KUTI 29 Syksy/Autumn 2013 ISSN 1796-587X

© Tekijät/Artists Painos/Print-run: 7000 Painopaikka/ Print: Satakunnan painotuote Oy Taitto/Layout: Benjamin Bergman, Pauliina Mäkelä Kansi/Cover: Heta Bilaletdin Toi- mitus/Editorial: Kutikuti Vastaava PT/Editor-in-Chief: Sami Aho Tekijät/Artists: Sami Aho, Robert Deutsch, Celine De Cadt, Roope Eronen, Marcos Farrajota, Petriina Koivunen, Søren Mosdal, Tommi Ollikainen, Aapo Rapi, Alessandro Ri- pane, Heikki Rönkkö, Kari Sihvonen Julkaisija/Publisher: Kutikuti Mainokset/Ads: [email protected] Kontakti/ Contact: [email protected] www.kutikuti.com

Celine De Cadt

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7. In the first part of the article I focused primarily on the ma- nipulation of images - comics jams, collages and “detourne- ment” now I’ll try to show a second type of “comix remix”, focused on the potential to “mix” exclusively narrative units by such as panels or strips. If in the first group of examples of Marcos “Comix remix”, the crux was the “creation” directed by an Farrajota artist, almost without intervention of others, in the next group of examples, comics are offered like an open-source in which the authors lose control over their creation though, without extremism as in music. In comics there aren’t simple electronic tools to make remixes as in the musical area; just pick two CDs like Project Bicycle (Ache Records, 2006) or Synthesis of all these experiences is Roope Eronen’s These two features, the fusion of Bosnian Flat Dog and Le Photographe Bipolar EP (Raging Planet, 2006) of [f.e.v.e.r.], both have an work, Ghost Story, a comic published in the anthology design, are important points in the travelling book Boring Europa (Chili audio track with all the separated sounds of the original music Glömp X (Huuda Huuda; 2009) and a part of an Com Carne; 2011) (3). Originally the idea of the book was to collect travel installation in the exhibition with the same name. It is diaries of the six elements of Chili Com Carne that between 1st and in order to be mixed by someone else who knows how to use a wooden structure consisting of four parallelepipeds, 15th September of 2010 travelled over Europe, on tour as if they were a software as the Fruityloops. each parallelepiped has four strips of painted comics on some punk rock band. However, instead of giving sweaty gigs the CCC the longest faces and, when rotated with a handle (set elements walked around to sell books and assemble exhibitions. The aside in each parallelepiped), they change the meaning fatigue of driving, from town to town, annulled the wish to draw with Building stories of the “page”. That is, with the help of the object we almost all of the participants, making a posteriori a collective book. As one obtain a comics “page” of four spinning strips. It was an interactive of the authors, I accumulated also the rule of editor’s and Joana Pires ence, the more usual way of “losing control” is put in the form of piece in the exhibition so that the public could read the many different the designer’s. Together we kept ordering a variety of loose materials Hreading the work, providing narrative games in the form of book, possibilities of storytelling. In the book, the chance to recreate these that were accumulated during the trip and after it: doodles, sketches, objects or even installations in exhibitions. parallelepipeds is offered by cutting the pages - each page has four strips different graphic material like currencies, traffic fines, comix jams, of each parallelepiped. If the Stripple affected the player, they may cut tickets, illustrations, emails... We created a “freak” comix, which merged In 2008, Jucifer participated in a project in which she had to use “Post- directly in to the book, damaging a beautiful experimental ! all the work to be read as one. There are several situations in which I Its” (1) to make original comics, later glued on a wall in a gallery. While used someone’s drawings to include them in my panels. Also, strips were most of the other participants created linear stories in these square Find the 7 differences displaced from the original page to another part of the book. The main adhesives, Jucifer, besides, having entitled her work Post shit (a feat concern was to keep a chronology of events and not to repeat the same in itself, as it distinguished her from “square” authors), took advantage n September 2003, I had the opportunity to see Max Andersson and stories of the six people involved. of the fact that the square shape of a “post-it” allowed the panels to be ILars Sjunnesson, two Swedes authors living in , working in autonomous, placed anywhere and, as such, aligned randomly, as the the last chapter of their Bosnian Flat Dog. It was curious to observe the One of the moments of inspiration for this tour book organization, author or the visitors wanted to! Although, this opportunity for visitors time they spent arguing with each other, (or else, the time seemed huge occurred during the meeting with the Austrian collective Tonto, from to be able to change the order of the “post-its” hadn’t been given during because I don’t understand