“At least you can hiss pretty good”- Jenny Mure tackles despression in candid Possum comics

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One thing I’ve briefly alluded too but never directly addressed is feeling ‘down’ over the course of the last three years, maybe more if I’m being brutally honest with you. It’s harder to admit even after eight months of the stabilising effects of Citalopram that it had, without me really noticing, swallowed up the largest part of these years. I struggled along from day to day and mood to mood believing I could just “shrug it off,  Stubbornly refusing to even acknowledge it for what it really was, barely even able to say the word, depression.  Admitting it to others was one of the biggest hurdles and even after finally reaching out and getting help last year I still find the hardest part is just the sheer difficulty in talking about it without truly understanding why I feel this way. Selfishly it’s  one of the reasons I’ve been attracted Jenny Mure’s possum books, the closest paper and ink, maybe any medium has come to depicting the roller coaster of emotions and the even worse bottoming out and endless emptiness that follows . I know,  I know,  “You’re using someone else’s poetry to express how you feel. This is a delicate thing” but hear me out anyway, please.

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Unlike the rest of Mure’s polished, predominantly fantasy based work her two volumes of Possum comics are undeniably rough and ready with a done in one, raw immediacy that perfectly fits a diary comic about the everyday struggles that go hand in hand with mental health and art. Sketched in black ink with unequal slanted frames (if any) and following no set format they show Mure living with the ups and crushing downs of depression over a two year period. “At times like these, Opossums talk to my soul more then any other animal” declares a sketchy inked Possum on the opening page and as suggested by the title, she discusses and explores these experiences through a Possum alter ego, perfectly capturing the feeling of not quite feeling like yourself when depression tightens it’s grip on you. Even though everyone experiences it differently and the finer details may change, I was surprised by how many I could relate too and would strike a similar chord with other readers such as peoples well meaning advice to just stop being “such a gloomy motherfucker”. If you haven’t experienced it, it’s impossible to know how hollow, annoying and  useless even a well intentioned tit-bit like that can be.

One that really struck me and stuck with me more then I’d like to admit is when Mure explores setting prohibitive standards and worry onto her possum comics. In a strikingly simplistic sketch of a possum who details the lack of possum comics and attributes it to setting unusually high standards where no one else is expecting them. Essentially stripping the comics of their cathartic purpose and deftly showing how depression and works to break down any of the flimsy coping mechanisms you might have dared built up to protect yourself.

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Her second in the series, So I’m still a Possum, tackles the thorny subject of people appreciating and admiring a piece of work that might be difficult for a creator when it’s origins lie in such a dark and difficult time in their life. Mure describes her trepidation about the first volume being the most popular ‘zine in her shop and at shows whilst being “scrappy and unpolished”. It’s something that caused me to hesitate time and time again when I decided I wanted to show my appreciation for her work,not wanting to add to add anything negative to anyone else’s state of mind. Don’t come to Mure’s comics expecting any advice on how to cope with depression or tackle mental health, it’s not that kind of comic, not by a long shot.  Yet, they are all the better for realising this and not reaching out for a resolution or offering hollow advice. It’s a stark and painfully  honest account of her own experiences coping with depression and hopefully their popularity is derived from people like myself being able to hand it to others when our own words wither and  fail us and say “this”. In the very same strip, Mure succinctly sums up the dark, uncomfortable appeal of her Possum work, “All I can hope is it can do the same to other people in some small way. Something to nod and say me too” she explains through her Marsupial alter ego “To feel a little less alone, if nothing else”

Jenny’s artwork can be found at her website, littlemure.com and tweets here.

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Rocketing from Avery Hill to a Retrograde Orbit in Kristyna Baczynski’s new graphic Novel

artist spotlight, comic, Comic spotlight, First Impressions, interview

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Over three years ago, and twice as many old fashioned’s, I found myself so completely  moved and drawn in by Kristyna Baczynski’s comic “Vessel” that I somehow ended up writing close to a thousand words about it. Diving deep and gently dissecting it.

A little excessive maybe for a comic comprising eight pages? Well, you can imagine the strange mix of excitement and trepidation I was feeling this week as the Leeds based creator announced her first full length graphic novel to be released by Avery Hill Publishing this September to nicely coincide with her home cities celebration of comics, Thought Bubble. You can expect a full review here around about this time 2019. Maybe.

