Chris Ware's Acme Novelty Date Book, Volume 3

Chris Ware's Acme Novelty Date Book series, which collects highlights from his sketchbooks, has been a fascinating look into the working process and raw, unfettered emotions of one of the greatest cartoonists of all time. Ware's willingness to push himself formally, his dogged work ethic (despite his own self-deprecation about being lazy), and the way he combines spontaneous expression with meticulous craft is unmatched. Of course, his work has always been fiction, some of it thinly veiled, or rather, reimagined scenarios regarding what could have been in his life. Despite his reputation as a miserabilist, Ware's deeply warm and humanistic approach to his characters is more akin to Charles Schulz or Jaime Hernandez. No matter what Schulz put Charlie Brown through, no matter how much misery Hernandez heaps on Maggie, they genuinely love and feel deep empathy for their creations. Some of Ware's best comics have involved giving characters with few redeeming qualities like Woody Brown or Jordan Lint their own sense of humanity, even if it's deeply flawed. Similarly, Ware seems deeply interested in trying to understand and empathize with characters who aren't his obvious stand-ins; Building Stories is the best example of this, but there are parts of Rusty Brown and Jimmy Corrigan where this is true as well. 

Ware reveals a lot about his own mental illness in this book, zeroing in on obsessive-compulsive disorder. As one could see reading John Porcellino's The Hospital Suite, one of the worst things about OCD is that one can logically and rationally understand that the ever-present obsessive thoughts are utter nonsense, yet one can't help but be overwhelmed by them. In Ware's case, it is an unshakeable certainty of his own persistent, consistent worthlessness as a person but especially as an artist. Even as he acknowledges his incredible exhibit at the Pompidou, he is unable to emotionally accept and process it. Ware's frequent insistence at sometimes working so small (especially with regard to lettering) that it strains one's eyes to read it sometimes feels like a symptom of OCD, particularly in this collection. He's still saying difficult things out loud, but the font is so small that perhaps no one will notice, least of all him. This all seems unintentional, as even Ware wonders out loud why he does this.

The new Date Book is worth reading for the many strips about his daughter Clara alone. This could have been its own book, as they are not so much cute observations as they are small moments of awe regarding Clara's own incisive understanding of the world at a very young age. The period of time covered in this book is from 2002-2023. This makes the Clara strips all the more poignant, as he skips back and forth from her childhood to her leaving for college. Clara reads her father so clearly, calling him out for his lack of productivity and generally gently roasting him on any number of other topics. No one can zero in on one's foibles as one's own children, and Clara is every bit as incisive an observer as her father is. Ware also depicts a great deal of affection as well, along with giving her the space she needs to express herself. Ware has long expressed his admiration for Charles Schulz, and I can't help but keeping about Schulz's influence on his diary strips. If Ware is Charlie Brown, then Clara is somewhere between Lucy and Linus--a foil and a wise friend. 

Ware's other diary strips sometimes go into his daily routines, but there's also a sense of middle-aged reflection on his youth. The incredible affection he had for his grandmother Weese and the unflappably sensible things she had to say about life were obvious guiding lights for him. The strips about his youth vary from reflections on loneliness and isolation to moments of perfect aesthetic joy being with his mother and grandparents and reveling in small bits of beauty. His strips as a teenager and young adult are hilarious reflections on grandiosity; he makes fun of himself even as he allows his past self moments of grace that are hard to give to his present-day self. 

The single funniest strip is "Self-Isolating Comics & Stories," which is about the onset of the COVID pandemic and the subsequent quarantine. Predictably, Ware is gleeful at first that "my lifestyle has been vindicated!" until he realizes "maybe this is all just really, really sad" when it sets in that there are a lot of people he might not get to see for years. 

There's plenty of other stuff to look at as well. Ware's figure drawing is unsurprisingly excellent, maintaining a naturalistic approach while rendering figures full of life. There are mock-ups of future projects, including a few that haven't been published in the US. The cover and other introductory pages have the usual, tiny diagrammatic comics that feature Ware's bleak, caustic sense of humor. There are also moments of sheer joy, especially when Ware is doing Frank King strips or drawing other things he finds interesting or pleasurable, like old-time advertisements or European comics. Ware's misgivings about his own work are superceded by his passionate defense of the art object, the sketchbook, and the diary, even if he feels in the modern world of social media that revealing one's inner voice debases it. Like with much of Ware's artistic output, he feels compelled, like Charlie Brown returning to the pitcher's mound every spring. Good ol' Chris Ware may never win, but his audience certainly does, being privy to process, spontaneously-composed and deeply emotional diary strips, and page after page of beautiful art. 

Hate Revisited #2, by Peter Bagge

Peter Bagge is on my shortlist of my favorite cartoonists, and Hate is perhaps my favorite comics series of all time. Since ending the series in 1998, he's periodically returned to these characters in roughly real time, as the series leads Buddy and Lisa had a kid. Bagge has said that Buddy Bradley is a version of him, approximately ten years in the past, so it's been interesting to see him move Buddy into a weird kind of adulthood. Hate was the quintessential Gen-X slacker comic in its day, featuring a rotating cast of lunatics in Seattle right around the time that grunge became a dominant aesthetic. After a certain point midway through the series, Bagge moved Buddy and the cast back to his native New Jersey, where he had to try to figure out what to do with his life instead of just drifting. There was always a restlessness to what Bagge was doing in this series; he could have milked the Seattle scene a lot longer than he did, for example. 

Bagge has done a lot of work since Hate ended, including several series with DC, biographies with Drawn & Quarterly, and tons of political commentary and history. (Founding Fathers Funnies is a particular favorite of mine, as Bagge hilariously cuts through a lot of bullshit in a way that matches the irreverence of Hate at its height.) Hate's always been there, however, and the new Hate Revisted! series is a blend of modern-day Buddy & Lisa (and their now-adult weirdo son Harold) and flashbacks to Seattle and even high school Buddy in New Jersey. 

Looking at issue #2, Bagge returns to perhaps his most memorable character, Leonard "Stinky" Brown. Bagge's perspective on Stinky now from Buddy's point of view is interesting. On the one hand, this delusional loser has an undeniable charisma and almost a sweetness to him, but he's also the kind of loose cannon that as Buddy describes "more often than not, they don't grow up...and that 'charm' wears off fast..They become more of a liability." For Buddy, being around Stinky was a fun adventure, because Stinky had no boundaries and no limits. He was totally unpredictable and capricious, and the first story serves as their first meeting. In the course of the story, Stinky calls in a bomb threat to set up a drug deal, steals two different vehicles, shoplifts half of a record store, and gets stabbed trying to rob someone at knifepoint. But he introduces Buddy to St. Mark's Place, they have a crazy adventure, and Stinky represents this tantalizing sense that anything is possible in an otherwise stultifyingly dull suburban environment. Buddy wanted someone to bring him out of his more cautious tendencies, and Bagge shows how easy it was for Buddy to want to fall in with Stinky.