a word of Swedish), all due to a detail of a Graz. In the interview we made, Helmut Kaplan and Edda Strobl the exhibition, unfortunately, the exhibition was never repeated, in order panel. After a consensus on the story and paging, the authors drew over admitted that we have many people in the group who make many drawings to have a new “remix”. Later, a self-published zine of this work was made, each ones’ drawings. An outlined image was inked from one or the other. but not comics! What Kaplan makes with these loose drawings is to mix again without the possibility to mix the images as it appeared in the form Even, after this action one of the authors didn’t know whether the other and give meaning to them, and creating comics! of a stapled zine. was going to respect the proposed design or if he was going to add more ink to make contrast, to change the form or detail, textures, etc… The The second volume of the Promessas de Amor a Desconhecidos main purpose was to present a coherent comic and you couldn’t figure Enquanto Espero o Fim do Mundo (2011) by Brazilian Pedro Franz is out who drew what, not even by the authors themselves. At some point, a package with several laminated sheets of paper that allows you to mix they even thought the comic could be made by a “third author”. This is everything at random and to be read as the reader wishes to. The same an example of the recent history of the comics where the unthinkable happens with the box Building Stories (Pantheon, 2012) by the “crying can come to light: author duos who write and draw together, without baby” . It consists of 14 publications of quite different sizes, any separation of tasks typical of industrial production comics, in which that allow you to read a story like a puzzle (2). The various phases of experts’ positions like writers, pencilers, inkers, letterers, colourists, etc... the life of these characters are butchered in those 14 publications, this were created to deliver the publication on time for the deadline. In Bosnian means, none of these books / newspapers / pamphlets / brochures has Flat Dog, as in “comix-jams”, the work is beyond the absolute control of a “full story”; everything is done in several random episodes, with the the creators, though the process is done by the artists themselves. The typical Ware’s depressing existentialism. This existential emptiness and difference of “jamming” is that here we find “fusion”a of entities while the tiny lettering, didn’t captivate me to read it all until the “end”. Did in “jams”, panel to panel, individual styles of each participant are evident. I miss anything? Despite of mixing two quite different mediums, photography and drawing, opposite page There are also books bound by rings with their pages cut into two or three it is worth to mention another “fusion” which is Le Photographe (3 1. Pedro Franz: Promessas de Amor a Desconhecidos parts, especially in the field of children’s illustration like the fabulous volumes, Dupuis; 2003-06). Comics author Emamnuel Guibert uses Enquanto Espero o Fim do Mundo Animalário Universal del Professor Revilod (2003) by the Mexicans Javier photographer Didier Lefèvre’s (1957-2007) contact proof sheets 2. Jucifer Blam: Post shit Sáez Castán and Miguel Murugarren. In comics, it is not common but you to tell Lefèvre’s adventures in his first mission with Doctors Without 3. Stripburger: Stripple can find this kind of experiences here and there, likeBio Building 421 Borders in Afghanistan, in 1986. The comics are used in these albums 4. Bio Building 421 (Lök; 2012), which brings together several authors of an Italian collective as “glue” between the various temporal ellipses of photographs or 5. Jess Collins: Nance where one can mix it’s strips - three per page - to create several different groups of photographs. The comics tell what is not seen between shots. 6. Roope Eronen: Ghost story stories. In order to be a narrative sequence, the existence of two characters Undeservedly forgotten is the work of the “third author”, which unlike 7. GIUDA and a shelf to assemble it were established. As a punchline, there’s a final Bosnian Flat Dog, is actually a person! Frédéric Lemercier made the sentence: who else can love you, love less. design of the composition of the book’s pages, a designer’s work that this page set up a functional way to the work. We know very little what was Chili Com Carne: Boring Europa Literally as “games”, we find some objects released by OuBaPo, like specifically his work in the arrangement of pictures, panels, colours, etc... Le Coquetèle (L’Association; 2002) of Anne Baraou and Sardon, a but, this reminds us how many music producers seem to be “designers”, “comic of three unordered dices.” Before that, Baraou had made another manipulating sounds and “gluing” them together to create a shape. identical comic, Après tous tans pis (Hors Gambit; 1991) with drawings of Corinne Chalmeau. Both are boxes with three dices, each face of the dice has a panel. The “reader-player” has to throw the dices randomly, and then join them together resulting in a readable sequence emulating a comics strip; it is possible to