Welcome to Inkville

Grave Concerns

Zombie comic book series wants Eugene’s braaaains

This originally appeared in last week's Eugene Weekly, the February 16 issue. I angle for EW's cover story now and then, which is not to say I always land it, and I was honestly sort of surprised when my editor Rick Levin lobbied to put this particular story on the cover. I certainly didn't write it with that in mind. It does seem to have struck a bit of a chord, though, as more folks than usual have sought me out to tell me they liked it. Evidently the Association of Alternative Newsmedia was diggin' it, too, as they posted it to their top stories for the week.

Many thanks to Chris Roberson and Michael Allred for the interviews!

----------------------------------------------------------------------------------------

Eugene can be a contradictory place. Some find numerous opportunities here, seeing Eugene as a community full of music, culture, good food and outdoor adventure. Others characterize the city more prosaically, as a nice place to live, but maybe a little … lacking in diversions.

Count cartoonist Michael Allred in the former category. “Growing up in Roseburg, Eugene was always the exciting place to go,” he says. Allred, creator of the independent critical-darling comic book Madman, moved on to college in Utah (where he met his wife, comic-book colorist Laura Allred) and eventually lived for a time in Eugene. He later relocated to various points all around the country, and even to Europe. But Eugene always held a special place in his heart.

Now Allred is the artist of a comic book series that is not only set in Eugene, but also embraces the line our city walks between the everyday and the extraordinary.

Published by DC Comics’ imprint for adults, Vertigo, iZombie follows the adventures of Gwen Dylan, a UO dropout who hangs out in a diner, makes her living digging graves in an eco-friendly cemetery and who just happens to be an undead zombie.

Gwen, helped along by her friends Ellie the ghost and Scott the were-terrier (yes, you read that right), solves supernatural mysteries, eats the occasional brain and dodges an ancient order of monster hunters … all punctuated by routine trips to the diner for chocolate and coffee.

Comparing his work to a cross between Archie comics and Scooby-Doo, iZombie series writer and New York Times best-selling author Chris Roberson, who lives in Austin, Texas, says that balancing the mundane and the fantastic sides of Eugene is one of his goals. Roberson’s stories cleverly subvert the standard monster-movie formula by showing how the undead spend their down time.

“It’s almost required that the moment that someone becomes one of these supernatural beings, they become angsty,” Roberson says. “If I became a werewolf, I’d still be the person I am now, I’d just have some personal hygiene issues once a month, or have some self-control issues.”

Roberson, who has never visited Oregon, relies in large part on online street views to inform the sense of place inherent in his writing. But his collaborator Allred just moved back to Eugene after a stint on the Oregon Coast. Having one half of the creative duo based in the city where the story is set has its advantages.

Besides advising Roberson on details of Eugene geography and daily life, Michael Allred incorporates real Eugene landmarks into the comic’s illustrations, which are in turn brought to colorful life by Laura Allred.

In the Eugene of iZombie, vampires troll for dates at the Downtown Lounge. A UO science lab is used as a staging ground for communing with extra-dimensional beings. The Shelton-McMurphey-Johnson mansion at the base of Skinner Butte doubles as the home of a centuries-old Egyptian mummy. And the diner where Gwen and her spooky friends hang out is modeled on Fins Drive-In in Springfield.

Continue reading "Grave Concerns" at Eugene Weekly.

Oregonians Getting Graphic

Graphic Novels by Oregonians, for Oregonians

This annual roundup of all things comicbookical originally appeared in Eugene Weekly's December 15 "Winter Reading" issue.

----------------------------------------------------------------------------------------

What is it about Oregon that makes our state such an incubator for the creative imagination? Is it the natural beauty? The fresh food? The history of pioneering exploration and countercultural experimentation?

Whatever that X factor may be, it isn’t limited to genre or form: Out in the wider world, our fair state has a reputation as a mecca for creators and fans of comic books and graphic novels. So it comes as no surprise that three of 2011’s noteworthy works of sequential art were crafted by Oregon residents. Taken together, these three books (all of which are more appropriate for teen and grownup audiences than they are for kids) demonstrate the breadth of talent and creative impulse inherent in the Beaver State.
 