Of course, the next story sees Buddy in the present day, worried about his son falling in with a Stinky-like character nicknamed "Spam." Spam lives in a tent in a homeless camp, jokes about stealing Buddy's propane, and wants to buy land with Buddy's son Harold. Buddy immediately suspects that he's going to get Harold in trouble the way that Stinky ultimately did. Here, Bagge delves back into one of the more jaw-dropping scenes in Hate: Stinky's accidentally (?) killing himself with a handgun in front of Buddy's younger brother Butch. Even after Stinky's death, shenanigans occurred, as Buddy had to help move Stinky's body multiple times. The entire issue revolves around Stinky, as there are flashbacks to Buddy's old housemates Val and George dealing with him.

This wasn't just a memory lane exercise for Bagge; by centering the story around Stinky, he was able to get at the heart of what made him so appealing and repulsive at the same time. Stealing and lying came as easily to him as breathing, and he never once thought about the consequences of any of his actions. Buddy and Lisa have always been a mix of reactive and impulsive in their actions, and Bagge shows how this hasn't changed even as they've grown older. Buddy's plan to rein in Harold is predictably hair-brained, and Lisa's eventual reaction ("grounding" their adult son) points out her own impulsiveness AND reactiveness. 

Bagge did the flashback stories in black & white and the present-day stories in color. The inking in some of these stories was pretty rough, especially the color sections.  The whole issue has several mistakes, like a misnumbered page and a misspelling, which makes it feel that any editing done here was cursory at best. Still, even if this isn't Bagge's crispest work, his use of body language and the way he arranges particular sets of characters is unlike any other artist. There are many artists who have imitated Bagge's rubbery character design and frantic character expressions, and Bagge's comedic dynamism is as sharp as ever.

Tanya Dorph-Mankey's Count The Lights Preview

Pro wrestling, at its essence, is a kind of carnival theater improv based heavily on audience reactions. Every emotion must be over the top to reach the person sitting in the last row. Every aspect of the story should be told in the ring itself, through the choreographed violence. There's a reason why so many former theater kids become wrestlers these days; the line between burlesque, drag, musical theater, and wrestling is a decidedly thin one. In a musical, a character is moved to break out into song as a reaction a feeling so strong that conventional speech cannot contain; in wrestling, the same is true, except emotion is expressed in violence. 

Cartoonist Tanya Dorph-Mankey understands all of this, and in her preview of her future graphic novel Count The Lights, she immediately introduces us to her principal characters through what else--their first match together. The twist is that this story is also a queer romance, and wrestling has always had a homoerotic subtext (or these days, just plain text) in the most memorable of its feuds. Dorph-Mankey simply takes this out into the open in a classic enemies-to-lovers storyline that has a number of twists and turns. (Full disclosure: I've helped her edit some of this story.)

This preview introduces heel wrestler Alan Jacobs, a member of a faction simply dubbed "Violence." He's an intense prick who's out to prove himself, and he goes up against a funny slacker of a wrestler named Ryan Roberts, who "absolutely hates to put in any effort." His antics are anathema to a sneering heel like Jacobs, as Dorph-Mankey keeps the action of the choreographed matches "kayfabe," meaning that she suspends the disbelief that the wrestlers project toward the audience. Even after Jacobs predictably wins, Roberts notes that it was a good match because it got a big crowd reaction, and then he flirts a little with a fuming Jacobs.

Fans of wrestling will enjoy a number of different easter eggs in here, but what makes the comic compelling is Dorph-Mankey's ability to tell a story through action and impact. She adds an almost expressionist set of backgrounds for hard-hitting sequences, and her understanding of anatomy and the relationship of bodies in space is absolutely crucial in adding stakes for the characters and an emotional connection for the readers. In a story that revolves around a romance, establishing the importance of gesture and body language (albeit in a totally over-the-top manner) early on propels the character narrative without wasting any time. 

mini-kus #112: Gina Wynbrandt's You're The Center Of Attention

As I've said before, when it comes to humor, punching up can feel pretentious, punching down is unseemly, but punching yourself is always funny. Gina Wynbrandt excels at this sort of comedy of self-humiliation, and it's been exciting to see her slowly work herself back into cartooning again after a long break. In I'm The Center Of Attention, Wynbrandt satirizes social media attention-seeking culture in a hilariously blunt manner, interpolating Disney-style platitudes with a magical bug character. 

Wynbrandt uses a kind of cartoony naturalism that borders on the grotesque and exaggerated as a way of emphasizing the artificiality of her environs. The premise of the comic is that she's a contestant on a reality show where she's to be subjected to "a series of silly and embarrassing challenges" in order to win $10,000. Wynbrandt immediately fantasizes that this will lead to worldwide fame, her own TV show, and a harem of guys. She's encouraged by George, a Jiminy Cricket-style talking bug that encourages her. For the initial challenges, she does the chicken dance, acts like a dog, and sings in front of reality show judge Simon Cowell. 

Then she has to read her entire search history (which includes her own name several times and "plus size slut clothes.") Things get worse after this, as one might suspect, but George is there all along--and in the end, he's there for Gina in a way that should have been clear all along. Everything about this comic is unsettling, grotesque, visually disturbing, and hilarious. The use of color is especially off-putting, particularly with regard to the candy-colored backgrounds. Wynbrandt sets herself as the butt of every joke, but it's also a funny series of jabs at every aspect of popular culture, the expectations of society, and the superficiality of desire. Wynbrandt admitting that her own desires are completely base and lazy is the trigger for the final humiliation, but the reality is that she's simply like everyone else. The fact that she gets part of what she wants in the end, albeit in a totally unexpected and over-the-top way, only makes the whole thing funnier. Wynbrandt's satire has only grown sharper as she's become more skilled as a cartoonist and more forward-thinking with her use of color. 

Christina Lee's The Method

Christina Lee's The Method is a Riso comic done in the style of a People-magazine style magazine mixed with scandal sheet sensationalism. The result is three separate stories that focus on the concepts of appearances, internalized & externalized pressure, and above all else societal expectations of women. The Method utilizes a typical Riso color pallette, with a focus on pink & blue for the first story, green & yellow for the second story, and a sort of aqua green wash for the third. These are all rather bright, cheery, and candy-colored hues one associates with Riso comics, but Lee's intentions here are clearly subversive. This comic is one long, satiric wrecking ball, taking on notions of celebrity, misogyny, the concept of effortless perfection.

The first story follows a pop star named Kelly. Interestingly, the reader never hears her speak, nor are we privy to her thoughts. She's in the stage of her career where she's an international superstar with a massive following, but she's feeling the burden of expectations. She's at the point that while she's rich and successful, her worth is entirely tied to what she does next. The story begins with her finishing up a video for her anticipated new album, and Kelly is fascinated by a billboard that defaces her with someone drawing a spurting dick on top of her face. She's obsessed with her weight and her appearance, and not only is she utterly alone at home, she refuses to answer a call from her family about her (presumably sick) father. 

