More Formal Comics: Kevin Huizenga

Ganges #5Ganges #5; Fantagraphics; 2016; $8, 32 pgs; in print.
Ganges #6; Fielder Media; 2017; $8, 36 pgs; in print.
Fielder #1; Drawn & Quarterly; 2017; $8, 36 pgs; in print.

As far as results in mainstream comics go, entertainment is the number one priority, generally. But what if a creator(s) wanted to add something else to the mix? More extraneous content, such as a secondary, or plural purpose behind their intentions? Formal comics, as I call them, take into account a creator’s desire to go beyond simple entertainment. Such as adding a “profound” point, or perhaps displaying further inclusions into the author’s mind. Perhaps, dare I say it, comics providing an additional level of sensory experience?

Kevin Huizenga, what one could label a contemporary formal cartoonist, has been working for a number of years now, eschewing powerful fictional leads and situations, and produced some truly thought provoking work, with a talent that still entertains, yet seeks to provide another layer of humanism to the mix.

Initially in self produced “fanzine” formatted mini comics, Kevin has explored subtle questions about a variety of personal interests, pushing the expectations of comics in a uniquely different direction, while simultaneously giving himself aesthetic challenges to what comics depict, as well as attempt to reveal questions that puzzle him and provide impetus to produce comics, and test the mettle of his act of creation.

These examinations look toward the real and the imagined, the easily visible and experienced, as well as the realm of unreality itself. Whether it be a more traditional biographical approach, incorporating the side tracks and inroads towards non visceral, imagined, and theoretical reality as well.

His narrative approach, while seeming scattershot at times, reveals an artist that loves tangents, forks in the road as it were, to explore and develop as he goes along and discovers them, all the while keeping a touch of narrative approach to keep the reader on board. These little pamphlets have the physical ability to be both charming, intellectual, yet never entirely give up on the basic goal of comics themselves: to keep the reader reading, take them on a journey, and prove to them its an interesting journey in and of itself.

Now this approach can be fortuitous with success, or a disaster that leaves the reader lost, whirling in an undefined haze that ditches the needs of the reader for an egotistical self navel gazing mess that no one but the creator is interested in. For every rare successor, there are countless others that have left the witness behind in a surreal dimension that is neither interesting and fails utterly to come close to entertainment.

Yet, Huizenga’s craft level does this, submerging his personal context to keep the oddball topics accessible and even provoking. This is even reflected in his artwork that continues this approach, sublimating any type of recognizable style of rendering for a simple, basic, shape based set of visual icons that doesn’t bombard the reader with fancy visual tricks. It almost could be categorized as a non art type of visual, leaving no overt personality to interfere with the ideas he’s exploring.

Ganges #6

Such mundane topics as cohabitation, video games, sleep disorders, as well as fascinations with historical figures and events are all delivered with an almost generic method of depiction, yet the effect of page layout on the way your eye travels across the page are all done with the utmost care during this process, each with its own set of visual cues that the witness can grasp, and have fun with on this journey.

We comic readers generally all have this “stack” of unread comics we’ve accumulated yet not read, and when I recently purchased a copy of Huizenga’s Ganges #6, and discovered I had a copy of issue #5, they both fell into a two issue examination of the life and experiences of protagonist Glenn Ganges, a character I assume is a metaphor for Huizenga himself. Shortly after, I came across his newest comic, Fielder, that nicely rounds out a good reading challenge.

Ganges #5 explores many domestic topics including his relationship with Wendy, Glenn’s wife(?), their shared careers in creative art, the interaction of family members during a funeral that winds up with feelings of misplaced guilt that pretty much anyone could relate to. All of these topics work within the 12 page story, and despite its all over the place approach, comes off as linear and relaxed. The second, which begins as an overview of James Hutton, the originator(?) of modern geological theory, segues into an existential treatise on the passage of time, and how perception can completely turn around your view in an instant, all the while keeping its narrative focus and avoid being a didactical mess. It’s rounded out by a few pages of short bursts, comprised of little questions thrown at the reader to puzzle and explore.

