Mini Comix Co-Op – Danny Ferbert interview

You can find Danny on facebook

ZL – Hi! And thanx for agreeing to this interview

We’ll get into the details about the Mini Comix Co-Op in a minute, but I thought it would be good to get a little background on you first of all, if that’s ok?

Where were you born, where were you raised and where are you based now?

DF – I was born in Nashua, NH. I grew up in Florida, primarily Margate and then in high school we moved to Port Saint Lucie. I currently live in Joplin, MO. I’ve been here since 2012 I think. Still weird to me to realize I’ve been here that long.

ZL – What is your history with zines and mini comix?

DF – I have drawn comics my whole life. It was the only thing I ever wanted to do. I drew a webcomic in high school with a childhood friend. I did most of the work. It was a total South Park rip-off we made up when we were in 4th grade. We did 2 10 episode seasons and then I got burnt out by the 3rd season.

My first comic I printed was right after finishing high school. My friend and I put together a convention in Port Saint Lucie and I did a fan comic, or doujin of a manga called Genshiken back in 06. Printed 100 copies and sold zero. Lost all the books in a move shortly after moving. I have 1 copy. It isn’t good.

I joined the web forums Whitechapel and Gingerbox after high school and those were basically my schools I used to improve as a cartoonist and was shown about printing my own mini-comix. I printed 3 zines before moving to Joplin and I released an additional 3 zines very quickly from there. After printing the zines I searched for places to get more exposure through zine shows like S.P.A.C.E. and FLUKE and I discovered the mini-comix co-op.

ZL – I can’t believe that you lost nearly all of the copies of your first ever zine!

I think the experience of making a zine and then having nowhere to sell it may well have been a very common experience back then, without social media to help. I know I certainly had that experience, I made two and never sold a single copy and had no idea how to get them out to readers. I used to take them with me to the second hand book stall I worked at and no-one ever paid them the slightest attention!

By the time I found out about other zines that I could advertise in or contribute to I’d lost my confidence and given up on the idea.

I never really followed chat groups. I was nowhere near the internet at that time, so you’re part of a generation that had this much more interactive involvement with other zinemakers from around the world. How much do you feel that interaction fostered you and kept you making, or is it a more complicated picture of zine shows, letter swaps and forum friendships? I wonder if there are any groups where people network about zines in the same way?

DF – Oh yea. With my first book I was in high school and I didn’t know anything. I picked up little bits from the manga magazine Shonen Jump but it wasn’t until after high school and I started exploring being a cartoonist more that I discovered different tools to use and the forums were big in that. It also allowed me to collaborate with different writers and contribute to different things.

The internet is a different place now. You don’t see forums as much, there is reddit and Facebook and Twitter that have kinda homogenized the internet so you don’t have to go to as many places. I was big on Live Journal starting in high school and before that I just made my own websites and talked in chat rooms. The information is easier to access now though. You can just watch a cartoonist tutorial on YouTube now to find out the tools of the trade.

ZL – Did you regularly attend events before you Covid came along? How does it feel not getting to have those shows to go to anymore?

DF – I actually hadn’t been to a show in maybe 5 years before covid. I had difficulty with my home life for a while. My partner needed more of my focus so the art was coming out slower as I focused on life. I never completely stopped but I would have long stretches of no activity.

I have lots of social anxiety and I’m not a very good salesman so I was never that big in to selling at shows, but I knew it was necessary. It fills me with dread thinking about sitting behind that table by myself. Normally I would sell enough to cover my expenses. I plan to do a bunch of shows again when this pandemic is over and I have finished the book I’m working on.

ZL – I’m also interested in the fact that you’re linking yourself into the doujin culture around manga as I was reading about Comiket and how huge that fanzine culture and show is in Japan! That’s a zine show with ¾ of a million attendees!! Can you imagine something like that happening? 

DF – I’m still trying to visit Japan. I almost went right before the pandemic but due to some flight shenanigans I ended up stuck in San Francisco. It’s been frustrating. I also wanted to sell at a show there and I’ve looked at the applications for Comiket before to see if it would line up with my visit. I try to keep up with my zine making friend over in Japan, Ian McM, to see what shows he’s going to.