“It’s something I’ve wanted to do for a long time, for years really. Alongside my other freelance commitments and part-time jobs, making a longer comic book could never quite fit into that scenario” said Baczynski of her previous work on her shorter self published comics, including the poignant and touching “Hand Me Down”, nominated for best Graphic Short in the 2016 Eisners. Having quit her lecturing job to go into comics and illustrations full time, Retrograde Orbit will mark her first foray into full length graphic novels and the first to be picked up by a major publisher. “Avery Hill had always been interested in and supportive of my work so we decided to finally get the ball rolling together” Baczynski commented on the subject of her new home with the publisher, who also announced new books from B.Mure and Tillie Walden to be released this autumn, “Avery Hill wanted the ball to be science fiction, so that was a nudge that started things off”.

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While another of her stories, the quietly sweet and hauntingly introspective “A Measure of Space” featured sci-fi elements with it’s cosmic disaster, Retrograde Orbit already feels like it’s fully embracing the genre, set on a mining planet at the edge of the solar system and the experiences of Flint as she grapples with her own notions of home and the possibilities of leaving it. Her unique composition and panel layout is something I talked about endlessly before and Retrograde Orbits structure clearly sets out to firmly launch her latest works sci-fi premise beyond just the, admittedly gorgeous, looking futuristic set dressings  “The mechanics of the story are based on the cycle of planets in a solar system, so that took some time to get right. I’m also trying to avoid sci-fi exposition. As much as I love Geordie LaForge and his technobabble, I wanted the science fiction world to be an immersive setting, a narrative metaphor, instead of something that needs explaining all the time”

Coming out in September it should come as no shock that Retrograde Orbit’s launch will coincide with this years Thought Bubble which as well as being a genuinely welcoming and uplifting showcase of comics talent, has also snagged a fair few exclusive releases for their comics celebrations in past years. “Thought Bubble 2018 will be my tenth show. That’s wild. So, we decided to pitch the release date for then” shared Baczynski when asked about the seemingly cosmic connection of convention and release dates “I absolutely love Thought Bubble; it’s my hometown show, they have always been supporters of my work and raise the profile of my home city. Not to mention all my comics friends visiting for a weekend every year. It’s the best. I’m so excited to share the book with them in September.”

A big thank you goes out to Kristyna for taking time out of her busy schedule to talk to me. You can find more of her work here and learn more about Retrograde Orbit over at Avery Hill.

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“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.

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!

 

 

 

Wednesday Adventures- 26th April

review

 

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“The superhero is the kind of last, small, broken ideal of what we might all become one day if we just get it together and stop being assholes”- Grant Morrison

Doom Patrol 6- DC Comics

Fantabulous first arc complete! DC’s most obtuse and outlandish band of superhero misfits continues to be the perfect place for Way’s seemingly endless stream of delirious ideas and deranged pop punk poetry dialogue. As ambulance driver Casey brink comes to terms with her origin, the team finally reunites against the Vectra to defend Danny Le Street from becoming intergalactic street food

A dadist infused, psychedelic romp that serves as both a love letter to the Doom Patrol’s legacy and the enduring power of super heroes and comics, Way and Derrington have found the perfect midway point between the outlandish and perplexing antics the roster of strange characters have to offer and the good bright fistpumpimg super-heroics in the strongest and strangest title from the Young Animals imprint so far.

 

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Infamous Iron Man 7- Marvel Comics

Despite my criticism of the first few slow paced issues, Bendis and Maleev’s re-introduction of Victor Von Doom and his newly aligned moral compass is the one title I quietly look forward to each month with it’s perfect inversion of superhero characters, motivations and interactions as it skewers the rivalry against Marvels first family, eventually pitting the new found hero against The Maker.

Seeking redemption for a life of tyranny and the combined might of the villain community and SHEILD pursuing him, Doom finds the hardest thing to escape are his own reputation and actions. The idea of an inverted Victor was around in Axis and here Bendis writes that concept in widescreen, big and bold in it’s action set pieces whilst at the same time small and intimate when exploring it’s troubled protagonist.  The slow pace that bothered me at first actually gives the story breathing room letting Bendis pull off a more poignant and complex examination of the once power mad Doom. For all it’s cinematic superhero action, at it’s core the Infamous Iron Man is revealing itself to be a fascinating study of a man at war, with himself

“Panic in Detroit Baybah!” Zac Gorman and Will Robson reassemble the Great Lakes Avengers

comic, review

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Calling the Great Lakes Avengers Z-list heroes would be an insult to other hardworking Z-listers. Indeed, an insult to the very concept of lists itself. Unless it’s a “most obscure Marvel characters of all time list”, which like most people is where my knowledge of this quirky little group of lovable underdogs both starts and ends.

