#SixFanarts

April 16, 2020

Decided to join the #SixFanarts thing, so I asked Facebook to give me suggestions.The condition was that it could be characters from comics/games/movies/etc, but only stuff I know/like…

Of course I couldn’t do just 6. These are some of what came out:

Me and Kinga were invited to represent Fanzineverkstaden at a workshop at MaU (Malmö University) today, as part of their Comics Research Lab project.

First time I tried risoprinting and it went much better than expected. I had thought, based on most risoprinted books etc I’ve seen that the colors would be really pale, but it turned out really nicely. Especially since the print I had prepared was 2 colors on top of each other which created a nice effect and much deeper colors.

I made a variation on my tape cover for Noise Against Fascism / Legion of Swine.

Testprint:

First color:

Second color + combination:

Also made a few copies where I printed yellow as the second color:

This is the one Kinga made:

In case you haven’t seen my original image, this is what it looks like:

75 years…

January 27, 2020

75 years since the liberation of Auschwitz. Will we make it to 100 without a repetition of the Holocaust? This year, for some reason, someone somehow allowed the Sweden Democrats (our biggest racist party) be in charge of a remembrance ceremony. Oh, did I call them racist? I’m not sure that’s allowed anymore, because it would mean that a great segment of the Swedish population would also be racist for supporting them. And we can’t have that, can we? They did use to be nazis, and they do blame every bad thing they can think of on immigrants, muslims, leftists, descendants of immigrants, feminists etc. But that’s not enough anymore, it seems, as long as they don’t openly call themselves racist.

Anyway, I made these two comics (I only have Swedish versions, sorry for that) for the exhibition Mus, Mouse, Maus in 2010/2011, an exhibition to honor Art Spiegelman’s excellent comic Maus, and also in remembramce of the Holocaust:

And the follow-up, since they asked for a new, less provocative version for a later edition of the exhibition:

I really should translate these, shouldn’t I? I’ll try to do that at some point…

CBA vol 47 release: Jan 24

January 14, 2020

January 24 (17-22) is the opening of the release exhibition for CBA vol 47: Science/Fiction at Hybriden (Mitt Möllan, Bangatan 5, Malmö).

The latest volume of CBA where I am the main editor, and one that I am extra proud of.

A while ago I was updating the list of creators who have been published in CBA over the years, and there are some truly great creators in that list. Some of which are also participating in this issue, which is probably my last as main editor of CBA, because I’m tired and need to focus on other things for the forseeable future.

So if you’re in the vicinity, drop by the exhibition opening at Hybriden and I’ll see you there for an evening of comics and drunk in celebration of the Future and the ongoing fictionalization of our reality. Check out comic samples on the walls, featuring these great artists:

Danijel Žeželj [HR/US], Radovan Popović [RS], Korina Hunjak [HR], Ivana Filipović [RS/CA], Avi Heikkinen [FI], Francisco Sousa Lobo [PT], Oskar Aspman [SE], Kinga Dukaj [SE] and me

About CBA vol 47:
Science/Fiction

Science and fiction rule our lives. The laws of physics seem set in stone while the laws of man are arbitrary mirrors of the morality of the times. Gods and spirits are creations of the mind but also the explanation when comprehension fails. What lies beyond our understanding? Is it more science or something else? What dark forces lurk outside our field of vision? What machineries of death and destruction are we yet to invent in the name of money (which used to be metal and paper but is now to a great extent nothing but speculation and expectations)? What (or who) else meet in the intersection between science fiction and real science? What came first? The egg or the hatching machine?

If you can’t make it to Hybriden, you can order the book at the Hybriden webshop.

Feel free to invite people to the Facebook event.

Enough about comics and movies, I’ve played games!

METAL GEAR SOLID V & 4
This year, I’ve finished Metal Gear Solid V: The Phantom Pain and Metal Gear Solid 4: Guns of the Patriots, in that order because I guessed (correctly, imo) that MGS4 was more of an ending to the whole series. While The Phantom Pain was technically the better game and I was enjoying it a lot, I think story-wise I liked MGS4: Guns of the Patriots better. The themes of PTSD and peace vs war and governments vs nation-free armies have been present through all of the Metal Gear series, but in this one they were taken to the next level. Not to mention the question of nuclear weapons that’s always been part of these games. Something I can relate to, having grown up in the 80s. I was never really into most of the specifically 80s culture, but the threat of mass extinction in a nuclear war was kind of looming a lot in the background.
Are there still un-unravelled (ravelled?) conspiracy threads left over after all these games? Probably, but I feel satisfied. Are there still game functions I haven’t explored, and reasons to go back and play them some more? Definitely.

