That’s it! The end!
That’s it! The end!
Pops Boyle has a choice.
Things reach the boiling point.
@bclevinger EVERY comic fan that purchased your Infinity Gauntlet mini for $3.99 felt ass raped with a broken bottle. Good job
Another character joins the fray.
Halloweek continues and things get ratcheted up.
Dan and Steve receive orders.
A special guest artist kicks off a tradition.
In which there is a cliffhanger.
David Uzumeri of Comics Alliance asked for help getting the word out on his campaign to get Quislet elected as Legion president and I was more than happy to help. Quislet is amazing. Go vote!
Sam’s plan is unfolding.
Your new favorite webcomics characters are hot!
Dan disappoints Beverly.
On the back of the book is a quote from a Booklist writer, who says that “[Karl Stevens is...] a much more thorough[ly] realistic artist than the label cartoonist suggests.” He’s not wrong, but I take exception to his dual pigeonholing of the term “cartoonist” and Stevens’s work. While he avoids (and even states in this interview with Tom Spurgeon that he’s incapable of) over-the-top, Bagge-style on-page histrionics, there’s no small amount of life in his work, even if he uses photo reference to capture likenesses just so.
Despite the detailed rendering and on-the-sleeve classical influences, Stevens’s art manages to capture tiny moments and explore them to great effect. His renderings of his real-life cast are done sans lightboxing, giving them an organic feel that is lacking in most “realistic” art and his hand-lettered dialogue is integrated into the final product in a way that very few cartoonists manage.
His latest book, The Lodger mixes installments of his “Failure” cartoon, drawn for The Boston Phoenix, alongside paintings made during the same period. In (trite-but-true) fashion, it begins with a breakup and Stevens’s move into an old teacher’s home and there’s actually a bit of an arc, even if it’s not blatantly spelled out for the reader and the integration of his fine-arts efforts along with the cartooning create a complete picture of Stevens’s life during that period.
It is frequently very funny, and that’s really the most important thing.
What makes this comic really work for me is the way that it’s actually a very simple, very familiar story told well. Amidst the main plot (Thor’s thrown out of Asgard, has to work his way back into his Odin’s good graces), his relationship with Jane Foster and how it’s growing has really gotten its hooks into me in a way that’s never happened with previous iterations of the character. He’s headstrong and in search of answers when he doesn’t even know the question and she’s patient and up for anything if it means helping him while still remaining her own person. Langridge and Samnee’s deliberately slow pacing in their relationship is modern and endearing and it makes me wish that more superhero comics were willing to treat the subject with such relative subtlety.
My friend Jackie works with Young Audiences of Massachusetts and they’re looking for a comics artist/graphic novelist to help them out with their programming. You should have some experience working with students and be interested in working in schools. You’ll also have to be available during the day (as you’ll be visiting area schools,) but they can work around your schedule. Young Audience Of Massachusetts is a good organization doing good work and I think that creators looking to expand their repertoire and earn a little extra bank could do much worse than talking to them about this opportunity. You’d have flexibility, resume fodder, and a chance to help make sure the next generation isn’t the worst generation.
Email email@example.com to get more information.