ZL – Circling back to the Co-Op, could you tell us a bit about what inspires you to run it, whether that’s a person, an ethos or a visionary utopian dream. Basically, I’m wondering what do you hope it will achieve and what triggered you to organise this?

DF – When I discovered the Co-op it was kinda defunct. Doug McNamara was running it but life happens and he didn’t have time for it. I emailed him interested in contributing and he told me he wasn’t really doing it anymore so I asked if I could take it over because it seemed like too good an idea to let die. He sent me all the books he had and even transferred the domain to redirect to the WordPress page I made.

I emailed everyone I had a book for who I could find online to let them know I took the Co-op over. I met all kinds of artists that way, like Everette Green who was running the Little Rock zine nite that I became a regular to and even designed a poster for. Unfortunately the show hasn’t happened for some time.

I liked the idea of the co-op because I think it’s an important resource for someone who is starting out. You mentioned earlier about not knowing what to do with your zines when you were starting out. I think a lot of people starting out don’t know what to do with their work and are just trying to get some exposure and make some connections. I get a lot of new zine makers, especially during the pandemic. I wish I had more resources to offer. I need to update the website with some of the new creators and stuff and I don’t really advertise the group that much. These are just the kind of things I struggle with doing for my own work. I can only do so much by myself.

ZL – Getting into brass tacks for a moment I thought it might be useful to get some extra details around the Co-Op. I’ve read the details on your site Mini Comix Co-Op and they make it clear, but I just thought it might be interesting to know a few extra things.

You mention only having to pay the cost of mailing comix but I was wondering whether that meant just the cost to whomever is sending their zine or whether there needs to be a contribution towards the return costs as well?

DF – A contributor only has to pay the postage to send their books in. I cover the cost of sending books out. I only get a few contributors a year so it’s not a huge burden on me or anything. I think it’s an important resource for the mini-comix community so I don’t mind.

ZL – If people did want to chip in towards the costs, is there a way of them donating towards those costs, do you have an account or are you happy to receive stamps etc?

DF – I have a PayPal ferberton@gmail.com. No one has ever offered that though. I just occasionally get extra books from people just for me which I appreciate as a comic fan. I just got a nice care package from Adam Yeater recently and Charles Brubaker is always sending me stuff.

ZL – You request at least 5 copies be sent in, does it have to be 5 of the same comic or can it be a mix of different issues?

DF – A mix is fine. The 5 is simply so that there is plenty in stock for the next contributors.

ZL – You also mention it being best to send 10 but are you happy to receive more than that and if not, is there a reasonable gap you’d suggest before sending in another batch, I mean, could you send in 120 and then say, send me 10 each month?!

DF– I have gotten some really big lots. There are only so many different books so if you contribute 10 books 30 times that’s 30 different books. I don’t know how many different books I have right now but that is pretty close. So I appreciate it if the book lots are limited and infrequent. 10 books once a year is more than enough honestly. I used to have a spreadsheet to keep track of who got what books so they wouldn’t get doubles but that laptop was stolen and I didn’t bother trying to make another.

ZL – Are there any types of content that you’re not willing to handle within the Co-Op and, on a similar note, are you happy to manage the content sent out to contributors if they let you know they may be triggered or offended by certain content?

DF–  I don’t put any limits on the artists like that. I’ve gotten stick figures, I’ve gotten gross out humor or graphic illustrations. I’ve never had anyone say they didn’t want any types of books but I’d be willing to cater to someone’s wishes. I don’t mind.

ZL – Taking a deeper dive and possibly stepping into controversy here, what do you class as mini comix, as within your remit and outside the remit? I mean, I’ve done what I class as a comic and it’s A6 in size but I’m wondering whether an abstract photo comic would be considered for inclusion in the scheme?

DF – I think “mini” comix doesn’t really describe what I accept. I want to share any work from any artist that prints their own work. I’ve gotten magazine size books. I’ve gotten hand drawn books. I’ve gotten photozines. If an artist is willing to take the time to make it and wants their book sitting next to other “mini” comix then they have a spot. I’m not super into a lot of rules honestly.

ZL – You’ve mentioned being happy to send work around the world, so I was wondering whether you had links to some worldwide creators that have been involved in the Co-Op?

