45 Days Of CCS, #41: Meandering Realms

Filipa Estrela has long been a leading proponent of constructed comics made from unconventional materials. Meandering Realms is an anthology that she edited full of such comics. Be it woodcuts, clay figures, cut paper, pyrography on wood, or mixed media, this anthology is a fascinating read for fans of extreme formal experimentation in comics. The anthology has a mix of CCS artists and others; some are well-established in terms of cartooning while others primarily ply their trade in other media. 

Starting with the CCS artists, Issy Manley's pandemic story about taking walks for pleasure was done in cut paper and embroidery. It is a perfect union of form and content, with countless clever formal touches that are all in service to the narrative. Manley's page composition, done mostly in an open-page layout, is beautiful and contains surprising elements. The use of embroidery to depict center lines on roads was an inspired element, especially when they loop around. It all gives context to this meditation on walking when others would prefer to drive. 

Bread Tarleton's facepaint comic literally uses their face for a comic in panel after panel, with paint creating images and lettering. The story is totally absurd, yet Tarleton makes it work so effectively. The story is engaging enough that the gimmick never grows old. 

Allison Bannister's retelling of a Greek myth with a feminist edge was done in layered woodcuts, and this was an incredibly effective way of portraying this kind of story. Stacking and layering the images gave them weight and depth, as though one was looking at a fresco. The sepia tones feel like the reader is looking at something ancient. Bannister's drawing and decorative touches only further this effect, especially the detail on the tree that is so central to the end of this myth about unasked for romantic attention that drives the protagonist to transform into a tree out of defiance. 

Sage Clemmons does a highly expressive story using clay figures and mixed media. It's a story about how a beloved childhood family game was phased out because of the protagonist's brother's sensitivity regarding his teeth, and it evolves into how not understanding others can lead to fractures. 

Estrela contributed two comics. The first was about an elder seed who chose to stay underground, despite being cajoled by the roots around it. It was pyrography on wood, and the burnt tones mimicked sepia hues. The shading gradations being made by altering the intensity of the flame was absolutely ingenious. Once again, while the form was important, it was entirely in the service of content. Her other story was done with needlefelt and wool, and it was about an explorer giving a mushroom sentience and what the mushroom chooses to do afterward. The muted, fuzzy colors create an atmosphere completely different from her first story. 

Of the non-CCS cartoonists, Bryn Ziegler's re-telling of the story of Orpheus (done with paint markers on acetate) is the most successful. The sharpness of the colors go hand-in-hand with the dramatic content, creating an achingly beautiful set of images. Kriota Willberg's story, done with embroidery on painted fabric, is right in her wheelhouse. It's about an account of a medical procedure after an attempted murder in the 16th century. Willberg nails the medieval tapestry look. Roshan Ganu's "Chappal Diary" combines a leather sandal and photography; this one is more a novelty than a coherent narrative. D.T. Burns also uses cut paper, and while it's less sophisticated than some of the other stories, there's a solid gag at the end. Keren Katz's use of cut paper and wire sculpture to depict a scene at an art museum is not only beautifully constructed, it's also a compelling character study. The other pieces tended to be either too wordy or lacking in substance beyond formal play. Overall, the misses were just as important as the hits. This is one of the rare anthologies where the formal constraints are just as important as the narrative content, and the pieces that nailed both made for boldly distinctive and innovative comics.