obtain 216 hypotheses of reading. There economic”, as with traditional publishers. These examples have in is also the board ScrOUBAbles (2005) that instead of normal Scramble common the fact that they’re done by independent collectives of game letters has panels to create short stories. And, DoMiPo (2009) is Hang the DJ! comics’ authors who publish anthologies and decided to expand the a domino, only instead of the numbers on the pieces we have comics way to “edit”; it isn’t anymore the simple action of gathering the work panels. In Slovenia, the team of the Stripburger made Stripple​​ (2008) ne of the first cases of “narrative DJing” isEd , The Happy Clown of several authors and paging it in order over a book. At some point, with the same assumptions but, this time with coasters! The idea is to put Oby . It’s one of the most incredible comics ever they felt they should step in directly on the material to be published the coasters on a table and look for interesting narrative combinations made and it has a rough and casual structure, for which there isn’t according to an instinct, a story to tell or a vision. with Matej of Cecco, Sasa Kerkos, Matej Lavrencic, Marko Kociper, a definitive edition. Let’s take the 1992 Vortex one, sub-entitled Jakob Klemencic and Andrej Stular comics - each author made ​​six The Definitive Ed book, although Drawn & Quarterly have recently In Italy, the magazine GIUDA came out (4 issues, 2009-12), with the panels and each panel is equivalent to a coaster. In the indications of announced the definitive one. The issue of different editions is due to same team that published Inguine mah!gazine. Elettra Stamboulis this object, the organization offered a prize to the best combination and, the fact that Ed the Happy Clown has been pre-published as episodes in explains us what this new project is: we wanted to work as an avant-garde also states that the “masters” of this game, at some point, could use the Brown’s magazine. The story was built unintentionally and, of the beginning of the last century: the graphic design reminds this, in coasters for what they are really fit for: to place under glasses and bottles! perhaps that’s why there is no consensus on the “final edition”. In it particular Vienna’s Secessionist. Using automatism, aestheticism, casualty. If you’re a “bar fly” and a “comix nerd”, this is your game! we find surrealist elements like hands that are released due to Catholic We were coming from [the Komikaze Festival] year of mapping alternative sins, , pygmies, ad infinitum defecation, interdimensional forms of drawing from all over the world and we wanted to produce something holes, the head of in the Ed’s penis, etc... These story completely different. Also, themes are always connected to a geographical elements kept originally appearing in several separated and unrelated representation: a place is always the centre of the story, drawn in a different comics from 1981 to 1985. Some of them were quite silly and juvenile way that traditional Geography, but it’s always Geography. From this idea as The man who couldn’t stop, that shows a guy in a toilet who can’t stop came also the name Geographical Institute of Unconventional Drawing defecating. In 1987, Brown started linking the characters, situations Art. What distinguishes the project from other comics publications is and environments of several of these comics to create a coherent story. that in each issue there is always a comic with a text written by a person The publishing history of Ed, the happy clown reminds us what happens (the first three were by Stamboulis, the fourth byMarco Lobietti) and often with cinema when there is a “director’s cut” or versions cut by illustrated by various artists, reminding the experiences of Joe Meek’s the producer or distributor, or even worse, by censorship! Moreover, comic in Twilight Jamming. Stamboulis explains: There is a huge work of some editions of Ed..., such as the British one, don’t include some of research behind the texts and the images, but there’s always an idea of fate the “silly and juvenile” comics fearing of censorship. and strategies that are coming from OULIPO experiences in literature. It’s a script with very few indications divided already in squares. Every artist From here we get to the report of three contemporary projects in has his/her text to do, and can read all the story, but cannot see what the which the editor is the lead author (the “third author”), in which the others are drawing. Sometimes the process gets complicated because collaborators’ work is handled in an artistic way and not as “techno- there are also some complete pages that are connected to the general story, but they are written and drawn by the artists. Those pages are a kind of subtitle 1. Helmut Kaplan, Edda Strobl & Dice Industries of elements of the main story and they become short stories itself. In the end 2. Martin López Lam: Dote de poto a tres Gianluca Costantini collects all the drawings and he puts them in the page. 3. Futuro Primitivo With a sort of magic powder of fortune, every time it works as if everything had been perfectly arranged. 1.

