feminism with the phrase “I’m not a feminist, but…” or “I am a feminist, but…”. They decided to embark on the journey of making a comics anthology as the first step in starting a conversation about the issue.

    The result is a promising book that features “graphic musings on life, love, lust and liberation,” by talents such as Jeffrey Brown, Gabrielle Bell, and Lauren Weinstein.

    The book’s list of contributors is especially notable for including a number of couples working together, as well as single men and women. Reilly mentioned that a number of Kickstarter backers expressed their gratitude that men were involved with the book as well– an observation that highlights The Big Feminist But’s drive to create an expansive and inclusive conversation about feminism.

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    Subsequently, John Porcellino,  took the stage to talk about the story of his life of zine-making and distribution. He talked about the story of King Cat,  and the Spit and a Half zine and comix distribution service.

    Porcellino touched on his artistic development and the early years of King Cat (focusing on the first 50 issues, collected in King Cat Classix). Porcellino has created books, comics, and publications since he was 7 or 8, and was creating zines for years before he discovered Factsheet 5 and learned that other people were doing it too.

    He read some highlights from early King Cat issues and talked about his work processes and goals in creating that work. One revelation from this portion of the talk was the influence of Marvel’s monster comics from the 50s and early 60s.

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    While the relationship between these fantastic stories and Porcellino’s chronicles of everyday life might not be immediately apparent, Porcellino emphasized the drab, repetitive nature of the monster stories as well as the alienation of their typical mad scientist protagonists. “As an artist I’m very interested in repetition and boredom,” he said.

    Porcellino also talked about the sales and distribution history of King Cat, which was instructive for the many self-publishers in the audience. Gesturing to the cover of the first issue of King Cat to be sold in stores, Porcellino noted the 35 cent cover price and remarked “in true zine fashion, I probably charged 35 cents because it cost me 36 cents to print.”

    He also talked about his history of working bizarre or menial jobs to support his comics, and pinpointed King Cat issue 42, which he wrote, drew, and edited entirely on company time, as “the point I became a professional cartoonist, because I was being paid to draw comics.”

    Porcellino spoke about his interest in the idea of real life and the ineffable experience of being alive. One thing he mentioned—and we think this is a big part of what makes King Cat so special—is that he tried not just to describe the event of his experience, but to communicate the feeling of that experience. Porcellino characterized the subject matter of his comics as “this weird feeling I had… [of] the underlying mystery in every moment,” a description we think King Cat readers will agree is quite fitting.

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    Caitlin McGurk, librarian at the Billy Ireland Cartoon Library and Museum moderated the following panel on self-publishing. Porcellino remained on stage to join Ramsey Beyer, Rachel Masilamani and Bill Boichel to chat about their experiences self-publishing in the United States.

    Similar to the first panel of the day, the panelists spoke of how they’d found their way to comics and more generally towards self-publishing.

    Masilamani recounted first encountering zines through Christina Kelly’s zine of the month column in [Sassy magazine](http://www.dogcitypress.com/post/48862327903/(http://en.wikipedia.org/wiki/Sassy_(magazine)). She spoke about the experience of receiving the Xeric grant and the consequences that it brought along with it. It allowed for her to get her first comics into the world and to hit the ground running with her first collection of RPM, but from the get go she was on her own.

    The panelists thoughts on the pricing of mini comics were particularly interesting. Not surprisingly, Boichel as a vendor and Porcellino as a distributor had a lot to bring to the discussion of the relationship between self-expression and the commodification of desire. Boichel mentioned that artists sometimes come to him with $20 minicomics, reporting that they sold a lot of copies in New York, but he knows they won’t sell at that price point in Pittsburgh.

    Beyer emphasized the importance she placed on the ethics of the production process and mentioned having worked with 1984 Press in Oakland California.

    Boichel, suggested that aspiring cartoonists always pick someone to write to; a friend, an acquaintance, a stranger, someone.  By thinking of their audience’s interests and their budget, they could be more likely to create works that would move through the world more freely.