Laying awake, she imagines herself as Sisyphus in heels, hoping for her own failure. A fantasy of being crushed by that boulder finally allows her to sleep, holding a magazine with her cover photo that she's defaced herself. Lee's use of restraint with regard to text and introducing images and scenarios of stressful failure adds to the dreamy quality of the story, where the reader has to discern what's real and what's Kelly's imagination. That final image clarifies everything, as her fantasies of failure are the only thing that comfort her.

The second story is one long gag about an "effortlessly perfect" office drone/receptionist sending out emails and messages written in bureaucratic babble who goes to lunch. Gorging herself on a "420 Burger" and a milkshake, the remainder of the story is her trying to hold in a noxious fart thanks to her meal. There's a great page where Lee uses an interesting grid, including stacking 4 panels vertically on the right side of the page to mimic the elevator ride where she crouches down in agony. The punchline is a hilarious fantasy sequence culminating in a candy-colored two-page spread. This is all a bit of silliness to clear the reader's palate for the much darker final story.

Titled "Superfan," it's about a young woman dolling herself up for a concert and potential meet-up with an aging comedian and actor named Brad Harrison. This has the structure and tone of a horror story, and it is. Alexis is the fan of Harrison who's going to his show--except she's lining up backstage, not for the show itself. The two-track narrative at the beginning sees Alexis getting ready for the show as an interview plays that goes over his career and accolades, with this stand-up tour being a triumphant return. It's also a different kind of triumphant return for Harrison, as Harrison only allows women twenty years and under backstage, and they must sign a non-disclosure agreement. 

There's a funny and disturbing scene where one woman lies about her age and isn't allowed in, and she throws a fit. When Alexis is let in, she sees her idol finishing up his set (and talking to his wife on the phone). However, one of Harrison's handlers directs them to the showers, because "Brad only spends time with clean girls." Alexis fantasizes about what she's going to say to him, telling him he's her comedy inspiration, etc, without a single thought as to what is actually about to happen. 

Lee likes to create striking moments and works big for this effect, as she uses a two-page spread when Alexis sees Harrison performing as a way of emphasizing the sense of awe she's feeling. Signing the NDA agreement is another two-page spread, but this time, it's a way of showing how little she seems to be taking in the implications of this signature. The final image, where she's naked and dripping wet without a towel, is a splash page. She has a rapturous expression on her face as it's just been announced that they are going to "party with Brad," but the dense blacks that surround her tell another story. Or rather, they are a signal for the horror that's about to begin, one that Lee leaves to the reader's imagination. Lee knows that the reader can guess what's about to happen, and it's that moment of tension that she seems most intent on escalating and then prolonging. Lee really puts it all together in this final story, using a wide array of visual tricks to simultaneously continue the brightness of the overall comic and then take it in a more sinister direction.

Nadine Redlich's Doing The Work

Published by German company Rotopol, Nadine Redlich's Doing The Work is on the surface a breezy collection of silly and scribbly single-panel cartoons. Underneath her brightly colored (yellow body and big red nose), bulbous, and frequently absurd stand-in lies a story with a certain sense of lurking desperation and sadness. It's a feeling that leaks out from time to time (like in one strip where the figure is working at a computer, looks at her watch, and utters "Time to cry"), but that feeling is then shunted to the side with strips like a poodle pondering existential questions, a giant walking banana slipping on a stray person, or someone swallowing an umbrella. 

Near the beginning of the book, a pink blob with a big red nose introduces herself as "Nadine's last brain cell," pauses, and then asks the readers if they like her. Later, a creature in a shell declares that it doesn't want to be perceived. (In a later cartoon, it jumps up and says "Just kidding!") This largely sums up the nature of the gags in the book; there's a deliberate and uncomfortable awkwardness present in many of them, as they linger perhaps a beat too long, or a strange, discordant, and sad note to what is otherwise a fairly conventional gag. 

There are several recurring characters: a grumpy boulder who stubbornly resists change; a hairy yellow figure; the aforementioned lecturing poodle; and several variations on the original "brain cell character." For every gag where they are doing something silly, there's another one where the banana has its head in its hands. There's an air of inevitable doom that pervades the book, but there's also a sense that the show must go on. The brightness of the colors feels almost deliberately obnoxious, and there's little about many of the actual drawings that's interesting, even at a minimalist level. Similar projects by Lewis Trondheim like Mister I or Mister O took much better advantage of the actual drawings to make interesting stories, but that doesn't seem to be what Redlich is going for here. This is a protracted howl disguised as a series of candy-colored vignettes, as Redlich constantly lets slip that mask of cheer to reveal the ways in which the narrator is barely holding on sometimes. 

William Chen's Phased

COVID-related comics are a dime a dozen, but William Chen went in some weird directions with the topic in his visually striking comic Phased. This comic is a great example of color being used to advance the narrative, even if its initial implementation seems abstract. The comic features a nameless young man (presumably a Chen stand-in) who has a vivid dream during the quarantine of a nebulous pink-and-blue entity entering his mind. He avoids getting sick and feels great, but he starts to become more and more distant from his body. Without warning, parts of his body "phase" out--briefly dissolving into a miasma of pink and blue before reconstituting themselves. It makes eating difficult and starts affecting him to the point where any kind of contact with others becomes difficult. 

The resolution of the story, revolving around extremely surprising contact with a higher being, is both densely colorful and deeply meditative. I wasn't sure how this short comic would resolve, but I wasn't expecting something this contemplative and deliberately conflict-avoidant. This is a comic about agency but also about how we affect others in ways we don't understand or anticipate. In this case, the unforeseen complications are a result of the actions of the higher being. Their evolved consciousness, as they note, didn't mean they weren't capable of misunderstanding how others might react to the gift they gave. Chen's coloring is stronger than his drawing, but his overall cartooning and page composition is fluid and imaginative. 

The CRAM Index

Here's a quick-link index to my six-part feature on CRAM Books.

1. Andrew Alexander's minicomics

2. CRAM #1

3. CRAM #2

4. CRAM #3

5. Allee Errico's Froggie World

6. Angela Fanche's Me & Night

CRAM, Part 6: Angela Fanche's Me & Night

Angela Fanche's Me & Night was actually one of the earliest CRAM publications (2021) and it marks work from the beginning of Fanche's career. The raw, crude quality of the comic reflects that both artist and publisher would go through a great deal of refinement over the years, as Fanche's work has evolved while CRAM's production values would also dramatically improve. That said, this is an impressive debut for both, precisely because it so deftly embraces the raw, crude, and direct qualities of Fanche's drawing and confessional storytelling. 

A diary comic is a good exercise for a young cartoonist trying to establish a drawing practice, as the format forces them to draw without being too precious. It can have diminishing returns after a few months, especially if the artist starts to feel compelled to never miss a day. In Fanche's case, she abandons the daily format after about a month, and that's when the book really starts to get interesting. She talks about abandoning these autobio strips from time to time, but I'm curious to see if she chose not to include particular strips in this collection or simply stopped doing strips for long periods of time. She does allude to not doing them later on, but I don't know if this was the case across the board. 

