The Happy Clown

KUTI 29 Syksy/Autumn 2013 ISSN 1796-587X
© Tekijät/Artists Painos/Print-run: 7000 Painopaikka/
Print: Satakunnan painotuote Oy Taitto/Layout: Benjamin
Bergman, Pauliina Mäkelä Kansi/Cover: Heta Bilaletdin Toimitus/Editorial: Kutikuti Vastaava PT/Editor-in-Chief: Sami
Aho Tekijät/Artists: Sami Aho, Robert Deutsch, Celine De
Cadt, Roope Eronen, Marcos Farrajota, Petriina Koivunen,
Søren Mosdal, Tommi Ollikainen, Aapo Rapi, Alessandro Ripane, Heikki Rönkkö, Kari Sihvonen Julkaisija/Publisher:
Kutikuti Mainokset/Ads: tomustur@gmail.com Kontakti/
Contact: info@kutikuti.com www.kutikuti.com
Celine De Cadt
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In the first part of the article I focused primarily on the manipulation of images - comics jams, collages and “detournement” now I’ll try to show a second type of “comix remix”,
focused on the potential to “mix” exclusively narrative units
such as panels or strips. If in the first group of examples of
“Comix remix”, the crux was the “creation” directed by an
artist, almost without intervention of others, in the next
group of examples, comics are offered like an open-source
in which the authors lose control over their creation though,
without extremism as in music. In comics there aren’t simple
electronic tools to make remixes as in the musical area; just
pick two CDs like Project Bicycle (Ache Records, 2006) or
Bipolar EP (Raging Planet, 2006) of [f.e.v.e.r.], both have an
audio track with all the separated sounds of the original music
in order to be mixed by someone else who knows how to use
a software as the Fruityloops.
Building stories
H
ence, the more usual way of “losing control” is put in the form of
reading the work, providing narrative games in the form of book,
objects or even installations in exhibitions.
In 2008, Jucifer participated in a project in which she had to use “PostIts” (1) to make original comics, later glued on a wall in a gallery. While
most of the other participants created linear stories in these square
adhesives, Jucifer, besides, having entitled her work Post shit (a feat
in itself, as it distinguished her from “square” authors), took advantage
of the fact that the square shape of a “post-it” allowed the panels to be
autonomous, placed anywhere and, as such, aligned randomly, as the
author or the visitors wanted to! Although, this opportunity for visitors
to be able to change the order of the “post-its” hadn’t been given during
the exhibition, unfortunately, the exhibition was never repeated, in order
to have a new “remix”. Later, a self-published zine of this work was made,
again without the possibility to mix the images as it appeared in the form
of a stapled zine.
The second volume of the Promessas de Amor a Desconhecidos
Enquanto Espero o Fim do Mundo (2011) by Brazilian Pedro Franz is
a package with several laminated sheets of paper that allows you to mix
everything at random and to be read as the reader wishes to. The same
happens with the box Building Stories (Pantheon, 2012) by the “crying
baby” Chris Ware. It consists of 14 publications of quite different sizes,
that allow you to read a story like a puzzle (2). The various phases of
the life of these characters are butchered in those 14 publications, this
means, none of these books / newspapers / pamphlets / brochures has
a “full story”; everything is done in several random episodes, with the
typical Ware’s depressing existentialism. This existential emptiness and
the tiny lettering, didn’t captivate me to read it all until the “end”. Did
I miss anything?
There are also books bound by rings with their pages cut into two or three
parts, especially in the field of children’s illustration like the fabulous
Animalário Universal del Professor Revilod (2003) by the Mexicans Javier
Sáez Castán and Miguel Murugarren. In comics, it is not common but you
can find this kind of experiences here and there, like Bio Building 421
(Lök; 2012), which brings together several authors of an Italian collective
where one can mix it’s strips - three per page - to create several different
stories. In order to be a narrative sequence, the existence of two characters
and a shelf to assemble it were established. As a punchline, there’s a final
sentence: who else can love you, love less.
