This is wonderful: a collection of video clips of Charles Schulz drawing his iconic Peanuts comic strip — “everything I could find of Charles Schulz drawing his Peanuts characters” in the words of the compiler.
Unfortunately, I’m not highly educated. I’m merely a high school graduate. I studied art in a correspondence course because I was afraid to go to art school. I couldn’t see myself sitting in a room where everyone else in the room could draw much better than I and this way I was protected by drawing at home and simply mailing my drawings in and having them criticized.
I wish I had a better education but I think that my entire background made me well-suited for what I do. If I could write better than I can, perhaps I would have tried to become a novelist and I might have become a failure. If I could draw better than I can, I might have tried to become an illustrator or an artist and would have failed there. But my entire being seems to be just right for being a cartoonist.
Charles Schulz: Unbothered. Moisturized. Happy. In his lane. Focused. Flourishing.
A journal entry from last month. I was hoping it would be more interesting, but I’m just going to keep throwing things up here and seeing what happens.
Hello, I’m Edith! I love this site, and I’m excited to be here. (Thanks, Jason!) I haven’t blogged like this for more than a decade, so I hope I’m not too rusty. Please feel free to email me any tips; I would be delighted to get them.
As Jason mentioned, since 2019 I’ve been sending a comics newsletter called Drawing Links, although it’s been on hiatus since last fall. However, I’m going to try running some old comics here – see below – in the hopes of working up momentum to bring my newsletter back. We’ll see how it goes!
More about me?? I’m originally from Cambridge, MA, and although I lived for 16 years in Brooklyn, a couple years ago my husband and I moved to a small town in upstate New York, not too far from Albany. We are now expecting our second daughter, due in a few weeks.
Thanks for reading!
…Okay, I was hoping to hide these comics behind a “read more” page-break button, but it seems Jason’s interface doesn’t have that option, so I guess I’ll be really taking over the main page.
And so, to kick this off, here is a little story about the first time I saw a bear (from 2022):
From XKCD, the progression of people’s opinions about cars & urban planning, from “I wish there wasn’t so much traffic to get into the city. They should put in more lanes.” to “Anything that makes a city a worse place to drive makes it a better place to live.” As The War on Cars said on Bluesky, “Randall Munroe, welcome to The War on Cars.”
In the 60s and 70s, Howard Johnson’s was the largest restaurant chain in the US — the restaurants and their associated hotels were ubiquitous while travelling America’s roadways. So it made sense that when Stanley Kubrick needed a hospitality brand for the Earthlight Room on the space station circling Earth in 2001: A Space Odyssey, he reached for HoJo’s.
And of course, even in 1968, you had to do some sort of cross-promotion and, bizarrely, what Howard Johnson’s came up with was a 2001-themed children’s menu.
Even more weirdly, the menu is not about the movie itself, it’s about a family that goes to see the movie. The whole opening sequence with the apes is omitted entirely, as is the HAL 9000 (arguably the film’s main character) — I suspect the HoJo’s people didn’t get to see the entire movie while putting this together (as evidenced by the “preview edition” graphic in the bottom right corner of the menu’s cover).
It’s cool to see scenes from the movie rendered in comics form:
Back in 2008, Google commissioned comic artist Scott McCloud to create a comic book to celebrate/explain the launch of their Chrome web browser. Since then, Chrome has become a vital part of Google’s core business, an advertising juggernaut that works by tracking users and their interests across the entire web. To better reflect the reality that “Google’s browser has become a threat to user privacy and the democratic process itself”, comic artist and activist Leah Elliott has cheekily created an updated comic book in the style of the original. She calls it Contra Chrome.
Starting in 1991 and continuing through 1996, Marvel released their quarterly and annual financial reports to shareholders in the form of comic books. Columbia University librarian Karen Green writes:
Working with editor Glenn Herdling, and using the Marvel Method of story to art to dialogue, Fishman developed the plot, Herdling found some of Marvel’s best artists to pencil, ink, and color, then Fishman wrote the copy (conveying everything the lawyers and SEC demanded), and Herdling put everything together. And so, thirty years ago today, a slim four-page comic debuted, with a cover by legendary artist John Romita Sr. Inside, Spider-Man and the Incredible Hulk (sporting, appropriately, an accountant’s green eye shade) discussed net income, publishing revenues, and earnings per share.