DF – I don’t remember which one’s come from where so I don’t really know any, I just so happened to get a new mini just recently though that I am mailing out for now from @pkortjohncomix in the UK. It’s a fun mini, a French Ultraman fighting a giant monster. I remember doing something similar as one of my first comics.

ZL – It would be great to see what kind of comix you’re stocking right now, if you’re able to share any.

DF – Here is what I’ll be sending to that UK contributor. I try to give a wide variety of different creators and styles. Some of these artists I have multiple books from, such as from Brian Pepicelli who did the Fault Line book.

ZL – We have two traditions on Zine Love, one of which is to always ask people to share their love and tell us about three creators whose work they are loving right now. Who would that be for you?

DF – I haven’t been buying any new books recently. I’ve just been reading what people send in for the co-op and stuff I find in the dollar bins. Adam Yeater has been sending me some cool and interesting mini-comix lately. I always love getting a package from Charles Brubaker and seeing what he’s doing with his animation. Everette Green released a pandemic book and it’s as funny and gross as you’d expect from him. I’d also like to say my buddy Cameron Callahan has released his second volume to his anthology Built From Human Parts. Cameron is one of the first people I started talking to online who was making mini-comix like myself and we’ve been struggling through it ever since. He’s going to be taking a hiatus from his art and I know I’ve had to do the same several times, life just gets in the way sometimes. Get a copy of his new book while you can, lots of people worked hard on it. 

ZL – The other tradition is to always ask about what you’re up to right now and what you have available, so feel free to tell us a bit more about your own work?

DF- Last year I created a mini-comix for Halloween and this year I printed it with a new back-up comix added for Halloween with a sticker pack I did with my girlfriend. I’ve got a comic that will eventually maybe come out through a friend’s zine. Not sure when that’ll be. I am currently working on a submission for Antarctic Press.

Most of my books are still available on my website where you can also read the Halloween comic I made along with most of my comix that are in print are available on my website for free. I don’t work in any particular genre, you’ll find auto-bio, sci-fi, fantasy, humor, action, love stories, something for everyone.

all art copyright and trademark it’s respective owners.

content copyright iestyn pettigrew 2020

Review – Texas Tracts by Rachelle Meyer

Buy them here

Find Rachelle online here – website twitter instagram facebook

I’ve come to realise that, as much as railing against the system or raising a fist to the sky feels like you’re making a big statement, sometimes the quiet voice plainly speaking its own truth is the most convincing. 

Texas Tracts are based on a conceit. You may have heard of Chick tracts; you may even have seen them or own them. They are little polemic comics stridently arguing against various social ills as perceived by a very right-wing American version of Evangelical Christianity. They’re held in high regard for the very extreme nature of their politics and the hysterical (with both meanings being applicable) way in which they depict such things as playing Dungeons & Dragons. They’ve become almost like Tijuana Bibles in their underground cache. Look them up online and you’ll easily find examples. 

Texas Tracts takes the format of these comics and subverts them entirely. What gives them their emotional strength is the lack of satire or derision of the originals. Instead of trying to knock down Chick Tracts, Texas Tracts dances around them, weaving something beautiful, artistic, and emotionally powerful, showing us beauty instead of spite. Rachelle Meyer uses the power of real experience and calm honesty to undermine everything about those hate filled, hysteria driven tracts. 

Drawn in an open cartoon style with plenty of detail where needed, the art is completely in service to the story. It’s got a lovely quality of design and communicates emotion very clearly. It manages to portray happiness without passing into cheesiness helping to add punch to the delivery of the three stories.

These comics detail aspects of her upbringing as a Catholic in Texas. She crafts these simple anecdotes about her experience and delivers them gently and artfully. Each tract builds on the power of those experiences until you reach the end of the third and, at least I did, when you get to the end that final message of hope feels both small, but genuine, hard won and incredibly meaningful. It actually brought a lump to my throat and raised goosebumps. The light tone of the storytelling, particularly the lack of didacticism or high-handed lecturing makes the stories much more human and accessible.

What Rachelle Meyer manages to do is gently and efficiently delineate the bounds of acceptance strictly laid down in the society around her. She makes clear the stakes and consequences faced when either conforming or rebelling against the strictures placed upon her. Then she gently drops the final story in the full knowledge that the impact of what she chooses to do will be fully appreciated by her audience. It’s a very masterful and very mature approach to writing polemical fiction.

