This card is from my stepdaughter’s birthday a couple weeks ago, before the end of the civilization as we know it. It’s fanart from a newish Netflix cartoon called Kipo and the Age of Wonderbeasts, about a post-apocalyptic Earth where most of humanity lives in underground burrows because the surface is rules by mutant animals. If you are trapped in your own home and enjoy that sort of thing, I highly recommend it.
This started out as a much more ambitious idea in which lion-wizard and lion-scientist were in a lion-workshop/lab with all kind of arcane equipment and books and whatnot, but this is what came out of the paper. The kids loved it. Due to scheduling issues, I wanted something that could play through All Souls’ even though I had to put it up mid-September. The lettering isn’t my greatest because I had a time crunch and had to the entire thing in 1 day. It took about 6 hours, but some of that time was me discussing a commission with someone else in the building.
Wizard lion and scientist lion, learning forever.
May seems to happen so fast, I completely forgot to post this little gem to my blog: Bonnie Jo Campbell Comics: Volume 3 (Women and Other Animals) exists! We distributed some at the Society for the Study of Midwestern Literature’s symposium earlier in the month, and then most of them are being held back until WW Norton reprints Women and Other Animals in 2020. However, if you’re a follower of this blog, you can totally order one (or more) direct from me. Just contact me through this blog (email address is on the About page) and we can exchange details. I also have copies of the back issues for sale.
Prices as follows: 1 comic=$4, 2 comics=$7, 3 comics=$10 + $3 postage.
I’m going to post my presentation from the SSML symposium this week, too. It was a really great experience for me. The organizers want my work for an anthology they’re putting together, and, even better, the comics themselves are going to be added to the comic book archive at MSU. It is the academic comic book collection. The definitive scholarly repository with over 300,000 titles. It’s the place to be if your research requires comic books. It’s a good honor.
When you have 2 comics that you started weeks ago and never finished because of reasons, the thing to do, of course, is start a whole new comic. But that just means there are definitely 2 more comics coming. Obviously, I haven’t been drawing any comics lately, and it’s been a while since I drew any of my own, or any without a political agenda: last year was almost entirely Linda Addison, Bonnie Jo Campbell, and my personal fear and loathing regarding the state of the union. So let’s see what it’s like to be a webcomic again.
Obviously, shout out to Archer here. I almost drew Archer or Mallory into the comic. Then I just decided to give the dude Archer’s hair. Then I gave up on that and just tried to get the characters to look like the same character in every panel, at which, I calculate, I was 66.6% successful. Anyway, I assume this guy’s the dad and he’s just gearing up for the day that his children are sufficiently fluent in the English language for him to drive them insane. He’s practicing for the triplets.
Actually, The Man is the ultimate dispenser of dad jokes and I’m pretty sure I’m the target way more often than the kids are. You simply cannot tell this man you’re hungry, thirsty, tired, dirty, damp, whatever you’re feeling or experiencing, unless you want him to introduce himself to you. “I’m starving.” “Nice to meet you Starving, I’m Daddy.”
He is lucky I haven’t stabbed him during a low blood sugar crisis.
Loneliness, or fear of loneliness, is probably the number one reason people make regrettable choices when it comes to marriage. People like Mary Beth figure that out, and accept the loneliness rather than make the same mistake twice. People like Harold double down on their mistakes, try not to think about it, and commit ever more intently to a course of action. Harold knows that he will never leave Trisha, even though she’s a sloppy drunk who’s in love with his best friend, even though there’s a girl who loves him more and is probably better for him waiting at the farm store. He’s made his choice and he won’t hurt Trisha. And then there are the Trishas of the world, marrying in haste, repenting at leisure, and not really having any degree of self-reflection about it.
And Pauline, of course, will probably always be lonely. Why didn’t she say something to Harold before he married Trisha? Fear of rejection, right?