Created by John Bryne, and subsequently deemed unfit to even be a part of the Avengers “brand” due mostly to the combination of crap powers and weird personalities, the team has always been a tongue in cheek, off kilter look at the world of well intentioned, yet hilariously inept superheroes. With the run of success from books with more humorous bent, such as former member Squirrel Girl it’s perhaps not surprising that Rick and Morty comics scribe Zac Gorman has brought the team back.

Thrown back together through a legal loophole and perhaps the most ridiculous fall out from the still ongoing second Civil War, the majority of the book revolves around getting the four team members; Flatman, Big Bertha, and Doorman back together. Eventually moving the team out to new digs in Detroit. Beyond that Great Lakes Avengers’ debut issue stubbornly refuses to offer up any solid hook for readers or indication of it’s direction beyond bored genius Flatman wanting to get the team back together to relive the good old days. For a first issue featuring a team with such an interesting history, the plot feels strangely low key.

Gorman does a great job re-introducing these characters and portraying their varied personalities and powers, but it’s just somehow never quite as funny as you’d expect it to be. It has a few solid moments early on with some perfect comedy pacing, with so much of the remaining humour feeling forced or flat. The funniest parts of the book centering around the group’s well meaning leader and his predictably squalid home as well as a great moment involving an ex-member’s recent rise to the big time. Overall it just doesn’t quite have the effortless delivery or laugh out loud moments that elevate the likes of North’s Squirrel Girl or Zdarksky’s Howard The Duck just yet.

Robson’s cartoonish, exaggerated artwork is what sets this book apart right now, ringing every bit of physical humour from the outlandish cast with his gorgeously over the top facial expressions and character design, each with their own distinct look and feel. He gives a strong sense of movement and action throughout, which helps in an issue with a lot of dialogue heavy set up, and callbacks to the characters past exploits. The introduction of new character “Good Boy”, a huge blue werewolf, is when the writing and artwork finally come together for one of the issues funniest moments. Although not the strongest first issue of any of the recent humour focused Marvel books, overall it’s still has a solid enough base to build upon in future issues, and hopefully establish more clearly what Gorman has in store for these misfit heroes in the months to come.

‘For the usual fee–plus expenses’- Bendis and Gaydos are back with new Jessica Jones series

comic, Comic spotlight, review, Uncategorized

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“Everybody feels beleaguered at some point, That’s the universal truth of punk, that you are going to feel, in whatever role you’re living, that everybody is against you”

– John Darnielle

Say what you like, Jessica Jones is a character who is at her most compelling when beleaguered, set upon and troubled. Alias reveled in seeing her overcome great odds and her own actions and although her appearances since her own title had her finding some semblance of peace and happiness it’s clear that on returning and picking up her story after over a decade away, Bendis isn’t interested in a happy Jessica either. With original artist Gaydos back on board as well we find our reluctant heroine, with a few tweaks here and there, pretty much back where they left her all those years. This issue finds her fresh out of prison and stubbornly dodging questions about the mysteries mounting up in her own life, her marriage, her incarceration and most importantly what, if anything has happened to her daughter, Danielle.

Barely skipping a beat, Bendis drops us back into her world weary frame of mind as if we were picking up the story from last month, never mind over ten years ago. His characters voices are all distinct and sharp, never more so than when they are giving a knowing wink to the changes in the Marvel landscape since Alias wrapped up. Although it’s comforting to once again to hear Jones’ jaded inner monologue, this time we can most definitely see where it might trip her up. Over the years she’s tussled with superheroes and seen incredible things, but when her new client mentions her husband’s unusual behaviour and outlandish claims of having lived another life, started “eight months ago”, dismissing the obvious answer and leaving us on the edge of our seats as Bendis teases us with a mystery of a character who is either on the con, or an unwitting casualty caught up on the wrong end of Hickman’s recent cosmic reshuffling. Reminded in part of the classic Astro Cities storyline, “The Nearness Of You”, with average citizens caught up in universe altering events they can scarcely comprehend, let alone react against, it sets up one of the books many, many mysteries.

Gaydos’ art for the first issue is as despondent and melancholy as it ever was. His tired and worn out characters set against his un-superheroic, washed out New York City managing to feel both fresh and familiar, emphasising just how unusual his style and tone is to comics even on the second time around. It’s thrilling to see the recently formed Champions striding through New York in Gaydos’ gorgeously grimey and downbeat style as Jessica sits on, suitably nonchalant at the public posturing and heroic antics around her.