We often hear about people talking truth to power and here you can see what power simple honesty has to reach your heart and engage your mind.  

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

Review – Requiescat In Pace by Livor Mortis Zine and Cameron Zavala

Buy from Livor Mortis Zine

Find Livor Mortis Zine on instagram facebook twitter

Support Cameron Zavala

Find Cameron Zavala on instagram

This is a grim zine dealing with loneliness, abuse and self-hatred.  It’s handled with an extremely dark humour. It doesn’t make light reading, but it’s got a pure angry voice that’s laughing whilst making you sick. It’s a classic underground comic, gross out, and in your face, but busily dealing with life at the extreme margin of society.

The zine mixes comic pages from Cameron Zavala with photographs from Livor Mortis Zine. These photographs have been used as a springboard for the settings of the story and it’s fascinating to see the original and the drawn version in combination. Impressive how such a loose and quick looking style managed to still take these references and render them so recognisable. But more interesting is seeing how a few images can inspire the creation of a story. 

I’m a huge fan of Livor Mortis Zines photos and these are great, managing to capture corruption, decay and out of time artifacts of fashions left behind, with a grimy beauty. The star of this zine is Cameron Zavala’s comic story. Riffing on the images and the mood within them he takes it and runs, making a story that delves deep into cruelty, absurdity and boundary pushing extremity. It scores its points against alienation faced by those rejected from love in their lives. It digs at homophobia and the othering and criminalisation of those outcast from mainstream society.

In fair warning though, it does this with huge amounts of depraved and cruel dark humour. The kind of bitter humour that isn’t so much funny as a cry of anger. Yes, it’s out there pushing your buttons (and this could trigger abuse survivors for sure) but it wants to because it’s damn angry about the cruelty being called out.

The art and the story are ugly and in your face, are crude and bitter and scratched out and it’s horrible. But it’s got a bleak humour in its hysteria and it’s making its points against the cruelty of making people outcasts from love and hope.

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

Review – Adam Yeater – (I’m not going to tell you the name, because you should find it for yourself!)

Buy Adam’s comics here – big cartel store envy

Find Adam on twitter facebook instagram

I love Adam Yeater’s art. For some of his work, like Blood Desert it’s simple and cartoony and unpolished and deliberately so. That bluntness, that getting it done and not worrying about the anatomy is what’s appealing. It’s the lines and storytelling that matters. 

But I love it the most when he takes that style and then just fills the space up with visual noise. He does this a bit with World of Knonx, but best of all are his big mushroom or plant paintings and images. They channel psychedelic art and that lovely scratchy line of black metal art.

This zine takes that visual noise and scratchy line and drags them through Where’s Wally to make a horror monster picture search. 

I personally hate doing Where’s Wally because I get bored with looking for things, but I love just drinking in those pages and letting details surface up. This zine is so much fun to stare at and see how inventive all the character designs are or to just let the noise drown you. 

A great little zine to pick up and drink in when you feel like it. 

I asked Adam why we are looking for little toads and he explained his reasons to me, which I thought were fascinating, so I thought I’d share what he said with you.

“It is a tribute to the Sonoran Desert Toad. Its habitat is in my local desert region here in Tucson, Arizona.

It is going extinct from people abusing them for the DMT in its poison glands. 

People dry and smoke the poison. I have seen them when it rains. I have never been on a toad trip but I heard it is very intense.

I did the comic as a tribute to these magical toads.”

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

Review – Cui Shirts

Find Cui Shirts on instagram

Cui Shirts is an online project and zine that documents t-shirt slogans gone wrong. It’s a fun project with a big task. It’s squarely aimed at making fun of bad design, poor translation and the sometimes genuinely weird slogans on the fast fashion of Asia, but at its heart it wants to show the hollowness of that consumerism and the lie that it lets you be an individual. 

Fast fashion squarely sets its stall in sass and an ‘up yours if you don’t like’ attitude, with the occasional foray into ‘positivity meme’ territory. At its heart it’s crass, trying to sell individuals the sense that mass production can make them truly an individual. 