Literally as “games”, we find some objects released by OuBaPo, like
Le Coquetèle (L’Association; 2002) of Anne Baraou and Sardon, a
“comic of three unordered dices.” Before that, Baraou had made another
identical comic, Après tous tans pis (Hors Gambit; 1991) with drawings
of Corinne Chalmeau. Both are boxes with three dices, each face of the
dice has a panel. The “reader-player” has to throw the dices randomly,
and then join them together resulting in a readable sequence emulating
a comics strip; it is possible to obtain 216 hypotheses of reading. There
is also the board ScrOUBAbles (2005) that instead of normal Scramble
game letters has panels to create short stories. And, DoMiPo (2009) is
a domino, only instead of the numbers on the pieces we have comics
panels. In Slovenia, the team of the Stripburger made ​​Stripple (2008)
with the same assumptions but, this time with coasters! The idea is to put
the coasters on a table and look for interesting narrative combinations
with Matej of Cecco, Sasa Kerkos, Matej Lavrencic, Marko Kociper,
Jakob Klemencic and Andrej Stular comics - each author made ​​six
panels and each panel is equivalent to a coaster. In the indications of
this object, the organization offered a prize to the best combination and,
also states that the “masters” of this game, at some point, could use the
coasters for what they are really fit for: to place under glasses and bottles!
If you’re a “bar fly” and a “comix nerd”, this is your game!
by
Marcos
Farrajota
Synthesis of all these experiences is Roope Eronen’s
work, Ghost Story, a comic published in the anthology
Glömp X (Huuda Huuda; 2009) and a part of an
installation in the exhibition with the same name. It is
a wooden structure consisting of four parallelepipeds,
each parallelepiped has four strips of painted comics on
the longest faces and, when rotated with a handle (set
aside in each parallelepiped), they change the meaning
of the “page”. That is, with the help of the object we
obtain a comics “page” of four spinning strips. It was an interactive
piece in the exhibition so that the public could read the many different
possibilities of storytelling. In the book, the chance to recreate these
parallelepipeds is offered by cutting the pages - each page has four strips
of each parallelepiped. If the Stripple affected the player, they may cut
directly in to the book, damaging a beautiful experimental comic book!
Find the 7 differences
I
n September 2003, I had the opportunity to see Max Andersson and
Lars Sjunnesson, two Swedes authors living in Berlin, working in
the last chapter of their Bosnian Flat Dog. It was curious to observe the
time they spent arguing with each other, (or else, the time seemed huge
because I don’t understand a word of Swedish), all due to a detail of a
panel. After a consensus on the story and paging, the authors drew over
each ones’ drawings. An outlined image was inked from one or the other.
Even, after this action one of the authors didn’t know whether the other
was going to respect the proposed design or if he was going to add more
ink to make contrast, to change the form or detail, textures, etc… The
main purpose was to present a coherent comic and you couldn’t figure
out who drew what, not even by the authors themselves. At some point,
they even thought the comic could be made by a “third author”. This is
an example of the recent history of the comics where the unthinkable
can come to light: author duos who write and draw together, without
any separation of tasks typical of industrial production comics, in which
experts’ positions like writers, pencilers, inkers, letterers, colourists, etc...
were created to deliver the publication on time for the deadline. In Bosnian
Flat Dog, as in “comix-jams”, the work is beyond the absolute control of
the creators, though the process is done by the artists themselves. The
difference of “jamming” is that here we find a “fusion” of entities while
in “jams”, panel to panel, individual styles of each participant are evident.
Despite of mixing two quite different mediums, photography and drawing,
it is worth to mention another “fusion” which is Le Photographe (3
volumes, Dupuis; 2003-06). Comics author Emamnuel Guibert uses
photographer Didier Lefèvre’s (1957-2007) contact proof sheets
to tell Lefèvre’s adventures in his first mission with Doctors Without
Borders in Afghanistan, in 1986. The comics are used in these albums
as “glue” between the various temporal ellipses of photographs or
groups of photographs. The comics tell what is not seen between shots.
Undeservedly forgotten is the work of the “third author”, which unlike
Bosnian Flat Dog, is actually a person! Frédéric Lemercier made the
design of the composition of the book’s pages, a designer’s work that
set up a functional way to the work. We know very little what was
specifically his work in the arrangement of pictures, panels, colours, etc...
but, this reminds us how many music producers seem to be “designers”,
manipulating sounds and “gluing” them together to create a shape.
Hang the DJ!