The leader of the pack is the charming Dear Creature (Tor Books, $15.99), written and illustrated by Jonathan Case. It’s a surprisingly gripping effort for a graphic novelist early in his career.

Case’s hero is Grue, a sea monster with the heart of Romeo and the appetite of Jeffrey Dahmer. Grue loves capturing and eating the young couples that hang out (and make out) on the beaches of a small town in midcentury Southern California. Inspired by Shakespearean verse he discovers floating in bottles in the ocean, Grue vows to curb his proclivities and devote his life to love, beauty and locating the person transcribing the words of the greatest writer in the English language.
 
At the heart of Dear Creature is the interplay of base desire and reasoned response. Grue’s entertaining quest to identify the sender of his Bardic bottles somehow makes time to comment on B-movies of the 1950s, Cold War hysteria, prejudice, immigration and the enduring powers of art and romance.
 
Another graphic novel dealing in large part with a menace to a coastal shoreline is Oil and Water (Fantagraphics, $19.99). But this book couldn’t be less like Dear Creature, tonally or in execution. This nonfiction work is written by Oregonian columnist Steve Duin and illustrated by comic artist Shannon Wheeler of Too Much Coffee Man.

Oil and Water follows a group of real-life, concerned Oregonians (including a couple of Eugeneans) who visit the devastated Gulf Coast in the wake of last year’s Deepwater Horizon spill. Upon hitting the Southern-fried states, the small band of Northwesterners witnesses firsthand the consequences, ecological and economic, of the disaster. Encountering church ladies, wildlife rescue volunteers, shrimp boat captains and even a voodoo practitioner, the trip becomes personal as the protagonists encounter a culture shock that parallels the environmental shock they see in ruined marshes and oil-slicked coasts.

History in the Making

A Springfield café connects past and future

Photo by Kai Hayashi

With this article, which appeared in Eugene's Weekly's January 26 winter Chow! guide, I sadly bid a fond adieu to able editrix Molly Templeton, who has fled the charms of the Le Eug for trendy, trendy Brooklyn. Molly has been a consistent advocate for my writing, and was even supportive of me in what bordered on a quixotic campaign to interview Gail Simone. As usual, I tried sneaking some local history stuff into this non-history article.

----------------------------------------------------------------------------------------

Downtown Springfield’s Main Street strip continues to tread the line between gentrified and generally sketchy. And the permanent closure of Ruthie B’s Antiques in a couple of weeks marks the end of one of the neighborhood’s anchoring storefronts.

But last May saw the addition of the Washburne Café, a homey breakfast and lunch place just down the street. 

“I wanted to create a place that I’d like to go, that was comfortable and welcoming,” says café owner Karen Hageman. Originally from New Jersey, Hageman says the Washburne is her first foray into restaurant ownership after stints in construction, real estate and retail. 

At breakfast time, Hageman’s new venture serves various egg dishes with cibatta toast, including a “Washburne bowl” with eggs, meat and potatoes. Lunchtime fare includes paninis on locally-baked focaccia, as well as house-made soups. The chicken salad wrap is especially tasty and includes cucumbers and cranberries in the mix. Fluffy, house-made baked goods include tropical fruit scones and peach muffins, complemented by a coffee bar ... and free Wi-Fi.

“It’s getting busier all the time as word gets out,” says Hageman.

And she seems to be right. During a recent visit at almost 2 pm on a weekday afternoon, the lunch rush had yet to abate. The crowd proved eclectic, too. Some patrons read while dining alone. A couple of parents had children in tow. A group of college students, laptops and calculators spread across a round table by the window, discussed APR and interest rates.

Continue reading "History in the Making" at Eugene Weekly.

Elastic Journalism

On Friday, the First Lady of Inkville and I checked out "Multimedia Journalism & the Landscape of News," a talk by The Daily's Gabriel Dance. It was sponsored by my old stomping grounds, the University of Oregon's School of Journalism and Communication.