So, whilst there’s a little sense of harshness to laughing at awkward translations into a foreign language, there’s the balance of mocking such a hollow cash grab and the lying mask it wears. 

Cui Shirts latest zine really pushes into that thought by adding additional commentary in the form of the life costs these slogans carry with them. You can see its aim clearly, it’s about trashing consumerism and it’s fake ‘I’ll set you free to be you’ lies and not so much about  poor grammar or translation. 

I also love the shiny, textured paper that the zine is printed on, it looks and feels lovely. 

There have been previous issues, including my personal favourite that came hung on its own coat hanger. 

Cui Shirts is a touch of class in the trashy fashion slogan market. 

P.S. even the envelope is great, look at those seals!!

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

Review – Purple Hate Balloon by Fraser Geesin & Laurie Rowan

Buy Fraser’s comics here – digital physical

Find Fraser on twitter facebook instagram

Find Laurie on twitter facebook instagram

It’s hard to define Fraser Geesin’s humour, but it’s fun to give it a try. In all his work there’s a feel of the satire being spot on in an uncomfortable way. My favourite of his is The Cleaner where he’s doing humorous, gentle observational humour about his life. However, he’s excellent at handling farce, loves to throw in social satire and is often about pushing things to absurd extremes to make his point.  

Even when he does really push it, it still doesn’t have that sense of hysteria to it that absurd humour often does, for want of a better phrase it’s not zany or wacky, in fact, even with how odd it is, it doesn’t feel odd. The best way I can describe it is that it has a hyper real sense of absurdity. You know it would never happen, but it feels only one step away from being real. I think it’s the way he mixes farce with the absurdity that keeps it feeling grounded.

Purple Hate Balloon, co-written by animator and director Laurie Rowan, is working in that vein of believably absurd, too close to the bone humour that makes you laugh and bears thinking about afterwards. It adeptly makes its points, has a good plot whilst telling funny jokes.  It’s a fun read and it scores some good points.

It’s all helped with Fraser’s amazing art. A fine balance between realism and cartooning that just adds the feeling of being one step off reality. There’s a lovely rubbery realism to it that makes it good to look at and easy to understand.

This is a great little comic, like a Carry On for the angry online troll era.

I’d add in that there’s a nice one-pager from Laurie Rowan at the end. A lovely gross sight gag. Also, go and see his site as it has some very awesome animation to watch.

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

Review – Not This House by Gareth A Hopkins

Buy his comics here – digital physical

Find Gareth A Hopkins on twitter facebook instagram

Gareth Hopkins is really one of the main reasons I got back into comics reading and particularly became interested in the small press and zine culture.

His comics are not comics as you think of them, they’re not linear representations of actions and events. They are stories and his stories have become more linear and less like the broken poetry you’ll find in Intercorstal Extension. His art, though, remains mercurial and abstract, sometimes colourful and explosive, with pages broken up by panel shapes and sometimes, as with Not This House, like mists of lines and spots of black where suddenly something coalesces into almost the shape you’re reading about.

Not This House continues his moves towards prose storytelling and does so with great skill. There’s a sense of really manipulating what’s happening with the images, how they almost make scenes that illustrate the words on the page, in particular page seven evokes the sense of moving through tunnels in the dark, which feels deeply fitting for the story unfolding at that point of the comic.

There’s also the sudden tonal shift that hits home so very effectively with the change in lettering style and tone of illustrations. The shift, feeling sudden and, for me, emotionally affecting.

All in all, this work picks up threads from his earlier work, such as the use of poetic repetition of key phrases, but also adds a sense of intentionalism that is skilled and assured whilst also delivering some very powerful emotional tonal shifts within the story. That Gareth can manage this with the art, the story and the lettering is impressive in an inspiring way, that he can make this work as an emotional story, with emotional heft without any of the normal props of drama shows why I find his work so inspiring.

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

go look – Robert Wells

(click on images to follow links)

Rob manages to make bad puns and painful observations that make you laugh without relying on making you laugh at people’s suffering or to relieve the awkwardness. He has a great sense of character design; much like a name in Dickens tell you about the character, so the look of one of Rob’s characters, from their style to their body language communicates something about them.

