“If an idea resonates with you, as a creator, there’s absolutely an audience for it” -The world of furry cartoonist Lobst

anthro, anthropomorphic, comic, interview

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Growing up on a diet of sci-fi and fantasy, transformation stories were the ones I loved and could always rely on the writers of most shows to fall back on one of it’s most loved tropes. For me they were always the most frustrating though, as characters spent their time trying either freaking or trying to change back, usually both. Frustratingly they almost never explored a person staying that way, gaining a new perspective on the world. It’s something I’d find renewed interest in when encountering the Furry Fandom and finally found quite literally in the works of Lobst, a furry comics artist who uses their anthropomorphic characters and an individual take on magical realism to express their unique experiences as a trans person.

As with the bulk of their work two of my favourites, both adult comics, prominently feature transgender characters and story lines. A Slightly Different Role follows the exploits of two huskies, Connor and Alex, the latter of which with the aid of a suitably gothic book of curses, magically endows the other with a vagina. The second, more science-fiction orientated That Curious Sensation takes the subject in an entirely different, rarely explored direction. Distracted from work by unwanted erections red panda Clover strikes upon the idea of nullification, quickly achieving his goal with an easily obtainable injection. In both instances the initial transformation is dealt with quickly and often humorously, instead shifting the focus onto how characters react and adapt to the changes, rather than the change itself as a way to explore other parts of a trans individuals experiences and struggles beyond the post surgery aspects that a lot of mainstream representations fixate upon.

Lobst tells stories and presents her trans and gender fluid characters in an interesting and entertaining manner without the fetishization often present in a lot furry comics staring trans characters. Their artwork explores them in entirely different ways ,and using the fantasy elements as a springboard to ask more intimate and rarely asked questions about individuals in the trans community through anthropomorphic characters. Despite the ears, tails and fur, her extended cast appear on the page fully rounded and human. Ultimately what sets Lobst’s work apart is the warmth and tenderness it exudes in both the ways their characters interact and the playful way they write about a complicated and multifaceted subject, tackled both playfully and honestly.

Has art always been a part of you life or something picked up later? How did your art change after coming into contact with the furry fandom?

I’ve always drawn artwork, although it took quite a while for me to start developing original ideas that spread out into stories.  I was a furry-in-denial for a very long time, since the “mainstream” of it — at the time, comics like Sabrina Online and Jack — either seemed too cloying or edgy for my tastes. It took a long time for me to realise that like any other fandom, furries comprise a wide spectrum of interests, so there was a gradual shift from anthro-animal comics like Cigarro & Cerveja/Living In Greytown to Gene Catlow/Kit & Kay Boodle to Associated Student Bodies, Circles, and the webcomics by my friend Moult, after which I spent yet another very-long-time producing furry media “ironically” in groan worthy “extreme” ways. And I think it was only around 2007 or so (yes, seriously) when I started actually looking at furry art, that I learned how to successfully draw furry snouts; until that point a besnouted face was seriously just a box in front of the standard comic-artist human face shield.

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Wednesday Adventures 9th August

anthro, comic, First Impressions

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A brief weekly rundown of recommendations of new releases I’m intrigued by, excited for and will be grabbing off the shelves to curl up with every new comics day before delving into them later in the week! Have you hugged your comics store owner today?

 

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“The object of life is not to be on the side of the majority, but to escape finding oneself in the ranks of the insane.” – Marcus Aurelius.

Mister Miracle 1- DC Comics

From the unravelling of the best made plans or mice and sythanoids, deep dissections of the inherent darkness of Batman’s sprawling playground to the horrors or armed conflict, Tom King has quickly proven himself to be one of the comic industries top talents. This time he delves back into DC’s roster for a politically charged take on the master of escapism, Mister Miracle.

Part of Jack Kirby’s sprawling Fourth World saga, the future Mister Miracle, Scott Free is imprisoned on the tartarus planet of Apokolips before escaping to the sanctuary of New Genesis. This twelve issue series promises to explore Mister Miracle, still haunted by his time on Apokolips and take the cosmic grandeur of Kirby to tell a trademark personal King story. Early previews show Mitch Gerads, artist on King’s Sheriff of Babylon, using an impressive and immersive range of comic visuals from Ben-Day dots, watercolours and other visual distortions to give Miracles adventures a rougher, grounded feel.

King is a master of heady yet accessible storytelling and his new series is already garnering a lot of pre-release buzz and should be a great entry point for readers like myself who have yet to full dive into the world of one of comics true greats.

 

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“They don’t even know what it is to be a fan. Y’know? To truly love some silly little piece of music, or some band, so much that it hurts” -Sapphire (Almost Famous)

The Wicked and the Divine 30- Image Comics

Magic, music and mayhem continue to lead the cast of Gillen and McKelvie’s Wicked and Divine on a merry and mystical dance. Continuing the pairs Imperial Phase arc the focus this issue is on Dionysus. Drawing on Gillen’s obvious passion for music with knowing nods with musical archetypes and subcultures, the series has offered a real world hook before Gillen lays his deeply intricate mythos of gods, humans and the music that irrecoverably ties their fates together. 

Wicked and Divine is akin to falling in love with the music again, each and every issue and like the rest of his comics perfectly capture the energy, pain and passion of loving a band or song.

