Comic Booking

Solid advice from Jason Starr. (good novelist, too) And, since I don’t have time right now to search up how to embed eleven tweets (“Moment?” “Storify?”) when they’re not self-grouped with some hashtag—like I’d know then, either—I just screencapped them out. So, they are, all upside down.

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Best of 2017

For the first time ever, I kept a running tab of the best of every month:

It’s not everything I read/watch/listened to. Just the stuff I dug.

And? I had this big idea that I’d peel back through all those, dither and negotiate about which is actually my favorite whatever of the year. But what I’m right-now finding? I like to remember better, on the idea that if it was good, I’ll remember it.

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Comic book cameo for Mongrels

Check it out:

So cool. I mean, I know: my critical faculties are supposed to be rendered helpless from the surprise of seeing the yellow book drawn like this, but? That’s not why I like this comic book. Why I like this comic book is that it’s good comic-booking. Pablo D’Stair knows the medium, knows the mode, and, even better—even rarer—the dude can draw. I knew he could write, and I suspect he can do about eighty other things as well (if our minds are hamsters on wheels, then Pablo has more hamsters than any of us), but the cartooning in here is extraordinary, it’s inked to show off the linework, the balloons and lettering are all perfect, and, more important, the grammar and syntax of the comic book page are all in place, working behind the scenes/panels to make this a seamless, clean reading experience.

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