It was a really pretty day in Portland the day Barack Obama came to town, and thanks to my pals the Decemberists
I got to watch from the best seats in the house - the stage alongside his podium.

When I’m not drawing comics, I’m a flying lumberjack.

Jacquelyn and a few others were curious if I was attending the big ol’ Comic-Con jamboree in San Diego in these upcoming days.
The answer is “nope”, but I will when HABIBI is finished (couple more years). And in the meantime, the organizers of the
Stumptown Comics Festival wanted me to note that they’ll be selling the t-shirt that adapts the poster design by Mike King
and myself, available at Shannon Wheeler’s booth (#2200). More later…

Jeff Smith invited me to participate as guest-blogger in a forum discussing the ’90s
self-publishing movement in comics and how it affected me. Here’s what I came up with:

BONE got me reading comics again. In high school, I’d rejected the nerdy obsessions
of my youth (comics, toys, rpgs) and replaced them with skateboarding and girls and
a watered-down rural version of grunge culture. A couple devoted buddies would drag
me to the comics store or lend me this or that; but in four years, BONE was the first book
to capture my attention. That lust brush line, animated timing, and playful interaction between
very real characters! (No need for me to convert readers of Jeff’s blog.) Soon after, I discovered
MADMAN — again the juicy brush line, along with the spiritual musings of an insecure Prometheus.

These books got me READING comics again, but it was a slightly different brand
of self-published comics that inspired me to MAKE my own.

The DIY ethic was infesting my 20 year old life — a scrappy blend of vegetarianism,
punk rock, dumpsterdiving, and disillusion with capitalist society. The “people’s media”
wasn’t books or magazines or the young internet, but zines and minicomics - hand-assembled
during late night Kinko’s sessions when you could bribe an employee for free copies with a six pack.
The drawing aesthetic and subject matter of these comics were most often intimate and raw,
like personal letters from the author. John Porcellino - creator of KING CAT - became our appointed
cult leader, and ran a distribution outfit for mincomics, zines, and seven-inches called SPIT & A HALF;
graciously distributing my own first attempts at comics and introducing me to an entire world of obscure creators.

This is where the Xeric foundation factors in.
I was of a generation that read NINJA TURTLES as a CHILD (even watched the ridiculous
animated version) and then was coming-of-age when Peter Laird began tithing to first-time
self publishers. (Note that the Xeric grant’s 1992 debut was nearly synchronized with Grunge.)

All my favorite mini-comic creators — David Lasky, Adrian Tomine, Megan Kelso, Jon Lewis — were
transitioning to “professional-style” Xeric-funded books. Because the Xeric was a one-time financial gift,
it lent itself to self-contained projects. For me, this is where the notion of “the graphic novel” first became
appealing - a comic book with a complete story - beginning to end - not stretched over years of soap-operatic serialization.

Foremost of these was Tom Hart’s HUTCH OWEN’S WORKING HARD. In only 53 pages, an entire energetic
epic unfurled. Something changed within you while reading it. It definitely inspired my first book CHUNKY RICE.
The grungey knit cap and snargley tooths of Solomon is a deliberate tribute (or rip-off) of dear ol’ Hutch.

The other book that I poured over & over and sought to emulate was Walt Holcombe’s KING of PERSIA.
It’s so poetic and musical and heartbreaking that it moved me to tears. This is what I sought to create
- comics to make you weep! (And I suspect the Orientalist fancies of HABIBI were awakened by Walt’s book.)

Finally, Joe Chiappetta’s SILLY DADDY. His LONG GOOD-BYE was self-published without Xeric aid, but it
did package his mincomics into a 98 page booklet. These confessional diaries and anti-capitalist diatribes
read as direct translations from his heart. The sometimes crude drawing could suddenly betray Joe’s skill
as an attentive life-drawer. This rendering of little Maria still sends shivers through me.

