Paper Trail

Sissy Blvd - Lee lai, Sam Wallman, Katie Parrish, and Merv Heers.

Lee Lai, Katie Parrish, Merv Heers and Sam Wallman are queer cartoonists based in Melbourne. Their drawings explore gender, sexuality, class, visibility, and the ways these themes overlap. Using The Substation's front gallery space and Transit Gallery billboards, this exhibition will examine remnants of gay liberation, reflections on contemporary queer assimilation and resilience, mincing the fine line between subtlety and obviousness.

Time: Opening Thurs 15 Jan | 6pm-8pm
running until Sun 15 March.

Supported by Hobsons Bay City Council. Part of GoWest and Midsumma Festival 2015.

It's good for your well-being to look at the gorgeous primary colours of Australian comics from yesterday.

Montague Thomas Archibald 'Monty' Wedd (1921–2012)

Australian cartoonist Monty Wedd was born today in 1921 and over the course of his life was a prominent creator of newspaper & magazine cartoons and comics books. Amongst his creations were The Scorpion, Bold Ben Hall, The Ned Kelly historical strip, Captain Justice, King Comet, and the Australian history strip Birth of A Nation. During the fifties Wedd contributed to a line of card-bound educational comics depicting important occasions in Australasian history. Wedd also worked in animation for Artransa and Eric Porter on series such as Marco Polo Junior Versus the Red Dragon, Charlie Chan, The Lone Ranger, Rocket Robin Hood and Super Friends. Over the rest of today I'll be posting samples from various works by Monty Wedd.

Last year Comicoz produced a lavish hardcover collection of Wedd's Ned Kelly strips, currently available on special in the Comicoz store.

Monty Wedd in 1960 with his collection of War Relics

Below: A selection of Wedd illustrated covers for The Australian Chucklers Weekly.

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Word Balloons: An Anzac Tale and The Anzac Legend

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Australasian Comic reviews by Philip Bentley.

Australasian cartoonists and publishers interested in being reviewed contact Philip here.

An Anzac Tale (Working Dog Press, 2013)

The Anzac Legend (Wotsleft Books, 2014)

Given the countdown to April 25, 2015 it is not surprising there has been a run of Gallipoli-related books of late. Comic creators have also heeded the call with these two works the first of what I believe to be a ‘gathering storm’.

An Anzac Tale, which came out in 2013, is by the Adelaide-based creative team of children’s author Ruth Starke and artist Greg Holfeld. They are also the team behind the Captain Congo adventures, of which there have been three Tintin-sized books since 2008. Tintin is a fair comparison as the good captain is a pre-WWII adventurer involved in similar sorts of scrapes – although there is a significant difference in that the captain is an anthropomorphic gorilla!

The anthropomorphic quality carriers over to An Anzac Tale where various Australian marsupials participate in the Anzac landing. As a children’s book it is of necessity a simplified affair, but that doesn’t prevent it from being engaging. Indeed one of its strengths is the emotional response it is able to summon up in the reader. Another is the artwork. Eschewing the flat colour of Captain Congo Holfeld here employs a lush wash effect that is both stylish and evocative, and adds much to the work’s appeal.

Dave Dye’s The Anzac Legend takes a different approach. A former soldier, Dye sets out to recreate and explain the first phase (10 days) of the Gallipoli campaign using copious research that included two visits to the site. At around 200pp it doesn’t scrimp on detail, which may be as much a hindrance as help for the general reader. In and of itself this isn’t a problem given the position the campaign, rightly or wrongly, occupies in the national consciousness, but the way in which the story is told doesn’t do itself any favours.

As a narrative there is a procedural quality to the text that tends to render its voice into something of a monotone. Further, the lack of any breaks, such as chapters or subheadings, gives the reader little opportunity to pause from the unrelenting surge forward. To add to this, Dye has chosen to follow, in parallel, the movements of 20 odd detachments of soldiers as they edged their way inland. Whilst a not unreasonable strategy it does leave the reader floundering to remember the previous actions of so many disparate groups. Dye states that he feels it gives an idea of the chaotic nature of the early stages of the conflict and indeed it does, but at the expense of overall clarity.

On the plus side is the artwork which displays an impressive use of line work and a style rooted in artists and cartoonists of the mid-twentieth century. Despite its more realistic look there still seems to be echoes of great Australian cartoonists such as Carl Lyon and Stan Cross and even illustrators as far back as Norman Lindsay. Whilst it may be too old-fashioned for some it seems to me to be an appropriate style for the subject matter.

So while the end results are mixed it is still an impressive work for someone who hadn’t previously produced a comic. And it is true that even with the failings noted above by the end of the book I certainly had a far better understanding of the Gallipoli experience, if not a totally clear picture. If you are military minded and enjoy a fine-detailed look at a specific battle you may well enjoy it. Someone looking for a more basic overview may be better elsewhere.

Trawling for Comic Treasure

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Above: 'Vintage' Jinty & Penny comics, only $10 each! These were 40 cents each when they sold new in the 1980's and gosh that's about what anyone would pay for them now! Lots of lovely European and UK artwork in these, and some of my fave writers from the IPC's boys comics division as well as their juvenile comics.

In common with many other comic readers rapidly approaching 'middle-age-ness' I like to trawl second hand book shops and markets to pick up old cheap comics for entertainment and blog research. As an irregular feature I'll share a few things on the Pikitia blog, pics from this post are from the Camberwell markets in Melbourne 28 Dec 2014.

UK digest comics, all $2 - $4 each. if I remember correctly the western series Buck Jones and others by Amalgamated Press were created as standard size comics in England for the Australian market and then reformatted for digests in the UK.

These days I have a ridiculous obsession with Charlton Comics, I'd buy any title for a dollar or two. Chances are if it's a horror or Sci-Fi title it will feature something in there by Steve Ditko. $6 is a bit much though. Is that Herbe Trimpe Hulk? I can't tell. I fondly remember buying Hulk from that era off the spinner rack in the late seventies.

More delicious over-priced Charlton comics.

Will we get deluxe hardcover reprints of Gold Key humour titles? Probably not. Gold key comics are an important part of any comic reader's diet.

Newton Comic reprints of Marvel Comics from the 1970's (I think?) Comics historian extraordinaire Daniel Best has recently completed his exhaustive history of Newton Comics, get a copy of the ebook here.

What I bought: I can't help buying any IPC/Fleetway Holiday Specials for a dollar each. War, Battle, and Suspense holiday special digests are hundreds of pages of chiefly journeyman artists but good fun reading for a couple clams apiece, and on the far left a couple reprints of classic New Zealand novels to remind me of the motherland.