#footnotes that i don’t know if there’s a genuine basis in canon to make this point

[yea-baiyi]

something something wwx, a touchy person, adjusting the way he generally touches people to meet the way lwj is comfortable being touched, so that he can touch lwj more, bc lwj likes when wwx touches him

[popculturebuffet]

The Life and Times of Scrooge McDuck: The Last of the Clan McDuck!  Review “It Was Worth THE Dime”

This is one of my faviorite comic book stories of all time. Given i’m a massive comics nerd, for both books and strips, that is the highest praise I can give this wonderful, epic, beautifully drawn and deeply emotoinal story. I first discovered it in the local library that had the second volume, and found the rest online at a now long dead fan site. And while it took me longer than I care to admit to really dig into Duck Comics, and even now i’ve only scratched the surface, I can say without a doubt this story is the reason I’m so deeply attached to Scrooge as a character, and that I was excited as  I was for Ducktales 2017. This comic showed me just what Scrooge McDuck should be at his core as a character, and showed me what a wonderful character that is. So with all that glowing praise as you can guess i’ve been wanting to cover this for years, and even considered though back when I was more primarily a comic book reviewer last year. Any time i’ve reviewed stuff before now, i’ve considered it, and with Scrooge’s Sisters Hortense and Matilda presumably and definitely debuting on Ducktales soon, and it’s about damn time, the timing could not be better or clearer to dig into this utter triumph.  But before we can take a look at the story itself we naturally have to take a look at the man behind it: Writer and Artist Don Rosa. Don Rosa is easily one of the best Duck Comics writer out there, seen by many as only second to his own faviorite duck comics writer and God of Ducks, Carl Barks. For those 1 of you who do not know, Barks was the man who created pretty much everything in the duck universe comics wise and a bit in animation too: He created Daisy, Scrooge, Gladstone, Magica, The Beagle Boys, The Junior Woodchucks, Gyro, Little Bulb, Glomgold, Rockerduck, and the list goes on. While he didn’t make EVERY duck, he made so many that it’d be impossible to imagine either version of Ducktales being possible without him.  So of course Rosa was a fan and while he took up the family buisness, he was also an artist and duck comics fanboy on the side. So when, even if it meant a paycut, the opportunity to actually write and draw them came up, he lept at it and thus became one of their publishers go to guys, even if said publisher published the stories overseas where the Duck Comics are far more popular and still going to this day, and ironically where most duck comics printed nowadays get their stories from. Rosa was known for his meticous historical research and gorgeous art that he took his time drawing to get just perfect and showed on the page. The man has easily some of hte best and most detailed duck art around and I still haven’t found a duck artist that can match him.. and if you have or found one close i’d genuinely love to see that. He is a genuinely talented, spirited guy who was sadly mistreated by disney and that, coupled with tragically failing eyesight, eventually ended his career. He’s still around and I genuinely hope to meet him some day as he still does conventions.  The man is not without fault: I don’t get his hatred of superhero comics, as while I get them overshadowing funnybooks and that around the time of his career they were in decline, but it’s just as unfair to write off Superhero comics as mindless.  garbage as it is for people to write off the Duck Comics as “only for kids” and I genuinely wish he’d see that and see how the medium has evolved so much since then. I also grumble a bit as his refusal to allow anything besides barks into his bubble, and having to be forced to include fethry on the family tree, but that’s more personal preference. I like using as much material as you got. IT’s why i’ve wanted to, and hopefully will eventually get around to, write a sonic fanfic using bits of all the various universes that for legal, ken penders being an absolute waste of a human being, and sega being stupid reasons can’t be used anymore. I like taking everything in a franchise and putting it in a blender and it’s why I love the reboot. But there’s nothing wrong with taking things as is, not stepping on toes canon wise, but still being awesome. We’re just diffrent people and that’s okay.  And a lot of his fanboy showing actually lead to REALLY good things: Goldie O’Gilt was a one off character, and while used ocasoinally overseas, didn’t really pick up as a character again until a combination of Ducktales 87 and Rosa’s work with her, as he always loved the character, and fleshing her out lead to her being used more, and gaining a sizeable fandom. He also gained the Cablleros an even bigger fandom by giving them two stories of their own, and fleshing them out a bit more.  And this very comic is the peak of that, taking EVERY mention of scrooge’s past from various backstories to set up adventures, every tiny scrap, and to his credit going to both Barks Himself and various other Barks Experts Rosa was friends with to check his work, especially difficult given he likey had to find these stories in issue or pullt hem from disney archives, and complied it into one long epic that not only uses all this info effortlessly, but spins a compelling story that gives us a clear vision of what Scrooge should be, how he became the man he is, and how he lost himself only to find himself again with the help of three precocious boys and a cynical 30 something duck. So taint all bad is what i’m saying.  As for how this got started, thankfully rosa himself provided the origin story for this project in the back of the volume of his works that contained the first 7 chapters of life and times, as well as detailed notes for every chapter. At the time Rosa was working for Egmont, the big european publisher who handles Disney’s much larger european comics market, hence why most of his stories appeared years earlier in Europe before debuting here. The american publisher at the time , and an old friend of his, called Rosa with an idea: A 12 issue Maxi-Series focusing on Scrooge’s history, since at the time they were all the rage.. and really even today mini series are still a viable market and many indie titles just have several minis instead of an ongoing. So it wasn’t a bad idea, Rosa just simply offered a tweak: He’d tell his publisher at Egmont about the idea, and let her get a crack team of writers and artists to do this proper, and thus Disney could publish it for free once it was done and for no extra cost. Rosa gave his publisher a fax detaling both the idea and the fact that it needed to be done right, given to the best person possible, and done with the greatest care. She agreed.. and naturally handed it to him, as he admits he hoped. She made the right call, a legend was born and here we are.  One last bit before the read more and before I get to the first story itself at last: Since barks wrote a lot of side stories that fit into the canon, I COULD slot them in between chapters, but have instead chosen to review the original 12 part story as was, and do the various side stories and two epilogues, the utterly fantastic “Dream of a Life Time”, easiliy one of my faviorite comics ever, and the also really great “Letter From Home”, which will likely on some level be the basis for the upcoming at the time of this review “Battle for Castle McDuck!”, after completing the story. In other words i’m probably going to be at this for years. so join me under the read more won’t you as I begin the journey of a thousand miles with a single step as we look at the humble start of a legend. 

