• Newest Comic
  • About
    • Synopsis
    • Characters
    • Author
    • F.A.Q.
  • Archive
    • Comic Archive
    • Blog Archive
  • Links
    • Press
    • Connect
    • D. Bethel’s Work
    • Contact
    • Friends of Long John
  • Shop
    • Online Store
    • E-Books
  • YouTube

Long John

Losing Every Thing Changes Everything

Artist Workspaces

Mar08
by DBethel on 8 March 2016

A few months ago, I shared my workspace and wrote about it a bit. In that post, I focused on how the room and its artist are reflections of the other. This is probably true of any workspace, not just an artistic one, but I feel a workspace and its occupant are actually more inverted reflections of the other, a The Picture of Dorian Gray situation where the more messy the workspace is, the more focused and organized the occupant is and vice versa. My students often agree that whenever a paper needed to be written, my office was the cleanest it had ever been; inversely, whenever I am “in the zone,” so to speak, my office is piled with reference books, pens and pencils, headphones on the floor with other assorted cables, multiple empty coffee mugs dotting the space, all lightly misted with eraser dust.

Where I do my stuff.

From when I’m obviously an emotional wreck.

Seeing the workspaces of others is a fascinating, albeit voyeuristic, hobby. There are blogs on Tumblr that are devoted to showing the offices of writers and artists and seeing how different creative people can be calms the creative doubt quite a bit.

Hayao Miyazaki doing something smart, I'm sure. Source: Kotaku and Livedoor

Hayao Miyazaki doing something smart, I’m sure. Source: Kotaku and Livedoor

Recently, on the gaming/nerd culture website, Kotaku, published a photo set of working, popular manga artists that––I would argue––puts most workspaces to shame (or glory, depending on your outlook). At the very least, it makes me kind of wish my office were a mess right now. I should go work on that.

 Comment 

Sketch Fridays #19 – Bishop

Feb26
by DBethel on 26 February 2016
Sketch Fridays #19 - Bishop. Click for larger version.

Sketch Fridays #19 – Bishop. Click for larger version.

I’ve been thinking a lot about representation in comics recently, which wasn’t helped by the announcement of Finn Jones being cast in the role of Danny Rand in the upcoming Marvel Netflix series, Iron Fist––a story from the 1970s about a blue-eyed American kid who went with his family to a magical Asian village in the Oriental mountains and was trained in martial arts, only to return to America, see the level of crime rampant in his home country, and donned the mantle of the Iron Fist––Marvel’s pastiche of the popular-at-the-time kung fu movie craze.

Of course, it’s been forty years since that comic debuted, and as time progressed––along with social values and the announcement that Marvel was developing an Iron Fist Netflix show after the runaway hits of Daredevil and Jessica Jones––discussion surfaced about casting a more culturally appropriate actor for this show, which I don’t necessarily disagree with.

It’s a worthy discussion, but one I don’t have answers to, though I’m very eager to eavesdrop on its progression. But it made me think of characters that I came across before I became aware of the talk of diversity and tokenship. I was woefully ignorant, which has both positives and negatives––fully aware of my position of privilege as a straight, white male.

I got into comics fairly young––at 11 years old––with my purchase of X-Men #1. It was a year or so of severe change among the X franchise that saw new titles (with X-Men and X-Force being specific among them) and was charmed not by the obvious diversity among the cast, but by the ubiquitous sentiment shared by all of the characters––outcasts dealing with subjugation from “greater” society, ridicule and immediate judgment based on how they looked and what they were but, over which, they had no control. The diversity was simply assumed and immediately accepted.

With the introduction of X-Men #1, there was a consequent “reboot” in Uncanny X-Men (the original publication) #280 that, after two issues, introduced a new black character into the regular roster––Bishop––a mutant from the future hellbent on finding the bastard that sold the X-Men out and ruined the future, basically. He had it out for the cajun Gambit, and was as ornery and confrontational as the amnesiac (and Canadian) Wolverine (my favorite, whom I discussed earlier).

Bishop's First Appearance in Uncanny X-Men #282. Art by Whilce Portacio and Art Thibert.

Bishop’s First Appearance in Uncanny X-Men #282. Art by Whilce Portacio and Art Thibert.

I was a devout X-Men reader, meaning that I only read X-Men and nothing else (no Uncanny, no X-Force, no X-Factor, even). I am, in hindsight, ashamed of my myopia. Despite that narrow-mindedness, Bishop showed up in X-Men at some point and I quickly accepted that he wasn’t lame (or else why would he appear in X-Men?). His mutant power is interesting. He absorbs energy and redirects it in powerful blasts to some poor victim’s face. While the nuance wasn’t explored during the time I followed the book, at least we got a cool guy with a big gun that could also shoot blasts of energy from his hands.

But his superpower is wonderfully reactive and metaphorical. I think it represents the ultimate fictional, superhero expression of the loner or outcast––the pre-judged––dealt with society. No matter the race or predilection, for many our statement was not a point of view as much as a reaction, absorbing the world as it washed over us and presenting it back in a concentrated and, with hope, a constructive form.