O
ne of the first cases of “narrative DJing” is Ed, The Happy Clown
by Chester Brown. It’s one of the most incredible comics ever
made and it has a rough and casual structure, for which there isn’t
a definitive edition. Let’s take the 1992 Vortex one, sub-entitled
The Definitive Ed book, although Drawn & Quarterly have recently
announced the definitive one. The issue of different editions is due to
the fact that Ed the Happy Clown has been pre-published as episodes in
Brown’s Yummy Fur magazine. The story was built unintentionally and,
perhaps that’s why there is no consensus on the “final edition”. In it
we find surrealist elements like hands that are released due to Catholic
sins, vampires, pygmies, ad infinitum defecation, interdimensional
holes, the head of Ronald Reagan in the Ed’s penis, etc... These story
elements kept originally appearing in several separated and unrelated
comics from 1981 to 1985. Some of them were quite silly and juvenile
as The man who couldn’t stop, that shows a guy in a toilet who can’t stop
defecating. In 1987, Brown started linking the characters, situations
and environments of several of these comics to create a coherent story.
The publishing history of Ed, the happy clown reminds us what happens
often with cinema when there is a “director’s cut” or versions cut by
the producer or distributor, or even worse, by censorship! Moreover,
some editions of Ed..., such as the British one, don’t include some of
the “silly and juvenile” comics fearing of censorship.
From here we get to the report of three contemporary projects in
which the editor is the lead author (the “third author”), in which the
collaborators’ work is handled in an artistic way and not as “techno-
These two features, the fusion of Bosnian Flat Dog and Le Photographe
design, are important points in the travelling book Boring Europa (Chili
Com Carne; 2011) (3). Originally the idea of the book was to collect travel
diaries of the six elements of Chili Com Carne that between 1st and
15th September of 2010 travelled over Europe, on tour as if they were
some punk rock band. However, instead of giving sweaty gigs the CCC
elements walked around to sell books and assemble exhibitions. The
fatigue of driving, from town to town, annulled the wish to draw with
almost all of the participants, making a posteriori a collective book. As one
of the authors, I accumulated also the rule of editor’s and Joana Pires
the designer’s. Together we kept ordering a variety of loose materials
that were accumulated during the trip and after it: doodles, sketches,
different graphic material like currencies, traffic fines, comix jams,
tickets, illustrations, emails... We created a “freak” comix, which merged
all the work to be read as one. There are several situations in which I
used someone’s drawings to include them in my panels. Also, strips were
displaced from the original page to another part of the book. The main
concern was to keep a chronology of events and not to repeat the same
stories of the six people involved.
One of the moments of inspiration for this tour book organization,
occurred during the meeting with the Austrian collective Tonto, from
Graz. In the interview we made, Helmut Kaplan and Edda Strobl
admitted that we have many people in the group who make many drawings
but not comics! What Kaplan makes with these loose drawings is to mix
and give meaning to them, and creating comics!
opposite page
1. Pedro Franz: Promessas de Amor a Desconhecidos
Enquanto Espero o Fim do Mundo
2. Jucifer Blam: Post shit
3. Stripburger: Stripple
4. Bio Building 421
5. Jess Collins: Nance
6. Roope Eronen: Ghost story
7. GIUDA
this page
Chili Com Carne: Boring Europa
economic”, as with traditional publishers. These examples have in
common the fact that they’re done by independent collectives of
comics’ authors who publish anthologies and decided to expand the
way to “edit”; it isn’t anymore the simple action of gathering the work
of several authors and paging it in order over a book. At some point,
they felt they should step in directly on the material to be published
according to an instinct, a story to tell or a vision.
In Italy, the magazine GIUDA came out (4 issues, 2009-12), with the
same team that published Inguine mah!gazine. Elettra Stamboulis
explains us what this new project is: we wanted to work as an avant-garde
of the beginning of the last century: the graphic design reminds this, in
particular Vienna’s Secessionist. Using automatism, aestheticism, casualty.