I must admit that the reason for this article was the fact that I produced the Futuro Primitivo (Chili Com Carne, 2011) and was disappointed by the lack of reflection on what happened, even when I publicized that the project was a failure. Nobody asked me why it failed nor suggested to analyse similar situations. The aim of the project was to join all the Chili Com Carne artists in an anthology that would combine its different comics to create a new “meta-comic”. To achieve some unity in the book, a post- apocalypse theme was suggested. An aesthetic unity would be maintained despite its 40 different artworks; a structure was asked, two strips per page in order to displace them more easily from the original context to any other part of the book. To keep a guideline in this “meta-comic” the authors were also requested to choose a sub-theme, a list of technological advances in Humanity, from the discovery of fire to the Dolly sheep. The authors were also asked not to “close” too much of their stories, avoiding self-conclusive ends.

Similar to when you buy a new sound-system, no one reads the instruction book, leaving “the clock of the video flashing 00:00 endlessly”, like Laurie Anderson once mentioned it in a song. Few authors respected the rules of the “game” and all sorts of situations appeared. Chaos was installed. The function of the book failed according to my “narrative DJ” expectations to try to control these unsubmissive matters but people felt it in another way, as this Swedish reader’s statement proves: I thought one great thing about Futuro Primitivo was that I couldn’t understanding all of it. It felt like that was the point, like a global, multidimensional dystopia and you only understand the bit you can see with your own eyes. On the other hand, I think that was my very own subjective reading experience (I understand a little Portuguese but not enough to be sure what the comics were about, a bit like dreaming and half-understanding). The exhibition also failed due to the lack of time to standardize formats because the idea was to mix the strips as in Post Shit. Damn artists!

Finally, Tonto Comics is the example that concludes all that has been said here. Their last issue (#13,Noise ) published by Avant Verlag (2012) made ​​the bridge between comics, music and concepts of “remix”. In 1994, this editorial project began as a musical platform; therefore it was normal that Tonto anthologies were linked to music, especially because Kaplan uses identical procedures in music and comics: cut, montage, speed, running direction, superimposition. Kaplan organizes anthologies with “funny concepts” (according to some critics), a logic that we don’t understand very well. It is normal to find comics in the publication pages already seen many times in other publications around the world by authors such as Igor Hofbauer or Marko Turunen. To repeat these comics it’s not because there is a willingness to promote them in Austria (or Germany) but, because these comics have a special value for Kaplan who follows an internal program like a contemporary art curator. In Noise, Kaplan says: The material is quite heterogeneous. It has accumulated at my place in the last years. Quotes and remixes from the existing material plus additions (…) my own and from others. Leaving aside questions of ownership that Pop Art raised regarding the use of (anonymous and commercial art) comics for producing real Art, Kaplan manages to trace a path or to do a research that agrees with this article. Intersecting both there are some names coinciding like Max Ernst, Henry Darger and Dice Industries, but, two new unexpected situations appear that deserve a bigger highlight here.

The starter for Noise was a version of a Jess Collins’s page (1923-2004) that Kaplan made who, in turn, in the 50s combined a Chester Gould’s Dick Tracy comic. This way, there’s a new reference to the “comics remix” experiences chronology, between Max Ernst and Chumy Chúmez. Check the recent book O! Tricky Cad & Other Jessoterica (Siglio; 2012) which includes the Jess’s collage work and the comics Tricky Cad and Nance; the latter turns the Warren Tuft’s Lance family classic with tough western dudes, into such a gay orgy that it could make Tom of Finland’s cheeks blush.

In the beginning of the second part of the article, I mentioned the “problem” (not a problem really, maybe a difficulty) that there isn’t a “software” to mix comics as there is in music. Very ironically, Kaplan with Edda and Dice Industries invented and designed a scheme of a music studio (loops, signs, volumes, MIDI, LFO, mono channels) to create, in the end of the “mix”, a graphic style! Programmers of the world unite!

Extra Extra 2. 3. Perhaps, not only do we live in a world of “copy / paste” but, also in a too fast world. Not only is there the coincidence of me and Kaplan addressing to similar situations in our projects but, also other people around the planet are exploring these possibilities with “comix remix”. Recently, I met the Brazilian Sama, living in Portugal, who has made some comics using some loose drawings that he had made previously for a mail-art project. Another case, Martin López Lam, a Peruvian resident in Spain, published the zine Dote de poto a tres (Ediciones Valientes; 2013), where he uses the images of his amazing book Parte de Todo Esto (De Ponent; 2013) to place them to the service of a completely different text – what connects them is that the one’s title is the other’s anagram. The result is that we are in the presence of “twin-works” separated at birth.

