July 28th, 2014
With Grant Morrison’s Multiversity finally on the (candyfloss)horizon, he’s been doing some interviews in support of the book on The Comics Internet. You remember The Comics Internet, right? That place you used to go to discuss comics after you got sick of chopping up old issues of Wizard and randomly inserting snippets of inane commentary underneath pictures of classic (#classic) alt comics in TCJ, but before you resorted to gnomic twitter commentary and/or listening to a seemingly endless supply of podcasts while wanking/doing your housework/riding the bus?
The topic of the Prismatic Age of comics came up during one of these press adventures, with only a little bit of prompting from the interviewer from Comics Alliance:
Grant Morrison: Unlike Seven Soldiers… that was a lot more modular. This one is more of relay race, that was the structure we built because each universe is reading the comic books from the previous universe, and that’s how they learn about the threat, basically. It’s more like a chain. It doesn’t have the same intricate jigsaw pattern as Seven Soldiers. It’s quite linear, this one. I wanted to do something quite linear and simple and everyone could “get” this time. This one is for people who’ve never read DC before but want to get into this gigantic maelstrom of characters and versions of characters; the prismatic world of DC.
Comics Alliance: They call it the “prismatic age.”
As long time Mindless readers will already know, this term originated in a couple of posts by our own Botswana Beast. Good little virus that it is, the idea of The Prismatic Age has infected comics fans and academics alike, and if you’ve so far managed to avoid contagion, I’d recommend you do what all the cool kids were doing six years ago and expose yourself to the Bottie Beast!
A tasty wee taster, just to get you started:
The ideology of the Prismatic Age, what it insistently moves toward, is that all parts are active, all of the time. While not necessarily visible monthly, nor are they hidden or overwritten – this was the notion of Hypertime, never fully realised but approached in the much-loathed-for-rule-breaking Kingdom. Summary of all incarnations, a distillate. This is partly what I find so terribly aggravating about the PopMatters piece that set me on this path many moons ago, apart from its attempts to cloak in inscrutable terminology a daft enthusiasm for two largely consequenceless and really quite markedly shit event-books from last year, is the lack of understanding of either superheroes or, really, the postmodernism it touts. Postmodernism is largely about (oh-ho-ho, I am going to tell you what postmodernism is “largely about” on a comics blog,) textually, shifting loci on a subject, a lack of definitiveness in portrayals and readings – to read Civil War(!!) as somehow having achieved a permanent destabilisation of the superhero archetype because it wasn’t about a binary black & white bone of contention?! No: that ship had long since sailed, it was a pirate ship in a comic read by an African-American child beside a fire hydrant, and the sole difference was that it was big duopoly franchise comic events that were dealing, ham-fistedly of course, with the supposed issues: none of which were terribly worldly, one of which was sort of, if you squinted, slightly topical. Boring, kneejerk Dark Age scions, really – Civil War literally ordains the Keene Act, for Rao’s sake! The spirit of this age seems to me throughout to have been essentially one of recapitulation and of remixing, in this case 2006 remixed 1986 badly – but this is also how you end up with Batmite as a Jungian portent of impending demise.
Check back tomorrow from more Multiversity pre-amble, because apparently I quite like The Comics Internet, when I remember that it still exists!
May 7th, 2014
A collaboration with Edinburgh based artist and ghost merchant Lynne Henderson, Cut-Out Witch contains twenty five pages worth of lost souls and lo-fi monster magic – imagine a teen goth Terminus and you’ll be on the right track. Lynne provided the pictures, I added the words, but if you want to cleanse yourself with holy water after reading then I’m afraid you’ll have to bring your own bottle.
“Cut-Out Witch is really good… Lovely creepy stuff” – Twitter’s own James Baker
“Almost every page made me laugh or smile or feel things” - comics’ own Ales Kot
“You do seem to be able to dash such things off quite easily, I kind of wish I could do that…” - A Trout in the Circus’ very own Plok
The original print run has sold out, but Cut-Out Witch is now available in PDF format for 50p!
If you already bought the print version, please feel free to email me at bigsunnyd @ yahoo dot co dot uk and I’ll send you the PDF for free.
December 19th, 2013
Like the text says, there’s more from me and Mister Attack at The Weegie Board dot wordpress dot com! If you’d rather read Scott’s comics without all my stupid words on top, he’s got exactly the thing for you at his own site.
If, on the other hand, you were hoping to find out about actual Weegie Boards (for contacting dead weegies), you might have to take your business elsewhere…
Cindy & Biscuit no.3 is done, dusted and available for purchase now! Just in time for Christmas too…
And it’s the biggest issue yet – 56 pages! It includes the singe longest C&B story I’ve ever done, Abducted Again which clocks in at a whopping 37 pages! It also includes the stories Cindy & Biscuit and the Camera and Cindy & The Fever (previous published here at Mindless Ones).
Needless to say, I’m super pleased with this and can safely say it’s the best work I’ve ever done. I hope you like it too.