 

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The Unbeatable Squirrel Girl 23- Marvel Comics

Although solicitations, especially Marvel ones, are usually the place for hyperbole, bombast and grandiose statements, describing North and Henderson’s Unbeatable Squirrel Girl as “the complete package, really” rings true! Come on folks, stop being so self deprecating, it really does have it all! Friendship! Fun! Computer Science! Dinosaurs?

Yeah, if you expected fourteen years of hilarious Dinosaur comics to have gotten giant reptiles out of his system, then think again as this issue continues Doreen and Nancy’s trip to the Savage Lands (that of X-men and big freakin’ dinos fame!) after taking a break from school and thankfully the off putting events of Marvel’s Secret Empire. Brilliantly presented as a pun filled Dino theme park, the pair are tasked with saving it and all it’s Triassic glory. While Henderson’s art ranges detailed to deceptively simple when letting a joke or scene breathe, last months issue really let her indulge with spreads and spreads of squirrel and giant lizard fun!

 

 

 

“A power pad is not a thermal blanket!”-Tim Weeks’ furry video game webcomic, Savestate!

anthro, anthropomorphic, artist spotlight, comic, Comic spotlight
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My relationship with games could be described as patchy, at best. As I kid I all but destroyed my much loved Megadrive from constant play, but beyond the warm nostalgic 16-bit fuzz I’ve rarely picked up a joypad since. I even had to ask my husband if ‘joypad’ was still a legitimate gaming term just now, deciding on it over ‘controller’. Having played only a handful of games since; Max Payne, Starfox Adventures, and Bit Trip Runner, a video game per generation give or take I’d defiantly not fit anyone’s idea of a gamer. Which is weird, considering that Tim Weeks’ Savestate is currently one of my favorite furry webcomics. In case the name didn’t give it away, the motley crew of Savestate really, really love their video games! Centering around siblings Nicole and Kade regularly joined by their friend Rick ,Elder god Harvey and the demonic entity, Ness on their gaming misadventures. Weeks’ artwork really shines when he draws his characters in the game worlds themselves, showing off well known favorites like Mario Kart in his own charming and polished style, even incorporating animation, such as his crossover with gaming webcomic, Gamercat.

Last year saw another major milestone for Savestate when it was nominated for the comic strip category of the Ursa Major Awards, which are voted upon yearly and intended to award and highlight “excellence in the furry arts”. Although Savestate ultimately came in second it was to Housepets, a comic that has itself been running four times as long and won the category for seven years, consecutively. Moving up from third place the previous year and vastly outstripping much more established furry webcomics, it’s a testament to how well the mix of humor, positivity and gaming culture has built up such a strong and loyal fan base in it’s first two years.

The very first strip found Kade porting over the now infamous glitch Pokemon, ‘MissingNo’ (the easiest glitch to catch, an integral part of Pokemon lore although still considered by Nintendo as simply “a programming quirk”) proving from day one how deeply passionate Weeks is about gaming culture and how central it is to his comic. This last months strips have seen Savestate returning to it’s roots somewhat with the rewed interest in the now 20 year old franchise that came the release of Pokemon GO has started, rekindling the franchise once more. As you’d expect Kade, the consummate gamer lives up to every online scare story by getting himself into places he shouldn’t in order to catch them all!

Again, the highest praise I can personally give Savestate is that even as someone who isn’t a gamer, at all, it still has me engrossed and eagerly awaiting a new strip every Wednesday. Playfully incorporating pop culture and gaming staples in new ways, the comic exudes Week’s passion for video games and why it has quickly become and furry favorite.

 
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Okay, so some basics first, what is your favorite game and console?

Game: Ocarina of Time. It was the smoothest transition from 2D to 3D ever and had a huge “wow” factor in terms of graphics and gameplay. Console: Either the Genesis or SNES, I love 16-bit games. If I had to pick one then SNES, with classics like Star Fox, Final Fantasy III (VI), Chrono Trigger it edges out the Genesis.

How did it feel to come 2nd place in the Ursa major awards, especially very close behind a comic that is now in it’s 8th year? Does it help knowing you’ve built a strong fanbase like this in such a short time, what do you think has captured furries and gamers about your comic?

That was crazy! I thought Savestate could avoid last place, but never to come in second on it’s second year. Now I’ve got to work extra hard to keep that second place. I don’t think anyone is going to dethrone Housepets until Rick chooses to decline his nomination. It’s amazing how quickly the Savestate fanbase grew. When I started the site I was getting something like 300 hits every time I posted a comic which seemed like a lot. What’s most impressive, to me, is that before Savestate I had never really posted any of my art online; so all the hype was generated purely by the comic itself.

I think gamers enjoy the comic because Kade embodies a more child-like sense of gaming. Back when it was more about showing your friends your Pokemon rather than trying to beat them in a battle.I think furries are drawn to the comic because of the art style. I tend to draw things in equal parts cute and cool. I also hope people are enjoying that the comic is PG (or maybe PG-13 when Harvey gets angry). There’s just so much adult material in the furry universe that it starts to drown everything else out. People seem to forget that the furry fandom really started with children’s characters like Mickey Mouse and Bugs Bunny.

Is there any direct analogue of yourself in the comic in terms of characters, if not who do you think you identify with more?

Kade and Nicole are a split of my personality. Nicole was based on our family dog, Mandy. Any personalities I shared with Mandy went to Nicole and what was left over went to Kade. If you combine the two you basically get my messed up brain

.What drew you to using anthropomorphic characters in Savestate?