This is the reason of the “remix”! To add something new on the intellectual property that has already given what it could give after being published. Who banned Katz does not care about it but, at this very moment there are thousands of people that can take the 14 Chris Ware’s booklets of and enhance them with scissors...

(1) Quadradinhos. Historias Postadas (Yron Gallery, 2008)

(2) By the way, this work of Ware reminds us the same fragmented strategy of the “oulipist” Georges Perec’s novel Life A User’s Manual, that tells the stories of each apartment of a building but the book is a single 500 pages volume.

(3) English version online: issuu.com/mmmnnnrrrg/docs/english_boring_europa

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Emmi Valve Lauri Mäkimurto Tommi Musturi Edward Gorey Kamagurka & Herr Seele KASPER STROMMAN ILLUSTRATED Roope Eronen SIT KUN SUN NAAMA RÄJÄHTÄÄ - 12 € KEITTOKIRJA - 8 € BEATING - 30 € SEKOPÄISET SERKUKSET - 25 € COWBOY HENK JA LAHJAHEVOSET - 15 € DESIGN ENCYCLOPAEDIA - 19 € OFFICES & HUMANS - 12 € Emmi Valveen esikoisalbumi Elämä on kielletty hedelmä, Kokoelma Tommi Musturin piir- Edward Gorey oli yhdysvalta- Volta Valleyta pitää pelon vallas- Tämä ensyklopedia ei sisällä Miltä tuntuisi olla ihminen? Hy- pitää sisällään päiväkirjamer- jota harva uskaltaa maistaa. roksia ja maalauksia. Kirjan yli lainen kirjailija, kuvittaja ja sar- sa bandiittijoukko, joka lahjoittaa tylsiä yksityiskohtia kuten ”suun- pätä päivittäin tutun toimistopöy- kintöjä vuoden 2011 ajalta. Yksi- Keittokirja on mustan huumorin 200 kuvaa on koottu vuosien jakuvantekijä. Kulttimaineeseen pahaa-aavistamattomille lehmi- nittelijan nimiä” tai tietoa, joka dän ääreen ja osaksi kilpailuyh- näisyyden, seksin ja rakkauden sävyttämä ekspressiivinen ku- 2003-2012 välisenä aikana jul- nousseen erakkosieluisen tai- paimenille hevosia. Preerian voi perustuu ”tosiasioihin”. Kasper teiskuntaa? Lukemalla tämän lisäksi teos kertoo läheisen ihmi- vaus nuoren aikuisen matkasta kaistuista loppuunmyydyistä teilijan n. 100 teoksen tuotanto näiltä sadisteilta pelastaa vain Strömman ottaa asiallisesti kirjan se on mahdollista! Offices sen kuolemasta, kaipuusta ja ai- itseensä. Teoksen päähenkilö taiteilijakirjoista ja pienkustan- kuvittaa riipaisevan kauniisti Cowboy Henk! Ehtiikö Henk kantaa mullistaen koko suo- & Humans on lohikäärmeille tar- kuistumisesta. Valve tunnetaan on todellisuudesta syrjäytyvä teista sekä eri puolilla maailmaa kuoleman ja yksinäisyyden tee- opetella aakkoset, ennen kuin malaisen design-kentän, sillä koitettu toimistoroolipeli, jossa sarjakuvakentällä tämän pal- miehenalku, jonka ajatuksissa julkaistuista kuvituksista. Bea- moja. Mm. ohjaaja Tim Burton joka pilttuussa hirnuu lahjahe- miten muutenkaan hyvä suun- pelaaja tavoittelee taloudellista kituista omakustanteista sekä ja teoissa risteilevät nyky-yh- ting on kuvallinen löylytys - iso- mainitsee Goreyn yhdeksi tär- po? Pitääkö tulitikkulinnoitus nittelu erotetaan huonosta kuin ja sosiaalista menestystä. Roo- räävittömästä blogistaan. teiskunnan hedonistiset ja pää- kokoinen, energinen värien ja keimmistä vaikuttajistaan. Se- iowat loitolla pingisottelun ajan? osuvin, painokkain mielipitein? pe Eronen taas on Tampereelta määrättömät unelmat. Härski muotojen ryöppy, joka paljastaa kopäiset serkukset ja muita ta- Entä intiaanien jazztietämys? Ensyklopedia opastaa lukijansa helsinkiläistynyt absurdimman- Luke ja Kuti -lehdistä tutun Lauri tekijänsä laajan tyyliskaalan. rinoita on ensimmäinen Edward Cowboy Henk ja Lahjahevoset myös aivan kotikonstein ja ihan puoleinen humoristi, jonka uusin Mäkimurron esikoisalbumi on Gorey -suomennos. on absurdin huumorin helmi. itse ”duunaamaan” omat design- teos kutkuttaa nauruhermoja! erilainen keittokirja. klassikkonsa.