Dance was a popular act; we arrived a few minutes late, and found the room already at capacity and hotter than Hades. Good on him.

A lot of what Dance had to say really hit home, especially his strong recommendation that 21st century journalists need more than one skill set. And as I can attest both as a freelancer and as a former magazine staffer, it's hard out there for a pimp, assuming the pimp is a writer trying to support himself solely through freelance.

Dance's song-and-dance about multimedia was interesting, and he aptly demonstrated how the concept of "journalism" is elastic enough to encompass computer animators, designers, illustrators, and other creatives.

All Dance's examples stemmed from his time at The New York Times, and I'll admit I was hoping for a bit more about Dance's new gig at The Daily. But that job is new, so perhaps Dance deserves a pass for at least a few more weeks. And frankly, The Daily has thus far failed to impress me.

But what really left me scratching my head was the amount of culture shock Dance must be experiencing transferring from the Times, a supposed liberal bastion, to working for Rupert Murdoch. As I type this, Dance's personal website features a link to an article about a journalist's "battles" with Murdock, so perhaps The Daily really is enacting a separation of church and state for the purposes of doing business.

Tricks are for Kids

Graphic Novel recommendations for 2010

A month late a dollar short in cross-posting. This originally appeared in Eugene Weekly's December 16 "Winter Reading" issue.

----------------------------------------------------------------------------------------

The year’s crop of comic books and graphic novels presents a couple of noteworthy projects that are fun for the whole family, and two that are decidedly just for grown-ups.

Juan Díaz Canales’ and Juanjo Guarnido’s lush and noirish Blacksad collection (Dark Horse, $29.99) falls into the latter category. This single-volume collection of comic albums, originally intended for the European market and now produced in translation by Oregon-based publisher Dark Horse, simultaneously celebrates and lampoons the American detective genre, using anthropomorphized animals as stand-ins for human characters in shades of Art Spiegelman’s famed Maus. These aren’t comics for kids; the adventures of titular feline detective John Blacksad feature all the sex and violence of dime-store private eye paperbacks, lushly rendered with a Disney-like eye for detail and an admirable fidelity to the craft of building a fictional world. 

Like Blacksad, Wilson (Drawn & Quarterly, $21.95), the first original graphic novel by Daniel Clowes (Ghost World, Art School Confidential), is titled after the surname of its protagonist. And like Blacksad, Wilson is an incredible and affecting work. That’s where the comparison ends, though. The title character is a middle-aged, bloviating blowhard of a loser who loves his dog (sort of), accosts unsuspecting coffee shop patrons (always) and, weirdly, gets wrapped up in a kidnapping plot. Each page is presented as a separate comic strip, with a separate episode title and a distinct art style, bricks in the single storyline house Clowes is constructing. The usual Clowes levels of ennui, disaffection and misanthropy are on full display, blended with just a slight touch of nausea. So laugh along with Wilson as he tries to grow up and get his shit together. Or not. Whatever. He’s a Dan Clowes character.

Full-color Sunday adventure comic strips are the forerunners of modern superheroes. Combine this with the fact that Wednesday is the traditional day of the week that comic book stores release new issues, and you have the handsome new hardcover Wednesday Comics compendium (DC Comics, $49.99). This thing is massive, well over 11x17 inches, and, in combining work by indie darling creators like Paul Pope and Oregon favorite son Michael Allred with superhero stalwarts like Joe Kubert and José Luis García-López, the sprawling project convincingly replicates the Sunday morning comics-reading experience. The stable of DC characters is also diverse, from headliners like Batman and Wonder Woman to niche characters like Sgt. Rock and the Metal Men. There’s a bit of innuendo and a bit of violence, de rigeur for superhero comics. The price tag is a bit steep, but DC has really hit a home run with this project, producing a meaty helping of comics that straddles that elusive middle ground between the reading (and interest) levels of the YA and adult reader. And hey, the titanic thing would look darn stylish under the Christmas tree.