We were coming from [the Komikaze Festival] year of mapping alternative
forms of drawing from all over the world and we wanted to produce something
completely different. Also, themes are always connected to a geographical
representation: a place is always the centre of the story, drawn in a different
way that traditional Geography, but it’s always Geography. From this idea
came also the name Geographical Institute of Unconventional Drawing
Art. What distinguishes the project from other comics publications is
that in each issue there is always a comic with a text written by a person
(the first three were by Stamboulis, the fourth by Marco Lobietti) and
illustrated by various artists, reminding the experiences of Joe Meek’s
comic in Twilight Jamming. Stamboulis explains: There is a huge work of
research behind the texts and the images, but there’s always an idea of fate
and strategies that are coming from OULIPO experiences in literature. It’s
a script with very few indications divided already in squares. Every artist
has his/her text to do, and can read all the story, but cannot see what the
others are drawing. Sometimes the process gets complicated because
there are also some complete pages that are connected to the general story,
but they are written and drawn by the artists. Those pages are a kind of subtitle
of elements of the main story and they become short stories itself. In the end
Gianluca Costantini collects all the drawings and he puts them in the page.
With a sort of magic powder of fortune, every time it works as if everything
had been perfectly arranged.
1. Helmut Kaplan, Edda Strobl & Dice Industries
2. Martin López Lam: Dote de poto a tres
3. Futuro Primitivo
1.
I must admit that the reason for this article was the fact that I produced
the Futuro Primitivo (Chili Com Carne, 2011) and was disappointed by
the lack of reflection on what happened, even when I publicized that the
project was a failure. Nobody asked me why it failed nor suggested to
analyse similar situations. The aim of the project was to join all the Chili
Com Carne artists in an anthology that would combine its different comics
to create a new “meta-comic”. To achieve some unity in the book, a postapocalypse theme was suggested. An aesthetic unity would be maintained
despite its 40 different artworks; a structure was asked, two strips per
page in order to displace them more easily from the original context to
any other part of the book. To keep a guideline in this “meta-comic” the
authors were also requested to choose a sub-theme, a list of technological
advances in Humanity, from the discovery of fire to the Dolly sheep. The
authors were also asked not to “close” too much of their stories, avoiding
self-conclusive ends.
Similar to when you buy a new sound-system, no one reads the instruction
book, leaving “the clock of the video flashing 00:00 endlessly”, like Laurie
Anderson once mentioned it in a song. Few authors respected the rules of
the “game” and all sorts of situations appeared. Chaos was installed. The
function of the book failed according to my “narrative DJ” expectations to
try to control these unsubmissive matters but people felt it in another way,
as this Swedish reader’s statement proves: I thought one great thing about
Futuro Primitivo was that I couldn’t understanding all of it. It felt like that
was the point, like a global, multidimensional dystopia and you only understand
the bit you can see with your own eyes. On the other hand, I think that was
my very own subjective reading experience (I understand a little Portuguese
but not enough to be sure what the comics were about, a bit like dreaming
and half-understanding). The exhibition also failed due to the lack of time
to standardize formats because the idea was to mix the strips as in Post
Shit. Damn artists!
Finally, Tonto Comics is the example that concludes all that has been said here.
Their last issue (#13, Noise) published by Avant Verlag (2012) made ​​the bridge
between comics, music and concepts of “remix”. In 1994, this editorial project began
as a musical platform; therefore it was normal that Tonto anthologies were linked
to music, especially because Kaplan uses identical procedures in music and comics:
cut, montage, speed, running direction, superimposition. Kaplan organizes anthologies
with “funny concepts” (according to some critics), a logic that we don’t understand
very well. It is normal to find comics in the publication pages already seen many
times in other publications around the world by authors such as Igor Hofbauer
or Marko Turunen. To repeat these comics it’s not because there is a willingness
to promote them in Austria (or Germany) but, because these comics have a special
value for Kaplan who follows an internal program like a contemporary art curator.
In Noise, Kaplan says: The material is quite heterogeneous. It has accumulated at my
place in the last years. Quotes and remixes from the existing material plus additions (…)
my own and from others. Leaving aside questions of ownership that Pop Art raised
regarding the use of (anonymous and commercial art) comics for producing real
Art, Kaplan manages to trace a path or to do a research that agrees with this article.
Intersecting both there are some names coinciding like Max Ernst, Henry Darger
and Dice Industries, but, two new unexpected situations appear that deserve a
bigger highlight here.