I’ve loved anthro since Rescue Rangers! Games like Sonic and TV shows like Swat Kats further embedded that fandom. I actually wasn’t even aware “furry” was a thing until I randomly found Havok, Inc in my local comic shop. Even then I thought Chester was a girl for the longest time. :3

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A lot of comics like yours heavily reference video games to the point of the characters being shown in the game.Visually are there any game genres of games you wouldn’t include in Savestate or would be too difficult to accomplish?

I won’t do anything adult, so AO rated games are out.  If I ever used something violent like Gears of War 4 I’d just limit myself to blood and leave the gore out.  I suppose the only other thing I wouldn’t do is a game with extremely simple stylized graphics, like Limbo.

What are your favorite game elements or characters to draw?

Sonic.  I could never count how many times I’ve drawn Sonic.I also like drawing the Savestate characters in different game character outfits.  It’s fun to try and modify clothes to fit a furry build.

 How did including animated elements in certain strips come about? Was it something you were familiar with before or learning as you went?

Animation has always interested me.  Mostly traditional animation or the old hand drawn 2D sprites.  I love doing facial expressions and animation let’s you really play with that. I’ve dabbled with various forms of animation over the years, but the idea to put in a web comic came from GaMERCaT.  That’s why I had to make sure the guest appearance with Gamercat was animated.

What was your experience like working on the recent Starfox strips for Nintendo Force?

Nintendo Force is the spiritual successor of Nintendo Power and that comic was a lot of fun. Since the magazine is done by fans I could really do anything, like mention characters from the canceled SNES Star Fox 2 game. The original plan was to print the comic in the December issue which was going to be Star Fox themed to go along with the release of Star Fox Zero, but Nintendo pushed the game back a few months. Since the magazine is crowd funded we decided to print in the December issue anyway since there was no guarantee it would continue. Regardless, it was a lot of fun and I’m really excited that I got the chance to do it. My favorite part of EGM was reading Hsu and Chan. I really miss that comic.
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Savestate is updated every Wednesday. Tim also has a gallery of his other work over on his deviant art page and can also be found on twitter.

The Pull List 27/01/2016

anthro, anthropomorphic, artist spotlight, review, Uncategorized

Island #6 (Image Comics) – Even with the ever so slightly reduced page count, you can still count on Island to be the greatest anthology out there in terms of casting its net far and wide to bring attention to new and unheard of comics talent on a monthly basis. The highlight this month is the story “Badge of Pride” featuring a group of young anthropomorphic guys as they navigate the social minefield of their local Pride event. Having followed his work on and off for years now it’s thrilling to see Onta’s work shown to a more mainstream audience and I was fortunate enough that he had time to answer a few of my questions last week about his new, more personal and story driven outing for Island.

This month also presents work from Gael B as well as a recoloured, reprinted sci-fi classic in the form of Fil Barlow’s Zooniverse.

Saga #33 (Image Comics) – Thirty Three issues in and Vaughan and Staples sci-fi epic shows no signs of slowing down as it continues to shock, thrill and delight in equal measures. Staples beautiful cover shows that the adorable journalistic couple Upsher and Doff are back after being warned off reporting on the story of Marko and Alana way back in the books second arc. While only briefly touched upon I look forward to seeing how Vaughan develops the relationship between the pair as they become embroiled deeper in conflict and conspiracy. It’s been briefly hinted that the pairs society doesn’t look kindly on same sex couples and it will be fascinating to see what the writer has to say on the subject in a series that really pulls no punches with its social commentary.

“Chasing something hungrily”-Taking a look back On Buster Wilde with creator Scot Zellman

anthro, anthropomorphic, artist spotlight, comic, interview, Uncategorized

Whilst writing my recent post on the excellent Buster Wilde comics I found myself in the middle of a twitter conversation with writer and published Alex Vance and eventually asked him some more formal questions for the piece. Alex was responsible for the printed Buster Wilde collection a few years ago and I inquired if it might be possible for him to reach out to the man responsible for the strips Scot Zellman in the hope that he might answer a few lingering questions I had about his creation.

He graciously obliged but I honestly didn’t expect a reply, it has been over a decade after all. A few days later however Scot shot me back a message and took time out his schedule to indulge me with rather a long interview. I’d like to thank him again for taking the time to answer me and give a wonderful insight into what went into the making of a comics classic all those years ago.

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Marfedblog: The first boring, obvious question a lot of people must have asked. Why did the Buster Wilde strips stop, was it simply a desire to move onto other projects, lack of time and interest in it or something else?

Scot Zellman: I think I lost interest mostly due to frustration. I’d hoped the strip would reach a wider gay audience, especially through the gay-interest newsweeklies I was sending copies to in the hopes they would run it, but I quickly found the strip and Buster character made a much bigger impression on a gay furry community. That was an education because at the time I had no idea there was such a thing as “furries” gay or straight.

My education in furry fandom was hard and fast and while the specific trappings were never of personal interest I certainly appreciated the enthusiastic response even if I did have to turn down a large number of requests for commissioned pieces featuring a much less G-rated version of Buster.

I saw the strip as a slapsticky, funny animal, Warner Bros.-style cartoon antidote to the gay strips I was seeing at the time, most of which looked and sounded the same and featured no talking animals, something mainstream comic strips were full of. It was pretty easy, actually, to end the strip. I needed to focus on my “real” job and I wasn’t really interested in being a niche cartoonist with a small audience. After a couple years I thought “Okay, playtime’s over. Time to move on.”

