Sex Fantasy by Sophia-Foster Dimino is a collection of eight zines published between 2013 and 2017, plus two previously unpublished zines at the end. With one exception, the zines are not about sex fantasies, though they are about intimacy, relationships, and the gaps between people. The slight, but not total, mismatch between title and content is indicative of the way a lot of the book operates, in that it invites interpretation. It reaches for something, but doesn’t go all the way toward grasping it—the reader will have to do that on their own.
The book is divided into three sections of three issues each, and a fourth section of one. The first three zines are the most esoteric, consisting entirely of short declarative sentences (usually starting with “I”) paired with illustrations. Although there are a few moments of sequential art, there’s very little scene, and you could scramble the individual panels out of order and not change much. There isn’t even a consistent, recurring character that appears as the “I” or “you” in all the panels. They operate accumulatively—”I made an effort”, “I hit a wall”, “I wasn’t thinking”, “I’m useful” add up to a persona, an emotion. It’s textual-visual poetry, essentially—and like a good poem, you can slow down and appreciate each line, or panel in this case, as it’s own work of art. In fact, the format of the book encourages this, with each panel taking up an entire page, so that you’re only ever looking at two panels at once.
Although these first three zines aren’t my favorite in the collection, I think they hold some of my favorite individual panels. Some are very intricate, while others are imaginative or surprising in how they illustrate the text. “I like your socks” is printed beside a person wearing hamburger socks lightly stepping on someone’s face. “I’m a beverage vendor” appears beside a drink stand; the stand has three large jugs and three containers of ice or tapioca pearls; a bottle for tips; a vase with a flower; eight notes tacked to the stand’s single contiguous wall; a patterned canopy; empty cups held on pegs; a dangling bell; an OPEN sign; a vertical banner displaying a woman drinking from an enormous glass with a straw; and the “I”, sitting on a stool, wearing a spaghetti strap top, flip flops, a hair bow. The text is spare, but the illustrations are rich and suggestive of worlds that extend beyond their snapshot focus. They are not sex fantasies, but fantasy, or fancy, sure.
Michael DeForge’s characteristically busy panels full of simple, abstracted forms fit the world of Familiar Face, his latest comic, perfectly. This is a world in unending flux. Every day there are updates, patches, optimizations, altering everything from the subway map of the city to people’s physical bodies. The changes are sometimes drastic and always immediate—no gradualism. One day the narrator character wakes up and finds her body has shrunk, another day the layout of her apartment building has totally shifted, and she’s surrounded by new, unknown neighbors. All these changes are for the benefit of the inhabitants of this world, supposedly, though from the outside they seem totally arbitrary.
As I said, DeForge’s art style is a perfect match. It doesn’t let your eyes sit still, and rarely explains itself. The narrator has a … cat? dog? A very angular spindly little creature which shows up in some panels depicting her apartment, never mentioned in the narrating text which runs over most of the graphic novel. That narrative text keeps the reader on track, helping them identify certain things (e.g. this text description of subway tracks is paired with a drawing of these veiny tubules, so those must be subway tracks), but on other matters the reader is left to strain at comprehension on their own. Is this squiggly blue bit here a car? A person? A dog? You’re as bewildered as the narrator, as anyone in this world, and often the panels are crammed full of this visual information, all in vibrant colors. Now, lots of what I’ve said here could be applied to other works by DeForge, but Familiar Face goes a step further by frequently changing the design of the main character. The one concession to the reader is that characters retain their color scheme, but that’s it—the changes go unremarked by the narrator, forcing the reader to keep pace. I remember at one point reading along and stopping short when I realized that the little four-legged creature I’d been following for a couple pages was, in fact, the narrator!Read More »
Wow! More formerly copyrighted works released to the public domain! This year I don’t really have much of a post like I’ve done in previousyears—I ended up being pretty busy these past couple months, and couldn’t put anything together in time for today. In lieu of my own blabbing, I recommend you read the Duke CSPD’s post on Public Domain Day 2020, if you’re interested in what works are newly public domain, and what works could’ve become public domain today if copyright law weren’t so draconian.