“Is she a big deal or not?” asks a prison guard early on in the book, with some firmly tongue in cheek Bendis dialogue, daring the reader to answer. While the more cynical might point out his earlier remarks on having written everything he wanted with Jessica, or the success of this years Netflix show for his  sudden return to the world of Alias Investigations. Let’s face it comics are based on “never say never” and this issue seems almost genuinely reluctant to trade on the success of the TV show or even show off about getting the band back together, so to speak, lest the book stray too far from it’s scrappy underdog roots and with a subtle first issue might have just pulled it off. While some might be put off by Bendis’ deliberately slow pacing or knocking Jessica down once more for the sake of restoring her status quo somewhat,  the first issue sets up some intriguing conflicts and mysteries, all with the chance of her coming back stronger than ever.

 

The Pull List 21/09/16

comic, Comic spotlight, First Impressions

The Backstagers 1 (Boom Studios)

A little bit of a cheat this one given it came out weeks ago, but this second printing is perfect for certain people who despite regularly singing the praises of Boom  for the likes of Giant Days and The Spire, Still somehow manages to miss out on delightful new titles like The Backstagers. Written and created by current Detective Comics scribe James Tynion IV and artist Ryan Sigh,  it takes the Lumberjanes template of adorable art with an everyday setting with magical elements.This time the magic of the stage that turns out to be very real for the private school theatre crew of the title.

With two openly queer creators at the helm, Backstagers boasts a strikingly diverse queer cast it’s the kind of book I champion, and it’s refreshing already to know it’ll explore the kind of identities and personalities beyond the tired and tested. If ever there was a safe bet, then The Backstagers would be it, already released to rave reviews and praise, it looks to be every bit as heartwarming and welcoming as it’s camp based cousin.

Rumble 14 (Image Comics)

At the risk of repeating myself, this months issue of Rumble is another regular returnee onto my weekly  picks, and deservedly so. Aided by the enthusiastic but idiotic Del, Rathraq must face off against his own earthly remains and an impossible decision. With a unique and engrossing mythology, Arcudi and Harren continue to develop their mystical brawl-em-up’s cast of complex and conflicted characters. The question of “what colour darkness” is increasingly “shades of grey” to Rathraq as he faces the consequences of his life long vendetta. Action and intense visuals you can only find on the printed page, Rumble is constantly at the forefront of what makes comics so exciting.

 

 

“I’m still working on taking my own ideas seriously”- Talking comics and body horror with artist Tessa Black

artist spotlight, comic, Comic spotlight, First Impressions

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One of the biggest pleasures for me reading and collecting comics this year has been the sheer volume of exciting and interesting anthologies that have been released thus far. Between the ones from the major publishers and kickstarters, it’s been really easy to find something inventive and interesting from complete newcomers to more well known names. I’ve sung it’s praises on here before, a lot I know, but for me Image comics Island is still one of most consistently inventive in terms of content and creators as well as being readily available in comic stores. One of the clear standouts for me so far has to be Tessa Black’s “Seawitch” which was featured way back in Islands third issue.A trans Designer, Illustrator and long time artist from Vancouver, Seawitch is surprisingly Black’s first foray into the world of comics and it’s instantly striking in how confident, fully formed and realised the idea and execution is.

Created over the course of a single weekend, this deliciously unnerving and thoughtful comic depicts a woman stood alone on a beach, before entering the ocean as she begins drifting down to the depths and slowly undressing in a slow build of body horror. Clothing and jewellery and even body parts discarded as she descends to the ocean floor.A long dead pilot the only silent observer on this arresting and quietly unnerving, yet intimate scene. Slowly transforming her body to match the environment around her it culminates on the final page with the Seawitch at ease in her new surroundings, undressed and comfortable in the silent watery depths. For me it’s the collection of smaller moments leading up to this. A series of panels depicts a figure gently pulling a pair of socks, each pulled down with the other foot. It’s an every day act but here it is oddly intimate, sensual but uncomfortable.Black reframes this almost crushingly mundane act and make it feel voyeuristic, a far too personal and intimate an act for us to be witness to.

With it’s clean fluid lines and coloured only in minimal blues it captures the solitude and coldness of the sea, adding in alien, oceanic textures to the figures body. Although it works on a surface level as a slow build body horror, after being lucky enough to  talk to Black over e-mail she also expertly uses her first comics creation to communicate her personal experiences of being trans, addressing the idea of clothing as performance and how environment and peoples ideas of us shapes both our identity and form to certain extents.