Regardless, the entries stop being anecdotes about her daily life and start to cohere as a status report on her mental health, which veers from joy to despondency and back again. It's interesting that she ended the collection just a month or two into the quarantine due to the global pandemic, considering that so much of this book is about isolation and connection. The book starts just after Fanche has broken up with her live-in boyfriend, and much of the narrative revolves around her disinterest in getting into another relationship. Even when she depicts herself hooking up with a couple of people, she can't bear to stay overnight. What's more important to Fanche are her friends, her practice as an artist, and her cat. The real conflict in the book is with herself and what she eventually unravels is her depression. Talk therapy doesn't seem to help, but medication eventually helps her dull down her catastrophisizing, spiralling thoughts to something manageable. 

There is a lot of art but very little artifice in these comics. Memoir is usually constructed so as to deliberately paint a specific picture of the artist, whether it's upbeat, self-deprecating, or contemplative. Fanche's art and her thoughts seem to parallel each other: first line = best line and first thought = best thought. What makes the book so compelling is her rock-solid understanding of page and panel composition, even with a frequently scribbly and hasty line. Her use of blacks, her understanding of body language, and the way she arranges characters together in space show a refined, sophisticated conception of cartooning even while many of her characters are barely more than stick figures. That's all in support of Fanche being careful to try to draw interesting events in order to avoid the usual torpor that afflects diary comics, while at the same time spilling a life's worth of frustration, confusion, trauma, excitement, joy, and misery into such a succinct framework. 

SAW Work: Meg Lentz and Adam Rosenblatt

As a teacher and advisor at SAW (Seqential Artists Workshop), I've had the pleasure of mentoring a number of talent students. Two of them local to me in Durham are Meg Lentz and Adam Rosenblatt. I'll be reviewing their earliest minis in this column.

Lentz has taken on the alter-ego of Lenny Ditz as their primary character in their frequently surreal autobiographical comics. Lentz pulls no punches when discussing mental health, gender, social justice and other issues, but their primary method of storytelling is humor. Lenny Ditz #1 ("Lenny Ditz Meets Binky Brown") came as the result of an assignment where the students were asked to engage with a comic published prior to 1990. Lentz chose "Binky Brown Meets The Holy Virgin Mary," the ur-memoir comic by Justin Green. It set the stage and immediately raised the stakes for all subsequent memoir comics. It was Graphic Medicine decades before that sub-genre had a name. The story follows young Green and his debilitating Obsessive-Compulsive Disorder that zeroed in on his believing that he emitted invisible rays of force from his hands and penis, and he was terrified that it would despoil the image of the Virgin Mary at his local church. 

Lentz opens their story late in college, where their previous perfectionism and compartmentalization that had served them so well for academic success came to a crashing halt, thanks in part to the global pandemic. Using an open-page layout, Lentz slides from sequence to sequence as they were no longer able to work effectively, but the mounting burdens made them feel even worse about their situation and caused their mental health to rapidly deteriorate. It got bad enough that Lentz completely dissociated from their environment, until they were surrounded by "trash, bugs, and mold--a manifestation of their mental state." The mold becomes a running visual motif, talking to Lentz and urging them to kill themselves. Engaging with Green's comic, they at first sense a kindred spirit, but then they are led to the idea of destroying themselves before cleaning house, literally and figuratively. This is no slapped-on happy ending, as the assignment itself was late, yet they perserved and finished it. It's an impressive first effort on a number of levels, but I especially like the sophistication of the visual motif of mold and the almost psychedelic patterns Lentz employed. 

Rosenblatt, an interdisciplinary scholar and professor at Duke, has actually done a couple of minis this year. The first, The Field Full Of Weeds, was included in his year-long collection, A Little Golden Promise Comics Magazine #1. The original story tracks with Rosenblatt's academic interests with regard to reclaiming neglected cemeteries as a form of social justice work, and it introduces his two primary "Disaster Birds" characters: Fairlawn and Nunyoa. The collection puts the stories in roughly chronological order, starting with "Sad Bird Band: Discography." The interesting thing about Rosenblatt's comics is how they organically develop their own character backstories that resonate against each other. This story was for a two-track assignment, where there are two competing narratives that don't directly relate to each other but whose juxtaposition creates a new whole. In this case, we meet Fairlawn and Nunyoa in high school, as they become best friends, as mediated by Nunyoa's obsession with the records of the Sad Bird Band. They are every emo/shoegaze/literary band you can imagine, and the story follows snippets from various years from either Nunyoa or Fairlawn over the phone along with a Pitchfork-style review of a new SBB album and an image of its cover. The story sees the characters go through ups and downs as friends until there's a tragic event that ties them into the band and their very existence. Beyond the clever formal qualities of the story, Rosenblatt's character design and understanding of gesture make the characters come alive. 

"Disaster Memorial" uses two-track in a different way: it narrates Fairlawn (an artist) talking about the experience of creating a memorial for gun violence in a book years after the fact while showing her design the memorial in the past. Rosenblatt avoids a standard grid and uses a floating open-page layout for much of the comic, providing atmosphere for the amorphous passage of time depicted in the story. Rosenblatt is also careful to center image over text, even in a story that is heavily text-based. For example, he makes sure that not only is Fairlawn depicted writing, walking, or drawing, she also interacts with her dog Flotsam. Giving her other things to play off of is key to keeping the reader's interest on the page. The final images are powerful, simple, and effective, as all text fades away with the exception of one crucial word ("Nunyoa"), and even that is deliberately made part of the art--both by the character as part of the memorial and by Rosenblatt in the story itself. 

Finally, "The Field Full Of Weeds" is slightly less focused on the characters and more on Rosenblatt's initial interest, but even here, he plays around with time as he flashes back and forth between Fairlawn trying to find Nunyoa's neglected grave and their past as friends (and their love of the Sad Bird Band) and Fairlawn having trouble listening to them after Nunyoa's death. There's a heartbreaking page where we see Nunyoa's grave, and she's saying (as Fairlawn perhaps imagines it?) that she wishes she could go back to the day depicted in the first flashback, where they are together. There's no easy resolution to the plot here, only a despairing admonition of not losing her twice (which is echoed across to the band). Rosenblatt seemingly has just started tapping a deep narrative well with these two characters, in a way that reminds me of Jaime Hernandez bringing up threads over time with Maggie and her friend Letty, who died in a car accident as a teen. 

There is one more story: "After Camp," and once again Rosenblatt uses a formal trick for a devastating emotional punch. The image is of young Rosenblatt standing with his grandfather, a survivor of the Holocaust. It's clear that it's a drawing of a beloved photograph. The Rosenblatt figure engages in a monologue, only it's his present-day voice, as he talks about visiting the concentration camp his grandfather was held in. Words come pouring out as Rosenblatt tells a bit of his grandfather's story, and there's a profound sense of loss and grief that Rosenblatt plays around with formally (like noting the lettering, or creating a funny shape for a word balloon) before he ends on a sweet grace note. Like all of his stories, nothing is resolved, except an understanding of the need for connection and the pain of loss that makes that connection all the sweeter.