Click below for some sample images, and then head over to my shop to get yourself a copy. While you’re there you can pick up issues 1 and 2!
February 29th, 2012
Okay, it’s finally done – 44 pages of comics goodness, featuring everyone’s favourite angry little girl and her dog!
£3.50 (+p&P) – head over to the Shop at Milk The Cat to purchase:
Please note – tt’s available (along with all my other stuff) to overseas readers too – check out the postage details over at Milk The Cat
Features the stories Cindy & Biscuit and the Secrets of Summer, Biscuit Beyond (as seen right here), the epic 18 page Cindy vs The Sea, Cindy & Biscuit and the Snowman and Excerpts from Cindy’s Diary.
I really am super-pleased with this. It’s the best comics work I’ve ever done and ,after the great reception the first issue got, I’m hoping you’re going to love it too.
Click below for some teaser images…
October 18th, 2011
OR: MINDLESS LINKBLOGGING, SPECIAL “ALL BASTARDS MUST BE AGGRAVATED!” EDITION!
As you hopefully noticed, we spent a large part of last month bringing you the best in bastardry. We’ve got some spooky Notes From the Borderland coming up in time for Halloween, so right now seems like as good a time as any to collect all of our bastardly musings together and to celebrate the cruel simplicity of the banner The Beast Must Die created for the event:
Hopefully you’ll be able to forgive me for indulging in a little bit of back-patting here while I take you through AN INDEX OF BASTARDS!
September 12th, 2011
Being the third of three posts on Carla Speed McNeil’s “aboriginal science fiction” comic Finder…
‘Well, enjoy yourself Lise,’ says the voice on the telephone. Send me a card.
‘Oh, of course,’ Lise says, and when she has hung up she laughs heartily. She does not stop. She goes to the wash-basin and fills a glass of water, which she drinks, gurgling, then another. She has stopped laughing, and now breathing heavily says to the put telephone, ‘Of course. Oh, of course.’
(Muriel Spark, The Driver’s Seat)
I’ve never made a secret of the fact that I hate bildungsromans, but I’m not sure if I hate them because they suggest that life can follow a neatly conclusive trajectory and mine’s hasn’t, or if my life hasn’t followed a neat trajectory because I hate bildungsromans. Either way, I found myself sizing up Finder: Voice and feeling even more cynical than I did when I first encountered the front piece to Finder: Talisman.
Thankfully, from the cover on in, Voice is a little bit more complicated than that:
August 30th, 2011
Being: the second of three posts on Carla Speed McNeil’s “aboriginal science fiction” comic Finder…
He did not want to compose another Quixote —which is easy— but the Quixote itself. Needless to say, he never contemplated a mechanical transcription of the original; he did not propose to copy it. His admirable intention was to produce a few pages which would coincide—word for word and line for line—with those of Miguel de Cervantes.
“My intent is no more than astonishing,” he wrote me the 30th of September, 1934, from Bayonne. “The final term in a theological or metaphysical demonstration—the objective world, God, causality, the forms of the universe—is no less previous and common than my famed novel. The only difference is that the philosophers publish the intermediary stages of their labor in pleasant volumes and I have resolved to do away with those stages.” In truth, not one worksheet remains to bear witness to his years of effort.
You find yourself bored and lost in your local comics shop on a crisp Thursday afternoon. You’ve exhausted all your usual favourites, or at least, you’re pretty sure that you’re not paying that amount for that hardcover collection today. Thankfully whoever does the ordering for your local shop has anticipated your boredom, and has made sure that one of Carla Speed McNeil’s Finder comics is waiting there on the shelf for you.
You’ve read a lot about Finder and — your friend Cat’s admonition that you “like music that’s fun to read about instead of music that’s fun to listen to” still fresh in your ears — you have to admit that this counts for a lot for you.
The specific Finder comic that’s in front of you is Talisman:
You seem to remember that this is a particularly well-regarded volume. What was it Douglas Wolk said about it in his Reading Comics? Ah yes:
McNeil didn’t entirely hit her stride until the fourth Finder volume, Talisman, and it’s not a coincidence that it’s her most tightly focused story: it’s about a girl who falls in love with a book, loses it, and becomes a writer in her attempts to find it again.
Well, imagine that–a storyteller inspired by other people’s stories!
June 14th, 2011
We’ll stop at nothing, you see. All the suffering and the death and the pain in your world is entertainment for us. Why does blood and torture and anguish still excite us?
We thought that by making your world more violent we would make it more “realistic,” more “adult.” God help us if that’s what it means.
Maybe, for once, we could try to be kind.
(Grant Morrison, Animal Man #26)
TALES FROM THE MILLARDROME, PART 1: Having spent a fair bit of time ripping the pish out of Marky “Mark” Millar while writing up my Kapow! experience, and having then heckled my way through a twitter argument about Mark Millar’s collaborations with Frank Quitely on The Authority, I felt an odd sense of duty to reread Millar’s breakthrough comic, to see if it still worked.
And you know what? Turns out Millar’s first story, ‘The Nativity’, is still really fucking good: