Historical fiction comics skeleton with a whimsigoth vibe. Academic-practitioner & comics taxonomist. Co-founder of the @cartoonist.coop I am just chilling here when I am not making my (web)comics or blogging about craft.
reimenayee.com #art
[๐ABOUT ME] I'm a Malaysian illustrator, writer and comics educator/organiser. Author of several award-winning/nominated graphic novels and webcomics. Creator, curator and webmaster of the Comics Devices Library. Co-founder of the Cartoonist Cooperative. Open to work!
More about my books/projects โฌ๏ธ
Being part of the organising committee of MAKE has been easily the highlight of this year. A bloody amazing team to work with but thereโs no festival without awesome comics creators and people coming in to check it all out. Today was amazing and we have an awesome festival in Melbourne #Comics
Some of my favourite resources about comics making!
smallpress.scot/articles/how...
I kept answering Qs or doing talks where I rec'd resources or gave out PDF guides, & wanted to make them more publicly accessible. So now they're up at @smallpress.scot ๐ Here's the pic version
Been getting so many emails inviting me to โliterary festivalsโ - which I would believe if not for the tell that they used AI to compose their message๐งโโ๏ธ Fastest way for me to block/ignore you for reals
Anyway I still canโt see what the set-up is. It seems like they are posing as legitimate literary festivals? Will they put me in their fake virtual programming for a fee? ๐ Itโs so annoying to have to sift thru the slop cos I actually genuinely like being a part of festivals
I am always happy to see and hear that comicsdevices.com is being used in schools and comics-making! Nice to know my random research obsession and the time I took to design the website are achieving their purpose ๐
i'm legit almost angry at all the institutions that made people think their dream comic was unproduceable. Everything is produceable baby. The only limiter is how crazy you are
Whoever is a comics creator in Australia and following me: applications for MAKE Comics Festival's Market Day is closing THIS FRIDAY NIGHT!! My friends and I will love to have you there!! makecomics.com.au/apply
Also, super special secret spoiler: if you go to makecomics.com.au and click around the programming, you'll get a teaser of who our guest speakers are ;)
It seems people are often afraid of liking their own art work due to the worry of being perceived as egotistical or conceited, but you can still love your work and have a huge driving force behind that acting as a love for learning and improving. You can be proud and seek joy while you grow.
๐ฆ My pet portrait commissions are open for the summer until August 30th! reimenayee.com/commissions
Check out my portfolio of 1000+ pet portraits: reimenayee.com/pet-portraits/#art
โLettering is supposed to be invisibleโ is a little simplistic. If the letterer is doing their job w/ skill, and in harmony w/ the art, it elevates the comic even though you might not register HOW. Bad lettering is more noticeable because it drags the art & writing down with it.
The fun part with making historical fiction is that I get to learn about and include a facet of history that is underfeatured. In this case: the Georgian Era proto-gay/queer/drag subculture of the Molly Houses.
๐ The World in Deeper Inspection webcomic update: alcottgrimsley.com/comic/c2007-...
The fun part with making historical fiction is that I get to learn about and include a facet of history that is underfeatured. In this case: the Georgian Era proto-gay/queer/drag subculture of the Molly Houses.
๐ The World in Deeper Inspection webcomic update: alcottgrimsley.com/comic/c2007-...
I've been wanting to draw this scene with Alfred as truly himself (or in this context, herself) for so long.
There's some old school TWIDI lore and design bits returning: the Ministry agent has their gold foil texture back, the phoenix calling card, etc.
The style is sketchy! Cos they are flashbacks
if we want to be treated with any kind of respect or rigor as an art form we need to extend the same consideration to others! ESPECIALLY right now when ai is flattening our collective work, the devil is always in the details & proper attribution matters more than ever
In my experience (as an editor of several nonfiction graphic novels/memoirs), these issues have largely been navigated by instinct! Ben will tell you, like @natepowell.bsky.social and other cartoonists, that he developed a stronger sense of historiographical responsibility *while* making the book
Here is an example of the citations at the end of More Weight: A Salem Story by Ben Wickey. There are 55 pages of citations and typed, so maybe some would consider that unwieldy and aesthetically incongruent, but what is the greater issue?
I'm sorry for everyone involved in this because I don't think Walden was trying to co-opt someone else's work but was using it as a springboard to tackle a historical subject, and I don't think that Cleves is overreacting to what she quite fairly feels is adaptation rather than an independent work.
