Network’s one of those films that feels more prescient with each passing year. It’s one of my favourite screenplays. If you haven’t seen it (you should – it’s definitely worth a couple of hours of your life) here’s the relevant scene.
I think the idea for this started as a thought about the stereotypical British knack for grumbling and complaining. Which led to thinking about the way most of us deal with bad or worrying political news – sharing social media links, clicking on petitions, or making sarcastic comics. But so few of us get involved beyond that. Having said that, this made me smile.
I had a thought about diving into a politician’s mind as a tourist and not being able to stick it out for long without going mad. It eventually turned into this. It’s also a bit of a play on the kind of political cartoons that I find a little obvious – the label-every-metaphor-and-object approach that crop up for gag panels – and taking it in a weird, twisted direction. Nice excuse to experiment with bright, saturated colour schemes and strange habitats too.
Don’t really have much else to add to this. It’s been a pretty disheartening, if unsurprising week with Europe’s swing to the right.
The mythology and premise of Godzilla has always seemed so specific and unique to Japan that I’m never sure what a Western remake aims to bring to the table. That 1997 version pretty much says it all. I haven’t seen the Gareth Edwards take on it but it seems more promising.
Ultimately an excuse to have fun at the drawing board this week.
This was the comic I mentioned at the start of the year here.
I’m starting work on Part 4 of the comic next week. I think the chapters are going online monthly, but I might have that wrong.
This is partly in response to the debate over the gender diversity in the new Star Wars films after this photo landed. It’s also a response to the way people reacted to this critique of a icky male gazey comic cover. It’s also a response to the sort of online abuse women like Laurie Penny or Lena Dunham receive that other male journalists or showrunners in their position don’t.
I enjoyed playing with the “cut out and keep” conceit a lot.
I haven’t seen Aronofsky’s Noah. I hear it’s pretty bizarre so it was fun to imagine a more mundane deleted scene.
I like the suggestion in this that Farage is a centuries old, biblical immortal keeping opportunistic bigotry alive.
There’s mixed opinions about the effectiveness of sanctions. I know the latter stages, like the third, are pretty hard on the economic stability of the country it targets. But it always comes across like grounding a teenager: a temporary measure that can be ignored or worked around if one is resourceful.
I think my editor and I were sold on this idea when I wrote the line “I sanction your face!”.
A couple of illustrations I produced for Butch & Sundance Media last week. The images are for a short movie/training programme for aspiring teenage journalists. I was asked to illustrate a couple of scenes about bullying.
69. Isolationist England
This was for the Easter special so it had to be filed a few days ahead of schedule as these double issues go to print early. The comic had to be non time-sensitive. Not least because this issue stays on the shelves for two weeks instead of one.
I liked the idea of doing a twisted propaganda poster for holidaying in England. With a vintage, idyllic 1940s/50s setting that had darker things going on. It felt right to do it for an issue that might be read on planes/trains/automobiles while people visit family or go on holiday. I think I could have been more experimental with the illustration style and made it look even more like a classic 50s illustration but I’ll bear that in mind for next time.