The starter for Noise was a version of a Jess Collins’s page (1923-2004) that Kaplan
made who, in turn, in the 50s combined a Chester Gould’s Dick Tracy comic. This
way, there’s a new reference to the “comics remix” experiences chronology, between
Max Ernst and Chumy Chúmez. Check the recent book O! Tricky Cad & Other
Jessoterica (Siglio; 2012) which includes the Jess’s collage work and the comics
Tricky Cad and Nance; the latter turns the Warren Tuft’s Lance family classic with
tough western dudes, into such a gay orgy that it could make Tom of Finland’s
cheeks blush.
In the beginning of the second part of the article, I mentioned the “problem” (not
a problem really, maybe a difficulty) that there isn’t a “software” to mix comics as
there is in music. Very ironically, Kaplan with Edda and Dice Industries invented
and designed a scheme of a music studio (loops, signs, volumes, MIDI, LFO, mono
channels) to create, in the end of the “mix”, a graphic style! Programmers of the
world unite!
2.
Extra Extra
3.
Perhaps, not only do we live in a world of “copy / paste” but, also in a too fast
world. Not only is there the coincidence of me and Kaplan addressing to similar
situations in our projects but, also other people around the planet are exploring
these possibilities with “comix remix”. Recently, I met the Brazilian Sama, living in
Portugal, who has made some comics using some loose drawings that he had made
previously for a mail-art project. Another case, Martin López Lam, a Peruvian
resident in Spain, published the zine Dote de poto a tres (Ediciones Valientes;
2013), where he uses the images of his amazing book Parte de Todo Esto (De Ponent;
2013) to place them to the service of a completely different text – what connects
them is that the one’s title is the other’s anagram. The result is that we are in the
presence of “twin-works” separated at birth.
This is the reason of the “remix”! To add something new on the intellectual property
that has already given what it could give after being published. Who banned Katz
does not care about it but, at this very moment there are thousands of people
that can take the 14 Chris Ware’s booklets of and enhance them with scissors...
(1) Quadradinhos. Historias Postadas (Yron Gallery, 2008)
(2) By the way, this work of Ware reminds us the same fragmented strategy of the
“oulipist” Georges Perec’s novel Life A User’s Manual, that tells the stories of each
apartment of a building but the book is a single 500 pages volume.
(3) English version online: issuu.com/mmmnnnrrrg/docs/english_boring_europa
Aapo Rapi
TULEVAISUUDEN MIES - 4 €
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VIIMEINEN TOIVON KIRJA - 14 €
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Ukkometsolan sikatila on vaarassa ajautua konkurssiin ja perintöverotkin pitäisi maksaa. Pystyvätkö kolme veljestä nostamaan
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Ukkometsolan Arvo haluaa pelastaa kauan suvulla olleen sikalan
ja siinä samalla moniongelmaiset
veljensä Arvin ja Aaken. Onko
sianmaitotuotanto ratkaisu kaikkiin ongelmiin? Ukkometsola on
sarjakuva sianmaidosta, kapitalismista, ahneudesta, rasismista
ja masennuksesta, mutta myös
tarina periksiantamattomuudesta,
lähimmäisenrakkaudesta ja toivosta.
Toivon kirjat on tarina yksinkertaisesta elämästä, iloista ja suruista,
kuolemastakin - kaikesta lempeän
humoristisella otteella. Millainen
on Toivon oma parisuhdesarjakuva? Millainen oli pariskunnan
hippi-look ja millaisia haaveita
heillä oli nuoruudessaan? Entä
kuka tällä kertaa saa viimeisen
valssin? Viimeinen Toivon kirja on
fragmentaarinen leikekirja pääosapariskunnan eri elämänvaiheista. Talvi on saapunut vieden
mukanaan syksyn synkeyden.
Kopiohuoneita,
videotykkejä,
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kasvojesi menetykseen. Ja mikä
tärkeintä: älä unohda viimeistellä
CD-r:n kopiointia! AOH on täynnä
absurdia huumoria, outoja tunnelmia ja yllättäviä juonenkäänteitä.
White Cuben pääosissa ovat
kaksi pulloposkista kaikkitietävää ja sangen samannäköistä
”kriitikkoa”, jotka teoillaan kommentoivat kokemaansa. Tämä
hullunhauska sanaton sarjakuva
sijoittuu kulttuurielämän pyörteisiin - museoihin, taidenäyttelyihin,
performanssitilaisuuksiin,
kokeellisen musiikin konsertteihin.