Kutikuti Chester Brown Ruppert & Mulot FINNISH COMICS ANNUAL 2012 Aaron $hunga Olivier Schrauwen SPECTER - 15 € EN KOSKAAN PITÄNYT SINUSTA - 18 € HERRASMIESSAFARI - 14 € GYNEKOLOGIAA - 8 € (Toim. Reija Sann) - 30 € VACUUM HORROR - 10 € MIES JOKA ANTOI PARTANSA KASVAA- 30 € Helsinkiläisen sarjakuvakollektii- En koskaan pitänyt sinusta on Herrasmiessafari vie lukijan ko- Gynekologiaa on novellimittai- Reija Sannin toimittama Finnish Lincoln on käynnistänyt maa- Taiturimainen sarjakuva mie- vi Kutikutin uusin julkaisu Spec- riipaiseva omaelämänkerralli- lonialistiselle merimatkalle Afrik- nen voimannäyte yhdeltä nyky- Comics Annual 2012 mittaa yk- ilmanlopun. Vallitsevat lait ja hestä ja tämän seikkailusta ter pitää sisällään epänormaalia nen ja moniulotteinen muistel- kaan. Perinteiset keihäsmatkat sarjakuvan mestareista. Clowes silön ja yhteisöllisyyden, paikal- moraali on sysätty syrjään. Sa- kohti fantasiaa. Tarina alkaa kauhu- ja tieteissarjakuvaa. Tä- ma menetyksistä ja yrityksistä unohtuva, kun tekijät ryöpyttävät kaivautuu kirurgisella tarkkuu- lisuuden ja yleisinhimillisyyden maan aikaan maan asukkaiden kuvilla Kongosta, päätyen piir- män suurikokoisen ja värikkään sopeutua. Kirjan Chester on lukijan eteen oman tuhon laivu- della herra Eppsin mielenlaa- rajoja. Pohjoinen arkipäivä saa sekaan on soluttautunut muu- roskoulun kautta kohti mieliku- teoksen 17 taiteilijan käsissä introvertti teini, joka käy tais- eensa. Teoksen pääosissa on tuun, tämän taitelijuuteen sekä sen sarjoissa fantastisia tulkinto- kalaisrotu ”imurit”. Romahtavien vitusmaailmoja ja tulevaisuutta. teemat venyvät ja paukkuvat telua tunteitaan vastaan. Ys- kaksi reportteria, jotka kommen- ympärillä vaeltavaan seurapiiriin. ja. Mukana olevat taiteilijat: Terhi kulissien ja sekasorron keskellä Kirjan pitkäpartainen päähenkilö kuin psykedeelinen purukumi tävyyssuhteet, ensimmäiset toivat oman maanosansa histo- Epps on katkeroitunut, ajan te- Ekebom, Grönroos & Rantio, kirjan päähenkilön, teinityttö Lil- on tarkkailija, jonka elämää ja – apokalyptiset tulevaisuuden rakkaudentuntemukset sekä riaa ja sen kautta nykypäivää. rältä tiputtautunut ihmisvihaaja, Matti Hagelberg, Pauli Kallio, lyn, ensisijainen pyrkimys on sel- haaveita tekijä hienovaraisesti visiot yhdistyvät arjen kauhuun äidin horjuva mielenterveys täyt- Tämä on kirja vallasta, sen vai- jonka koko elämä suuntaa kohti Tarmo Koivisto, Mika Lietzen, viytyä. Vacuum Horror on $hun- kuvaa. Schrauwen on nykysar- ja paljon muuta. Mukana eet- tävät ujon päähenkilön mielen. kutuksista sekä moraalin lopusta. lamaantunutta yksinäisyyttä. Petteri Tikkanen, Tiitu Takalo, gan pulp-henkinen kulttiteos. jakuvan todellinen löytöretkeilijä. teripyörteissä mm. Aapo Rapi, Kanadalainen