About Allan Haverholm

Danish cartoonist living in Sweden. Graphic novelist and artist exhibited in the US, France, and Scandinavia. Former partner at Afart Publiishing (DK), co-editor at C'est Bon Kultur/C'est Bon Anthology (SE), co-founder of the Danish Comics Council. Coffee drinker, metalhead, dad.

You hear that? That’s the sound of a personal online data fairy dying.

My main mode of being in the world—personally, professionally, and politically—is Facebook, that site that mines my data in terrifying and opaque ways and that coerces me into spending hours of my time in its thrall so that it can bombard me with ads that deliver my attention to companies willing to pay for the privilege of having me see their posts.

— Aruna D’Souza, Dying of Exposure

The old school kickstarterooony

Remember how we got by before the Kickstarter gamified preorders? Shoot, I just gave it away there, didn’t I? Here’s how it works:

1. I make something nice, like this —
2. You buy it.
3. Yay! You just kickstarted me eating long enough to repeat step 1!

Still working on a preorder scheme that will allow me to eat while I work or, you know, buy more art materials, but until then — keep those orders coming!

PS, sharing the above link to friends is almost as good as buying stuff from me yourself! Thanks :-)

Morning sermon from @therealkim__


too many superheros in comics studies. please write fan reviews on superhero forum, not on scholarly journals.

— @therealkim__, at 30 Jun 08:31, and

i want #comics to lose the burden of narrative and study its own spaces: pages, representations on pages, grids, lines, colors, pixels etc.


Thank you, and I’d extend this to comics reviews. Comics are exciting as hell on a purely formal level, the endless line of superhero soaps… dramatically less so.

Ohai, much-craved attention!

Danske Allan Haverholm, som er en av gjestene på årets Raptus, var å se på Copenhagen Comics som representant for Seriefrämjandet. Allan bruker mange ulike stilarter, og går lenger enn de fleste i å eksperimentere med mediet. Her viser han fram en tegneseriebok bestående utelukkende av abstrakt kunst

Tl;drN (too long; don’t read Norwegian):
I was snapped with a copy of When the last story is told at Copenhagen Comics by organisers of the Raptus festival.


“We have to take so much more responsibility for our images”: on gender and representation. #mustread


I was aware for the first time of all this[*] and more, because I had unplugged myself. I took the right-coloured pill, I came out of the gross Matrix pod and I could never look at anything the same again.

— Idil Sukan, in How I became a feminist: My origin story and the importance of meltdowns

* Long, thorough list of everyday sexism in culture and media; too long to reproduce here and too relevant to spoil.

This is a carousel in a Danish amusement park in 2015

First one way and then the next – to the sound of bongo drums. Full speed ahead and feel the air rushing through your grass skirts as Hottentotten spins you a merry dance.

The Hottentot carousel, part of Djurs Sommerland‘s Africa section along with other wholesome entertainment like the Cannibal Cauldrons, is another nasty reminder of persisting cultural racism. Hottentot is an antiquated derogatory term for Africans, specifically for the Khoikhoi people of South Africa.

When outraged people called for removal of the offensive rides on the park’s Facebook page, administrators merely deleteded the comments, citing as a reason only the tone (of the condescending replies to the original post, I would assume), but stated in private correspondence that neither rides nor theme sections would be renamed.

Twitter user @labeet shared a link to a blog post summing up the whole affair (where I also got the above image and information) and was immediately hit with tweets accusing her of political correctness. The official twitter account for Bæltestedet, a show on radio station 24syv weighed in (in Danish, my translations follow):

Suddenly everybody have an opinion about #djurssommerland – it’s too much – like with Pippi in Sweden. It’s fiction. Relax.

The show’s twitter person is referring to the — now redacted — mention in Pippi Longstocking that the titular character’s father is a “negro king”. As @labeet points out, while the Hottentot carousel was erected in the nineties, Astrid Lindgren wrote her book in the fourties, a product of another attitude toward other races.

I’d add that 1) the Pippi redaction is perfectly in tune with the overall humanist tolerance evident in Lindgren’s works, and 2) the fiction argument doesn’t hold water when applied to an amusement park ride featuring an offensive caricature of an African. That’s not a “fiction”, it’s a 4 feet fibre glass blackface minstrel fact. Some Danes are unwilling to admit that certain parts of their cultural heritage is outdated and basically wrong — @baeltestedet continues:

All everybody sees now is racism – it corresponds to if I was a butcher and wanted the film “The green butchers” stopped. QUIT IT ALREADY.

(It is not required to have seen that film to understand the example…)
The person at the keyboard attached to @baeltestedet’s twitter goes on to suggest that the park also close their Viking themed section because the depiction of our old Norse ancestors as pillaging marauders might be offensive to some. A rather helpless attempt to gain a rhetoric footing, followed by a quick exit from the discussion.

I think the last quote offers the only, involuntary glimmer of insight in @baeltestedets contribution: “All everybody sees now is racism”. I do believe that scales are falling from a lot of people’s eyes these past years, and they are gradually, finally speaking out against racist imagery and verbiage that has been handed down from earlier generations — and challenging the people and social structures that would preserve or even expand upon that inherent racism. And I say that knowing full well that there is a large contingency of the population pulling toward the olden ways.