DEATH STRANDING
Death Stranding – best walking simulator/multiplayer/building sim I’ve played. Yet also none of the above and also foremost a massive fetch-quest with an increasingly engaging story. If that’s what you need in your life, this may be your thing. If that sounds horrible, this still might be your thing. Or not. In any case, it’s the best short description of the game I can come up with.
The way I played it, I spent maybe 10% of the time on the story and the rest on travelling around, delivering orders and building structures, which I have a feeling is a good way of doing it, because it gives you more of a connection to the game world which makes the story more engaging. But how you play it is pretty optional.
It’s also a deconstruction of videogame concepts that we’ve taken for granted for the last 30+ years, like carrying stuff, or killing/dying/getting extra lives. Also how you watch the final credits. Since inventing stealth mechanics in the first Metal Gear game, Hideo Kojima has always been innovative in his games, and he doesn’t disappoint in that area.

SEKIRO: SHADOWS DIE TWICE
I died more than twice, I can tell you that. But yes, this is another game that came out this year which deals with dying and being resurrected within the game’s internal logic. Being a sucker for meta stuff, this of course appealed to me. It’s also visually beautiful and the fighting mechanics are perfect and traversal feels really great and it has that typical From Software worldbuilding and I already look forward to a replay after I’ve finished it.
I’ve worked my way up to the final boss (in one of several possible storylines), and I still have a bunch of minibosses to deal with, so I will probably finish it next year.

MAD MAX
After finishing Assassin’s Creed: Odyssey, I got into this game which I had tried a bit earlier but kind of underestimated. I more or less wrote it off as one of those cash-grabs relying too much on a brand name instead of delivering something original. But it was much better than expected and I spent quite some time thoroughly exploring its postapocalyptic world.

CATHERINE
How do I enjoy this game? The whole premise is based on gender stereotypes in a story of moral dilemmas I’m having a hard time identifyig with, but still! It’s a game about relationships, where you go through characterization episodes and puzzle episodes which all take you through a drama and I just find it interesting even though I probably wouldn’t recommend it to anyone other than for curiosity reasons.
Another point is that it’s a game from Studio 4°C who also gave the Tekkonkinkreet anime (based on Taiyo Matsumoto‘s excellent manga Black and White) and a bunch of other stuff, so there’s that…

Illustration for CBA vol 44

WOLFENSTEIN II
Probably half-way through this nazi-killing, alternate-timeline, political comment/gore-fest. I think that sums it up. Light-hearted entertainment.

CONTROL
This was a great surprise. At first glance it seemed vaguely interesting but I decided to skip it. Then I got it as a birthday present and it turned out to be amazing! I know it’s been divisive and for some reason some people don’t seem to like it, but I couldn’t say why. The controls are well-balanced (not sure what I exactly mean by that but sure, why not?), the setting and mood are intriguing, the story is cool and there is this Finnish(/Scandinavian?) humor here and there which is hilarious and probably the thing that sold me. And you get superpowers and, maybe the most important part, you get Threshold Kids, the children’s TV show to end all children’s TV shows!

At some point I’ll have to finish Dark Souls III and Bloodborne. Even though I like From Software’s game design and Lovecraftian themes and world-building, I still haven’t finished any of them…

Speaking of interesting game development studios, I replayed Ninja Theory‘s Hellblade: Senua’s Sacrifice recently in order to get the platinum, and I have to mention it again because you should really play it. It’s great, and has psychological depth, and looks really great, and the fighting is occsionally epic, and the sound design is amazing!

Evaluation from MGS4…

Some movies/TV shows I’ve watched this year… These are the ones I have something to say about, if only sometimes short comments.

Killing (Zan)
This one is easily up there with my favourite samurai movies, like Seppuku, Samurai Rebellion and Twilight Samurai… The thing they have in common is probably that they don’t glorify Japan’s past feudal society but rather are critical towards them, or at least come at them from a different angle. This one is no exception, and does it brilliantly. I’ve followed Shinya Tsukamoto as a director since I saw Tetsuo: The Iron Man and I would say that this gave me just what I was hoping for when I heard he was going to do something in this genre. This one is closer to some of his later works, though, probably closest to Fires on the Plain if I’m to compare it to another one of his.

