Underground Comics

Comics that push the envelope.

In a world where comic artists are free to draw what they want, how they want, and when they want, Underground Comics are born. They are an interesting species; an apple that fell far from the tree. Still a comic, yes. Still the familiar colorful cover, size, and general format. It is the content that sets these animals apart.

Because underground movements are outside of the commercial system, censorship and restrictions don't apply. There is no paperwork or bureaucracy to wade through. Because of this, Underground Comics are raw, personal, violent, sexual, political, anti-law, drug related, and sometimes autobiographical. They take on subjects and approaches never before seen in comics thanks to the liberty, blowing the top off storytelling in comics. They had a profound effect on the development of comics after them, paving possibilities no one considered in comics before.

Several examples are Mr.Natural, Dopin Dan, Tits and Clitz, and my favorite, Zap comics. Now, I can't say that I enjoyed what happened between the pages of Zap comics. The first one I cracked open was filled with dirty, gross looking characters, performing completely uncensored acts of violence. It was very graphic and brutal, hiding nothing. From there I was introduced to unusual sexual situations and highly anti-law tidbits from the artists. But through all this, I can appreciate what they've done. I can understand that this is a huge leap in a direction that frees comics from all content restrictions; that the ridiculous content liberates its readers and paves the path for anything and everything in the future of comics.

Craig Thompson's "Blankets"

From the get go, the reader is launched into a very personal view of the world by a specific boy named Craig. The story is obviously autobiographical--something somewhat new and different to the comic world. While I cannot relate to a sad and dark childhood like this author, I can recognize it and appreciate my own luck in the matter (I had an awesome childhood, happy family, great sister, nice places-- quite the opposite in many ways). But even for someone like me, there are elements of the story I might identify with. The scene in Sunday school, the good times during childhood spent being silly with my sibling, and certainly the joy of drawing, the sneaking around with your first love, the fear and ignorance about sex caused by a christian upbringing.

This realistic approach to comics proposes that comics can be more that simple entertainment. They can have ethical, literary, and nostalgic value. Blankets regards subject matter that is generally thought of as "too serious for comics", a notion Will Eisner often takes into account with his comics. This seriousness and required involvement of the reader begged for a new name, a new face. Thus, the term "Graphic Novel" was born. Quite appropriate-- a "novel' sounds much more grown up, and with the already-in-place connotations of the word "comic", "graphic novels" give artists a fresh start of sorts.

Content aside, the stylizing says a lot for the story. Authoritative figures are comparatively huge and 'scary'. The gestures of the figure along with the ink feel correct and fluid. The paneling and variety of angles and compositions in spot on and rewarding. An excellent work -- something I would recommend in an instant.

Overall, the book is a masterpiece. It's a sincere, personal, page-turning experience in which we re-live our own growing experiences.

Continued look at the "Comic Strip"

In a variety of works by different artists at the birth of the comic strip, there are similarities and differences to be compared in both styles and stories. The works I will be discussing today are Herriman's Krazy Kat, Watterson's Calvin and Hobbes, and Schulz's Peanuts.

All three share an obvious element--humor. This is the comic strip after all, known to many as the "funnies". The delivery is also similar, in ways. There is a simple story that often ends in in a punchline, or a humorous action at least.  However, difference occurs in the length of the strip itself to achieve this. Krazy Kat is a full page, averaging at around twenty panels. I've seen Calvin and Hobbes strips go anywhere around half page to a couple of panels. Lastly, Peanuts keeps fairly steady at four panels, delivering a quick, satisfying little story. I enjoyed each of these comics. They feel very different from each other but share a humorous and child-like innocence.

Concerning the evolution of the comic strip itself, we must look at their outside factors. Strips were published weekly in the newspaper, so the viewers would become familiar and emotionally attached to these characters and stories. Much like I look forward to my favorite TV show once a week, funnies fanatics of the 30's anticipated their comic strips, devouring one just to "switch channels" to another. In this way characters could become endearing, Peanuts being a prime example. Even today--long after the artist has passed-- the fan base of Peanuts is a strong enough force to continue publishing for. Right along with Pikachu and Spongebob floats Charlie Brown in the Macy's Thanksgiving Day Parade after all. Proof that early comic strips gave birth to some of the most memorable and iconic characters of all time.

George Herriman's "Krazy Kat"

Impressions of this early comic strip.

There are several comics to observe when looking at the birth of the comic strip, I focused on Krazy Kat by George Herriman. Why? Because I have heard rumors of its controversy. From my history of illustration class, I remember being told that during the time of it's production, people either 'got it' or didn't; loved it, or hated it. It didn't make sense to some people, but had a reputation for appealing to higher-class readers. 

With this intriguing notion, I took it upon myself to read a number of Krazy Kat comics and make an assessment myself.

Surface observations: While not necessary, Herriman numbers the panels in the direction it's intended to be read. The artwork is very simple pen-work. There are a set of characters for the strip, though not all are used every time, and their personalities and relationships ride off of which animal they are. There is a strong southern/African American dialect written in to the character's dialogue. The stories of the strip all have a beginning, middle, and end, though there is an unusual feeling to them. Perhaps it is that (sometimes) there is not moral; and is always whimsical and playful. At times, I had to backtrack and look closely at the drawings to make sense of them--often I find difficulty in following the action because of confusing ink work.

Overall, I enjoy Krazy Kat comics. It think it's that whimsical and often cute quality of the stories. I'm also interested in the characters, particularly Krazy and Ignatz, whose relationship seems to ride on love/hate. I also find them strangely addicting -- I must read another!

Scott McCloud's "Understading Comics"

Simplicity at its finest

Chapter two, the vocabulary of comics, focuses on the use of the icon in comics and dissects how icons are registered and processed in our brains. Why is it that our brain can identify with a circle, two dots, and a line? Something so incredible simple is universally recognized. For a long while, I assumed this was so due to my exposure to such icons at a young age. Everyone in my generation watched simplified cartoons and knew about Walmart's smiley-face logo. But is it just because we grew up with these icons, or does it go deeper? It must--such cartoonery predates Walmart and Nickelodeon.

Scott McCloud addresses the matter from every angle. What happens in human's brains when they see it, Why we identify with it, how that identification of one's self can change as we similarly identify with others and objects, and why this simplification works so well with comics. The chapter was fascinating. His mention of how a realistic face, when viewed, is simply seen "as the face of another," the simplified cartoon can personally identify with the reader. An interesting phenomenon that comes naturally with the simplification of a face. The face can be stripped down to its bare essentials in a cartoon--The head shape with eyes and a mouth--and it is all we need.

A second interesting notion comes from the idea that we extend ourselves, that is, we extend our consciousness into objects around us. McCloud's example of us driving a car is a great example. "The vehicle becomes an extension of our body. it absorbs our sense of identity. We become the car." Everyone knows this, but to stop and think about it, to read it in a book, brings it to light. We identify with things quite easily. And our minds simplify these things quite easily. Ideas are cut down to the essentials, and a comic artist can use this to their full potential.