The report caused an immediate sensation. No one had seen anything like it. Even more impressive was the subsequent annual report. A 36-page stapled book on glossy paper, it combined information in comics form, introduced by Uatu the Watcher, with updates on licensing, advertising, and more, along with traditional financial tables and text.
(Hi, this is Tim Carmody filling in for Jason this week. Hope you all have had a lovely holiday and are ready for more bloggy goodness here at kottke dot org.)
For a variety of reasons, I recently found myself inside a legal marijuana dispensary for the first time. I wasn’t sure exactly what I expected the retail experience to be like — a liquor store? a coffee shop? a used car lot? the paraphrenelia shops I first checked out as a teenager? — but I was nevertheless surprised.
The closest analogy I can think of is a jewelry store. There was pretty decent security, including a whole separate room for customers to check in, and everything was presented in a secure display case. A salesperson walked you through the samples to answer questions, guide you in one direction or another, and take your order, while the order itself was filled in a secure area away from the showroom. The other shopping experience I’ve had that’s similar was buying medical equipment, which makes some sense given the origin of a lot of retail dispensaries in the medical marijuana era. You could also say it’s a little like a pharmacy (which again, is probably unsurprising).
Some of the setup of dispensaries is a function of legal regulations (do you need to check IDs and differentiate between medical and recreational customers?) and some of it solves some practical problems (weed is expensive and there’s still a viable aftermarket, so you are in principle a target for theft).
But it’s also a question of culture: who’s involved in the transaction as a seller and as a buyer, and what are their assumptions and competencies that they’re bringing to the party (so to speak)?
For instance, today Lifehacker (I know, right?) has a short interview with an entrepreneur who runs dispensaries in California, who comes out of the restaurant industry. (It’s titled “How to Break Into the Legal Weed Industry” which is, I think, a very rare kind of service journalism, or more likely, a simple explainer masquerading as service journalism.)
“My entrance into the cannabis industry was several years ago,” said Captor Capital’s Adam Wilks, who operates dispensaries in California, where he reported the business is “smooth sailing” for the most part. “I had worked in the restaurant industry for major brands, including Pinkberry. When I entered, we were just starting to see traction with federal legalization pushes like the SAFE Banking Act and statewide sweeps. I think I entered during the ‘sweet spot’ period where there was still a lot of excitement about an emerging industry and a lot of big money wasn’t quite ready to take risks. Now, everyone is funneling into cannabis.”
Now, a restaurant is a very different industry and has a very different culture than a pharmacy or jeweler or the marijuana sales industry as it’s existed pre-legalization. One might expect a very different retail experience by people with those competencies and expectations. As people from other industries enter the world of cannabis, an amalgamated lingua franca might start to emerge, or you might get very differentiated experiences in different markets.
There’s an Achewood comic titled “Marijuana is not coffee” that’s about five years old now that compares the emerging legal cannabis industry to coffee shops — not just ubiquitous but gentrified, made completely palatable by the American retail industry’s ability to turn anything into a consumer-friendly experience. The characters also imagine a whole cannabis-specific jargon, on the model of coffee talk. Here’s an excerpt:
I don’t know; someone with more than a passing acquaintance with these shops and their alternatives will have to do the full anthropology. But it does seem to me that with the legalization of marijuana, we are in the process of changing more than who is allowed to get high and who is allowed to get paid without being punished.
Honoring the “everyman” creator, Charles “Sparky” Schulz, “Who Are You, Charlie Brown?” celebrates the significance and global multi-generational popularity of the comic strip and its timeless artistry and design to profile the man whose simple characters would touch the lives of millions through the decades and become beloved cultural icons. Featuring interviews with Jean Schulz, the widow of Charles Schulz, along with Drew Barrymore, Al Roker, Kevin Smith, Billie Jean King, Paul Feig, Ira Glass, Noah Schnapp, Miya Cech, Keith L. Williams, Chip Kidd, Lynn Johnston, Robb Armstrong and more, the documentary interweaves a new animated story that follows Charlie Brown on a quest to discover himself.