 

Mb: It’s unusual you made the comic and it caught on with furs, an audience you didn’t even know was out there, did it lead you to look into what other anthro comics were popular with them or artists who considered themselves furs?

 SZ: I did look around a bit, especially when I’d get fan mail from other artists or from folks who’d recommend other artist/cartoonist sites.  The only anthro comic/character I really eventually found interesting and still follow these days is the Blacksad series. And that’s mostly because I love hard-boiled detective stories and film noir. Plus, the artwork is beautiful.
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Mb: Why do you think the gay weeklies and such were so reluctant to run the comics? The comic itself or partly the attitude towards LGBT at the time?
SZ: Most gay weeklies weren’t really reluctant to run the strip, they were reluctant to pay me to run the strip.  I think the ones that were reluctant to run it for non-financial reasons wanted something a little less slapsticky and a little more mature and thoughtful (Dykes To Watch Out For, Curbside, and The Mostly Unfabulous Life of Ethan Green were big back then.) Or whoever was in charge of picking the comics to run just didn’t think it was funny. That happens, too.

Mb: The comic debuted around 1997, was it difficult working with the limitations of the internet back then in terms of storage and bandwith?

I know nothing of computer tech and wouldn’t know where to begin in setting up my own website, especially in 1997. I had a tech-savvy friend do all that for me. I had been a cartoonist for my college daily newspaper, so I was well-versed in the process of keeping artwork looking good when it’s reproduced/reduced for the printed page.  As for the original website, I supplied my webmaster with good-sized, pristine copies and let him do his best with the internet limitations of the time. 

Mb: What attracted you to the idea of showcasing Buster Wilde online as a webcomic? What was the reaction of other artist or those around you to adopting such a new medium in terms of comics?

I never really heard from others about the novelty of being online. Mostly people sent me emails telling me how much they liked Buster and the strip. I actually forget sometimes that the strip is still online these days. I usually just think of it as a book.

Mb: What was the audience and there reaction like at the comics peak? Was it difficult to find an audience in a time when comics online were not as recognised

The reaction was uniformly positive. In fact, I can’t remember getting any negative email at all.  As for my expectations, I had none.  I assumed people were seeing it and the ones who really loved it were the folks sending me the fan mail.

JK: Buster Wilde now seems like a snapshot of, albeit a humorous exaggerated one, gay club culture at the time. Is that how you saw it and how do you think the strips might differ if they were coming out now? Would any characters differ or just settings and such?

I haven’t been out clubbing in ages, but I don’t imagine things have changed too much. Going out will always be about the same things:  fun, excitement, adventure, and the giddy hope you’ll meet someone thrilled to meet you no matter how sceptical or clumsy or overexcited or over it all you may be.

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Mb: The printed book shows a few iterations of Buster before the one you settled on. What was the original idea and how did that develop into what you eventually drew? What was the eureka moment when it all fit together?

SZ: I was trying to come up with a gay-themed “funny animal” comic strip for my local gay paper and at one point I thought that a straight man who turned into a gay werewolf would be funny and allow for a lot of opportunities to poke fun at both gay and straight people. The eureka moment came when, after some time trying to come up with a name for the character, the name “Buster Wilde” popped into my head after Oscar Wilde, of course. Once I had “Buster Wilde” the rest just poured out of me.

Mb: How do you feel about webcomics becoming a lot more established since Buster Wilde and do you ever follow any at the moment? Do you think you would have an easier time building an audience now?

It’s a logical technological progression, so I’m not surprised and it certainly makes it easier to get your work “out there.” I still worry that books will be marginalized to the point being hard to find or disappeared entirely. That said, I do have the book versions of my favourite online strips. I follow Bob the Angry Flower, Poorly Drawn Lines, Scenes from a Multiverse, and Doonesbury regularly. That’s about it.

I don’t know. Probably, but I’m still pretty disconnected from what’s going on online.

Mb: Are there comics that inspired the humour and structure in the Buster Wilde strips? Are any of the events (obviously not the lycanthropy) inspired by real events or people?

I’d say the primary inspiration were the old Warner Bros. cartoons, especially the Chuck Jones Bugs Bunny, Wile E. Coyote and Daffy Duck cartoons. Plus, I’ve always just loved slapstick and pratfalls.

The personal inspiration was just my years going out, my friends, and my love of good-natured, accepting straight people who are easily unnerved and exasperated by gay people.

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Mb: The Unfinished strips included in the print version have a more experimental panel layout than the other strips, would this have been something we would have seen more of if the strips had continued? Did you ever find the regular format limiting in any way?

SZ: That was an experiment in longer-form  storytelling told in a comic book page format that, because I’m a comic book reader, thought I’d try just for fun.  The regular format I’d already been working with didn’t feel limiting in any way since I felt like I could do whatever the gag called for.  That said, I do like the inherent restrictions of the “Sunday comics” format.
Mb: Did you have an overarching story or a direction the strips were going in?

 SZ: Sort of, but not really. The goal was to cram as much humor into each “episode” as I could without overloading it to the point of incomprehensibility. As for the overarching story, I just knew that the character’s stories would continue to unfold and more characters and adventures would be introduced as time went by.

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Mb: Are you surprised that people like myself, still talk about and hold it in such high regard after all this time and Do you have a favourite strip out of the bunch?

Not really. Once people find something they love it usually sticks with them. I’m the same way with older comic strips, TV shows, movies, comic books. The ear-piercing strip. The bare minimum amount of dialogue, the right amount of slapstick, and a funny the turnaround/topper.  The strip still makes me LOL as they say.