CRAM, Part 5: Allee Errico's Froggie World

Allee Errico is part of a wave of young cartoonists whose roots feel more connected to the underground alt-comics scene of the late 80s and early 90s than most comics that have been published in the last 20-25 years. One of her teachers was Lauren Weinstein, and you can see that in the way that Errico has embraced using a wavy, distorted, and scribbly style. Also like Weinstein (especially in her early work), there's an anything- goes quality in how she talks about her daily life. Her first collection from CRAM, Froggie World, is a well-curated collection of diary comics revolving around four topics: Love, Angel, Music, and Bike. In the introduction, Errico notes that she started doing diary comics to keep up a daily drawing practice (as many do), but soon found they have the power "to reveal the patterns of life, the universe, etc." Through her careful selection of strips, her merging of intuitive & spontaneous cartooning with intentional storytelling, and the unique color splash that Riso printing provides, Errico produced one of the best collections of diary strips I've ever read. 

There's an intentionality behind it that gives it power and momentum. On the first page, she describes finding a diary in the trash from a hundred years ago and how it inspired her to leave something similar. In Errico's case, it's a life sharply observed. While one can see Weinstein's influence at work here, the tone and page design also remind me a lot of Vanessa Davis' early work in Spaniel Rage. The open page layouts, the languid observations of a young woman lying on a bed in her tiny New York apartment, and the bright splashes of color all evoke the same sort of searching and idealistic artist. 

Right from the get-go in the "Love" section, Errico explores both desire and the ridiculousness of sex, as there's a panel where she digs around inside her vagina for a condom that slipped off inside her and emerged bloody: "I guess I got my period." Another strip contrasts the various tuna melts she got in the new year with sex talk, including one where she says to friends (in front of her lover) that she just ordered a strap-on dildo. In the second sex talk panel, he's fingering her while blathering on about My Chemical Romance. The timing and precision of these jokes are perfect, and the loving attention paid toward illustrating the sandwiches as well as the sex helps the jokes land. 

Later strips are in black & white and have a dense wordiness that is still effective, as Errico explores being a young adult who has rarely not been in a relationship. Throughout some of the strips, the quarantine and COVID lurk, though she rarely dwells on either. Indeed, while each section is roughly in chronological order, Errico only includes the most interesting strips that focus on love, sex, loneliness, and relationships. "Angel" is just two pages, featuring what is likely an image of a deceased pet and a strip about a man who can get pigeons to come to him. 

"Music" is the longest section of the book, because it's really about how experiencing music infiltrates all other aspects of her life. Once again, she starts in 2020, but this time she talks about how music makes her feel relative to the events of her life at the time. As she's struggling at a job, seeing different people, and navigating the city, she becomes obsessed with Nine Inch Nails and then later The Ramones in the way that music can feel like the most important thing in the world and listening to certain songs on repeat feels like it can fix you. Errico effectively juxtaposes events like getting fired with her roommate texting her that a headless, limbless torso outside of her apartment. 

She engages someone demanding her time on the subway in an amusing way right after she's fired and plays "Hurt" to salve the pain. She later starts dating a woman in a metal band and worries about not being metal enough. A lot of these comics are compelling because of the rough immediacy of her storytelling. While lacking some compositional clarity and sophistication in the strips where text dominates everything, she makes up for this with the immediacy of her mark-making. Her obvious skill as a draftsman and cartoonist gives her a lot of leeway in these strips, especially with regard to the more chiaroscuro aspects of her drawing. 

Above all else, as the "Bike" section suggests, Froggie World is about the feeling of being embodied, and how Errico becomes increasingly distanced from it over time. In "Bike," she becomes obsessed with how biking makes her body feel and the overall aggressiveness that biking in New York requires, to the point where she loses interest in sex and confronts that sense of disconnection by embracing the visceral experience of riding. The fact that she listens to Black Sabbath while doing this only makes sense--loud, powerful, and intense music with confrontational lyrics. There is no resolution or solution; her last thought is simply "My body is taking me where I want to go." Errico starts to explore more surreal, Gabrielle Bell-style storytelling in this section in an amusingly self-conscious way that nonetheless still packs a punch. The fact that this comic is labeled "Vol 1" implies that she plans to continue along these lines, and my only hope is that she follows the fancy of her imagination as far as it will take her. The self-assuredness of this debut is impressive, and even when things feel rough visually or in terms of composition, her voice is so strong and compelling that the reader wants to follow where she wants to go. 

Bubbles Con: Reimagining The Comics Festival

Bubbles Con, billed as "a symposium of interviews and talks on comics and manga," was held at the Richmond Public Library on May 5th, 2024. Organized to celebrate the fifth anniversary of the fanzine of the same name published by Brian Baynes, the event was unusual in that it wasn't designed in the same way as most comics shows. The aim at most shows is to provide a place for artists to display their wares. At more mainstream shows, this doesn't even mean comics much of the time, as you'll find people hawking prints, keychains, t-shirts, mugs, and other images that aren't even original to the artist. Even at print-centric shows like SPX or CXC, the problem is that the artists have to stay at their tables as much as possible and can't participate very actively in programming and workshop tracks. 

Baynes used a symposium model that made the various artist interviews the main attraction of the event. There was still plenty of commerce to be had, as Bubbles had its own table with the works of the special guests, as well as tables from Chris Pitzer (featuring AdHouse stock and things from his own extensive zine collection), Toybox Coffin (run by Noel Friebert and also acting as a limited distro), and Cerebral Vortex, which may have the most astonishing array of underground and alternative comics I've ever seen. Their tables were active between talks, as well as before and after the event. All of this was held in one room in the library's basement, so everyone had a chance to see every panel. It's a variant of a model that Bill Fick, Eric Knisley, and I used when we held DICE in Durham a decade ago, where we had a full day of panels and workshops that the artists could attend while volunteers sold their books. 

The night before the show, there was a reading at the library featuring a number of mostly local artists. It was reasonably well-attended, which bade well for the next day. Indeed, even though Bubbles Con got going at 9:30 am, the room was full for most of the day, and a number of folks traveled to attend the show. A contingent from Philly containing new tcj.com co-editor Sally Madden and artist Ina Parsons was there, for example, as was Drawn & Quarterly co-publisher Tom Devlin. I won't go into too much detail on each panel, because Baynes recorded them and will transcribe them for a future issue of Bubbles, but I thought I'd give a few impressions here and there. 

First up was scholar Mark Shubert on the cartoonist George H. Ben Johnson, a Black cartoonist who did political comics for the Richmond Planet (a local Black newspaper) a century ago. Shubert's presentation was fascinating, including the suggestion that Johnson may have well used the phrase "Black Power" decades before anyone else. Shubert did a number of strips that certainly upset the status quo and was also interested in the revolution in Ethiopia. I asked Shubert if it was known if he had any contact with Ethiopians, and he said that this wasn't known. This was a fascinating slice of local history packed with historical context and plenty of examples of Johnson's excellence. I've always thought that for small comics events, it's important to take advantage of resources and the greater culture that makes your city unique, and Baynes certainly added this flavor to kick off the symposium. 