But the real winner for tykes this year is The Golden Collection of Klassic Krazy Kool Kids’ Komics (IDW Publishing, $34.99), an encyclopedia volume-sized collection of comic books and comic strips reveling in their immaturity and aimed squarely at children. These comics, spanning from the 1850s to the 1990s, are Looney Tunes-style zaniness, a pure and uncut sugar high reminiscent of chugging the milk left over after a helping of your favorite chocolatey breakfast cereal. There’s not a whole lot here for adults, beyond those grown-up comics history geeks who will enjoy seeing early work by the likes of Dr. Seuss, Steve Ditko (The Amazing Spider-Man), Dan DeCarlo (Archie) and Mort Walker (Beetle Bailey). But that’s OK. Just think of the book as the printed equivalent of a secret clubhouse, and let your kids go on believing you’ve forgotten the secret handshake.

Call Me a Duck

My marketing job in the University of Oregon's Office of Admissions allows for a whole lot of creative leg-stretching. An indulgent and supportive boss, ditto.

Videotaping a ghost hunt in a cemetery? Go for it. Facebook-based essay contest? You betcha. Foursquare scavenger hunt? Sure, why not?

But nothing—and I mean nothing—has been so much fun (and so unexpected) as the writing, production, and creation of "Call Me a Duck."

Based on Maino's "All the Above," the video was launched last Friday, and as of this writing we're closing in on 160,000 views on YouTube... and still climbing.

Originally the brainchild of my boss Holly Moline Simons, "Call Me a Duck" was fast-tracked and produced on a shoestring budget once we learned that On the Rocks, the UO's resident male a cappella group, was going to appear on this fall's The Sing-Off on NBC.  (By the way, "fast-tracked" in academic parlance means just under half a year.)  Our boys were eliminated just shy of the final round, but hey, we'll take it!

Besides teaching me how to spell "a cappella," this project afforded me the chance to write and produce a rap song, which is a résumé line item I never would've considered. 

I was privileged to work with an amazing cast and crew.  Special shout-outs are due to Holly, as well as director Michael McDermott, director of photography John Waller, amazingly organized assistant director Christopher Parker, effervescent OTR liaison (and crystal-clear tenor) Jeffrey Rogers, audio engineer (and OTR founder) Peter Hollens, and the rock of UO Admissions, Jett Nilprabhassorn.

Funny side note: In a few weeks the UO plays Auburn in the BCS championship game.  I learned something interesting today.  Guess what l'il ditty Auburn has adopted this season as the football team's "pump up" song?

Maino's "All the Above." Complete coincidence, Tigers, scout's honor!

Photo courtesy of Michael McDermott.

Celebrating Hard Times

Local craft distillery gives Eugene a buzz

My able editrix for this piece asked that, if I was going to write for a second time about my buddy James and his bootleggin', I'd have to identify myself as his friend, make it clear we have a personal connection. That was a good idea. The line between business reporting and nepotism can grow mighty thin when covering local folks. One thing that made it simpler was the fact that I honest-to-God find James' and Dudley's efforts fascinating. The boys, James in particular, have been striving for so long to reach this level, that it's really gratifying seeing them hit the mark. Cheers, gents!

----------------------------------------------------------------------------------------

The last time I wrote in these pages about the liquor-distilling ventures of my friend James Stegall (“Money Where the Mouth Is,” 3/13/08), he had a different business partner, a different company name and a different plan for his product line. 

He also had 100,000 fewer miles on his car’s odometer, now the legacy of commuting among a day job in Albany, his home base in Eugene and the clean and earthy refurbished granary in Monroe he shares with business partner Dudley Clark and two stills composed of copper tubing and stainless steel.

They make an unlikely pair, smooth-headed, thirtysomething Stegall, and Clark with his longish silver hair and swashbuckler’s goatee. “We don’t always see eye to eye,” says Clark, “but James and I have figured how to be partners in a very deep sense. Almost like brothers.”

It’s been a busy fall season for these almost-brothers and their business, now christened Hard Times Distillery. After more than two years of work fueled by a loan and training courses courtesy of Lane County’s Entrepreneurial Development Services (eDev), their product finally hit liquor store shelves in early October.