Mb: Overall what do you think the appeal of Buster is?

The exact same appeal of the friendliest, sweetest Golden Retriever you’ve ever met. He’s just happy all the time and you’re his best friend

 

Mb: Raspberry Flan. Are there any other suitable bathroom foods?

Baked Alaska Flambe.

Buster Wilde can be read in it’s entirety here. The printed version can also be purchased here or from amazon.

“This weirdo parade”-Furry artist makes it ‘Onta’ the cover of Island issue 6

anthro, anthropomorphic, artist spotlight, interview, Uncategorized

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New to readers of the Island anthology, but well known in the Furry subculture, is an artist usually featured in Hard Blush; a series releasing extensively gay furry comics, Onta. Whilst he’s associated more with pornographic and adult comics, his entry into Graham and Rios’ anthology series Badge of Pride will be a more slice of life offering, as the artist delves deeper into the lives of his cast of characters. Marty, Taylor, Jessie and Mu show their wildly different experiences and expressions of sexuality during a local gay pride parade. Showing that even now Pride is an important part of LGBT life, meaning different thing to each person, whether they love it or loathe it.

I found myself drawn to, and feeling sympathetic towards, the quiet and retiring lion, Jess portrayed as finding it particularly difficult to identify with the more flamboyant carnival atmosphere he finds himself caught up in. He bemoans “I can’t relate to any of this shit” and finds himself “sulking like an idiot” while others throw themselves into the party with more ease and gusto.

With Island issue 6 out next week I finally got a chance to ask Onta a few questions about his newest comic.

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Marfed: How did you first discover the furry subculture and were you already drawing by this point? What lead you to want to draw comics, especially furry ones?

Onta: I discovered it as many do, through erotica. Specifically Japanese gay kemono artist. There where many inspiration but Aoi Takayuki and Poju’s entry where a really big deal for my entry into furry.

I had slacked around for a while trying to commit to various projects but could never fully commit to something. I felt if I created a persona and boxed myself into a small limited area my mind would do better. I had been trying to make comics for years and had failed quite often. Miu asking me to do a page for the first edition of Cocktails was really my first major completed comic’s work which was pretty late in my career as an artist. I didn’t have fully formed characters and story, even if only porn prior so it gave me a big boost. I felt very weird after completing it as it was a new sensation.

M: How did working on Brandon and Emma’s Island anthology come about? Were you a fan of either of their work before hand and have you been following the issues of Island up to now?

Onta: Brandon approached me a year and some change ago. I believe he was introduce to my work through Fangdangler (Adriel Forsythe). I used to be pretty big into indie comics back in the day following Derek Kirk Kim and similar artists and I gradually fell out of that sort of thing as work in animation industry and later games industry took over. I have become a fan of both Brandon and Emma since my involvement.

M: Can you tell us a little bit behind the story you have in Island and what lead you to write it? What was the best part of working on this story for Island? How did you tackle including characters from your previous work that readers might be unfamiliar with?

The creation of this story was not simple and actually require a lot of outside help including reviews and feedback cycles. Understand that although I’ve made quite a few comics they all heavily rely on adult scenes to fill out the whole thing. Having to make a story that relies nearly 100% on interactions is new territory for me. , I’m having to introduce my characters to new readers meaning I couldn’t rely on previously established character elements. I wrote the story and somewhat over emphasized their characters as to catch everyone up with this entry hopefully it pays off and people get the archetypes. As for the story itself I wanted something that would both satisfy furry fans and attempt to mirror gay acceptance with furry acceptance. Hopefully the irony of hating furries but enjoying the message of gay tolerance isn’t lost on most readers. I also had to work on facial construction on Jessee as his face has always been a loose cannon as far as structures go.

The best part was honestly getting it done. It was very, very hard work. I think this is the most professional I’ve even been on a project because I feel these characters are on the end of their lifecycle with me so a lot of pushing was needed to get the story out.

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M: Not only are you in the issue, you drew the cover too. How did that come about and how does it feel that in January Marty and company will be rubbing shoulders with the likes Spider-man and Batman on comic shelves?

Once again that came out of the blue when I was asked. To be frank again, it was just a “do the work and make it nice” scenario. I think 21 year old me would be handling all of this a lot differently. As an older feller I feel It’s more of a “do a good job and don’t fuck up” feeling.

M: Are there any other furry artists’ work you could see fitting into Island in future issues?

Onta: I definitely think Miu (creator of duo Peaches and Cream), Seel and Rikose would do great in Island.

M: Were you at all worried about the perception of your work with a non furry audience with a lot of it being very adult in its art and themes?

I’m only worried about Brandon book doing well or not and I’ll be working hard to get furry fans to purchase and offset sales slump from those uninterested. I’m in too deep to worry if people will respect me or my art or the adult themes. I never anticipated any serious published work ever so it showing up out of the blue is a nice treat but it’s so far off from my mind I’m in it to do the work and hopefully make Brandon happy. If it does well and people like I’m excited but I have zero expectations from my work in Island beyond doing a good job for my employer.

M: Do you feel that furry is slowly becoming more mainstream and the public more accepting of works like yours that would at one time have been considered exclusively for a furry audience?

Onta: I think as time goes by and people deal with the fact that everything is up for grabs as far as sexualizing stuff, people will learn to deal with furry as two distinct things. The Disney movie coming out won’t hurt and will probably spawn a huge new group of furries.