That said, I am still releasing one of my own works to the public domain, as I have in years past. This year, that work is “ChannelCon ’30,” a novelette about “curators” who put together livestreams of public domain movies. Lindsey Xong and Amber Smith, two such curators, form the highly popular channel Amber Linz. Just like any popular curators, they go to ChannelCon, but quickly find the fans there divided into two sides engaged in an intense feud. As the Con falls into chaos, the two factions drive a wedge between Amber and Lindsey, and finding out who is behind the sabotage becomes crucial.
The original publication included an afterword, which I am also releasing to the public domain. You can download “ChannelCon ’30” in the following formats: PDF — Epub — Mobi — Docx. Read it, steal it, break it, put your name on it, whatever, happy Public Domain Day!!!
How have I not talked about Evan Dahm before? Evan Dahm is one of those creators I just can’t get enough of. I’ve read all his graphic novels at least twice, and that includes this, his latest completed graphic novel, Island Book.
Island Book tells the story of Sola, a girl living on an island in a vast, unexplored ocean. Many inhabitants of the island believe she is cursed, because of her strange connection to a giant creature simply called “the monster” which lives in the ocean, and which devastated the island when it attacked years ago. So one night Sola steals a boat and sets off into the ocean, hoping to discover the mystery of the monster, and why it seems drawn to her, for herself. She soon learns that there are other islands out there, populated by different peoples, some of whom join her in her quest to find the monster.
By different “peoples,” I mean different fantasy races. If you’re familiar with Evan Dahm’s work, you’ll know what I’m talking about. I believe he refers to them as “kinds” rather than species or races. Basically there’s no humans or elves or dwarves (though Sola’s island’s islanders are fairly close to human.) The character/kind design is an outgrowth of the island they live on—or maybe it’s the other way around. Anyway, this means all the islands are incredibly uh guess what insular, on a design level. Motifs of shape and color are repeated in the look of the land, the island’s ships, and the islanders themselves. For instance, “Fortress Island” is inhabited by these big, hulking turtle people, with ships that look like ironclads. Likewise, the cultures of the islands harmonize with their iconography, and the whole color palette of the book changes from island to island.Read More »
We made it! At long fucking last, we have made it out the other end, and for the first time in 50 years (with the exception of just two years, 1997 and 1998), works are entering the public domain for the US and almost every other country on Earth. As is tradition on this blog (as of a year ago), every Public Domain Day (January 1st) I write a post related to my love for the public domain, and release one of my own works to the public domain. This year, I’m writing about the first English translation of And So Ad Infinitum, and releasing Tallahassee Ca. 2045 to the public domain! Jump down to the bottom of this post if you just want to read my play, or stick around if you want to hear about insects and bad poetry!
(And if you’re unclear on why today is so special and what the heck the public domain is, you can check out my post from last year.)
Ze života hmyzu (“From Insect Life”) is a play in three acts, written by Karel Čapek in 1920. As such, the original Czech has been in the public domain for more than half a century, and can be read online here. Obscure as it is in the anglophonic world, the play has seen many adaptations and productions, from a 1996 Finnish opera to a 2018 Czech film titled Hmyz (“Insect” in English). It’s been translated into English a few times over the past century, but the earliest translation was done by Paul Selver in 1923—which means it has just entered the Public Domain as of this very day!Read More »
I’ve been super busy these past two weeks, so there’s no new L.Y.C.C. post today. Maybe I’ll make up for it with more comics later, IDK. For now though, I still wanted to put something up, so here’s all my drawings from Inktober 2018! There was basically no way I could do very involved drawings every day for a month, but I really wanted to do Inktober, so this is the solution I went with. I didn’t actually follow the Inktober prompts, and instead drew a whole range of different stuff that I wanted to draw. Fun game: see if you can tell what any of the drawings are!