He’s also very good at drawing dogs, maybe think about getting a dog commission from him…

May be an illustration of dog

Image of Love Her Madly & Other Stories + Print + Postcard Set

twitter

May be a cartoon

all content copyright its respective owner

Review – The Blame by Jon Aye

A collection of short stories from Jon Aye.

Jon Is currently taking part in the digital Hackney Comic & Zine Fair.

Find him on twitter

I enjoyed this. A quick read that I think I could go back and spend some more time dealing with the bigger ideas it touches upon.

I often see these kinds of comic zines or this style labelled as experimental, but I’m not sure the label fits as well as alternative would. I feel there’s too much in the history of comics, I was immediately reminded of the cartooning on Dick Tracy as soon as I looked at this. The story approach is similarly easy to follow and parse, with its brevity seeming at points both dreamlike and histrionic, by which I mean there are strips where each line is designed to be dialogue delivering drama rather than naturalistic speech so it all seems like high drama pounding out the beats.

There are a couple of nice one pagers that amused me, such as the one below.

But there were a couple of strips that I found much more interesting, that got me actually thinking. They both deal with current society in its post-Thatcherite state, one obliquely and one more directly. Specifically ‘Disaster!’ and ‘Problem Solving’.

They’re both still short snippets, respectively four pages and one page, but together there is a personal thesis about post-Thatcherite UK society that I think bears expanding upon. It’s not so much that the thoughts are necessarily in depth in those stories but the combination of the two coming at the subject manages to make it so that we get a more rounded understanding of that thesis. It’s an interesting way to experience opinions without having to commit to reading a long heavy storyline exploring the subject.

I particularly like the approach to sci-fi in ‘Disaster’, it’s a very New Wave of Science Fiction attempt to look at matters, with a good use of ‘disaster’ as metaphor. I’d personally like to see that idea expanded as I think that world has some legs, but it doesn’t need expanding for the story to work as it is.

UKPLC also touches on current affairs in a nicely timed and confidently cartooned way. I like the visual approach and the somewhat abrupt approach to timing in the strips. Not all of the ideas work for me, either they’re a bit too pat  or didn’t have that much of a new idea (‘Writing’ and ‘New Name’), but the work itself is strong and individual whilst still feeling part of a contemporary comic scene.

All images copyright their respective owners and shown for purposes of review only

Contents copyright iestyn pettigrew, all rights reserved

Internet find – How to find your way

This is a cool zine to download and print out yourself – I love it when people do this.

It’s from Gregoire Huret

find him here – twitter instagram facebook

This is a cool looking zine as well. I like street photography and I think Paris may be my favourite city. These are good portraits and a great idea to mark their positions on a map included in the zine.

go here for the downloads

No photo description available.

lazy sunday read – Lumpen Archives

(click on images to follow links)

website

The Lumpen Archive is a digital catalogue of previously published experimental visual zines and comics.

There are zines from zine love favourite (and Broken Frontier 6 to Watch recipient) Miranda Smart

Well known alt comix creators such as CF and Lale Westvind and many others too.

Lots and Lots to check out – over 100 publications

all contents copyright its respective owners

SHOP! Warglitter

(click on the images to follow the links)

Warglitter does a perzines (my favourite), fanzine and esoteric (witchcraft and tarot for example) zines.

She has an engaging writing tone that I enjoy a lot.

you can also find her here: website twitter instagram facebook

webshop

Spring Equinox Zine image 0

all content copyright its respective owners

go listen – Funeral Kazoo

(click on images to follow links)

they can also be found here: instagram (Kelly Crimson comic)

not a lot – 6 songs, but some really nice punky, rockish and enjoyable with social commentary to add to its worth. You could definitely sing these out loud drunk in a pub.

youtube

soundcloud

facebook

all content copyright its respective owners

lazy sunday read – Crafting A – Z (by Weekends in Maine)

(click on images to follow links)

Weekends in Maine can be found here – website twitter instagram

an e-zine of crafting activities and ideas with an example for each letter of the alphabet. There’s some fun ideas here.