M: I found myself identifying with Jess a lot and his feeling of not fitting in with the rest of the Pride attendees or the typical Gay identity. Is this something you that comes from direct experience yourself or from other people you have met? Which character, if any do you feel you identify with the most?

Onta: I think the majority of gay people are completely underrepresented. I also believe there is a strong “Full gay or get out” sort of mentality from both the gay scene and in general. No one wants anything but very clear sexual labels and it just doesn’t work that way. I think Jess’s position is the first baby steps for a lot of people. Someone who doesn’t aggressively hide their sexuality but also doesn’t reveal or revel in it.

Each character represents a part of me. Not equally or even in the same way. Some characters represent desire or wishful thinking others are more mirroring my personality or thoughts.

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M: The idea of Jess coming to terms with his own sexuality has been subtly hinted at in your adult work, what made you want to pick up on this thread again? What interests you about it?
Onta: I think the furry fandom has a unique appeal to people who are taking their first steps into exploring the sexuality as gay males. Furry’s and furry conventions are sort of a microcosm. A lot of niches, interest and kinks sort of converge under this one major theme and since Anthro fans are pretty much used to being social pariahs, grouping with similar folk sort of soften how much you stick out from normal everyday life.

Since my work is directed at the furry fandom to some extent I felt I should include a swathe of personality types with varying levels of sexual and emotional maturity. Jess, although my least popular character and more popular with woman was the best angle to allow new readers and furry fans in general entry into the story I wanted to present without alienating them.

M: Do you still think Pride is important even in 2016 and why?
Onta: I’m not sure. The internet is doing a lot of good (and some bad) where visibility is concerned. I think pride is more of an event for many people then a social cause at this point as it’s often presented with some level of showmanship over any real attempt to present or solve issues that non-hetero folks deal with. I wanted to present something a bit more realistic with the way I’ve noticed the crowds interact with the parade without getting too catty/snide about it.

M: Badge of Pride raises some interesting points as well as being fun, could you see yourself doing more works of this type for a mainstream audience that deal with topics like sexuality and identity as well as your adult work?
Onta: This comic took a lot out of me. I don’t know. I didn’t want to indulge in a dark, self-hatred, depressive style slice of life comic though was my first kneejerk response when asked to make a story. I felt I should focus on entertaining the people first and get my messages across somewhat subtly. I have people who have read the script and given feedback to thank for that. If the reception is good and people genuinely like it and Image doesn’t get mad and numbers are good on sales it would be a good serious consideration.

Island issue 6 featuring the ‘Badge of Pride” by Onta is released on January 27th while his adult works can be found in pages of Hard Blush available here.

“Truly, My life is a low budget horror movie”- Scott Zelman’s wilde and much missed webcomic

anthro, comic

 

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“Don’t be scared! He doesn’t bite. That’d be gauche”

Scot Zellman’s Buster Wilde first appeared on-line around the mid-nineties back in the prehistoric days of the internet. Following the exploits of our eponymous hero, lover and maybe most importantly, gay lycanthrope as we quickly discover the he twist in the familiar folk tale and pop culture staple. Sinewy, flamboyant party animal by night at sunrise Buster switches back to his beleaguered alter ego, Bernard. Stressed, uptight and again most importantly, straight. As Buster humorously and enthusiastically throws himself into his new life, navigating the gay club scene with its drama and clichés, Bernard struggles with a double life he doesn’t remember and more often than not waking up in other guys beds. It was among one of the first web comics I discovered when I finally got on-line and I quickly made my way through every strip on the now broken and mostly forgotten geocities site.

You heard that right, Geocities. It’s been around fourteen years since the final strip was posted and it’s a testament to both the quality of the strips and Zellman’s considerable skills as a writer and gifted cartoonist that those who saw it at the time still hold it in such high regard over a decade later. Apart from one of two references that date them (Buffy, who Buster declares is a bitch because of her treatment of fellow werewolf Oz) the Buster Wilde strips have a timeless quick paced humour to them that’s still as funny today as when they were first conceived.

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They continued sporadically for four years and fifty two strips until one day they just, stopped. One last strip with the energetic Buster switching the word ‘fetch’ with ‘felch’ and then, nothing. The site was never updated again and still remains, albeit a little bit more broken. If anything it reminds me how easy it was in the early days before social media and constantly online presences for people to simply disappear from the surface of the digital world. Details are still frustratingly few. Beyond a few mentions on forums here and there, the odd broken link, I feel confident in saying this post will be the most ever written about it. In the last few years web comics have really come into their own as something unique and separate from other comics, gaining a lot more attention and exposure in the process. It’s a real shame that in being an early example of the medium that it’s fallen through the cracks when it comes to wider recognition and it feels bizarre to be the first one writing about so many moons later.

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My understanding from what I could gleam from a question here and there on twitter is that Zellman simply moved onto other projects, before eventually retiring from comics completely. It was a pleasant surprise a few years ago to find that a print version of the Buster strips existed, released by Furplanet who now helpfully host copies of the originals online. Alex Vance, writer of the Heathen Cities series and also a fan had reached out to Zellman with the offer to touch up the original artwork and release them on paper and ink “There was a new generation in the furry community and when I was still in publishing I reached out to him and developed scans of his originals into a book,” says Vance on giving Buster a second chance in the spotlight  “They represented a significant work. Drawn and lettered entirely by hand, a vanishing art”. The volume collects all of the original comics, promotional artwork, a fascinating artists sketchbook giving a glimpse into the creative process of the comic. Most tantalisingly it features two partly inked, mostly  unfinished strips both in a larger format with more experimental layouts. One of these featuring Busters strange toilet habits is now among my favourites and gives a fleeting glimpse of what could have been.