For a while I had trouble pulling visual symbols out of the story; I didn’t want to draw Harold and Pauline kissing in the farm store. The best image is the memory of Harold and Pauline walking home in the blizzard, holding hands and still wearing their skates. Lucky me, I didn’t read the passage correctly the first time and spent quite a while drawing their skates slung over their shoulders. But they wore their skates back to Pauline’s house, where Harold has been living because his dad is not OK, and took them off in the mudroom. Ultimately, the story is called “Winter Life” and all Harold is thinking about is the spring, even though for Pauline the most important moment was the winter. But Harold loves his garden the most, he can’t wait for growing season to begin, and this year he’s going to get a jump on it with cold frames. He’s shopping for ice melt. What happens in winter stays in winter.
Whew! This is my favorite story in the book so I wanted to do it justice. Do you see how lovingly the seeping wound in panel 4 has been illustrated? That little white poof between the women in panel 6 is a cat if you zoom way in.
I ended up cutting out the first 5 pages of the story, which can be summarized as, “Jim is having a particularly frustrating Friday night.” That allowed me to start with what, in my opinion, is the linchpin moment of the story: when Jim sets himself on fire. Because women are confusing and he can’t get one and he’s so sure that having one is like having a direct line to god, which makes his inability to score that much more frustrating and emasculating. It’s ridiculous. And then he sets himself on fire and it all comes out into the open. Everything about it makes you want to laugh and cry at the same time.
The use of water in the story is really nice too, as a counterpoint to fire and as a symbol of healing and compassion. There’s a lot to analyze here, if you want to write an English paper. I just used some of my favorite moments and motifs.
A pretty easy text to comic-ize. The only real issue was deciding which 2 of the 7 list items to combine into 1 to fit the 6-panel format. Math! I guess this story would also be considered experimental, in the sense that it really is a list of possibilities. Some of them offer pros and cons. For some of them, the pros and cons are obvious without being pointed out.
It’s not just relevant to drugs: it’s about anyone who’s ever stayed in a terrible relationship with a terrible person because love causes you to see people as you wish them to be, or as you think they could be, or they way they used to be, rather than who they are right now, and who they are likely to be in the future. It’s easier to keep doing the same thing than it is to change. But Brian’s tolerance is crazy high. The line in the book is, “last week your wife stabbed you in the chest while you were sleeping, that she punches you, too, giving you black eyes that you have to explain to the guys at work.” She stabbed him in the chest! (I presume it was with a steak knife.) But his instinct is still to protect her from the rest of the world, if not from himself.
There’s another story in American Salvage that reminds me of this one, “Bringing Belle Home,” where the guy will still do anything for the girl, even though she’s cruel to him, even though she doesn’t even seem to want him anymore. Love makes you crazy. That’s the only explanation.
From the moment I took on this project, I wondered how I was going to draw the homemade scuba gear, which seemed like such a memorable symbol, but on rereading the story, I felt the homemade scuba gear was less important. The girl in the story believes Uncle Ricky was a real angel, but he was a kid who gave his friend a homemade tattoo and also made his own fireworks. He was no angel. Also, he tested his homemade scuba gear alone, at night. He wasn’t as smart as he thought.
There’s a lot going on in “The Inventor, 1972,” and I had to cut a lot out, particularly the man’s fraught relationship with his father, and the fact that he is referred to as “the hunter” despite the fact that his hand injury leaves him unable to shoot, and the scene that depicts him trying to hunt as a younger man shows him failing to take the shot. I thought there was some ambiguity about the car accident. The man keeps saying that he didn’t see the girl, but then he thinks about how happy he was when he hit her because he thought she was a deer, and then he recalls how she looked emerging from the fog. So, did he hit her on purpose, mistaking her grace for that of a deer? Or was it all too fast to be anything other than an accident? How culpable is he? He sort of hopes that he will go to jail—his situation is so bad that jail would be an improvement, to his mind—but his guilt is mixed up with so many events that it’s hard to say how guilty he is now.