Gemini Man
Ang Lee
making a Will Smith action movie with sci fi elements. While the action is very well executed, the focus is more on the emotional aspects of the situation.

Joker
Best DC movie so far. The only good one since the DCEU started and it completely exceeded my expectations. Between this and the Doom Patrol TV series, it looks like some gold can be found after all in that pile of mud.

John Wick 1-3
I liked the first one when it came as a competent action movie, but didn’t think much of it. Kind of disappointed with the second one so when I saw the third I didn’t expect much more than a nice-looking action film. It didn’t catch my attention at first, I thought some details were a bit dumb, some fights were well-made but kind of boring, but then something happened and I started to re-evaluate the whole series. Not sure if this is intentional, but when I started to watch them as some variation of angel movies (God’s Army is probably the best example for comparison), they suddenly worked much better. It suddenly made sense that they could kill people in a crowded station and no one would really notice, because these assassins aren’t operating quite on the same level of existence as the rest of us. And then, somewhere in the middle, there’s this fight that is a total homage to John Woo when he was at his peak (The Killer, Hardboiled) and I was all in.

Parasite
The latest one from Bong Joon-Ho. It seems to have been hyped quite a lot lately, which it deserves. Kind of in the same genre as Borgman, Kynodontas, and Funny Games, except they’re not really in the same genre and they doesn’t even have the same feel to them. Anyway, nice one about class and class consciousness.

Midsommar
Pretty much a Swedish version of The Wicker Man (the original one, that is), but not actually Swedish. Not sure what else to say about it, it’s probably best to go into it with no preconceptions. I’ve already said too much already.

Ad Astra
Heart of Darkness in space, but without the colonialism. I’ve seen some criticism of this movie. Sometimes from people whuo had seen the trailer and were disappointed because they got something more slow-paced. Some (a lot) of the sciemce is also wrong, but it doesn’t bother me this time, and most of it can be explained away by pointing out that they’re using future tech that is obviously way more advanced than what we have now, amd their in-movie explanations of things are nvague enough that you can claim that when they call something “laser”, that’s obviously just what they call something that is completely different from a laser. And anyway, the point is the trip into the dark loneliness, not the scientific accuracy. It’s not Gravity, where what they get wrong is the point, and even the title, of the movie. Or Passengers, where the entire plot hinges on science and logic that doesn’t work.
Does it miss some point by not including the colonialism of the original? Maybe. Apocalypse Now used the Vietnam war as a stand-in for the Belgian Congo of the original book that both movies are new takes on, while Ad Astra seems to skip out on that aspect. On the other hand, you should be able to see Ad Astra as its own thing and then it should also be judged on its own terms. Would I still think like this if I’d read the original? I’m not sure. I did read Catherine Anyango Grünewald‘s/David Zane Mairowitz‘s comic adaptation, but that also has its own take on the story. So maybe I just don’t know enough to make this call.
In any case, I really liked this one.

Antiporno
Sion Sono is doing some interesting movies in general. This is probably the most interesting one I’ve seen since Strange Circus. Meta film about a woman in a yellow room with lots of sexual and violent tension? That doesn’t cover it but I don’t think I should say anything else. If you like Sono, this is probably for you.

MCU and other superhero movies…
Captain Marvel managed to do feminist superhero much better than Wonder Woman was even close to doing, while Avengers: Endgame completely failed on that front, in ways that could maybe have been justified by internal logic, but weren’t. I don’t even need to consider gender to be disappointed. Sure, I liked some things they did, but why the focus on the original Avengers team when there are so many other characters that could have had bigger roles? We know the Russos could have handled it. And after all that build-up…
Glass was ok, but had some weird comments that make me think that Shyamalan tries to seem like someone who knows and cares about comics and wants to do something original with the genre. But he only almost succeeds because he doesn’t really know what he’s doing with it. Other than that, if we disregard comics and see it as part of a movie genre, it manages to be a bit different and unexpected and a quite ok movie.
Brightburn had some potential that it didn’t deliver on, but if you want to watch Superman told as a horror story, this is just what you want to see.