Chester Brown Amanda Vähämäki, Roope Ero- vangitsee tähän teokseen mur- nen, Jarno Latva-Nikkola, Anna rosiän kaikessa sen tuskassa ja Jyrki Nissinen TYLSÄT RITARIT 8 € Sailamaa ja Tommi Musturi. Ville Ranta SANKARITEKOJA 8 € Kamagurka & Herr Seele COWBOY HENK 25 € Eri tekijöitä KIITOS ESTEBAN 2002-2010 22 € Rui Tenreiro METSÄN PIDOT 25 € Kolbeinn Karlsson Peikkojen kuningas 26 € Läjä Äijälä X 25 € Emelie Östergren PIKKI JA RIIKKISET 8 € Bendik Kaltenborn EI MUISTIKUVAA 8 € Ruppert & Mulot GO-GO CLUB 8 € Eri tekijöitä ADIOS III 30 € Jarno Latva-Nikkola JARNO MARKUKSEN KAUNEIMMAT 17 € Hanneriina Moisseinen SETIT JA PARTITUURIT 16 € Gary Panter JIMBON JUMALAINEN NÄYTELMÄ 30 € Tommi Musturi SAMUELIN MATKASSA 25 € Olli Hietala LIHAN HIMO 6 € Joann Sfar PASCIN 25 € Michelangelo Setola BAR MIKI 6 € Roope Eronen ELÄIMIÄ 8 € Aapo Rapi NAABURGER 12 € Yong-Deuk Kwon YÖLINJA 8 € Anna Sailamaa Roope Eronen Jaakko Pallasvuo FINNISH COMICS ANNUAL 2011 Ville Ranta ERÄÄNLAISIA RUKOUKSIA 10 € PAIMEN - 20 € KOIRANKAKKAA - 18 € PYYTÄJÄT - 10 € (Toim. Ville Hänninen) - 30 € Ruppert & Mulot UHKAPELIÄ 19 € Eri tekijöitä GLÖMPX 28 € Paimen on Anna Sailamaan Anders Nilsen SISYFOS 6 € Lehti-ilmoitus etsii “kakkaajaa Pyytäjät on salamyhkäinen Massiivinen yli 300-sivuinen Aapo Rapi KUNINGAS TOFFEE 12 € esikoisalbumi, tarina miehen- korkeatasoiseen sarjakuvaan”. tarina sukulaisuudesta. Pää- sarjakuva-antologia ja vuosit- Anna Sailamaa OLLAAN NÄTISTI 8 € alusta, joka löytää metsästä Tämä ilmoitus muuttaa pää- henkilömme matkustaa kotiseu- taisen suomalaista sarjakuvaa Amanda Vähämäki ÄITIENPÄIVÄ 10 € kuolleen joutsenen. Päähenkilö Olivier Schrauwen POIKA KULTA 20 € henkilömme elämän tyystin. dulleen veljensä hautajaisiin. englanniksi esittelevän kirja- Lilli Carré KORPI-PETEN KOOTUT 14 € Olavi on jäänyt kotiseudulleen Kakanpidättely, ufo-nauhat ja Samalla hän matkustaa men- sarjan aloitus. 20 suomalaista Ruppert & Mulot APINATARHA 14 € ja työskentelee paikallisessa lei- kustannusmaailman pyörteet neisyyteensä ja siihen uuteen sarjakuvantekijää Jukka Tilsasta Jarno Latva-Nikkola TUNTEIDEN MAISTERI 12 € pomossa. Pienen kylän arjen on vievät hauvamme mennessään. todellisuuteen, jonka sukulaisen Matti Hagelbergiin ja Riitta Uusi- Jeffrey Brown HAPAROINTIA 12 € aika ohittanut. Jäljellä ovat tutut Roope Erosen esikoissarjaku- kuolema on paljastanut. Pyytäjät talosta Jyrki Nissiseen. FCA on paikat, muistot ja ihmiset on- va-albumi jatkaa tekijän absur- on Jaakko Pallasvuon esikois- katsaus kotimaiseen sarjaku- gelmineen. Ristiriitojen keskellä dinhauskojen eläinsarjakuvien sarjakuva-albumi. vaan sen kaikessa rikkaudessa. Olavi etsii omaa suuntaansa. sarjaa. Lupa nauraa!

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