Before Islands and Seawitch, had you ever considered producing comics before? If so what ideas did you have and what prevented you from making them?

I’ve been around comic artists for a few years, but always felt the burden of their expectations or opinions of certain genres and approaches in the medium. I still don’t consider myself a comic book artist or even an avid reader, but it’d definitely something I’d like to explore.

Did you find yourself changing your approach to drawing a comic rather than single illustrations? How did the idea for the minimalist color palette come about?

I think you can definitely see the change in approach when you compare my regular art with the comic. I was pretty pressed for time, so I would have coloured it with flats in a limited palette if I’d had more time. I still intend to do so when I get some time, so I can re-release it anywhere else. I’d probably add in illustrations on the side, similar to to the work of William Stout, which inspired me greatly as a kid.

On your tumblr, have a run of insect girls, or people with insect parts. What about insects appeals to you? Is it there bodies mostly or also behaviours?

I really like insects for a whole host of reasons. Their anatomy is so different from ours, more similar overall to the things we make than the way we see ourselves as humans. Despite drawing sexy bug ladies, I’m more interested in conforming the layers and segments of insects to conform to a more familiar silhouette.

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Also a series brightly colored goo-girls.  What attracted you to draw them, the malleability of them or some other aspect?

I like goo girls and shape shifting in general. I’d like to play around with the idea of being able to fluidly present your own body based on subconscious thought. Having a form decided by the subconscious, without being predisposed by genetic or environmental (physical) pressures.

You also mentioned you went through a phase of drawing yourself, what broke this series of drawings, or was it just a desire to move onto something else?

I think I started drawing who I wanted to be just after starting my transition. A lot of folks recommended that to work towards feeling comfortable with my body or thinking about clothing styles. I tried being pretty realistic with how I expected to look, and that shape formed the basis for a lot of my exploration of erotic art.It all started with a fairly simple and cartoony bodies but adapted to become softer and more varied as I experienced changes in my own body. I also get bored of things pretty easy and dislike seeing repetition in themes or processes in my art. I never really had much of a signature style and I’m always much more interested in trying new things than sticking to old ways. It feels like the best way to learn is to shake things up and tackle new directions in art, but that’s just me!

THE PULL LIST 10/08/16

comic, Comic spotlight

Vision #10 (Marvel Comics)

Delivering emotional gut punches and shocking moments, King and Walta’s and heart achingly tale of family, conformity and identity hit’s it’s sure to be devastating endgame. The Visions mission for normality and a places in the world falls apart and promises the violence and inevitable confrontation with his fellow avengers that has been lurking in plain sight since the very first issue. Continually gripping and equally shocking, I can only imagine what the last three issues of what is sure to be known as a classic will bring for the Vision and his family.

Spidey: First Day (Marvel Comics)

Marvel hasn’t exactly left fans desperate for Spider-man related titles in the last few years with readers able to get their arachnid fix in Infamous, Amazing, 2099, Silk and Gwen flavors to name just a handful. Hearing about this new title I was skeptical at first especially in the high school setting the films still obsess over even now. The truth is despite the enduring Image of Peter, he only spent about thirty or so issues actually in High school, which makes it the perfect place to get some old school, no nonsense webslinger stories. This first volume collects writer Robbie Thompson (already a Spider-vetron having written Silk and Venom: Space Knight) and Wolverine and the X-Men Artist Nick Bradshaw. With Peter back in high school and his early career as the wallcrawler, the pair have been creating an essential re-tweaking of this time in our hero’s life. Even within the confines of a soft re-imagining they succeed in thrilling at every turn with the mix of high school drama and updated canonical appearances of classic Spidey villains like Doc Oc. The super detailed work on Bradshaw gives a much needed youthful energy to the book as he did with Wolverine and the X-men.

While I’m thrilled with the major character development and changes Peter Parker has had over the last few years it’s still great to see a book out there for an audience who wants fun, exciting old school Spidey tales.. With Peter back in high school and his early career as the wallcrawler, the pair have been creating an essential re-tweaking of this time in our hero’s life. Even within the confines of a soft re-imagining they succeed in thrilling at every turn with the mix of high school drama and updated canonical appearances of classic Spidey villains like Doc Oc. The super detailed work on Bradshaw gives a much needed youthful energy to the book as he did with Wolverine and the X-men.

While I’m thrilled with the major character development and changes Peter Parker has had over the last few years it’s still great to see a book out there for an audience who wants fun, exciting old school Spidey tales.