Some more movies I don’t have a lot to say about but that I watched and found worthy of mentioning here:
Velvet Buzzsaw, Sorry to Bother You, Us, BlacKkKlansman.
Just watch them and see what you think, I’d say…
I mean, I could also probably go on and have some thoughts about TV series like Russian Doll, Killjoys, Futureman, all of them great sci fi series with different approaches, but I’m sure others have already said stuff on the internets and I’m tired at the moment and need to make some food before finishing Death Stranding, so…

How to use this lists (and the other entertainment culture as escape culture posts):
If you see me liking some things you also like, and if I seem to like them for similar reasons, then see the rest as recommendations. If you hate all the things I like, then maybe see the rest as warnings. It’s not a fool-proof method, but it’s a good start. There are always intersections between what we like or hate and what other people like or hate, you just need to learn to navigate the cultural landscapes in order to find the stuff that speak to you.

Coming up next: games!

Entertainment culture is escape culture but do we break free?

I guess the answer is: “yes, temporarily”(?). It’s nice to have somewhere interesting to hide while the monsters of Fascism and Capitalism eat the world around us, and it’s a great privilege to have this escape hatch.

I learned in school that privileges are meant to be used. Whenever us kids didn’t like the school food, the grown-ups told us to “think of the children in Africa”. Because as we know, all the children in Africa are starving (this was the 1980s, but I guess this image more or less prevails). I did think about them, but I could never figure out how they would be helped by me forcing myself to eat food I didn’t like. It should be the other way around. I’d gladly share my food, which I figured would help more. Maybe they meant that our food would taste better if we were thinking about someone else suffering while we ate? That doesn’t seem right either.

What I think now is that they meant that growing up in a rich country made us privileged, and it was somehow our duty to enjoy those privileges (even if we didn’t find them that enjoyable). I’m still not sure what to take away from that experience, but there’s probably a lesson about subconscious(?) racism in there somewhere.

Anyway, I’ve read books!

Some of them (a few) were even without pictures…

Considering how long it takes me to read a book, maybe I shouldn’t re-read old stuff, but I figured it was time to see if Frank Herbert‘s Dune series was still as good as I thought half a life ago. Maybe treat it lika ritual ayahuasca trip that you should do once in your youth, once as an adult and once when you’re old? Anyway, I got through Dune and Dune Messiah, which was a good start. And they are still that good. I’m planning to also read some other stories by Herbert in the near future, so I started on Eye, a collection of some of his short stories.

I got hold of Jeff Noon‘s Pollen, the sequel to Vurt, but it wasn’t as good as the first part and now I’m not looking forward as much to when I find Automated Alice, even if I do like the concept of these books as sci-fi sequels to Alice in Wonderland and if I find it I’ll probably read it.

Also decided to give Stephenie Meyer a chance with The Host. It did have some nice concepts, but also some elements I wasn’t as fond of, or rather there was some untapped potential that I would have liked to see further explored. In any case, I’m glad Kinga got me to read it.

That’s it for the lesser kind (text only) of books. Here’s some comics:

I borrowed and tried out some of Jeff Lemire‘s books (Sweet Tooth, Underwater Welder, Royal City, etc), but the ones I like most are the ones with, in my opinion, the best art, like Black Hammer (Dean Ormston) and Gideon Falls (Andrea Sorrentino). Both of which actually turned out to tackle the same subject in a way, but from different angles.

Also borrowed and read some of the new Ms Marvel by G Willow Wilson and Adrian Alphona, etc. Kind of feel-good fun superhero story. I can understand why it got all that attention when it came.

A Walk through Hell is one of the few horror comic that work quite well. Psychological, religion-inspired horror set in a socio-political context, by Garth Ennis. He treats identity politics quite interestingly here, kind of making fun of it while simultaneously validating it in the story.

Speaking of well-written stuff… I finished Paper Girls by Vaughan/Chiang and The Wicked + the Divine by Gillen/McKelvie. I recommend both of these books from Image Comics, especially… No, I’ll just recommend both. Paper Girls for the time travel, The Wicked + the Divine for the recurring gods (it’ll make sense if you read it).

