Originally published at INKKC.COM on April 24th, 2009
Within the Aladdin’s Shrine’s appropriately titled “multipurpose” room was a hundred or so cartoonists with an array of eclectic tales for trade and sale. Slightly more organized than a garage sale, SPACE was a vast and seemingly aimless arrangement of comic book underground culture. Discombobulating at first, SPACE contained a nearly infinite range of genres: old-school sci-fi, adult-themed vamp action, historical romance, autobiography, anthologies, and more anthologies. It was apparent that no list could contain the event’s smorgasbord of stories. Entering SPACE early Saturday morning I found myself drawn to the event’s amateurish charm. There was Cybor (the story of a cybernetic pig), and Straw-man (a super-powered bendable straw) and Big Breasted Vampire Death (its voluptuous vampires killing people, duh). Much of this kind of genre-rehashing imitates poorly (in many cases imitates artists who are not worth imitating) but there is an obsessions in their eccentric visions that is fascinating. The art was crass and sometimes manic, likened to a bathroom wall covered with doodles of an unknown pulp hero. These cartoonists produced tales so brazen and unabashedly raw (under-cooked, not vulnerable) that were much like an enthusiastic garage band filled with so much passion, it was difficult not to stare in awe.
It was impossible to take in SPACE with a simple perusal, but after navigating row after row and then circling around again there was a certain complexity that emerged from the unconventional convention. It became apparent to me that SPACE was a venue for many cartoonists whose luminary works would otherwise never have been seen. These were cartoonists who explored narrative on their terms without the restraint of following a specific genre. Here is a list of notable books (in no corresponding order):
1.Franklinstein by Dave Arhar presents the premise What if Ben Franklin created Frankenstein? The story is based on the true historical fact that ten carved up bodies were found beneath his home after his death.
2. Transition Transportation by Joey Jack presents conversing landscapes who banter about an ongoing courtroom drama and a bird who confesses his sins to the moon.
3. A surreal pop/hip-hop/graffiti amalgamation of influences from R. Crumb to Junko Mizuno (and some critics have even mentioned Hanna-Barbara) is Phonzie Davis’s Left-Handed Soffie. The tale is a “shocking saga of a young albino woman corrupted by drug trafficking and the occult”.
SPACE contained a sense of comradery that was simultaneously insulary and inspiring. As exhibitors traded and shared their humble narratives some made connections, expanding their base of fans and collaborators, while others swapped to enhance their own sense of uniqueness, which is, well, in most cases false. (If SPACE did not take them in no one would.)
Among the aspiring talents were two notable artists - Tom Scioli and Nate Powell. Both artist have been nominated for Eisner Awards (the comic industry’s highest award) and are published (Scioli’s Godland through Image and Powell’s Swallow Me Whole through Top Shelf), but what is more importantly notable is that both artists started at tables, just like the ones at SPACE, peddling their own handcrafted fables- uncertain of the future ahead.
THE EXPERIENCE OF BROWSING
Whenever I lowered a book back to the table rather than unfold my wallet I was met with a desperate look from the exhibitor. And strolling from table to table I was confronted with even more sad eyes. It was like a room full of puppies begging to come home with me. I should mention it was lack of my funds rather than a lack of quality titles that elicited so many mopey reactions. When I sat behind the table to help solicit, even I could not help but feel rejected when people would pass by only giving a mere glance. I imagined our table of mini-comics whine, “Won’t you come take me home with you? So much love was put into me, so why can’t you love me too?” Smile artists. We’re in SPACE!