Second was manga translator Ryan Holmberg. Holmberg has practically been a one-man industry in bringing gekiga and other manga aimed at adults to English-speaking audiences. Rather than talk about any particular manga he translated and wrote about, he instead spent the hour detailing exactly what he did. He discussed his different clients, how he made money, how much he charged, etc, and it was a fascinating look at the work of someone who is comics-adjacent (not a writer or artist) who nonetheless plays a huge role in bringing them to life. There was an amusing moment when Holmberg noted that Devlin (who he's worked with a lot at D&Q) was in the audience and that he hadn't met him before--and that he had to watch what he said! (Devlin replied that Holmberg could say anything he wanted.) Of greatest interest was Holmberg talking about how he was trying to translate and reprint certain kinds of manga that were in the public domain, and there's a lot of this kind of material. He also talked about how fruitful his relationship working with Bubbles was, as they had published two books together and announced a third was on the way. 

Baynes then interviewed Jenny Zervakis, the first cartoonist to be interviewed of the day. Zervakis' work is highly influential and was reintroduced to a wider audience a decade ago when John Porcellino published a collection of her Strange Growths comic. (There's a wide-ranging interview in the back that I conducted with her.) Baynes was trying to connect with Zervakis' background as much as possible, and she's not really one to give expansive answers. Zervakis has always been amusingly straightforward regarding her techniqes and influences, but she gave a lot of insight into the early days of modern zine culture in the late 80s and early 90s. In particular, she connects zine culture with the wider DIY punk culture that mostly took place by way of the US mail--a hidden revolution. 

Dash Shaw opened up the afternoon with Baynes interviewing him about his practice as a cartoonist and animator. Shaw lives in Richmond, adding more local flavor to the show, though he's obviously one of the most accomplished and innovative cartoonists in the world. He discussed his upcoming book Blurry, to be published by New York Review Comics, and noted he liked the idea of how making seemingly inconsequential decisions on a daily basis, or struggling to make those decisons, can have a ripple effect down the line. More than most cartoonists I've known, Shaw has a tendency to not only downplay past work, but to forget many of their details altogether. That was true when someone asked about Bodyworld, and he couldn't quite remember much about its sleazy protagonist, Paulie Panther. He noted that he struggled with his Civil War letter adaptation, Discipline, because he wanted to make sure he didn't put modern thoughts in the heads of his characters. Shaw is among the most thoughtful and deliberate cartoonists with regard to his practice, and he's always thinking ahead. He also talked about the Richmond Animation Festival that he organized at the historic Byrd Theater, another exciting way that locals artists are drawing more attention to comics & animation. The last note to mention is that someone referenced Shaw imagining a manga & animation in Richmond featuring Ryan Holmberg nearly a decade ago in his comic Cosplayers!

The penultimate talk was Dr. Francesca Lyn interviewing the great Gabrielle Bell. Lyn took a funny approach with Bell, and both were self-aware about the format and the sort of things discussed during these sorts of interviews. Bell is actually a great talker, even if she's always slightly squirmy on stage. It's pretty obvious that she's someone who likes to observe more than being the center of attention. Bell talked about being in a somewhat fallow period now in terms of comics, though she continues her surreptitious illustration practice. 

The final talk was a real showstopper. C.F. was introduced by cartoonist (and now retailer/distro guy) Noel Friebert, and he had some real tales to tell. He talked about being a kid in the 90s and starting his own miniseries while still in high school. He was bold in seeking out his heroes and finding the kind of comics he wanted to ignite his imagination, noting that he would travel to Million Year Picnic, drop off some of his minis, and then buy whatever the newest, most exciting comics were--and then immediately head home. He once went to New York as a teen, cold-called Gary Panter, and finagled an invitation to visit him in his studio. Panter took a look at C.F.'s comics ("He was very kind") and then watched what was essentially a private performance of Panter's latest multimedia light show. In later years, he decided he wanted to collaborate with the artists of Fort Thunder. This was in the late 90s, and the legendary art space/living of Brian Ralph, Mat Brinkman, Jim Drain, Leif Goldberg and others did not have the internet. There was a single landline for the whole house, and C.F. didn't even know the real names of many of the artists he wanted to work with!

The best story, and one that tied the whole day together, came when Friebert asked C.F. about his first series, Low Tide. C.F. published it for years before moving into PWR MSTRS. When asked about the title of the series, C.F. noted that he had taken from a letter in an issue of Chester Brown's Yummy Fur when he was asking readers to suggest a title for his next series (which would eventually be Underwater). One letter writer had a number of suggestions that included "Low Tide," which C.F. adopted. The person who wrote the letter? It was Jenny Zervakis. Comics is the smallest of worlds sometimes, especially during that time. C.F. will have a new collection of comics, titled Distant Ruptures, this fall. 

The afterparty for the event was held at a performance space called the Warehouse. It was a noise show that C.F. headlined as Universal Cell Unlock. The mood was giddy at the overall success of the show, and the performance was fascinating and intense. Baynes was noncommital regarding the possibility of another iteration of Bubbles Con, but it was thrilling to see an event that celebrated the aesthetics and connections of comics over decades of time while still allowing for sales. It was a refreshing and invigorating event. 

Olga Volozova's Chachanar Desert Tales

Olga Volozova is a cartoonist and illustrator whose comics work is dense and tends to incorporate the text as part of the art. Her illustration work, like her collection of fairy tales Chachanar Desert Tales, (Pegasus Publishing) goes in the opposite direction: the art becomes part of the text, dreamily and moodily modifying it. Volozova creates something quite delightful here: a suite of series built around the concept of a desert that "you can visit when dreaming." Describing a whimsical series of methods of how to get there, she notes that the result differs for each person, and that this book simply represents the stories that she brought back.

Each of the stories is accompanied by her painted illustrations that evoke the text like fever dreams, or more precisely, mirages. Indeed, the final story, "The Mirage Makers," is about the origin of mirages. A tribe of Gray Camels was given the responsibility by the gods-sent White Falcon to use a Mirage Machine to help dreams become reality. The lead camel, Old Rom, accidentally lost the stone that powered the machine, leading to people staying away from the desert and dreams starting to fade. When he recovers it at the end after falling into a state of total despair, it signals a return to dreams, and is a wonderful capstone to the book in general. 

Volozova's stories involve a young witch who makes dresses out of sand, a boy who discovers how waiting for snow in the desert is the key to happiness, how a wizard married a young woman cursed by a snake, and how a whistling young girl turned a bird into a man and eventually became his companion. There were times I wished the book was twice as long and had more illustrations, but there are a number of beautiful full-page illustrations that bring Volozova's stories to life. Like any good fairy tale, each of the stories is whimsical, exciting, and tinged with darkness as well as brightened by hope.