I read the Secret Avengers run by Brubaker/Ellis/Remender. When it comes to Marvel, I was never as much into Avengers as I was into X-men. But I follow where the good writers take me, so now I ended up here. And with the exception of X-men Red, what recent X-comics I’ve read were really not that great. They finished the storyline with the young time-displaced X-men a few years late, because that story never made sense, and what they did with the Uncanny X-men: Wolverine & Cyclops (Matthew Rosenberg) was just stupid. Killing important and not-so-important characters off-panel just because they could, then pretending that it had any kind of emotional impact didn’t work for me at all. There were also all these references to previous events, but the characters seemed to be written as if there had been no character development at all since the early 80s. I’m well aware that I’m picky when it comes to this stuff.
On the other hand, I felt that X-men Red, written by Tom Taylor, tried to do something new. Updated conflict-resolution that was less about Heroes punching the Bad Guys and more about finding new ways to break that pattern and build a better world. Too bad they didn’t let that one go on for longer.

Sometimes I wonder if I’m too old for this shit, but I am part of a generation that never really grew up, after all. And I can also blame it on my line of work. Anyway, I’m looking forward to Jonathan Hickman‘s run on the X-titles, which I haven’t started reading yet.

Instead, I read Hickman’s run on Fantastic Four/FF and I’m thinking of returning to his Avengers/New Avengers/Secret Wars before I get to the Dawn of X stuff. See if there is a thread to follow through all of it, since he’s working himself through all the major Marvel group titles. Fantastic Four is another titles that I’ve hardly read. After John Byrne‘s run, I’ve basically only read the one by Millar/Hitch and a miniseries by Grant Morrison. Which was all good, I’m just not that interested in the characters themselves as much as I am in well-written stories.

Speaking of going back to well-written stories… I hadn’t realised how good some of the things were that I missed in the 00s/early 10s. I knew there was some potential in the Marvel Knights line, for example, but I had missed the whole Daredevil storyline by (mainly) Bendis/Brubaker/Diggle. It’s actually one long story that took them something like 10 years to get through to the end. Admittedly, the Bendis/Brubaker parts of it were better than the finish, but those were really good. Also of course the David Mack installments, but that was never a surprise.

Speaking of Brubaker and Marvel comics of that era, I’ve also started reading his Captain America, and am not disappointed. It’s kind of weird how it took me so long to discover Brubaker, but on the other hand I could never afford getting everything I wanted, so I had to ignore some stuff I would potentially have liked. It worries me a little that some of the titles I’d like to catch up on now are starting to be hard to find.

One of those hard-to-find comics seems to be Alan Moore‘s Providence, which disturbs me like an unnamable thing lurking in the doorway. Hopefully I’ll find them some day.
What I did recently read by Moore, however, is Whatever happened to the Man of Tomorrow?, his “final” Superman story from around the time of Crisis on Infinite Earths (mid-80s). This was also the first Superman story I ever read as a kid (first superhero story, even). It truly scared me as an 8(?)-year-old, though it didn’t scare me off from the whole genre, and I had these vivid recollections of it when I read it now. I even destroyed my copy back then, so this was the first time I re-read it since maybe 1987…

Did you know that DC started an imprint in the 1990s called Milestone, with Black superheroes, by Black creators (or at least non-White)? It’s another one of those things I was aware of and curious about, but couldn’t afford to explore back then. I recently found one of the miniseries from that era, Wise Son: the White Wolf, by Ho Che Anderson. It was obvious that I missed some context since it was about a character connected to the other Milestone titles that I hadn’t read, but you can’t really go wrong with HCA, and it still felt like he brought some of his own stuff to the story.

On the subject of CBA-connected creators… One of the artists of the upcoming CBA vol 47 is Francisco Sousa Lobo, whose The Care of Birds (published by Chili Com Carne) I got at CRACK! this summer. It’s about a bird-watcher who “is to paedophiles what bird-watchers are to hunters”. A slow-paced story that I’m not entirely sure how to describe, but that I enjoyed in all its mundanity.

Also at CRACK!, I got André Coelho‘s Acedia (also from CCC). We never published Coelho in CBA, but he did a piece of fan art for one of my Piracy is Liberation books, and we’ve collaborated on some projects without ever meeting (unless I’m forgetting something). Anyway, I’ve always liked his art, and this was no exception, in a darkly hallucinatory story of sex and mental states.