EDIT: A previous version of this post had some slightly bad math. Basically, I said nothing had entered public domain for 50 years. That’s not quite right. In 1997 and 1998, works published in 1921 and 1922 entered public domain, respectively. Before that, the last time works entered public domain was 1977, when the copyright for works published in 1920 expired. Still, I think I’m right to call it a “half-century of starvation.” In over 50 years, we only ate twice.
Today is Public Domain Day. That effectively means nothing in the US, where for the past 49 years (basically, see above), no published works have entered the public domain. However, next year, finally, finally, this half-century of starvation will be over.
A work that is in a country’s public domain is a work that anyone can modify, sell, or incorporate into a new work, with no permission needed from anyone. There is no copyright holder for works in the public domain. Originally, US copyright law stated that a work—like a book, a painting, a piece of software, a song, etc.—had to be registered for copyright, after which point the right to copy it would rest solely with the author, for 14 years. The author could renew it for another 14 years after that, if they wanted, and then it would enter the public domain. In 1830, this law was modified so that terms were 28 years, again with the option for renewal.
A century and more later, in 1976, copyright term was dramatically increased to the life of the author plus 50 years. Additionally, the 1976 act set a term of 75 years for any work of unknown origin, or any “work for hire”—a term which would be applied to new works, and works published before 1978. A work for hire would be like a photo created by an employee as part of their job—or, it could be a movie created by a group of people (most movies are works for hire), who all sign a contract to designate the movie as a work for hire. As well, this dumpster fire piece of legislation extended the maximum copyright term of works created before 1976 from 56 years to 75 years.
This is a lot to take in, so let me break it down. Suppose I write a book in 1930, and I’m 30 years old, and I publish it that same year. I would hold the copyright through 1958, at which point I would renew it. I’m still alive after all, might as well make sure people are buying it from me and not anyone else. Then I would hold the copyright term through 1986, and it would expire on January 1st 1987. Now in 1976, I hear about this new copyright act, which allows authors to retain control of their works for as long as they live—and then grants their estates control of the work for 50 years after their death. Well, that doesn’t seem fair to me—I’ll still be alive (possibly) when my copyright expires in 1986, and I still want that money. Good news—the 1976 Copyright Act grants my work a copyright term of 75 years, meaning it will expire in 2006—when I’m 106 (or probably dead.) Hooray! I suppose this is a good scenario, but here’s what could also happen:
Suppose I write a song when I’m 30 in the year 1930, publish the song, and die instantly. Well, my estate would then get to reap the benefits of that song for 75 years. Or, maybe I don’t have an estate—maybe no rightful heir can be found, in which case, this song is stuck in limbo, with absolutely no one benefitting from it, for the better part of a century.
Suppose I write a song in 1920 and it doesn’t matter how old I am. The song remains in the public domain until January 1st 1977, the year before 1976 act goes into effect. It would be among the last batch of published works to enter the public domain, before the 50-year drought that we’re finally reaching the end of now (with the exception of 1997 and ’98.)
But whatever. That’s just some weird bit of business to try and bridge the gap between old copyright law and new copyright law. Let’s see how this would work for an artist working in 1980.
Suppose I make a movie as a work for hire in 1980. A corporation would probably be the copyright holder, and they would hold the rights to the movie for the next 75 years—or, if for some reason they waited a long time to publish it, 120 years. The 1976 act granted copyright for 120 years after creation, or 75 years after publication—whichever comes first. Potentially, a company could wait 119 years to release a movie, and then have it enter public domain the next year. Weird. Anyway, here’s how this works for an individual author:
Suppose I draw a self-portrait in 1980 and die instantly. (I think I would have to publish it too, but I’m not sure. I’ll address how unpublished works are handled in a moment.) My estate will then hold the copyright through 2030.
So this is really bad and I’ll talk about that in a moment, but hold onto your butts for right now because in 1998, the term of copyright was increased to the author’s life plus 70 years, and 95 years for works published before 1978. The term for works for hire was also increased to 95 years, or 120 years after creation (at least they didn’t extend that, I guess.)Read More »