One of my favorite episodes. The ideas in this series are a big influence on my work, but this episode in particular. Young Jerzy thought violence was scary, but the adults in his life seemed to think it was a normal, acceptable thing. Thank goodness for Lou Schiemer and the writers of this series, who presented kid Jerzy with alternatives.
Exploring exciting action while avoiding glamorizing violence was an important idea in the making of my book, The Inscrutable Doctor Baer and the Case of the Two-Faced Statue. I’m hopeful that kids who need it will find support in my book the way I did in this show.
I got away for the weekend to do some distraction-free drawing. I’m trying to engage with art in a more playful spirit, but that doesn’t always come easy for me.
A comic strip I made for the Lean Into Art 2-Minute Practice. For a good while my friend Rob Stenzinger and I tried various brief activities to foster our creativity. Listen to our discussion on this practice here.
For those of us who need to write today and need some motivational listening, here’s an hour of restored background music from the 1967 Spider-Man cartoon.
Back in 2012 a cartoonist friend pointed me at a call for samples for a licensed comic for kids. As a fan of comics based on licensed properties like G.I. Joe, Transformers, SiverHawks, and more, I was excited about the chance. I found out it was for a comics series based on the Monster ? High toys.
By today’s standards 8-year-old Jerzy might be described as “gender nonconforming,” but in my mind I just thought stuff that was marketed for girls was just as cool as the stuff marketed to me. I collected Strawberry Shortcake dolls, I watched the Jem cartoon, and the Rose Petal Place tape that came with my sister’s dolls got regular play. And I love the Universal Monsters! I thought this might be a fun chance to apply what I know about comics to this line of fashion dolls.
They gave me a brief script to draw. I penciled on bristol, inked in Clip Studio Paint (then Manga Studio 5), and colored in Photoshop.
I remember getting favorable notes back from the editors. They liked the acting and the energy I brought to the characters. But someone at MH didn’t like the way I drew the shoes. I updated the drawings several times, but I never got to what they wanted. To be fair, the characters’ shoes are intricately designed, so I don’t blame them. It was a fun experiment, regardless!
And if any toy license holders are looking for an artist who can bring your characters to life on a page, you can look over here!
Hang onto your catalytic data assemblies; this episode debuts a NEW SEGMENT!! PLUS: Hoover solves a mystery! The guys pitch to IDW!! And the Autobots laugh at someone getting murdered!!! All this, and it’s part 4 of a 3-part series!! MATH IS HARD!!! http://FourMillionYearsLater.com Befriend the FOUR MILLION YEARS LATER page on Facebook! Closing theme by Nick Mehalick : https://soundcloud.com/nicholas-mehal… Please email us! FourMillionYearsLater@gmail.com
Marzanna or Morana is an ancient Slavic goddess associated with winter’s death and rebirth of nature. In Slavic mythology and folklore, Morana played an important role and was portrayed as a pale goddess with long dark hair and a slim figure. She was the daughter of Lada and Svarog and was prominently worshiped by the Kievan Rus.
Morana was initially viewed as a goddess of fertility and mother of all that is living. She resembled the positive sides of the Great Mother archetype just to later be shifted into an evil bringer of disease and old age. She became a goddess of long and cold winters that brought death, famine, and extreme temperatures of a deathly gaze.
Some Slavic legend states that Baba Yaga was the creation of Morana or that even Morana transformed into her. As it goes with her trickster nature, Morana was believed to transform into a girl called Marinka who tempted the hero Dobrynya.
The tradition of burning or drowning an effigy of Marzanna to celebrate the end of winter is a folk custom that survives in the Czech Republic, Poland, Lithuania, and Slovakia.
#Marzanna #SlavicMythology #Mythology
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If you put two or more cartoonists together in a restaurant, something’s getting drawn on. Napkins, takeout containers, pizza boxes–they’re getting covered in doodles. For many cartoonists (professional or not), doodling feels like our first language. So when we’re comfortable and amongst our peers, that’s what we default to.
I noticed in these playful drawing sessions that something collaborative emerges. One person might draw a spaceship, and the next might draw some planets or comets around it. No one says, no, you can’t add that. The implicit rule is the improv cliche of yes, and.
This is why I lead a session of Great Big Giant Awesome Comic in every multi-week comics course. It draws on a cartoonist’s instinct to doodle while leaning into the playful collaboration that can happen as you go. Students learn how to negotiate with others. They experience the happy surprises that come when you let art emerge.
I most recently led this as part of my 8-week course at The McConnell Arts Center of Worthington. The kids committed to the point where they needed extra sheets of paper to branch off their storylines. It was a joyful experience.
It’s hard to count how many times I’ve led this activity over the last 15 or so years. But I’ve been present for many Great Big Giant Awesome Comics.
You can find where I’ll be teaching next here. You can find lesson plans and how to bring me to your school or library here.