Continue reading "Celebrating Hard Times" at Eugene Weekly.

Pedigreement

If there's one thing that denotes a citizen of Inkville, it is a love of all things canine.  (Well, that or a love of Elvis films.) 

That's why I'm blogging today about the Pedigree dog adoption program, which has agreed to donate one twenty-pound bag of dog food for each blog that mentions it. And Pedigree will also donate one bowl of dog food for each "like" on the Pedigree Facebook page.

Now that's a lotta kibble.

I think it's pretty cool to see a company giving back in this way. And I'm sure an act of goodwill like this won't hurt their botm line, either. Or that of Pedigree spokesman David Duchovny. Gooood marketing.

And in honor of this program, here's a mug shot of each member of Inkville's own Seeonee Wolf Pack:

True Confessions of a Slugette

"If I had a nickel," I said, "for every time I've listened to sax music while walking down the street wearing a dress..."

"...You'd have a nickel!" my friend Scott Smith interjected. Like me, Scott was clad in a black cocktail dress and a black hat, striding down Broadway Avenue on a warm August evening in downtown Eugene, Oregon.

When Scott's wife and my good friend Debbie Williamson-Smith told me she was campaigning in Eugene's annual Slug Queen competition (held this year on Friday the 13th, reasonably enough), it sounded like a natural fit. Debbie is a smart, civically engaged, and artistic professional communicator.

Debbie even had an ace up her sleeve: cross-dressing. Liberal Eugene is always up for a little gender transgression, and the Slug Queen competition has a long tradition of drag as evidenced by the 2009-10 queen, Mark Van Bever, er, make that Ana Slugsia. Unfortunately, what Debbie had in mind was me cross-dressing, along with hubby Scott and friend Jonathan as her back-up singers.

What sounded like less of a natural fit was Debbie's vision for her theme: Breakfast at Tiffany's. With the adopted moniker Holly GoSlugly, a sixties-inspired up-do, and a social media-based campaign, would hippie-tastic Eugene appreciate the "tackily tasteful" (or was it "tastefully tacky"?) Williamson-Smith and her rendition of "Slug River" (crooned by all of us to the tune of "Moon River"?)

Evidently so. With her effective judge-bribing program, Ms. GoSlugly and her team made it to the top two, were just baaaarely edged out (half a stinkin' point!) by new "raining" Queen Slugasana. Debbie vows she'll be back, in the GoSlugly persona or with a brand-new character, in 2011. Who knows what her theme will be, or whether she'll need a helping hand (or antenna?) from a friend willing to show a little leg?

In the meantime, I'll be trying to rebuild my professional reputation...

Photo credit: kval.com

Beyond the Walls of the Restaurant

Dealing as it does with Eugene's Marché restaurant, this is a little companion piece to my article "Salve, Sfizio." Both appeared in Eugene Weekly's summer Chow! Guide. And, dealing as it does with our charming First Lady and a visit to the White House, this seemed an appropriate post for the 4th of July weekend. Happy Independence Day!

----------------------------------------------------------------------------------------

The term “pro bono” more likely conjures images of legal briefs and power suits than it does freshly-sliced rhubarb or the stark whites of a professional chef. But Stephanie Pearl Kimmel, founding chef and owner of Eugene’s Marché, will be cooking and consulting for free in the coming months as part of First Lady Michelle Obama’s Chefs Move to Schools initiative. 

As one foot soldier in an army of white-clad chefs invited to Washington, D.C., last weekend, Kimmel and her cohort got their marching orders on the White House lawn, directly from the First Lady. 

The Chefs Move to Schools project is part of the wider “Let’s Move!” initiative to combat childhood obesity, and ultimately to strengthen the federal Child Nutrition program that feeds kids in schools.

“A third of our schoolchildren [in the U.S.] are overweight or obese,” says Kimmel, who cites the “lost creativity, lost contributions and eventually just the medical costs” of that sorry state as major problems for the nation, down the line.

Continue reading "Beyond the Walls of the Restaurant" at Eugene Weekly.