Vandenbroucke uskaltaa nauraa
tälle pyntätylle eliitille suoraan
päin naamaa. Teos on syystäkin
saanut esikoiseksi huomattavan
hyvän vastaanoton eri puolilla
maailmaa.
Emmi Valve
SIT KUN SUN NAAMA RÄJÄHTÄÄ - 12 €
Lauri Mäkimurto
KEITTOKIRJA - 8 €
Tommi Musturi
BEATING - 30 €
Edward Gorey
SEKOPÄISET SERKUKSET - 25 €
Emmi Valveen esikoisalbumi
pitää sisällään päiväkirjamerkintöjä vuoden 2011 ajalta. Yksinäisyyden, seksin ja rakkauden
lisäksi teos kertoo läheisen ihmisen kuolemasta, kaipuusta ja aikuistumisesta. Valve tunnetaan
sarjakuvakentällä tämän palkituista omakustanteista sekä
räävittömästä blogistaan.
Elämä on kielletty hedelmä,
jota harva uskaltaa maistaa.
Keittokirja on mustan huumorin
sävyttämä ekspressiivinen kuvaus nuoren aikuisen matkasta
itseensä. Teoksen päähenkilö
on todellisuudesta syrjäytyvä
miehenalku, jonka ajatuksissa
ja teoissa risteilevät nyky-yhteiskunnan hedonistiset ja päämäärättömät unelmat. Härski
Luke ja Kuti -lehdistä tutun Lauri
Mäkimurron esikoisalbumi on
erilainen keittokirja.
Kokoelma Tommi Musturin piirroksia ja maalauksia. Kirjan yli
200 kuvaa on koottu vuosien
2003-2012 välisenä aikana julkaistuista
loppuunmyydyistä
taiteilijakirjoista ja pienkustanteista sekä eri puolilla maailmaa
julkaistuista kuvituksista. Beating on kuvallinen löylytys - isokokoinen, energinen värien ja
muotojen ryöppy, joka paljastaa
tekijänsä laajan tyyliskaalan.
Edward Gorey oli yhdysvaltalainen kirjailija, kuvittaja ja sarjakuvantekijä. Kulttimaineeseen
nousseen erakkosieluisen taiteilijan n. 100 teoksen tuotanto
kuvittaa riipaisevan kauniisti
kuoleman ja yksinäisyyden teemoja. Mm. ohjaaja Tim Burton
mainitsee Goreyn yhdeksi tärkeimmistä vaikuttajistaan. Sekopäiset serkukset ja muita tarinoita on ensimmäinen Edward
Gorey -suomennos.
Kutikuti
SPECTER - 15 €
Chester Brown
EN KOSKAAN PITÄNYT SINUSTA - 18 €
Ruppert & Mulot
HERRASMIESSAFARI - 14 €
Helsinkiläisen sarjakuvakollektiivi Kutikutin uusin julkaisu Specter pitää sisällään epänormaalia
kauhu- ja tieteissarjakuvaa. Tämän suurikokoisen ja värikkään
teoksen 17 taiteilijan käsissä
teemat venyvät ja paukkuvat
kuin psykedeelinen purukumi
– apokalyptiset tulevaisuuden
visiot yhdistyvät arjen kauhuun
ja paljon muuta. Mukana eetteripyörteissä mm. Aapo Rapi,
Amanda Vähämäki, Roope Eronen, Jarno Latva-Nikkola, Anna
Sailamaa ja Tommi Musturi.
En koskaan pitänyt sinusta on
riipaiseva omaelämänkerrallinen ja moniulotteinen muistelma menetyksistä ja yrityksistä
sopeutua. Kirjan Chester on
introvertti teini, joka käy taistelua tunteitaan vastaan. Ystävyyssuhteet,
ensimmäiset
rakkaudentuntemukset
sekä
äidin horjuva mielenterveys täyttävät ujon päähenkilön mielen.
Kanadalainen Chester Brown
vangitsee tähän teokseen murrosiän kaikessa sen tuskassa ja
Herrasmiessafari vie lukijan kolonialistiselle merimatkalle Afrikkaan. Perinteiset keihäsmatkat
unohtuva, kun tekijät ryöpyttävät
lukijan eteen oman tuhon laivueensa. Teoksen pääosissa on
kaksi reportteria, jotka kommentoivat oman maanosansa historiaa ja sen kautta nykypäivää.