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Buster Wilde can be read in it’s entirety here. The printed version can also be purchased here or from amazon.

&nb

The Pull list 06/01/16

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Howard the Duck #3 (Marvel) – Zdarsky’s second run of Howard comics definitely improves and builds upon excellent foundations and it wasn’t surprising that my one of my favourite series also had one of my favourite issues of the year by far. Finally Howard and Tara come to face to face (or more accurately Bill, face, muzzle and bill) with Shocket and Linda and I can’t wait to see the interactions between them as they try and shake off the annoying advances of The Wizard and the ever looming threat of The Collector. This title along with Squirrel Girl, which it will soon cross over with, always deliver the prefect mix of humour and heart. Once again the talented Mr Quinones is back to regular art duties after the wonderful single issue by guest artist Veronica Fish last month.

Doctor Strange #4 (Marvel) – Continuing a whole week gorging on All New All Different Marvel is issue four of the Bachalo and Aaron’s run on the Sorcerer Supreme. While last issue felt like somewhat of a re-tread of the first issue in terms of plot it’s still a series I’m enjoying. The slow burn of the whole science versus magic story that the duo have been building over the last three issues, with Strange discovering in the last issue that fellow Sorcerer’s are being killed along with places of magical power. Bachalo’s artwork is gorgeous, in particular the way he presents the astral planes and Strange’s unique view of New York City, teaming with mystical parasites. The washed out planes with splashes of colour are simply striking and hint at even greater artistic flourishes to come.

Rocket Racoon and Groot #1 (Marvel) – Spinning out of the pair’s excellent solo books the gung-ho raccoon and his monosyllabic companion are finally back together in one book, once again written by Skottie Young, also contributing covers for the series. The addition of new artist Filipe Andrade made me sceptical at first after seeing his one off issue from the last volume. The previous two volumes divided art duties between Young and Jake Parker, both of whom did a delightfully adorable Rocket!

It was the only issue I didn’t like, and for me the artwork seemed jarring against the other two artists more cutesy and cartoony take. While a great style in its own right it was just too serious and seemed out of sync with Young’s quick paced, witty script. However I’m big enough to admit when I’m wrong and Andrade seems to have tweaked and softened his style slightly for the new series bringing back in some of the cute. The preview pages have definitely renewed my interest in the title. I eagerly look forward to seeing the mix of his art and Young’s comical hijinks as this issue opens with the pair being mourned by their fellow Guardians!

The Vision #3 (Marvel) – King and Walta’s eerie look at the Vision and his new family continues to spiral out of control as they struggle to stick together as a ‘normal family’ despite the secrets that threaten to tear them apart. Truly the strangest and most gripping book that Marvel are putting out at the moment, even with the post-secret wars shake up putting the Vision in suburbia to explore humanity and normality is really bold and it completely pays off. Despite the title, the standout character of this series for me is Virginia. While all this is going on she battles with her own identity and place in the world. Haunting and shocking in equal measures.

Also posted on Graphic Policy

“Why build one when you can build two for twice the price” First contact with fandom in Associated Student Bodies and Fur-Piled

anthro, anthropomorphic, artist spotlight, comic, Comic spotlight, Uncategorized

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It was at a convention, talking about comics that a friend of mine suddenly declared to some dismay, “Wow, there’s probably furries now who didn’t start out by reading Associated Student Bodies”. It was funny at the time but since then I’ve heard a few people echoing the sentiment. It made me wonder if with the constant influx of new and younger furs if the things we held dear are even still relevant? It’s the way it should be and new ideas, books and shows are the lifeblood of any community to keep it thriving. Everyone has their own story of how they discovered and engaged with the fandom. For myself after finally stumbling upon the fandom and discovering that this strange collection of interests had a name, Associated Student Bodies was one of my first experiences of anthropomorphic fiction that wasn’t connected to a TV show or a movie. The college based coming of age story told from the point of view of Daniel, a young lion away from home for the first time and discovering himself and reconciling his faith with his sexuality. In the early days and the rush of finding this new community it felt thrilling, exciting and deliciously naughty to read. I’d be the first to admit that it seems innocently and oddly quaint by today’s standards as well as indulging in a lot of tropes. It’s a little dated and my fondness for it stems from mostly nostalgic reasons and it doesn’t help that is once again out of print.

 

Leo Magna’s Furpilled and recently the more launched Perception feel like the natural, modern successors to Associated Student Bodies and definitely present a more updated take on the slice of life style it was famous for. Furpilled itself was completed and is a few years old by now but despite winning a few awards, I feel like it didn’t get the attention it deserved at the time and that Magna isn’t as well know as he should be. His comics almost always centre around LGB relationships with Furpilled following the escapades of a group of such friends, revolving around Arthur Husky and his burgeoning relationship with the mysterious Saetto. Through five volumes Magna charts the ups and downs of LGB life in California and while other works featuring a lot of the cliches that come with the genre would have put me off, it’s his strong grasp of characters and their motivations that takes them beyond this, slowly revealing the casts deep and rich inner lives.

