"Step Over the Homeless, Not On Them." (Weekend Pattering for May 12th, 2017)

Previously on Panel Patter

Cover of the Next Week

I haven't had a chance to read John Layman and Sam Kieth's Eleanor and the Egret #1 yet but here's the lovely cover for the second issue.  The texture on the animals, particularly on the turtle, make me as happy as that turtle looks.


** In Hostage, Guy Delisle tells the true story of an NGO worker held captive (CBC Books)-- The CBC posts a brief interview with Guy Delisle about the kidnapping of a Doctors Without Borders worker.
The whole idea of the book was to give the reader the same experience as Christophe. It was a very immersive type of story. I knew there would be a lot of repetition. I wanted to have the experience of how time can pass very slowly, day by day. How do you cope with that? That's why there are so many pages. It was very important to describe time and have a sense, for the reader, to turn the page because of that. At first he thought he would be there just for the weekend. Then it was three days. Then a week passed, then two weeks, then a month. It's interesting to describe how you have to cope with that.
I'm reading Hostage right now and if this was his goal, he succeeded remarkably well. 

**An Interview with Ibrahim Moustafa (11 O'Clock Comics)-- Jason Woods continues his interviews with artists, this time with Ibrahim Moustafa.  Moustafa talks a bit about why he still draws on paper with ink rather than transitioning to drawing digitally.

I think the biggest reason I stay working traditionally is that I feel digital would hinder my ability to get better in some ways. The variables involved with using a brush are so extensive; the length of the bristles, natural hair versus synthetic, the amount of ink on it, the ink/water ratio, the way the inks bleeds onto the page, how much caffeine is surging through your body as you make your stroke. All of that affects how you draw, and learning to control those factors, to me, is part of mastering this medium. Working digitally removes a lot of those factors; there is no ink to bleed, there’s a pre-programmed level of line variation. It’s all 1’s and 0’s. I feel like that puts a ceiling on growth to an extent.

from (The Beat) -- With the release of Bug!, Lee, Michael and Laura Allred talk about Gerard Way, the origins of this book and the power of Jack Kirby.
Lee: Kirby, a combat infantryman in WW2, specifically called out the totalitarianism he fought, mentioning the Axis and their leaders by name even, in Forth World texts. The crushing of the spirit; the extinguishing of the smallest spark of freedom. Kirby wrote of it in a grand, mythic scope. Will Orion succumb to his genetic inheritance as Darkseid’s son or will he act of his own accord as an adopted champion of New Genesis? Will Scott Free escape the prison of his past life on Apokolips?

This and That

** Incoming: DOOM PATROL Vol. 1 (Todd's Blog)-- Todd Klein writing about comics and process is always something worth paying attention to.  This time, he looks at the new Doom Patrol comic and its colors.
One thing I’ve been noticing in recent DC printed comics is a different method of color separation. I’m not sure when it started, but fairly recently, I think. Gone are the regimented rows of dots in the colors, now they are dithered.
That's just a tease.  Go to the post to see what he really has to say about how this book colored by Tamara Bonvillain is different than other current comics.

Your Moment of Groening?

So, apparently not too much has changed in the past 22 years. 

Current Mood