Narrated by Lupita Nyong’o, the film premieres on Apple TV+ on June 25.
The slim, 10-page story is impressionistic, without a real plot. It is the first in a series called “Represent!” that features works of writers “traditionally underrepresented in the mainstream comic book medium,” including people of color or those who are LGBTQ, Marie Javins, an executive editor at DC, said in a statement. It will be available online for free starting Wednesday, at several digital book and comic book retailers.
The main character of “It’s a Bird” is a teenage birder named Jules, who is Black. When Jules tries to peer through his binoculars at birds, he instead sees the faces of Black people who have been killed by the police.
It’s a Bird is available for free from DC Comics. You can read an interview with Cooper and the rest of the creative team (artist Alitha E. Martinez, inker Mark Morales, colorist Emilio Lopez, and letterer Rob Clark Jr.) on the company’s blog. (via open culture)
Is this the first salvo in the end of year barrage of reviews? Polygon are going all out anyway, with a review of the whole decade! “Looking back at the past 10 years in pop culture.” There’s lots to read and I can’t say I’ve gone over the whole thing yet but it’s a fun mix.
The second decade of the 21st century was marked by seismic shifts in media and entertainment — loot boxes, games as a service, esports, livestreaming, virtual reality, smartphones, streaming services, “binge” watching, cloud computing, corporate consolidation, and a blockbuster takeover of the box office. It’s tempting to dismiss those items as big-picture developments rather than changes that affect us personally. But as we increasingly rely on pop culture as the lens through which we process the world around us — and, as ever, a mirror that reflects that world back at us — it’s important to take a breath every so often to ponder how we got here and what it all means.
Counting Minecraft among the most influential games of the 2010s is a no-brainer. According to its developer, Mojang, Minecraft recently became the bestselling video game of all time, beating out Tetris by moving over 176 million units. Unlike Tetris, it hit that number in a single decade. (Emphasis mine.)
The late 1930s were a time of explosive creativity in the comics industry, with the creation of Superman, Batman, and Marvel Comics’ own unlikely fan favorite, Namor, the Sub-Mariner. I enjoyed reading this short précis on Namor in honor of his 80th anniversary.
Namor is less an early superhero than the last of the pulp icons, an antihero who threatened humanity with death and destruction. Unlike Superman, he’s not a secret alien raised by the best of humanity to save us all; he’s a hybrid mutant raised by a nonhuman race here on Earth that regards humanity as overgrown, ill-tempered children. And unlike Zack Snyder antiheroes who have to be twisted from their origin stories to bring them up to date, Watchmen-style, nothing about Namor needs to be changed to make him genuinely menacing, alien, and scary, while retaining his sexy charm. Namor’s just got it going on.
Namor’s film rights have been circuitously tied up for years, so we’ve never seen him on the silver screen. The first hit that always comes up when you search for him is Keanu Reeves, and Keanu at any age wouldn’t make a bad Namor. There’s talk of introducing him into the MCU via the Black Panther franchise, and that’s a great idea as well, since the main thing Black Panther and the Sub-Mariner share is that they’re not really super-heroes; they’re kings.
(Superman is precisely interesting to the extent that he is neither a king nor a god, but a man; these two things are not mutually exclusive. Hollywood’s inability to grasp this is part of why superhero movies have so much trouble, despite being the most dumb-simple megagenre of all time.)
Krazy Kat is a legendary comic strip by cartoonist George Herriman. It was published from 1913 to 1944. This means that some of the earliest strips are now in the public domain; all you need is to find a decent quality image.
Enter Joel Franusic, a Krazy Kat enthusiast who wrote up some code to scan newspaper archives, confirm that the images were indeed Krazy Kat comics, and download and present the images he found. Here’s Joel:
After becoming a little obsessed with Krazy Kat, I was very disappointed to see many of the books I wanted were incredibly expensive. For example “Krazy & Ignatz: The Complete Sunday Strips 1916-1924” was selling on Amazon for nearly $600 and “Krazy & Ignatz 1922-1924: At Last My Drim Of Love Has Come True” was selling for nearly $90.