Tämä on kirja vallasta, sen vaikutuksista sekä moraalin lopusta.
Anna Sailamaa
PAIMEN - 20 €
Roope Eronen
KOIRANKAKKAA - 18 €
Jaakko Pallasvuo
PYYTÄJÄT - 10 €
FINNISH COMICS ANNUAL 2011
(Toim. Ville Hänninen) - 30 €
Paimen on Anna Sailamaan
esikoisalbumi, tarina miehenalusta, joka löytää metsästä
kuolleen joutsenen. Päähenkilö
Olavi on jäänyt kotiseudulleen
ja työskentelee paikallisessa leipomossa. Pienen kylän arjen on
aika ohittanut. Jäljellä ovat tutut
paikat, muistot ja ihmiset ongelmineen. Ristiriitojen keskellä
Olavi etsii omaa suuntaansa.
Lehti-ilmoitus etsii “kakkaajaa
korkeatasoiseen sarjakuvaan”.
Tämä ilmoitus muuttaa päähenkilömme elämän tyystin.
Kakanpidättely, ufo-nauhat ja
kustannusmaailman
pyörteet
vievät hauvamme mennessään.
Roope Erosen esikoissarjakuva-albumi jatkaa tekijän absurdinhauskojen eläinsarjakuvien
sarjaa. Lupa nauraa!
Pyytäjät on salamyhkäinen
tarina sukulaisuudesta. Päähenkilömme matkustaa kotiseudulleen veljensä hautajaisiin.
Samalla hän matkustaa menneisyyteensä ja siihen uuteen
todellisuuteen, jonka sukulaisen
kuolema on paljastanut. Pyytäjät
on Jaakko Pallasvuon esikoissarjakuva-albumi.
Massiivinen yli 300-sivuinen
sarjakuva-antologia ja vuosittaisen suomalaista sarjakuvaa
englanniksi esittelevän kirjasarjan aloitus. 20 suomalaista
sarjakuvantekijää Jukka Tilsasta
Matti Hagelbergiin ja Riitta Uusitalosta Jyrki Nissiseen. FCA on
katsaus kotimaiseen sarjakuvaan sen kaikessa rikkaudessa.
WWW.HUUDAHUUDA.COM
Kelomökkien mies on mustanhumoristinen strippisarjakuva masentuneesta, alkoholisoituneesta
ja itsetuhoisesta elämäntapataiteilijasta. Se on ponunkatkuinen
sukellus syvälle tragikoomiseen
suomalaiseen sielunmaisemaan,
jossa elämää ryydittävät kirosanat
ja kuolemanpelko. Tulevaisuuden
miehessä päähenkilömme on
sattuman kautta ajautunut tulevaisuuteen. Riippumatta ajasta
tai paikasta suomalaisen miehen
elkeet ovat ja pysyvät.
Hanneriina Moisseinen
ISÄ - 25 €
Läheisen kuolema on omaiselle
helpompi asia kuin tämän katoaminen. Kun ihminen katoaa ilman
syytä, ei voi kuin odottaa. Joskus
omaisten epätietoisuus kestää
vuosia. Missä vaiheessa kadonneesta aletaan puhumaan menneessä aikamuodossa? Missä
vaiheessa voi surra? Isä on Hanneriina Moisseisen kolmas sarjakuva-albumi - omaelämänkerrallinen kirja katoamisesta, toivosta,
unohtamisesta ja muistamisesta.
Kamagurka & Herr Seele
KASPER STROMMAN ILLUSTRATED
COWBOY HENK JA LAHJAHEVOSET - 15 € DESIGN ENCYCLOPAEDIA - 19 €
Roope Eronen
OFFICES & HUMANS - 12 €
Volta Valleyta pitää pelon vallassa bandiittijoukko, joka lahjoittaa
pahaa-aavistamattomille lehmipaimenille hevosia. Preerian voi
näiltä sadisteilta pelastaa vain
Cowboy Henk! Ehtiikö Henk
opetella aakkoset, ennen kuin
joka pilttuussa hirnuu lahjahepo? Pitääkö tulitikkulinnoitus
iowat loitolla pingisottelun ajan?
Entä intiaanien jazztietämys?
Cowboy Henk ja Lahjahevoset
on absurdin huumorin helmi.