Speaking of CRACK! and Novo Doba and European underground comics… Penis Tutorial is a book made in silk screen in several colors by Bernharda Xilko, printed at Matrijaršija in Belgrade.
I got it at Novo Doba and it was probably what pushed us over the edge to make us actually do a book in silk screen (mine and Kinga’s Sleep Paralysis, which we admittedly haven’t printed yet, but we plan to, I promise!). Beautiful book, lots of over-sized dicks. Very colorful.

At some point I think I need to find a way to edit/publish an anthology of antifascist comics. But I want it to be fictional stories with antifa sensibilities rather than yet another “this is what Fascism is about”. So I went and got The Antifa Comic Book: 100 Years of Fascism and Antifa Movements by Gord Hill, which is a very informative book about what Fascism, and Anti-Fascism, is about. So exactly the thing I didn’t want for my planned anthology, but apart from that it was good. Really focusing on the antifascist movements in a way that you don’t see much of in the mainstream, where the only acceptable antifascism basically ended with Hitler in 1945 and everything since then has been too violent or deemed unnecessary. This book shows pretty clearly that it’s far from unnecessary, and it shows what happens when antifa movements (of any kind) fail.

By the way: Did you ever think about how lucky we are that Hitler invaded Poland and that the second world war happened? Because it wasn’t the Holocaust or persecution of Jews and others that made the Allies fight against Nazi Germany. The only problem they had with Hitler was his territorial aspirations, so if it wasn’t for that, the racism and the Holocaust wouldn’t have been seen as such a big problem. After all, that stuff was in part inspired by the segregation politics in the US, which we of course know is the Greatest Democracy ever. I think that’s an important thing to remember when trying to understand our current Liberal/Capitalist democracies and how they deal with (or don’t deal with) today’s Fascist (and related) movements.

See now what happened. Here I am, trying to speak about comics and it ends up on the subject of Fascists again. Fucking Hell, they’re everywhere these days.


I know this is part 3/3, but there still are 2 more to come. Watching tomorrow and Playing after that. So stay tuned if you’re interested in what I have to say about some films/TV/games…

2019 pt2/3: collectives

December 27, 2019

First, here’s a reminder that our big winter sale is still going on at Hybriden, where you can get lots of my stuff really cheap until Jan 1.

Fanzineverkstaden is still going strong. Lots of workshops, members using it for their own self-publishing (you can do it too), lots of administration, planning, meetings, day-to-day work and an ongoing exhibition at Hybriden which will soon be updated with some new stuff.

Managed to squeeze in some time to actually use the equipment myself a few times, as you can see in my last post.

 

Tusen Serier is still in a low-activity period if you don’t count Fanzineverkstaden. Mostly trying to get by, gearing up for some new projects in the future. But we managed to have an exhibition at the Gothenburg City Library in November, and some other stuff. No new books, though, which I know is what we all really want. But we have a few coming up as soon as we find some money for it, and we have a few exciting international exhibitions in the winter/spring of 2020 that we just got funding for. More on that in the post about the future, coming soon.

CBK is an interesting animal. It makes me tired because I can’t give it as much attention as I think it deserves. At the same time, I’m immensely proud of, and excited about, the upcoming CBA vol 47: Science / Fiction. It’s the last volume of 2019 but will be officially released in January.

I’m the main editor, probably for the last time, and it’s a mix of some returning classic CBA creators, along with some we haven’t published before. All great art, interesting stories etc.

More on this in a separate post, coming soon, but you read more about it and pre-order it here.

I also had some comics published in vol 44 and 46 and drew part of the cover for vol 45.

And we did some exhibitions: Lore, Qtopia and Deep.

Wormgod published one book this year, but it has some great stuff in it. After the ends of the world 2 is a stand-alone follow-up to the first book of the same name. This time, Susanne Johansson made 3 stories about women who were brutally murdered. She wanted to focus on the victims, try to imagine how they ended up where they did, what they might have been thinking. Gruesome stuff, but everything can’t be shallow and well-behaved all the time. This is also a big inspiration for her music as TRAUMA COMMAND.

My stuff in the book is a bit more up-beat. One-image short stories about the different ways the world might end, told from a future perspective after it’s too late. Like I said; up-beat. Because you can read them and remember that it’s not too late yet, as long as we get our shit together. So good luck, us! yaay.