Bishop as portayed in the 2014 film, X-Men: Days of Future Past, played by Omar Sy.

Bishop as portrayed in the 2014 film, X-Men: Days of Future Past, played by Omar Sy.

Though X-Men was my preferred comic at the time, there is no doubt that Uncanny X-Men was the more progressive book in a variety of ways. It’s a shame that Jim Lee––the Beatles of comic books in the early ’90s––went to the adjectiveless book, because he could have done even more for the medium had he stayed on Uncanny. At the very least, Bishop may have gotten more mainstream exposure and acceptance had Lee been behind the pencil (nothing against Whilce Portacio; he was a solid and talented road band against Lee’s rock star status, though). Bishop deserves it, being the perfect mutant for what I still believe is the perfect metaphor.

1 Comment

Sketch Fridays #18 – Binder Clip Doodle

Feb23
by DBethel on 23 February 2016
Sketch Fridays #18 - Binder Clip Doodles. Click for larger version.

Sketch Fridays #18 – Binder Clip Doodles. Click for larger version.

For two years, I worked at the Art Institute of California – Sacramento, teaching academic writing to future chefs, game designers, graphic artists, and film directors. Though I am no longer employed by that institution, I hold my work there as a proud achievement both personally and vocationally.

Ai (as it is colloquially known) was my first job after earning my Master’s degree, secured only because of my own desperate ambition and, I guess, pedagogical confidence. After a few months of unemployment and light research that found they did offer writing courses, I walked into the building with my CV and a few of my published Eben07 comics in a folder. I hunted down the director of general education, a good man named Doug Herndon, and nigh commanded him to hire me. They weren’t soliciting for instructors, but he took my folder and our awkwardly bold interaction away into a meeting that I hoped was mildly ruined because he had just met a very confident dude who came out of nowhere. Ultimately, he called me five months later with the offer of a Summer class.

Working there seemed to be the perfect blending of my aptitudes––teaching, writing, and art––and it was. Without any pretension or facetiousness, I felt like I was teaching to “my people”––people who were trying a different route, who had ideas that were, sometimes, bigger than their talent but were trying anyway (talent can always catch up). Being among those students hit my nostalgia in a way I forgot I had access to. The devotion to simple passion and creativity for the sake of creating, of being motivated by the power of art rather than satisfaction of final products reminded me––in both positive and negative connotations––of my teens when I was, probably, at my most creatively active (though not productive) albeit lost and misguided. But my creative fire at that time was hot and tall, a beacon that signaled out into the dark ocean of adulthood.

Despite that synchronicity––and to the surprise of many friends and family––I viewed my capacity in that building only as a Composition instructor and didn’t incorporate my own experience or successes as a comicker or any of my art into my pedagogy. I didn’t use my comics as examples or use comics as classroom aids. For four hours once a week, I thought of myself only as a writing teacher and nothing more despite a clear fundamental connection with this student body. This was mostly due to my training, but I did engage the students with the fact that, yes, I am an English teacher teaching a subject you have hated since you were in elementary school, but I was also a big nerd.

At my main (and currently, only) employer, I don’t rely on my nerdiness to relate to students. I keep those worlds wholly severed. I find that I am the same way socially; I never mixed friend groups or even my hobbies. When I’m in a guitar mood, I play guitar; when in the groove to write, I write. Rarely has one hobby bridged into creative inspiration of another.

I enjoy the compartmentalization; I find it comforting and organized, which is in stark contrast to my brain’s percolating stew as it noncommittally brings new creative ideas to the surface in no particular pattern and anchoring them feels like a puppy trying to catch bubbles.

However, the thin walls between my endeavors allow for occasional bleed-through, yielding surprising results.

When my students submit papers, they do so in packets. Sometimes, these packets can be thick. I ask them to secure them not in a folder (as that can be quite bulky), nor stapled (I like to take the packets apart), but with a binder clip––the greatest gift to humanity. The extent of my cartooning in a classroom is to accurately recreate a binder clip on the chalkboard to illustrate the type of fastener I prefer.

I have drawn many binder clips since 2011, but it ratcheted up a notch this last week as my students workshopped their papers and I irresponsibly doodled at the desk in the front of the classroom for one of my sections.

Every now and then, my interests overlap despite my best efforts to keep things codified and neatly organized. Even if I scoff at the idea of letting my disparate talents mingle, the results are often pleasing and worth the few minutes of anxiety. Hence, a binder clip jumps away from an off-camera explosion, coming soon to a theater near you.

 Comment 
  • Page 93 of 112
  • « First
  • «
  • 91
  • 92
  • 93
  • 94
  • 95
  • »
  • Last »
  • Instagram
  • Facebook
  • YouTube
Privacy & Cookies: This site uses cookies. By continuing to use this website, you agree to their use.

To find out more, including how to control cookies, see here: Cookie Policy
  • Newest Comic
  • About
  • Archive
  • Links
  • Shop
  • YouTube

©2014-2026 D. Bethel | Powered by WordPress with ComicPress | Subscribe: RSS | Back to Top ↑