His latest comic Perception is once again concerned with LGB relationships, but whereas Furpilled starred a group of out and proud character’s, Perception is the opposite. Joe is a frat boy, in deep turmoil over his sexuality and constantly on edge over being discovered by his homophobic, hyper masculine fraternity brothers. Both comics have LGB lives at their core, while approaching them from two completely different perspectives. While it’s not as instantly likable as Furpiled ,perhaps because of it’s uncomfortable subject matter and so far dislikable frat boy cast, it is showing itself to be a little more broad and complex. Dealing more overtly with the homophobia still experienced by many even now, it already feels like it’s the perfect companion piece and thematic sequel to his Furpilled run.

Since writing this Leo has restarted Furpilled and did a wonderful interview with me . It’s still free to read in it’s entirety online or available in five volumes from SofaWolf Press. The print versions to lose points for not reprinting a colour element on one page of the comic, taking away lot of it’s impact. Trust me you’ll know it when you see it. Perception is being funded exclusively through Magna’s Patreon site from as a little as $1 per month.

“YOU’LL DIE ONE DAY, SO LAUGH IT UP” Jayro Lantigua talks ‘Burnt Comix’

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Hailing from Miami Florida, Jayro Lantigua is a comics illustrator pumping out some delightfully grotesque and disgustingly unhinged comics right now. Burnt Comix is the story of a foul mouthed, shit eating dog who after becoming tired with his soul crushing depraved existence decides to end it all and commit suicide. Hanging,shooting and poisoning just won’t cut if for this canine. He want’s something unique and memorable working his ways through satanic death cults and and drug filled dog pound orgies along the way until he finally gets his wish. Bookending this are two single page stories ‘Father and Comix’, a dispiriting story of being persuaded not to peruse art as a career and a hilariously tongue in cheek ‘About the author.

Jayro’s grotesque and freakish figures bring to mind the gross early nineties Nickelodeon toons such as Ren and Stimpy, farts and fluids everywhere as they delight in every known vice imaginable. No space is wasted on Lantigua’s pages as skulls, genitals and hypodermic needles litter every panel and more often than not the space between them. The copy Jayro sent me was printed on bright lurid pink paper which only added to the experience.

Until recently Jayro has self published his comics on his own ‘Lunchboxed Press’ imprint, however December will see the first issue of an expanded Burnt Comix released through Creature Entertainment. An entirely different beast to the original lo-fi self published comic, the Creature release will be more of a directors cut, a definitive version as he originally intended.  Bumping up the page count from 16 monochrome too 32 colour it will also include more two page stories as well as a variant cover by Juan Navarro.

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Marfedblog: How and when did you start making comics?

Jayro Lantigua: I used to grab a stack of copy paper and staple them together to make comics as a kid in the back of class. Growing up I would continue to draw and write stories but at the time it was more of a hobby. I didn’t start considering making a career with my work until 2012, when I realized it was the only thing I find happiness doing.

MB: Who would you count among your influences?

JL: John Kricfalusi was one of my biggest influences as well as Joe Murray. I used to watch Ren & Stimpy and Rocko’s Modern Life religiously as a kid. Johnny Ryan’s  work was also a big influence as it showed me that there were more to comics than vigilantes beating up criminals while wearing the underwear outside of their pants.

MB: How did working on Burnt Comix with Creature Comics come about, are there any of their comics you currently follow?

JL: Juan Navarro and John Ulloa of Creature opened The Goblin’s Heist, a comic shop in Hialeah, Florida and I would go by and hang out at the shop because they’re friends of mine and we’d joke around and have some beers. I never pitched Burnt Comix to them as I wanted to self publish at first and just get more work done. I gave a few copies to them to sell at the shop and Juan recommended it to John one day, he read it and he asked if I wanted to join Creature. As far as comics I follow goes, I’ve been hooked on “Tommy”.

MB: What are the main differences between the original version and the Creature Comics version? Tweaked or an entirely new beast? How did the experience of working on the two differ?

JL: The original version of Burnt is very different from the Creature release. The self published version is only 16 pages whereas the Creature release will be 32 pages. The extra content features the continuation of the story, as well as more art and a couple more 2 page shorts. Honestly the Creature release is the way I truly envisioned the story and the first issue of Burnt Comix. I couldn’t fulfil it before in the self published version because of costs. The Creature Version  will also have a full colour cover which is sweet. The experience as far as the work itself remains the same, the only difference is that I now have the support of great people with Creature Entertainment and the possibility of realizing my goals with my work are much more possible.

MB: The opening page is close to heartbreaking! Why do you think so many artists have similar dispiriting early experiences in regards to producing comics or art?

JL: A lot of parents don’t understand how lucrative art can be, so when their kid tells them they want to make a career of it, it’s usually discouraged. My parents, particularly my dad was very opposed to the idea and wanted me to be a doctor or a lawyer. Something more conventional that provides a stable income and stability as well as bragging rights to their equally ignorant friends. Yes, a career in comics or art doesn’t always bring a steady check but that doesn’t mean that it can’t.

MB: What’s the best reaction you’ve had with someone picking up your comic and suddenly realizing it’s full of death, swearing and dog pound orgies?

JL: There was a guy that opened the comic and immediately widened his eyes and starting laughing a lot. He really loved the work and later told me how much he wasn’t expecting the comic to be so adult and funny. It was great hearing that kind of positive feedback.

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Jayro Lantigua’s work is collected on his website and can be contacted via twitter. The Creature entertainment release of Burnt Comix is released in December and available via their website