There’s a magnificent soundtrack by SYSTEMET, NIMAM SPREGLEDA, FACTORY FARMING, TRAUMA COMMAND, FEBERDRÖM, KOEFF. If any of these names ring a noisy bell, you’ll have some idea of what to expect.

I also included my time machine story: Why you (maybe) shouldn’t kill Hitler. That’s also a fun story.

You’ve seen some of mine before, so here’s one of Suss‘ pages:

You can order it here.

Speaking of Wormgod and SYSTEMET, we were interviewd in COdA #15. Check it out!

No AltCom this year. No AltCom next year. AltCom the year after that. You’ll see.

I made a map of the whole Hybriden complex, which is where most of my life has taken place creatively for as long as I can remember. Because burn-out affects your memory, haha.

But I’ve also managed to have some time to play/read/watch stuff, as you’ll see in pt3 of my 2019 story. Coming right up…

2019 pt 1/3: personal works

December 20, 2019

Here’s my usual attempt to figure out what I’ve been doing this past year. Let’s start with my personal works. Is it less than usual? Feels like it should be, considering I’ve been working (almost) full time this year with Fanzineverkstaden. Somehow I seem to have still managed to do some stuff.

My processes differ a bit between working digitally and on paper. Here’s how it goes:

On paper:
I have something that needs drawing. I take out my tools, I sit down at the drawing table and draw the thing. When it’s good, I like the flow of it, the feel of steel nib on non-glossy paper, the random splotches of ink that can enhance or ruin (ruin, as in I have to do some postproduction in the compouter, which I always do anyway. However, there’s usually big risk that I stumble on the starting line and never even take out my tools, even less sit down at the table.

Digital:
I reach for the pad and start drawing. I miss the feel of pen on paper and the ability to see the whole page since I often zoom in while drawing. But it’s soo much easier to just get started, and so I’m more productive this way.
It’s a dilemma.

That said, this year I’ve worked almost exclusively in digital form, with the exception of some linocut and silkscreen prints.

Some of these were made for the CBK: LORE exhibition, and were also used for my only proper book project this year, After the Ends of the World 2, which I did with Susanne Johansson, my partner in Wormgod:

 

Order it here.

I know I’ve posted this one before, so if you’ve seen it you can just scroll past it. Posting it here again because it was included in Asylkalendern 2019, this year published by Asylgruppen Malmö:

Buy it to support them and the immensely important work they do.

I thought the theme of genocide and how we deal with some of them in our history would work well for the occasion.

Linocut and silkscreen, made at Fanzineverkstaden:

I’ve also made a couple of zines this year.

Hungr I made half asleep at the pre-party for Seriefest 2019:

Encounter in the Woods I’ve written about earlier. It feels good to finally have something from that project in print, and in exhibition form:

Sleep Paralysis, a cooperation with Kinga Dukaj, a remaster of the comic we made for CBA vol 47 (more on that in a later post). She had a dream that I put into writing and embellished a bit, using one of her photo manipulations to turn it into a visually abstract comic. I’m really happy with it, especially how it looks which I didn’t even make myself. It’s always nice to work with great art (which brings me back to the upcoming post about CBA vol 47, but more on that later as i said).


I’ll end this post with one of the year’s last projects, which was a cassette tape cover I made for a split by Noise Against Fascism and Legion of Swine. It’ll be released January 9 in Copenhagen and in Malmö the day after. Only in 17 copies though, so it’ll be very exclusive…

 

WINTER SALE!

December 2, 2019

50% off on all my Wormgod books in a big sale which also includes books from Tusen Serier and CBK, lasting Nov 29 – Jan 1.

Go to the Hybriden webshop and have a look!

We’ve also started putting up prints on the site, so you can find some of my stuff in that section as well. We’ll be adding to the prints some at a time during the coming weeks…

We also spent some time recently putting up what remains of our old back-issues of C’est Bon (2001-2004) and C’est Bon Anthology (2004-2005) in the shop, in case you’re a completist or just curious. Those are also included in the sale.

And you can now see the complete list of artists published in any of the incarnations av CB/CBA in this list, complete with links to the books they’re included in at the shop. It’s 263 artists so far, including a whole bunch of extremely skilled ones. Looking at this list always makes me proud to have been involved in working with these books.

If you for some reason don’t care about anyone else and just want my stuff, here’s a direct link to that.