Read it here

all contents copyright its respective owners

SHOP! – Adam Yeater

(click on the images to follow the links)

Shop here

find him here – instagram facebook

Extreme and trashy. Pulp to 900%. For sure it’s full of gore. Adam’s currently cracking comics out in a blaze, focussed on Blood Desert, check it out below

Blood Desert- NUKE- Full Color Magazine #1

he’s also got a great range of other comics, mini comics and zines to try out. Top of my list is The Lottery

THE LOTTERY- Trade Paperback

all content copyright its respective owners

go look – Richard A Kirk

(click on images to follow links)

website

Sinistral Sister2014, ink on paper, 12" x 8"

webshop

Compulsion (original art)

twitter

instagram

facebook

all content copyright its respective owners

go listen – The Newport Dolls, The Absolute Boundary Of The Entity

(click on images to follow links)

This was created as part of the the 2021 Festival of the Photocopier. You can see part of that recording on youtube here

This is a lovely, calming experience for me. Folksy, spoken word and improvisational, but not meandering or purposeless. It evokes a sort of spiritual sensation, like monks chanting.

It features quite a few creators and instruments, with the typewriter actually being a surprisingly effective part of the whole.

It almost reminds me of the Velvet Underground or The Incredible String Band, but not touching either very closely. Maybe even Devendra Banhart’s early, just after being found busking albums or Black Mountains first ep might be even more apt as it features women vocalists with emotional voices.

My favourite track is Admiring Axl Rose From Across The Hall

all content copyright its respective owners

go look – nullset overdrive

(click on images to follow links)

not active recently by the looks of things, but there’s a lot to look at and like in there

instagram

all content copyright its respective owners

lazy sunday read – Darling Zine

(click on images to follow links)

header art by Rebecca Reed

Darling Zine focuses on promoting creative womxn whether in art, music or film. On the website there’s lots of music reviews and there’s also profiles of artists involved in the zine and some comment pieces. I always appreciate a music zine, because I’m always looking for something new to listen to. the print mag

website

Darling Issue Three

find them on instagram

all contents copyright its respective owners

SHOP! – The Comix Company

(click on the images to follow the links)

Header image by Aaron Lange

The Comix Company is run by Dexter Cockburn, publisher and maker of underground porn comix. Featuring some great cartooning and lots of spunky action. He also publishes other creator such as Aaron Lange above.

You can also find Dexter Cockburn here –

twitter facebook (dexter cockburn) facebook (dexter J cockburn)

(any of the social media accounts may be currently suspended because social media isn’t keen on allowing porn cartoons)

webshop

SHOT WAD 3 - Dexter Cockburn Digital Comix

all content copyright its respective owners

foto friday – Toronto Photobook Library

click below to see more

this sounds like such an exciting idea, curated exhibitions of photobooks from self-published to big production!

website

instagram

all work copyright its respecitve owners

go look – 16 pages

(click on images to follow links)

Jean Philippe Gilliot in his publication Kermesse is one of the first places where I had work in zines.

He’s a great supporter of zines and art makers and I’m a huge fan of what he does to support others. A true gentleman.

instagram

all content copyright its respective owners

Comic Cuts, a review

(click on images to follow links)

About 3 weeks ago I gave this as a recommendation and every Friday there’s been another episode to listen to which I have enjoyed immensely. So I thought I’d do a proper review.

This is a good show. Firstly, it’s funny, always funny and fun,. There’s an atmosphere, which certainly comes from some good decisions by Kev F Sutherland, of friendliness and openness that makes it feel inviting to listen to.

Secondly, these are good guests, willing to be involved as well as interesting in their own rights. It makes for good listening because they bring a bounce to the whole proceedings. They all have interesting stories to tell. It’s also interesting to see the breadth of people involved in comics as fans and creators. Without saying so, it’s putting the lie to the image of comic fans and creators as boring middle aged men pedantic about the smallest detail. I think this is deliberate in itself and nice to see.

Third and last, it’s a good format for the fun above, but also for getting little mini-interviews with the guests who are, as noted before, very interesting in their own right.

I think it was a tweet in which I compared Kev F to Nicholas Parsons, somewhat flippantly. It strikes me as the best possible comparison because this show reminds me of nothing less than a Radio 4 panel show, interesting people given something interesting to do with a host that pulls it all together and keeps it light and insightful.

Good work on this!