CRAM, Part 4: CRAM #3

CRAM #3 has one of the funniest covers I've ever seen for an anthology. In an image that encompasses both front and back covers, artist Laura Lannes (her work is missed!) has a fairly familiar image on the right-hand (front) side: a young woman, lying down, reading a comic. It's something out of NON from some years ago. However, a closer look reveals that the image is...odd. Her legs are up in the air and there's a random hand on her left thigh. Opening the whole thing up reveals that someone is going down on her while the cover woman's attention is on the comic. It's a solid gag. 

There's the usual array of vastly different styles on display here, Alexander doesn't have any art in this issue, which isn't surprising, considering how hard putting together an anthology is. Angela Fanche opens up the issue on the inside front cover with a short comic; it's a good space for this kind of tightly-compacted storytelling. Her style continues to evolve, going from more basic diary comics to this slightly fantastical anecdote about a memory that acts as a song stuck in her head. She plays on this metaphor until it transforms into music and nearly suffocates her partner. Fanche's drawing is so delightfully scratchy and spare in some panels, and then she swoops in with big swathes of black patterns in others. It's a fascinating strip to attempt to decode. 

Steve Grove's "Potboilers" is done in the sort of unfussy, slightly cartoony naturalism that I see in a lot of comics these days. It's the kind of story where the characters have one narrative, but there's another narrative at play with the visuals and backgrounds, in particular. The premise of the story is that there's an agency that will send someone over to boil water for you so when you arrive back home, you have a boiling pot of water ready to go for cooking. While this is an absurd and funny idea, the premise is far less interesting than the interplay between the employees. The strident Peggy, trying to make a sale over the phone, has to deal with the distraction of boil specialist Bumphus' failure out in the field. She loses the sale, he goes off the deep end, and she does a "reset" by looking at violent imagery on the internet and then fantasizing about him being killed in a variety of ways. All around them, the house they're working out of is mysteriously dilapidated, and the final scene sees Bumphus on the sidewalk, slumped over after he's clearly slit his wrists with a broken bottle. Everything about this story is off-kilter and anxious in a way that requires multiple readings to absorb its nuances. 

Audra Stang's short comic features a couple of her "Star Valley" characters cozily watching a fantasy show of some kind. In pages with a 20-panel grid, Stang offers pieces of the show with no dialogue, creating a sort of bubble of fascination for the duo that's broken when a commercial comes on and they make a crude joke about it. Stang has an uncanny sense of recreating that sense of mundane magic felt at that age when two friends can share a common obsession together; it's a sort of ritual that still lets them be teens. 

Jack Lloyd's cartoony "Pickles" fantasy story reminds me a lot of Vaughn Bode's stuff, down to the color scheme and eccentric character design. It also has a touch of futuristic urban stories that touch on graffitti as a cornerstone aesthetic. It's one of many stories in the anthology where that aesthetic is more important than the actual narrative. Michelle Kwon's "Autobio" is another such story and self-consciously so. She starts off by declaring that she's tired of drawing herself and so chooses to draw herself as a sort of cute anthropomorphic animal. This is after she turns down other potential character designs, as though she's building a character in a video game. The comic itself is all about treasuring memories on her travels despite her anxiety about the future, and the cute characters turn what is otherwise a routine diary comic into something that's fun to look at visually. 

Steven Christie's "Punchline Sinker" might be my favorite story in this issue. It's a sci-fi story abot a young woman named Zander who recalls her first job, which was a fulfillment center in a satellite orbiting Earth. She worked the job with her friend Peanut, and at first the story seems like a pleasant bit of slice-of-life fiction. She announces to Peanut that she's going to quit in order to get married at precisely the same time Peanut's girlfriend breaks up with her. This leads Peanut to snap as she comes up with a theory: whenever something goes well for one of them, something bad happens to the other. This leads to a surprising and clever turn of events, which turns the story from slice-of-life to a tense action story. Christie uses a classic 9-panel grid to create a particular tempo, and then stays with it as the tension ramps up, but the reader (and protagonist) are unclear on where this is all going. Christie's thin line and limited pallette all help play into this aesthetic repetition. 

After the first half of the issue was mostly conventional narrative, Alexander returned to the weird stuff in the second half. Nicole Rodrigues' "We Hold On To Things" is a colorful bit of comics poetry, using an open page layout and a narrative mostly told in captions that illustrate the feelings of the narrator. She's depicted as a monarch in her own mind, even as she has to fend off her own destructive feelings. The textual meter sets the pacing in this comic, as opposed to a truly integrative approach between word and image. Grayson Bear's "Relatable Richard" is a lampoon of diary comics, featuring a lisping protagonist who sets off on a date, only to slip on a banana peel, fall down a mountain, and get sliced to pieces. The Riso colors are all jacked up to neon levels in four pages of pain hilariously piled on its protagonist. 

After non-traditional-narratives, Sam Sharpe offers "Annie and Alex at the Heartland Cafe." It's one of those narratives that appears to be one thing at first, then quickly becomes something else. A waiter is having a normal day at his job until a man and woman dine at a table outside. It quickly becomes apparent that he's autistic and she's his aide, taking him out for a meal. However, he's disregulated, which manifests as shouting, then throwing his food on the ground, and then eventually punching his aide in the face. All of this is being seen from the waiter's point of view, who is at a loss at what to do, until the aide tells him pointedly: "Don't get involved and do not touch him!" She calms him down, they pay, and then leave. What makes the story interesting is that the waiter can't let this go, and when he sees the woman at the train station, he expresses his remorse for not doing anything. She reminds him that it had nothing to do with him--all of his machismo, all of his need to be a main character (so to speak), was irrelevant. Sharpe's cartooning is top notch as always, blending a slightly cartooning quality into what is otherwise naturalistic work. 

The anthology ends with a trio of stories that are more about sensory impressions than story. "Rangers," by Ethan Means & Ashton Carless, is a gritty black & white war story that may be in some kind of post-apocalyptic setting. A group of soldiers (or prisoners?) sets out to tag things with bright yellow happy faces, until they try and head back. Brendan Leach (a welcome presence!) offers up "Storm and Stress," about a violenist who sees one of her colleagues menaced by a guy on a subway car, but she winds up looking away despite her colleague's pleading eyes. The bright splashes of color contrasted with the black & white images of her anxiety lead to a loose, free-floating sense of guilt and despair. Finally, Aidan Fitzgerald's "Contestants" uses deliberately crude, 8-bit digitally-created color images of contestants in some bizarre game show. The game is about slowly rising while recounting a memory, with that memory being judged by a panel. Fitzgerald is riffing on the public distillation of memory and identity (on social media, presumably) but doing it in a way that doesn't repeat the obvious downsides to social media participation. 

Alexander seems determined to never do the same issue twice, and the result is an anthology that's greater than the sum of its parts. The pieces by Bear, Rodrigues, Means/Carless are somewhat slight on their own, but they make a great deal of sense within the context of the issue. Alexander is adept at pairing more conventional (if odd!) narratives with more experimental pieces, resulting in an anthology that's challenging at points but also entirely readable. 