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    Dash Shaw followed the self-publishing panel. He began his talk by showing some recent animation work. One of the most striking animations that he played was the music video,Seraph, which he had made in collaboration with Frank Santoro and other artists for Sigur Ros’ valtari film experiment. 

    Shaw took the audience through a brief survey of his cartooning work, starting with his three current publications– the minicomic New Jobs, published by Uncivilized Books, the pamphlet3 New Stories, and the graphic novel New School, both published by Fantagraphics– and working his way backward to the mammoth graphic novel Bottomless Belly Button.

    One through-line of Shaw’s talk was his thoughts regarding line and color. “I could talk about color forever,” he said, and it’s hard not to get excited by his original and distinctive ideas.

    Many of the pages Shaw showed from New School use color in ways that are entirely divorced from traditional comic book coloring. Shaw rarely uses colors  to simply fill out the drawing, preferring instead to use the collision between the color and the line-art to create meaning and emotion, often in oblique and subtle ways.

    This unwillingness to spell things out directly for the reader was evident in Shaw’s discussion of line and drawing as well. He spoke of being inspired by David Mazzucchelli’s idea of the “dumb line,” (which he describes in more detail here) and by trying to push back against the conventions of “good” illustration.

    “So much illustration is about telling people what something is and how to feel about it,” Shaw said, adding that he wanted to make drawings that don’t tell their reader how to feel.

    He also spoke about his fascination with the house styles found, among other places, in manga and Archie comics, speculating about an ideal, impossible Archie style. In Shaw’s conception, even the best Archie artists fall short of this Platonic style, and their own personal style would be the accumulation of their failings at achieving a true Archie drawing.

    All in all, it was a dense, stimulating talk, and we can’t wait to dive into New School and read it with the attention Shaw’s work demands.

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    The final panel of the day, “A Career in Comics” was moderated by Caitlin McGurk and featured Jim RuggEd PiskorFrank Santoro and Dash Shaw.

    The fluidity of the discussion was really satisfying. Without much effort it hopped from discussions of style (and avoiding “style”) to explorations of narrative collapse. Of course, a highlight of the panel was the discussion of the differences between making money around comics and making money in comics.

    Career development and survival were recurring topics, and every member of the panel had a different way of approaching making a living as a cartoonist. The common thread was work ethic and hustle.

    Santoro half-jokingly described himself as “basically a used book dealer at this point.” Rugg spoke about doing design work and also discussed the Flight School fellowship , a professional development program for Pittsburgh artists he recently participated in.

    To see the comics medium getting the attention of an established institution like the Carnegie Library of Pittsburgh and for it to occur at the Carnegie Museum was inspiring. Here’s hoping for more small events around the country with this level of intimacy and intensity of dialogue.

    all in all, you could say…

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  • Pay Attention to This: Gabby Schulz

    Originally appeared on dogcitypress.comimage

    “I guess I’m still really attracted to that autobiographical stuff — dirty secrets, gossip, voyeurism; getting a peek underneath the veneer of someone’s public persona to the really awful and disarming and pure, lovely, human mess that convention and sanity can’t expose. All the things that civilization is designed to snuff out, diminish or regulate, basically — the urges, vulnerabilities, fears, and dreams that hinder the smooth gear work of hierarchy, convenience, and tepid industrial business-as-usual.” - [Schulz in a 2007 interview with Steve Bissette](http://srbissette.blogspot.com/2007_05_25_archive.html)

    Gabby Schulz/(pen name: Ken Dahl) is a gifted story teller whose cartooning work is jarringly incisive. It’s a real shame that not that many people know his work.

    Here’s your chance to learn more.

    Born in Honolulu, Schulz has spent most of his adult life in transit around the continental United States. _ _

    Schulz’s early work consisted of self-published mini-comics that landed him work with independent newspapers, like Honolulu Weekly. While working for these publications, he honed a nimble political cartooning vocabulary. image

    However, as his politics moved further and further left of liberal, he found it harder to draw cartoons these publications.