At some point, I realized that the copyright for many of the comics that I was looking for has expired and that these public domain comics were likely available in online newspaper archives.
So, driven a desire to obtain the “unobtainable” and mostly by curiosity to see if it was possible, I set out to see if I could find public domain Krazy Kat Sunday comics in online newspaper archives.
As you can see in the “Comics” section of this site, it is possible to find Krazy Kat comics in online newspaper archives and I’ve made all of the comics I could find viewable on this web page.
The most striking thing about these comics is their size: full and half pages of broadsheets. The second most striking thing, for this fan, at least, is the clear influence on Calvin and Hobbes, in style, pacing, and overall feel. It’s not the user-friendliest way to dive into a back catalog of comics, but it is a remarkable and remarkably fun project.
A grawlix is a string of typographic characters that represent obscene language, often found in comics. In this video Phil Edwards traces the history of the grawlix back to the early 20th century, right around when the comic form was invented.
Known as the “grawlix” — a term invented by Beetle Bailey cartoonist Mort Walker — this string of symbols is almost as old as comics, extending back to the early 1900s. Comics like The Katzenjammer Kids and Lady Bountiful were truly inventing the art form and, in the process, had to figure out a way to show obscenities to kids. Enter #*@!$ like this. The grawlix performs a censorship function while, at the same time, revealing that something naughty is going on.
Comics fans and the internet at large have been enchanted by the new author of the classic Nancy comic, Olivia Jaimes. This comic from Sunday shows why:
If you check out the thread for the comic on Twitter, there are several instances of comics that mess with time and space like this, but the final panel by Jaimes is particularly strong. I definitely Laughed Out Loud.
Update: Delta’s current onboard safety video takes place within the illustrated world of the seat-back safety card and contains several instances of fourth-wall breaking.
Since 2014, Abraham Riesman has kept a regularly updated list of the best superhero movies since Blade. This is partly an arbitrary starting point (would it really be so hard to rank the early Superman and Batman movies too?), and partly not: Blade moved away from the Superman and Batman top character mini-franchises, kicked off Marvel’s entry into modern superhero cinema, and started the pattern of every-other-year/no, every-year/wait-how-many-superhero-movies-are-out-this-year? sprawling multiverses we associate with the genre(s) today.
While there were a lot of superhero movies between 1998 and 2014, there have been, um, a lot more since. And some of the very best ones, too. “When I did the first edition of this list in the fall of 2014, I did not in any way predict that it would become my life’s work in the way it has,” Abe writes.
Today, a new entry cracks the top five. Abe rates the animated Spider-Man: Into the Spider-Verse, starring the former Ultimate Comics hero Miles Morales, fifth on his list, well ahead of the rest of the Spider-movies and just behind the highly revered The Dark Knight. Abe writes:
The unassuming and artistic Miles, a more recent addition to the comics’ Spider-canon, feels new and Zeitgeist-y in a way that Peter hasn’t in decades, and we want desperately for him to find his footing as he tries to be a hero. Luckily, he has the assistance of an array of other Spider-people from alternate dimensions — a gimmick common in comics, never before dared on the big screen, and here executed with deft and thrilling elegance. The story, performances, and jokes are all top-flight, but perhaps the greatest delight is the film’s awe-inspiring mastery of visual whizbang: Rather than try to ape reality, everyone is designed to evoke a feeling, be it the hulking intimidation of the inhumanly massive Kingpin or the proud wackiness of the stoutly cartoony Spider-Ham. It’s a damn shame that Lee and Ditko both died a matter of weeks and months before they could see the release of Into the Spider-Verse (though the famously reclusive Ditko wouldn’t have watched it, anyway), but their beloved baby is in good hands.
I love Miles Morales, and can’t wait to see him on screen. It’s been surprising that Marvel and DC haven’t done more with animation outside of television: cartoons are proven family-friendly money makers at the box office, and there’s a natural connection between comics and animation. Here’s hoping this spurs the superhero cabal to give more formats a try.
Miles is also in a new comic book series, written by Saladin Ahmed and drawn by Javier Garrón. Issue #1 comes out next Wednesday, December 12.
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