In the 90s, the largest pocket of Xeric cartoonists were living in Seattle, Washington — they replaced
the corporate-opted music scene with their loud & energetic comics scene. Other than heartbreak, they
were what motivated me to leave my Wisconsin home for the great Northwest. At the last moment,
a friend convinced me that Portland, Oregon was the smaller, hipper, organic version of Seattle.

Ten years later, Portland itself has claimed stakes as the young cartoonists mecca. Busloads of energetic
minicomics-churning youngsters arrive each day, and I’m the “old school” — the hermetic, folk-artist crazy uncle
burdened with my self-imposed graphic novel exile. Seems I’ve fashioned myself after Dylan Horrocks’ TISCO GEORGE…

… and I long for the days of of playfulness and community - before the pretention or presumptiousness
of the “graphic novel” — when photocopies were stolen from Kinko’s and lovingly hand-stapled by the author.

(art credits: 03 - Hutch Owen by Tom Hart, 04 - King of Persia by Walt Holcombe,
05 - Silly Daddy by Joe Chiappetta, 06 - Tisco George from Pickle #1 by Dylan Horrocks)

…it just started snowing in Portland!

As a meager gift to you readers, here’s a few goodies scavenged from the piles of scrap paper that litter the studio. Thank you, endlessly,
for being there — for reading the books and your encouraging comments!

1) mindless doodles, circa 1999. One day, the “flaming meanies” will be resurrected.

2) The scribbly rough of page 56 in Chunky Rice

3) The penciled version of page 442 of Blankets ~ July 1st, 2002

4) The photo that became the cover of Carnet de Voyage. 2ème arrondissement, rue des Moulins, Marseilles –
I claim that I didn’t use any photographs on those travels — but Top Shelf needed me to provide a
promotional cover for the book before it ever existed. So before I left for the trip, I used this photo
from January 2001 to capture a trip yet to happen in March 2004.

Peace on earth!

Home from the tour! Here’s a quiet domestic scene from Lyon — Alanis, Laëtitia, Koupaïa, Samuel, Frédéric …

… and here’s one last rocknroll image — the song “twenty cell revolt” performed in Barcelona. (stolen from “elchicodelaleche” ~ lots more on FLICKR)

Big thanks to my dear Menomena buddies Danny, Brent, and Justin ~ and to Sascha and Severin for managing this adventure.
Also thanks to Jared, Teak, Danni, Benoît & Valéry, Frédéric & Laëtitia, Anne-Julia & Walter, Samuel/Koupaia/Alanis/Solveig/Anton, Mylène,
Kathleen, Dupuy & Berberian / Anne & Niki, Jeffrey/Jack/Helen/David, Uncle Hansje & Mara, Alessandro and his parents, the Disney crew,
Miriam, Marta, Carlos, Lisa, Thais, and all the kind folks we met.
Thanks to all of you who made it to the shows, and thanks to all the venues that hosted and cleaned up our messes.
Heck… here’s one last photo. (Gracias, Álvaro) The sweatiest shot of Danny I could find, and the completed wall at Barcelona seconds before
I ripped it to shreds. (whoah ~ my shadow is well-hung.)

Check out Danny’s satisfyingly detailed tour log at LOCALCUT. Now back to serious work. Cousin Brianna, please e-mail!

Above is a birthday drawing for my buddy Billy. He’s responsible for getting me hooked on
the Ge Ge Ge no Kitaro manga of Shigeru Mizuki. Mizuki lost his drawing hand/arm thanks to an
attack by Allied Forces during World War II. Afterwards, he taught himself to draw with his other hand
and poured forth prodigious pages of nutty/spooky, monster-laden manga. I’m a big dork for his work.

Thanks to the DRAWN! blog for endorsing dootdootblog. That site is juicy-full of goodness. Russel, I’m taking a break from
interviews/promotion so that I can be productive with HABIBI (this blog is an indulgence) - but it’s always good to check in
with my agent PJ, because he may urge for exceptions. Thank you, everyone, for posting comments and continual patience!