CRAM, Part 3: CRAM #2

Editing and publishing one anthology is hard. Doing multiple issues is a thankless task that requires equal parts vision and determination. It's clear that Andrew Alexander has both, because CRAM #2 once again is on the cutting edge of up-and-coming cartoonists. Alexander takes a step back and only provides the cover, with a mix of colors that highlights how vivid and beautiful the Risograph process can look if you are careful with color separations. Way too often, Riso comics are sloppy and off-grade, and it can be distracting. Alexander is careful to make the anthology as intentional as possible in terms of its production values. 

Alexander wisely starts this issue off with "Herpes Outbreak," by Allee Errico. Errico would later publish her first collection with CRAM, but I'll get to that later. She and fellow CRAM artist Angela Fanche are two of the most compelling autobiographical cartoonists working today, and it's not because of any particular formal innovations. Indeed, both often use the tried-and-true diary comics format that's tedious in the hands of many other cartoonists. What sets Errico apart is a clear affinity for a highly personal, sloppy, and even smeared line and use of color. This is the lens she uses to express her clear, direct, questioning, and impassioned point of view. Like fellow young memoirist Juliette Collet, Errico seems to owe a lot more to late 80s and early 90s alternative & underground artists like Julie Doucet, Aline Kominsky-Crumb, and perhaps Dori Seda than most comics that have come out in the past 20 years. One of her teachers was Lauren Weinstein, and you can see that same painterly mix of grotesque character designs, expressive cartoooning, and highly intuitive storytelling. Weinstein didn't care much about doing things "right," even as she brought new skills to bear in her first major work "Girl Stories," but she somehow made it feel right. Errico is quite similar.

This story is about waking up with an oral herpes outbreak and a recollection of how she contracted it in the first place back in high school. Errico looks like she used charcoal and pastels here, and her line varies from detailed and naturalistic to cartoony, depending on what was needed. Her visual approach is so compelling that she's able to cram in twelve panels on a page with a ton of dialogue without it feeling cramped. Indeed, the mix of her solid lettering, understanding of the relationship between bodies in space, and overall pacing give the pages an almost propulsive feel. Errico approaches the issue of herpes with her typical and unaffected candor, casting aside shame as she understands just how common herpes is. Indeed, this isn't so much a PSA or rant on herpes as it is mourning a particularly complicated relationship. Then Errico turns that around with a couple of funny side observations about her boyfriend accidentally giving her a backpack with a gun and then segueing into the modern day where she talks about this with other cartoonists. She does a funny drawing of monstrous little herpes sores about to burst through the skin of her lips and then compares them to memories, saying "the past is right here in the beautiful present." It's just an exquisite ending that ties up a lot of different emotional threads and adds a sense of resonance to a story about gossip, shame, teenage drama, and human connection. 

CRAM then pivots to Cedar Van Tassel's "Pleistocene Dreams," a story that is unlike Errico's in nearly every conceivable way. Van Tassel's images and use of color are designed to flatten everything, including affect. Van Tassel makes extensive use of negative space in this autobiographical story about him picking up a friend at an airport and nattering on about the effects of the ice age on Minnesota. Using light pastels (the one piece of continuity with Errico), Van Tassel and his friend have an interesting exchange about why the Pleistocene Era was so interesting and why some people turn this into a deeper thought in their place in civilization today. The story ends with a hilarious, disgusting swerve involving overfed vultures that turns what had been a talking heads story into a gag sequence with thematic resonance. 

Caroline Cash continues the previous story's visual aesthetic with her clear and cartoony style that meshes cartoony exaggeration with solid naturalistic elements to create a polished, breezy diary comic. Indeed, it's an example of Hourly Comics Day, which tends to generate highly forgettable and indulgent anecdotes. Cash plays around with the form, taking advantage of the generous page space to create expansive and exaggerated compositions that usually tend to look much smaller in typical presentations of these sorts of diary strips. As usual in a Cash story, there are equal parts sincere and smart-ass, with nuggets addressing deeper feelings mixed with silly anecdotes. This story feels especially breezy, reveling in moments of mundane amusement. 

Next up is A.T. Pratt, taking the anthology in a dramatically different direction. In an extended parody of te famous "Toronto Three" cartoonist friend group of Joe Matt, Seth, and Chester Brown, Pratt obliterates the clean graphic design style of those three with chaotic, nightmarish, and grossly visceral visuals that pack as many as twenty panels on a page. This story is about as inside baseball as it gets with regard to how much of the humor is based on a reader's familiarity with those cartoonists, but it's clear that Pratt couldn't care less. It's really a story that's about (literally) destroying idols and this kind of chummy best-friends-artists storytelling that is sometimes seen in the work of Matt in particular. The Toronto Three all die grisly, horrible, and funny deaths (I imagine this was done before Matt's actual death) in the story, which doesn't seem to bother Pratt's stand-in all that much. 

The chaotic, cluttered approach continues in the next two stories, starting with Nick Bunch of Reptile House. It's a highly clever way of dealing with two variations on the same gag surrounded by visual clutter that is smartly contextualized by the nature of the joke. As two young women walk to their job at a diner in the city, one of them endlessly natters on about whether or not the whales were saved and then if the rainforest was saved. Her friend has no time for her nonsense as these two brightly-colored figures are surrounded by dense (jungle-like) clutter that's colored a bit more dimly. Bunch's character design is deliberately flat and cartoonish, matching the stylized action on the page. Everything is exaggerated, dense, and over the top in service to a familiar gag of an authority figure being frustrated by the cluelessness of young people. 

Floyd Tangeman (editor of dense underground anthology Tinfoil Comix) brings this dense, cartoony progression to its logical end, as his "Projection Dance" interpolates the 23rd Psalm into a four-panel grid featuring a grotesque, constantly changing and mutating figure that never reaches a goal despite being shown walking left to right in every single panel. The gritty use of pastels induces cognitive dissonance in every panel while never disrupting the overall flow of the story. 

Pete Faecke reverses this trend in the final story while committing to the totally nonsensical quality of the back half of this issue of CRAM with a story about Mr. Bimbo. This was an invisible, unseen character who supposedly lived on Fozzie the Bear's index finger in the film Muppet Treasure Island. The character of Mr. Bimbo is strong, talented, and capable were Fozzie is a goofball. In this story, set in the old west (???) Mr. Bimbo has a feud with another "eligible bachelor" named Tim Timbers. The story concludes with Mr. Bimbo playing Ramones and Lou Reed songs for a group of admiring women. What I like best about this bit of total nonsense is Faecke's absolute commitment to the aesthetics and details of the bit, no matter how silly it is. Indeed, it's that commitment that makes it funny, similar to the sort of thing that Rick Altergott does.

The subtitle of this issue is "casual conversations for brain-fog drunks," and the back half of the issue feels increasingly like the stories becoming increasingly (but deliberately) intoxicated and incoherent, while still never leaving the realm of readability. Nothing here matches Errico's opening story in terms of overall impact and artistry, but it all makes sense together.