Podcast here

see the panel images here

all content copyright its respective owners

go look – Julie Hollings

(click on images to follow links)

An alumni of Deadline magazine, great strips from that end of yuppie era

instagram

all content copyright its respective owners

go look – Artists Responding To…

(click on images to follow links)

header image by Joanna Brown

website

A.R.T. Zine Issue 9.PNG

Cover by Lily Dean

twitter

instagram

facebook

Cover by Tabitha Hall

all content copyright its respective owners

lazy sunday read – fanzines (including zine shop map)

(click on images to follow links)

map here

organised by zines – who are on twitter tumblr facebook

on insta they do a good feed of zines to look through

instagram

and on facebook they run the awesome ZINE CLUB group

all contents copyright its respective owners

SHOP! – Strip for me (Douglas Noble)

(click on the images to follow the links)

Douglas not only creates his own fascinating comics, he often works with a raft of other interesting creators including Sean Azzopardi, Jon Paul Milne and Olivia Sullivan who all produce amazing work of their own.

you can find him here: twitter instagram facebook

website

webstore

comixology

What We Know About Falling Apart

Sean Azzopardi

Black Leather #1

Jon Paul Milne

Get The Human Face

Olivia Sullivan

Mutton Chops

all content copyright its respective owners

foto friday – projet514

(click on images to follow links)

images of urban life, often juxtaposed to great effect

instagram

all work copyright its respecitve owners

go look – Owen Sherwood

(click on images to follow links)

website

howl_mermaid_web.jpg

Sharkplant! Sticker

twitter

all content copyright its respective owners

zine library! zineopolis

(click on the images to follow the links)

with a whole online collection of zines available to look through, this is an exciting online journey as well as being a physical resource in the University of Portsmouth

website

zineopolis

instagram

Check out the work of Jackie Batey, one of the curators, on twitter

Image

all content copyright its respective owners

go look – Brett Hobson

(click on images to follow links)

Inktober2_2020.jpg

twitter

instagram

all content copyright its respective owners

lazy sunday read – Artisterium

(click on images to follow links)

website

This seems to be a new blog started by Miguel A. S. Correia of Ultra Violenta (great zine you should check out here) with posts about various museums and galleries he has visited. There’s only a few posts up, but they are fun. Particularly nice to see so many photos. I was led here when Miguel posted in the zinelove chat group we run on facebook.

This is the article and it’s about visiting the Fanzineteca run by Ogata Tetsuo, another member of the group. That’s a beautiful looking place and is definitely somewhere I’d love to see!

all contents copyright its respective owners

SHOP! – Fraser Geesin

(click on the images to follow the links)

you can find him here – twitter instagram facebook

Fraser Geesin’s humour hits a spot with me, drifting from nonsense to satire it aims squarely at humanity and hits the mark

physical comics

The Cleaner is both funny and dirt cheap, there’s not much more to ask than that

thecleaner.jpg

digital comics

JTTSOTE2-shop-thumbnail.jpg

all content copyright its respective owners

foto friday – Brighton Shit Graf

(click images to follow links)

this isn’t about quality photos, it’s about the fun of watching humanity

instagram

all work copyright its respecitve owners

go look – Eric Orchard

(click on images to follow links)

Image

twitter

all content copyright its respective owners

go listen – Mutiny by Damas Prospect

(click on images to follow links)

Album is on Bandcamp here

Favourite tracks are

Recoil Effect – I always enjoy crackling radio conversation in a track and this is accompanied by some driving music; it’s giving out energy

Human Artillery – the start with its driving, repetitive rhythm is enough, but the out of time iron work and their meeting tempo is perfect doing music

all content copyright its respective owners

go look – Ben Humeniuk

(click on images to follow links)

twitter

facebook

all contents copyright its respective owners

go look – Sarah Harris

(click on images to follow links)

Occasional zinester, current editor and often wall sprayer, Sarah basically makes awesome things and if you ever get the chance to own something made by her, go for it

Buy her zine Unravelling

Unravelling by Sarah Harris (Colossive Cartographies 22)

twitter

May be an image of outdoors

all content copyright its respective owners

go look – Crash Reynolds

(click on images to follow links)

website

webstore – etsy

Sometimes Human Issue 4 Perzine Zine

webstore – threadless

patreon

review

twitter

instagram

facebook

all contents copyright its respective owners