Ganges #6 significantly ups the ante, utilizing almost the entire issue depicting reflections of Glenn’s perception of reality, seamlessly integrating a more complex set of visual tactics, dense packed with as many things as the brain can handle, yet it still comes off as a structured narrative, with as good a conclusion as we can produce in our own real time. All this and accomplishing a developed set of visual devices while still maintaining a non personal, simple drawing style that keeps the focus on its proceedings. Ganges #6 would have to be one of the more complex comic books I have ever read, yet keeps its identity as an accessible, entertaining exercise in its own right. Incredible.

Fielder #1

Fielder #1, the most recent, entertains, yet provides a half book length exploration this time putting forth his formal recreation of an abysmal third rate 60’s style adventure comic, breaking it down into pieces to examine its elements, and displaying their strengths and weaknesses for us to contemplate. The final set of short stories, one featuring Glenn Ganges and an overview of the mixing of sleeping and waking perceptions, features little reference to personal life pretty much entirely, and another more abstract video game interpretation of creation(?) round it out, except for the final tale, an unmistakable auto biographical foray in to Ganges life as an artist, takes a 180 degree turn as it is realistic, and cannot be confused with anything other than a mature cartoonist at the crossroads of his career and life. It comes off as somewhat melancholy, and discusses in length developments in his drawn work, and is purposely I believe depicted in as personal and realistic(?) manner as Huizenga has ever shown. While troubling, it may signify an end(?) to his previous approach, and sadly to this reader, an unknown sense of whether we’ll see him again. Nonetheless, Fielder #1 remains a solid example of what has come so far, and I really want to see what comes next for this impassioned, thought provoking artist that many can relate to, and of course, enjoy. I also noticed that the time it took me to read these three 32 page comics was just about 2 hours total. Try getting that much experience from three issues of the X-Men.

While Huizenga is not a simple read, he pays great dividends to the comic readers that will appreciate a road less traveled, as well as one that transcends typical storytelling methods for a greater reward, and perhaps an expanded view of what comics can be and achieve.

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Wait, I don’t get the title: Colleen Coover’s Small Favors

Small Favors HCSmall Favors: The Definitive Girly Porno Collection; Oni Press, Limerence Press (originally Eros Comix, Fantagraphics); 2017 (originally 2000-03); $29.99, 256 pgs; also available digitally.

I have no idea how I’m going to talk about Small Favors; it’s my first “erotic” comic. Possibly ever. (The first edition of Lost Girls is sitting on my shelf, still unread).

The collection’s subtitle is “The Definitive Girly Porno Collection.” I’m just worried what kind of SEO I’m going to get from frequent usages of the phrase “Girly Porno.”

So. We’ll see how this post goes.

The collection—three years of short stories, plus sketches, plus at least one new story—starts with compulsive masturbator Annie (set off by her fetching neighbor) getting in trouble for her lack of conscience. So she gets assigned on in the form of Nibbil. Nibbil’s probably the size of an action figure. And Annie seduces her before they even get back to the real world from the magical sexy land. Sexy but no sex. Annie’s got too much of the sex is the whole point.

After the setup, each strip is basically Annie and Nibbil being adorable and then having sex. Eventually they make a girl friend—every character in Small Favors is a woman, which becomes apparent after Nibbil reveals to Annie she can grow to human-size (instantaneously, which writer and artist Colleen Coover uses imaginatively)—and have adventures with her. Though their adventures tend to all go the same way. Adorable setup at the beginning of the strip, then sex.

There’s some tension involving a bean counter out to confirm Nibbil’s doing her job in keeping Annie’s sex addiction under control and another subplot involving the girl friend trying to find love. But mostly it’s just explicit and very positively portrayed sex.

Coover’s Good Girl art is fantastic. All but one of the strips are in black and white, with Coover occasionally trying a little bit different of a style. The color entry is fantastic; color adds a whole new dimension to Favors. Not the sexy time, but the narrative stuff. Well, probably the sexy time stuff too but the big surprise is how lush the Coover intends the world. The strip’s positivity doesn’t start and end with its constant hay-rolling.

I’m now getting into euphemism territory so it’s time to wrap up; Small Favors is precious and quite exquisitely executed.