|Satellite CMYK: Coming in Nov.|
|Written by Eric Reynolds | Filed under Mome, Dash Shaw||12 Sep 2008 8:56 PM|
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Category >> Mome
Last week, I was emailing with MOME contributor Derek Van Gieson, who also happens to be a New Yorker contributor. He was bringing me up to speed on his next MOME story's progress, and mentioned to me that in the course of working on something for Vol. 13, he abandoned several panels. I told him I was sorry to learn he had worked hard on something only to abandon it, and later that day he told me not to worry, he'd found another home for part of it at The New Yorker. I half-jokingly told him I took a certain pride in knowing the New Yorker was publishing MOME's castoffs, and asked him to tell me more. It was an interesting story and insight into an author's process, so I asked him if he'd wanted to write something up about it for Flog. Derek's piece in MOME 12, "Parallelograms," is his MOME debut and I thought it would be an interesting way to draw some attention to his comics work. He was gracious enough to oblige...
I guess this can be best summed up as a "you got chocolate in my peanut butter" type situation. Let me explain — on my drafting table there lays the divide. On my right sits my Fantagraphics work for Mome, and on my left, a pile of drawings designated for the weekly Tuesday showing with Bob Mankoff at The New Yorker. The work for both differs so greatly, that the separation of these approaches could lead to artistic schizophrenic whiplash, yet through the power of cheap hooch, I persevere.
And yet, there I was- slaving away on Mome 13 when all of a sudden a break in style happened. All of the seriousness was sucked out of the room as one of my characters was positioned on a dock, engaged in fisticuffs with a rather silly looking shark. Sam Gross has a great expression regarding a situation like this- in cartoons you either have "funny drawings or you draw funny." Usually, you'd aspire to the former; in this case I think that actually happened, unintentionally. That shark is pretty goddamn ridiculous looking, it was indeed a funny drawing. Needless to say, it was clearly a cartoon and therefore didn't fit the story in progress about marriage and murder and ultimately sat awkwardly in limbo.
And then came the siren call of the New Yorker Cartoon Lounge with an assignment: the worst aspects about summer. At first I thought of a four-panel gag- the three you'll most likely become acquainted with, along with an unseen fourth panel involving a killer butterfly. I drew it a few times- it didn't look pissy enough and then I discarded it. But the other three panels are where it's at.
The first panel is the one I discussed above regarding the shark. I've seen some strange shit at Coney Island and so it seemed a great starting point- somewhat abstract and out of nowhere, what Mankoff would regard as my "Dada stuff". Lately I was told to lay off cats, werewolves, and aliens for my submissions but that's another story. The second panel is TRUTH. The summer is filled with random and spontaneous liquor choices, most of them against long standing convention. I know for a fact when I drew this panel I was indeed hung over, in this particular case from Harry Nilsson Brandy Alexander night at my apartment with fellow New Yorker cartoonist Emily Flake. It seemed appropriate to document this, as it was a consistent aspect of my summer. The third panel, which you'll find on the New Yorker website here, refers to Sid Harris having gave hell to another cartoonist about his appearance from the waist down. It was pretty funny and deserved documentation. I wear trousers to avoid such ridicule, however chummy.
Included here are the first two panels of the gag along with a preview of what I've been working on for Mome 13. It's pen & ink with coffee washes. If I don't drink it, it goes into the drawing. Have I mistakenly taken a swig from the ink and coffee wash cup? The answer is yes.
-Derek Van Gieson
1) Panels 1 & 2 of "The 3 Worst Things About Summer" (panel 3 here):
2) Sample page from "The Marriage Tree," from the forthcoming MOME 13 (November 2008).
Special thanks to DVG for doing this for Flog readers.
Mome Vol. 12 - Fall 2008
Appearing in MOME 12: Cover art and debut story by European master Olivier Schrauwen, who contributes the hilarious "Hair Types." David B. is back with "The Drum Who Fell In Love," while MOME #11 cover boy Killoffer gives us "Dirty Family Laundry." Nate Neal deconstructs the genres of indie comix in "Reality Comics Quartet," while Dash Shaw delivers another full-color gem titled "Train." Tom Kaczynski presents a suite of strips detailing the history of noise, while newcomer Jon Vermilyea introduces the creepy funny "Breakfast Crew." Plus, more Killoffer, Ray Fenwick, Sophie Crumb, and the great Al Columbia. On top of all this, we have newcomers Derek Van Gieson and Sara Edward-Corbett, as well as an illustrated prose short story by Paul Hornschemeier. Our most dense issue yet!
Here are a few reviews of our books that have popped up in the web-o-sphere over the past week or so (minus ones that Eric has already linked to):
One of the strange things about editing MOME is that we're always sending an issue to the printer simultaneous to the previous issue hitting stores. So while Vol. 11 just hit stores this week, we're also sending MOME 12 off to the printer as well. I thought I'd give you all a sneak peek of the cover:
The cover is by Olivier Schrauwen, who contributes an original 13 page story to the issue (his first written in English). It's amazing, absurdist delight titled "Hair Types". If you haven't read his book, MY BOY, you should.
MOME 12 also features new work by Jon Vermilyea, Nate Neal, Sophie Crumb, Al Columbia, Ray Fenwick, Dash Shaw, Tom Kaczynski, Derek Van Gieson, Killoffer, Sara Edward-Corbett, Paul Hornschemeier, and the return of David B. Look for it at Comicon, where it will debut...