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    In his own words

    “ It’s easy to draw a comic that convinces your average fence-sitter that **George W. Bush** is a monster. It’s a bit harder to convince them, in the same amount of space, that the entire two-party system of politics in the US is fatally flawed and has long been rotted out from the inside; that lobbyists and globalization have made our quaint notions of democracy irrelevant (if indeed they ever were relevant); that most of what you read in the paper is just a series of red herrings designed to throw people off the scent of any issue that actually affects their lives (or the lives of others — and God forbid Americans should ever care about those.)” -[ Schulz in a 2007 interview with Steve Bissette](http://srbissette.blogspot.com/2007_05_25_archive.html)

    As he moved away from doing weekly political strips, he began create more emotionally charged, personal comics with a heightened political intensity.

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    He released much of this work in his self-published books, Blind Fart (2004), Taken for A Ride (2004) and_ NO_ (2005).

    As he amassed a larger body of work, Microcosm Publishing; an independent publisher and distributor based in Portland; approached Schulz to publish a collection of his most poignant work.

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    Welcome to the Dahl House : Alienation, Incarceration, and Inebriation in the new American Rome  is the result of the partnership with Microcosm. It collects the comics Schulz produced between 1997-2007.

    The book includes stories of the humiliation and terror of airport security, the demeaning experience of being arrested, the despair ofhaving to sell off his possessions at a yard sale to pay his landlord, and more generally the horror of lost youth. It explores a painfully honest truth of the American experience in 128 pages.

    Rooted in the mode of 1990’s alt-weekly comics, Schulz bundles irony, bitterness and frustration  into a ferocious ball of wit. His cartooning is notable because of his light touch and snappy dialogue. His work is far more cutting than that of his politically minded; zine-making; cartooning peers.

    Instead of throwing gut punches to shock and awe, Schulz creates genuinely funny and sympathetic narratives. Through labor thought and effor Schulz transforms stories of anger and frustration into moving accounts of life in the 21st century.

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    In 2007 Schulz completed a fellowship at the Center for Cartoon Studies, that same year, the first issue of Schulz’s story, _Monsters, _won the Ignatz award for outstanding minicomic.

    In 2009 Secret Acres published published the collected edition Monsters. .

    A semi-autobiographical story about Schulz contracting Herpes, Monsters details on the physical symptoms and the traumatic emotional damage of the disease.

    Indicative of the emotional narrative of Monsters, the anthropomorphized Herpes virus Schulz draws; which grows into a large blob; mutters“I’m just another lifeform trying to survive in this weird, fucked-up world.”

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    Schulz most recent comic in print is Weather, a beautiful, hard hitting existentialist poop joke.

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    In a story that takes place at 40,000 feet above the earth, Schulz  depicts the horrors of decaying health in the United States.

    For those interested in reading some of Schulz’s work, much of it is available for online.

    A particular highlight of this work is Gordon Smalls Endures the Wasteland.  It serves as a great primer for the virtuosity of Schulz’ cartooning and his capacity to digest the existential tragedy of post-industrial American society.

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    Schulz recently put online an autobiographical story, Sick. _Similar to Weather, Sick is_ about the horrors of getting sick without health care in the United States.

    Sick is a well spun yarn that serves as the record of Schulz’s own trauma. Unfortunately he has taken down Sick from his website because of the enormous amount of traffic that it generated and the ensuing problems that arose from his web hosting server.

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    Here’s hoping it makes it to print soon.

    I highly recommend you hop on over to his site and pick up some copies Monsters or buy a page of original art!

    For those interested in learning a little more about Schulz and his work you can check out the following interviews by Steve Bissette and Louie Falcetti:

    Bissette Interview - 

    Part 1Part 2Part 3Part 4 ,Part 5

     Louie Falcetti Interview on Bleeding Cool.

     

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