Archive | April, 2011

The Harold

27 Apr
by Kevin Czap

Kevin Czapiewski Spoilers

Note: This post is a continuation of an apparent series where I talk about story-telling methods and artistic practices that interest me, particularly in how they can be applied to comics.

“People say that life is just one damn thing after another. That is not true. It’s the same damn thing over and over again, and you’ve gotta keep your head loose enough to see it as it comes around again.” – Del Close

In high school I was a theater kid. This meant that my friends and I took theater classes every semester, we showed up on Saturday to build sets, we acted and sometimes sang in the school plays, we wrote and directed one-acts, things like that. It also meant that we did improv occasionally. Some of the most fun we had thoughout our high school careers was during improv practices and competitions (thanks in no small part to
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Every Comic Shop on Sunset Strip/Greater Cleveland Area

20 Apr
By Kevin Czap

Ed Rusha's Every Building on Sunset Strip
When I took a trip to New York City at the end of last year, one of the strongest impressions I came away with was about the comic shops. I wasn’t able to go to every single one, but that’s beside the point. This is a city that loves comics in the universal sense. Sure you’ve got Desert Island covering the fringes and Bergen Street which is a handsome, diverse boutique, but even Midtown and Forbidden Planet, the more mainstream-y stores, had a selection that made me weep from euphoria. Who needs the internet in such a place?

Of course, the separation anxiety began to seep in as I returned home to Cleveland. New York is probably an unhealthy comparison for any city, but sometimes you can’t keep those kind of thoughts out. Since then I’ve heard other people talk about the less-than-diverse offerings in their own cities, further establishing that week in the big city as a special case. Still, it got me thinking. If you’ve been checking out my posts here on the Cube, you’ll know that I’ve been all about local scenes lately, so it makes sense that my thoughts have been centering on the make-up of Cleveland’s comics scene. Comics shops, being the physical locations of input, are a large part of any scene’s ecosystem, naturally. Continue reading

MoCCA jokah

15 Apr
By Darryl Ayo

Eric Colossal, Jess Fink, L. Nichols. Photo by Me.

So like okay, whatever, right? Here’s the deal with MoCCA: I’m a cartoonist, my friends are cartoonists. At shows like MoCCA, I always see a bunch of peers who I enjoy talking with and spending time with. Oh, we laughed and we laughed. There was trading and there was sushi and there was coffee and there was drinking and there was closed-room industry talk. This is pretty much a given for comic shows, at least from a cartoonist’s perspective. So my answer to the same question phrased differently is opposite: “Did you enjoy MoCCA?,” or “How was MoCCA?”

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13 Apr
by Kevin Czap


The most recent comic to flip my lid has been Steve Weissman’s serialized “Barack Hussein Obama.” At first, I had only seen the image above, which I took to be a one-off strip. On its own, the image was staggering — a beautifully poetic (and haunting) comment on our country’s current situation. Whereas most political cartoons are more or less explicit in their message, this was refreshing in how much it left unsaid. A particular bias of mine, sure, but I usually think the less said the better (as always, there are exceptions to this).
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11 Apr
by L. Nichols

As many of you reading this blog (or any other indie comics blog) know, this past weekend (April 9-10, 2011) was the MoCCA Art Fest. This year I tabled with Darryl Ayo, Jorge Diaz, and Eric Colossal. (Darryl took all these photos)

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How do you read

8 Apr
By Darryl Ayo

For a long time, I’ve been what I now consider a poor comics reader. I’d read a comic through once and usually never read the entire work straight through again. I usually focused on some element or another that I found particularly interesting, whether the design of a specific page or the flow of a single sequence of pages or the presence of Captain America. For many years (and let’s be honest–presently as well), comics have been like a buffet for me. I’d sometimes come for one element, and revisit the work for another element–but for some reason, that microscope-vision prevented me from revisiting works as whole works.

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Labrynthine Sudocube Comprehsensile – Andrew Hussie’s Problem Sleuth

6 Apr
by Kevin Czap

Problem Sleuth's office

Problem Sleuth is one of the best and most exciting comics I have ever read. I’m not sure if that means anything to you, but believe me when I say that I am quite serious in my appreciation for it. While I was reading it, I was in an almost constant state of “flipping the fuck out” (that’s a technical term, by the way), and since I’ve been finished with it, I’ll occasionally find myself just mulling over the precise, diamond-like quality of its construction. This might all sound pretty hyperbolic, but I really do mean it – creator(curator?) Andrew Hussie made a masterpiece with this one.
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5 Apr

Oh my goodness, guys. I am so excited about MoCCA I can hardly think! I am crazy busy trying to get ready (hence my lacking Monday post). And I will tell you why….

Not one.

Not two.


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Shortcut to the Long Way Home

1 Apr
By Darryl Ayo

Apparently I drew this comic on November 7, 2006.

This is a post about structure and design. Two things that I think about a whole lot and never want to talk about publicly. This post is also about joke strips because it’s April first. Slug the vocal person from Atmosphere said “If they like your song, just nod your head and play along; never tell them what inspires you.” That’s similar to the crime phrase “The game is to be sold, not to be told.” But here’s another page from my playbook.

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