Tämä ensyklopedia ei sisällä
tylsiä yksityiskohtia kuten ”suunnittelijan nimiä” tai tietoa, joka
perustuu ”tosiasioihin”. Kasper
Strömman ottaa asiallisesti
kantaa mullistaen koko suomalaisen design-kentän, sillä
miten muutenkaan hyvä suunnittelu erotetaan huonosta kuin
osuvin, painokkain mielipitein?
Ensyklopedia opastaa lukijansa
myös aivan kotikonstein ja ihan
itse ”duunaamaan” omat designklassikkonsa.
Miltä tuntuisi olla ihminen? Hypätä päivittäin tutun toimistopöydän ääreen ja osaksi kilpailuyhteiskuntaa? Lukemalla tämän
kirjan se on mahdollista! Offices
& Humans on lohikäärmeille tarkoitettu toimistoroolipeli, jossa
pelaaja tavoittelee taloudellista
ja sosiaalista menestystä. Roope Eronen taas on Tampereelta
helsinkiläistynyt absurdimmanpuoleinen humoristi, jonka uusin
teos kutkuttaa nauruhermoja!
Daniel Clowes
GYNEKOLOGIAA - 8 €
FINNISH COMICS ANNUAL 2012
(Toim. Reija Sann) - 30 €
Aaron $hunga
VACUUM HORROR - 10 €
Olivier Schrauwen
MIES JOKA ANTOI PARTANSA KASVAA- 30 €
Gynekologiaa on novellimittainen voimannäyte yhdeltä nykysarjakuvan mestareista. Clowes
kaivautuu kirurgisella tarkkuudella herra Eppsin mielenlaatuun, tämän taitelijuuteen sekä
ympärillä vaeltavaan seurapiiriin.
Epps on katkeroitunut, ajan terältä tiputtautunut ihmisvihaaja,
jonka koko elämä suuntaa kohti
lamaantunutta yksinäisyyttä.
Reija Sannin toimittama Finnish
Comics Annual 2012 mittaa yksilön ja yhteisöllisyyden, paikallisuuden ja yleisinhimillisyyden
rajoja. Pohjoinen arkipäivä saa
sen sarjoissa fantastisia tulkintoja. Mukana olevat taiteilijat: Terhi
Ekebom, Grönroos & Rantio,
Matti Hagelberg, Pauli Kallio,
Tarmo Koivisto, Mika Lietzen,
Petteri Tikkanen, Tiitu Takalo,
Lincoln on käynnistänyt maailmanlopun. Vallitsevat lait ja
moraali on sysätty syrjään. Samaan aikaan maan asukkaiden
sekaan on soluttautunut muukalaisrotu ”imurit”. Romahtavien
kulissien ja sekasorron keskellä
kirjan päähenkilön, teinityttö Lillyn, ensisijainen pyrkimys on selviytyä. Vacuum Horror on $hungan pulp-henkinen kulttiteos.
Taiturimainen sarjakuva miehestä ja tämän seikkailusta
kohti fantasiaa. Tarina alkaa
kuvilla Kongosta, päätyen piirroskoulun kautta kohti mielikuvitusmaailmoja ja tulevaisuutta.
Kirjan pitkäpartainen päähenkilö
on tarkkailija, jonka elämää ja
haaveita tekijä hienovaraisesti
kuvaa. Schrauwen on nykysarjakuvan todellinen löytöretkeilijä.
Jyrki Nissinen
Ville Ranta
Kamagurka & Herr Seele
Eri tekijöitä
Rui Tenreiro
Kolbeinn Karlsson
Läjä Äijälä
Emelie Östergren
Bendik Kaltenborn
Ruppert & Mulot
Eri tekijöitä
Jarno Latva-Nikkola
Hanneriina Moisseinen
Gary Panter
Tommi Musturi
Olli Hietala
Joann Sfar
Michelangelo Setola
Roope Eronen
Aapo Rapi
Yong-Deuk Kwon
Ville Ranta
Ruppert & Mulot
Eri tekijöitä
Anders Nilsen
Aapo Rapi
Anna Sailamaa
Amanda Vähämäki
Olivier Schrauwen
Lilli Carré
Ruppert & Mulot
Jarno Latva-Nikkola
Jeffrey Brown
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