Outlined routes towards discovering and conversantly addressing Carla Speed McNeil’s graphic series Finder.
Panel from Finder: Sin-Eater, Issue 9: Artist/writer: Carla Speed McNeil, Lightspeed Press, March 1998
One inspired comic maker, Carla Speed McNeil, who began self-publishing Finder through her own imprint of Lightspeed Press in 1996, has been ardently continuing to develop this ongoing graphic series since 2005 as a webcomic. The creative commitment McNeil has applied toward the progressive formation of Finder has been appreciably recognized receiving a Lulu Award in 1997 and numerous Ignatz Awards leading to several Eisner nominations since 2001 1 In transitioning her successive work to a digital domain, McNeil has continued to draw critical accolades while expanding readers’ awareness within this worldly field, and in 2009, Finder was duly awarded an esteemed Eisner for ‘Best Digital Comic’. Topically, McNeil has accepted a representative offer from one of the foremost comic book publishers in the United States, and her prolific graphic saga will soon be widely republished in chronicle volumes by Dark Horse Comics.
For the last post of the year, I’m enjoying a post-holiday recoup and a some good steampunky links. Featuring some oldies but goodies, great vids, the launch of SteamCast in Brazil, and pretty steampunk art after the jump.
Frontier stories are complicated ones, partly because they occur at the cultural crossroads of the world. Settlers and the places where they live are cast in narratives as either dens of adventure for independent thrill-seekers, or as an ominous presence populated by self-centered opportunists (usually white and Western, and often male) with colonial intents. What becomes lost are the lived-in experiences from those excluded from these tales: in this case, the story of Susannah Hawes, the focal character in Jordan Reyne’s concept album How the Dead Live.
The title for this article is from the album’s first song “From Gravesend,” and aptly describes Susannah’s position as a New Zealand settler in the nineteenth century. Though her circumstances as a settler had political and economic ramifications, her perspective doesn’t belong in either camp of the adventurer or the conqueror. Instead, Susannah is simply there, alone and isolated, fearful of the land she has chosen to live in. In this sense, she is a lonely immigrant in a world in which she doesn’t quite belong, one that seems as frightening as the roaring violent sea she watches from her home.
The precariousness of Samantha’s position is captured with dark starkness in Jordan Reyne’s video for “The Proximity of Death (Blue Eyed Boy).”
Jordan Reyne’s music has been described as “antipodean steampunk” and with good reason: she uses found noises from 19th-century factories and integrates them into her music. The creaks, clanks, and hisses add a layer of roughness to her elegant songs, like grit that gets into a factory hand’s clothes at the end of the day. Her voice and style reminds me of Tori Amos, and like Amos’ work, How the Dead Live evokes the sense of quiet dread and wonderment as a woman seeks out a new life, knowing that her presence is insignificant to History and feeling Death’s whisper in the wind.
Dark stuff indeed, but beautiful as well. After the jump, Jordan and I talk about the inspirations for her music, the difference between “dark folk” and “folk noir” and playing concerts on Second Life.
This weekend, I’m rockin’ it out at New York Comic Con. I’m there mostly doing the Day Job thing, unfortunately (though, if I can, I might wear my steampunk for Sunday.)
For anyone who manages to recognize me in my civvies, though, you’ll probably end up being filmed or photographed, if you’re looking fabulous and want to flaunt it.
In the meantime, enjoy the linkspam below. This edition features lots of interesting essays, some awesome postcards, and a video of my interview with Cherie Priest.
Ena Te Papatahi – A Chieftainess of the Ngapuhi Tribe. Image courtesy of museumsyndicate.com
Charles Frederick Goldie has been called one of New Zealand’s greatest artists and one of the most controversial. He was born in Auckland in 1870. Rejecting the art movements of Impressionism and avant-garde, Goldie’s style was rooted in photographic detail. He later became famous for his portraits of Maori elders.