I’m joining Derik Badman’s 30 Days of Comics program again this year, and because I seem to have a masochist strain (at least when it comes to work), I thought it would be fun to make a complete, comprehensive piece of work this time.
That’s basically all I have to go on, except I’d like to work within a musical frame, or what I just coined a “graphic symphony” on Twitter. That may or may not be the end result, but I’m running with that for now. I’d like some input from you guys, though.
The next few days I’ll prepare a word bag à la Lynda Barry, or perhaps Brian Eno’s Oblique Strategies, which will serve as random prompts for my daily output through November. What I need from you is some words to put into my bag (or envelope, actually), specifically verbs and adjectives.
Since so much of my work is non-figurative these days, I don’t think nouns will be of much use to me. Sorry nouns, I’ll do you some other time.
So please, comment with your contributions below, it’ll be a great help (and you’ll be namechecked if your prompt is used during November)! Thanks in advance!
Comics remain between the categories of bourgeois aesthetics. They are neither literature nor art. They lack the depth of a novel, the richness of a painting, the density of a poem, the detailedness of a photograph, and the motion of film. That all this is missing is only natural; otherwise comics would not be comics. But they do not really lack these specifics of other media. Comics emerge from a mixture. As Art Spiegelman once put it: comics are a com-mix, a mixture of words and images (Spiegelman 1988: 61f). As most people maintain, comics seen as commix contain rather too much than too little: too much is mixed up; there are too many series; and there are too many funny and funny moments.
I hope mr Frahm has gotten a broader perspective since then but, to be honest, even though I was taken aback by his opinion when I first read the essay, it does cover between 90 and 95 % of all comics published, then and now. Continue reading →