In the story, the girl sees the man’s hunting license pinned to his jacked when he approaches, but when I Googled “Michigan hunting license 1972,” all the hunting licenses from that era clearly read “display in middle of back.” Having never hunted at all, let alone in Michigan 2 years before I was born, I didn’t know what to make of that, so I just left the license out, since the girl can’t read it anyway. Also, it’s supposed to be the back of his hand that’s burned, and I ended up drawing the front of his hand burned.
At its heart, I think this story is about 2 people who don’t know each other at all, even though both of their lives have been indelibly affected by the death of another character and they’re clearly connected and could help each other. I’d like to think that the girl’s parents find out that he was the person who hit her with his El Camino, but also the one who went running for help, and that they would, naturally, recognize him from their own childhood, and that somehow he gets reintegrated into the family’s life and becomes a subsequently less broken person as a result. I think it’s meant to be redemptive.
This comic took almost an entire week to write and draw, but in my defense, I was at Tucson Comicon for 3 of those days, 4 if you count picking up my media badge and skulking around the load-in on Thursday. Usually I write the script before I start drawing, but I knew that panel 1 should just be this moment of the girl lying on the ground with the man kneeling in front of her, so I just started drawing and figured out the text as I went along. Maybe it would have been more coherent if I had worked it all out first.
Back in 1999, I felt pretty much the same about Y2K. What a lot of fuss. I worked that night; New Year’s Eve is a good time to make money. But people can always find something to get riled up about. There are still dirty dishes to wash at the end of the day. If you can’t identify with that, you won’t understand this story. The last panel could have been Susan washing dishes, but I drew dirty dishes for “My Sister Is in Pain” and it’s gross. Dishes are a pain and I have to do them at least twice a day. I love the idea of all the machines stopping for a while and people just shutting up.
That Pur-Gas logo looks sweet.
As with last year’s “Daughters of the Animal Kingdom,” I knew that I’d have to only draw animals in this comic, but, as with “Children of Transylvania, 1983,” I knew I’d have to excise huge swaths of the story to fit it into 6 panels, especially if I was going to insist on making the animals the focus of each panel.
In “The Yard Man” we see one major theme of this book, which I categorize as, “Heteronormative Men Who Really Like Women but Aggressively Don’t Understand Women.” In Mothers, Tell Your Daughters, the main characters often seem crippled by a stunning lack of self-awareness, but in American Salvage the men tend to know who they are and what they want (love), they just don’t understand the people (women) they are trying to get that love from. Anyway, I’d call this story a little sad: Jerry and his wife are living apart by the end. Jerry still loves her, and he’d probably follow her if she asked him to, but she doesn’t ask, and he really, really, really wants to see that snake again.
I have to apologize for that snake. My picture does not do it justice. I probably should have drawn it as a red blur moving through the grass. Bonnie Jo reminded me that snake’s identity is meant to be a mystery, but the snake is not a symbol. It’s just a snake, she said. Pretty proud of that ermine, though.
As I told the Rabbit, I see both sides of the issue. The creatures are amazing. There is poetry to a wall full of honey, to an ermine returning to land where ermines have not been seen in years. But also, you can’t live like that, with bees inside. When I lived in Michigan, I had to help a friend remove bats from his house a couple times, and I had encounters with deer, snakes, and spiders. Never had any problems with honeybees, though, and I’ve never even seen a wild weasel. Once, in Kalamazoo, I was out in the woods. And you know how sometimes you’re walking in the woods and you step on a stick and it makes a loud crack and suddenly some deer, which you never even knew were there, jump out of the undergrowth? I had the opposite experience. I was standing quietly in the woods not noticing some deer walking along the ridge and one of them stepped on a stick and the crack startled me and I jumped a couple feet in the air. I could see the deer peering down the ridge looking at me like, “Isn’t that sad? Poor, dumb animal.”