I had always wondered how to produce multi-page (8+pages) citations together with the full-colour 300+ page graphic novel. The best I could come up with is a cheap tiny booklet thatโs stapled to the front or back, like those supplementaries in a school textbook
With comics the physical reality of printing is more a priority since print production (paper stock, ink, binding, etc) constitutes a core experience of reading the text. That plus cost to the reader
Itโs already an argument when I want to add a signature to accommodate the storytelling; itโll be very hard to convince a publisher to do the same for citation. As much as I want citation/authors commentary to be standard in GNs, industry forces dont make it a simple thing
I had always wondered how to produce multi-page (8+pages) citations together with the full-colour 300+ page graphic novel. The best I could come up with is a cheap tiny booklet thatโs stapled to the front or back, like those supplementaries in a school textbook
The problem is that paper stock and printing for (full colour) GNs are more costly than in academia so you canโt always guarantee that citations can or will be put cover-to-cover. For example: 1 of my GNs has a contractual 272 page limit and if it goes to 300, the printing quality is sacrificed
comics are already a multi-discipline quagmire of conflicting word and art definitions. there not being any kind of established standard bumping up against a precise world of acknowledged permissions is going to cause issues without a little more grace
And! Academics and cartoonists gotta form a better understanding of each otherโs publishing/creative culture. The risk of miscommunication is going to happen more as more historical genre comics get made. The thread below describes what I mean.
Forever grateful to my mentor/consultant Richard Stoneman for being so generous and kind with his lifeโs work and time for Alexander Comic ๐ญ (I am slowly building up the strength to continue the work soon)
Historical fiction comics discourse: this exact scenario is why I have this anxious academic (dressed as vigilant) tendency to need the receipts for where all my sources and creative decisions came from ๐๐ญ
Us cartoonists who are working in the historical fic/non-fic space for years need to be better about passing on our best practices to other cartoonists who are new to the genre! Making historical work requires a different research practice and higher vigour than those of other genres
And! Academics and cartoonists gotta form a better understanding of each otherโs publishing/creative culture. The risk of miscommunication is going to happen more as more historical genre comics get made. The thread below describes what I mean.
Sticking my nose into this to say that having heard Tillie speak publicly about the book multiple times, she openly acknowledges that Cleves' biography was a foundational text, and has dedicated an entire website www.charityandsylvia.com to a bibliography citing hers and Cleves' research.
TBH, this isn't uncommon w/ historical GNs, though this case is especially extreme... Most comic editors aren't familiar w/ best practices for nonfic; creators approach as artists, not journalists/historians. (And yeah, a comic adaptation IS "transformative", but it's still built on others' work.
The World In Deeper Inspection is updating again!
I'd call it a glorious mess, a comic version of primordial soup. It's a creation that has itself spun off the lovely book The Carpet Merchant of Konstantiniyya. Could happen again, who knows?
Great time to read the archive, then hop into new pages.
Srsly tho my actual advice to young cartoonists is that it's not always wise to do your first comic as an epic especially if you haven't had any practice making/finishing writing or drawing comics before, but if you want to gamble on it, then you'd need to accept or be aware of some things
It's a miracle TWIDI grew up with me and I feel no cringe towards it. And that 15 Year Old Me was smart for future-proofing TWIDI by making the structure non-linear episodic instead of a long linear narrative
Anyway, don't begin your first (web)comic with the grand epic you came up with as a teen...
Good thread. People don't start creative projects anymore cause they think they have some big sweeping thing simmering in them. Then they start and realize making big things is a lot of work. Then it never gets done.
Also because this thing is their first thing, they they're kinda mid at making it.
Srsly tho my actual advice to young cartoonists is that it's not always wise to do your first comic as an epic especially if you haven't had any practice making/finishing writing or drawing comics before, but if you want to gamble on it, then you'd need to accept or be aware of some things
Srsly tho my actual advice to young cartoonists is that it's not always wise to do your first comic as an epic especially if you haven't had any practice making/finishing writing or drawing comics before, but if you want to gamble on it, then you'd need to accept or be aware of some things
It's a miracle TWIDI grew up with me and I feel no cringe towards it. And that 15 Year Old Me was smart for future-proofing TWIDI by making the structure non-linear episodic instead of a long linear narrative
Anyway, don't begin your first (web)comic with the grand epic you came up with as a teen...
Like the likely risk you'll outgrow your epic as you mature, whether that's due to the art style or the storytelling sensibility (the common cause of death of a first webcomic). There's ways to build in a strategy that accomodates growing up and changing tastes, but Idk how to articulate that
That, and a sustainable production process. Very easy to be taken in by hungry hustle culture and virality and copying without analysis things other people or businesses are doing, even if those practices are counter to your natural creative process.
Cartoonists advise to not begin your first (web)comic with the grand epic you came up with as a teen, but like 18 Year Old Me you can also disregard that and somehow have it be the thing that built you up to a publishing career and the one project that keeps your sanity intact
It's a miracle TWIDI grew up with me and I feel no cringe towards it. And that 15 Year Old Me was smart for future-proofing TWIDI by making the structure non-linear episodic instead of a long linear narrative
Anyway, don't begin your first (web)comic with the grand epic you came up with as a teen...