We begin, after a fun short teaser with present Day scrooge saying his past is no one’s buisness only to get hit with an oh yeah?,  with a scrap book title for the issue, something I want to bring up since while I got that’s what it was what I never got, and  must’ve glanced over when I first read rosa’s notes when I got this copy, was that it isn’t SCROOGE’S scrap book, but his sister Matilda’s who dutifully and happily catologued her brother’s adventures. It’s a really sweet moment.. and something that will hit VERY hard when we reach Chapter 11. If you haven’t read this story or heard of it.. .that’s this story’s equilvent of “Last Crash of the Sunchaser” and clearly Frank and Matt drew from that story a bit for it, but we can get more into the parallels when we get there. A smaller but fun note is that Rosa had specific coin drawing templates, for different indentions and what not he used, and used them for the coins in these intro bits. Yes he admitted he has a problem and yes that’s damn impressive anyway. 

It’s Scrooge’s 10th birthday, and his father Fergus has taken him up to see the family land, Dismal Downs to tell him of the mighty Clan McDuck and show him the ancestral lands, graveyards and Castle. He admits to having taken this long because the Clan McDuck currently lives in Glasgow so it’s kind of a long trip just to show your son “Hey look at the decay and rot that’s our ancestral homeland”. The Clan is on hard times, as a bad shipping deal, the backbone of a rather good barks story and I wont’ be interjecting for every barks reference as it’d get rather tiring though for what it’s worth Rosa provided tons of detailed footnotes in the back of each Fantagraphics collection, so good on him. Speaking of which though they do include 10 pages of Mc Duck family history that was supposed to open this story.. until Rosa’s editor wisely pointed out the story isn’t about them but scrooge and having read his roug draft, yeah.. there’s a good gag here and there, as well as “Dirty” Dingus McDuck, scrooge’s Grandpa and the reason Dewey is cursed with that middle name. Why anyone thought Dingus was a good name is beyond me, nor why Donald thought that was a good middle name back in 2009 is again, beyond me. Good on Don though for getting that past the censors.  But yeah with no money they can’t buy the land back and they were scared off it years ago by a mystical ghost dog, the hound of the whiskervilles. There is treasure in the castle, Sir Quackly’s gold, but he accidently sealed himself into a wall while sealing his treasure in there. Their interrupted by the town assholes, the Whiskervilles who have been grazing sheep on the land and are naturally behind the hound, using the sound of it to scare off Fergus once they realize he’s a McDuck. Because apparently you can keep a Scooby Doo style hoax up for Centuries if you don’t have meddling kids around. Who knew.  Back in Glasgow, we meet the rest of Scrooge’s family: His Uncle Jake, his sisters Matilda and Hortense, and his mother Downy. Jake hasn’t really been mentioned at all in Ducktales and I know next to nothing about him, which given I share a name with the guy you’d THINK I would. I mean I know a decent amount about this Jake. 

But nothing about who the hell Jake McDuck is or why he lives with his brother and his family. Here, you guys watch the dancing Jake, i’m going to probably do that for hours after this review is done, i’m going to go sort this out.  Okay one google and finding the Scrooge Mcduck wiki page on him, Jake shows up here likely because he was referenced in the story “A Christmas For Shacktown” and apparently borrowed from Scrooge and never paid it back. Otherwise.. there’s not a lot about him and unlike the rest of Scrooge’s family he really dosen’t do much that I can remember. Except like 2017 Scrooge, he apparently has become extremely long lived, as Scrooge and Donald STILL think he’s alive in the 1950′s.. and likely is STILL alive in some form in the Don Rosa stories, given his take place after Barks and thus in the 40′s and 50′s where Barks stories were set. Hence why unlike the Reboot, Scrooge isn’t inexpecilbly over 210. But Jake McDuck sure as heck is. Maybe this highlander is a highlander.. you know the movie and tv show type. Maybe someone cut off his head. That’s what i’m going with.

This does bring me to another point about this story: While Barks gave all of scrooge’s family their names, it’s where Rosa got them after all, it’s Rosa who really made them into characters. Fergus as a loving father ashamed his family legacy has fallen and wanting his son to do better than him, Downy as an equally loving wife and mother, Matilda as his sweet and caring sister and later her brother’s moral center, and Hortense.. well here she’s just a babbling baby but her character will become clear and glorious as we go. She is adorable here though and we do get some great bits with her.  Getting back to the plot now i’ve made my points, Jake is riled up wanting to understandably kick the Whiskerville’s asses with Scrooge, who even as a sweet innocent ten year old still has the family temper already, agreeing.. but Downy gently shoots them out pointing that two middle aged-ish men and a 10-year old just aren’t enough to fight an army of them and while she doesn’t mention it the fight would just tire them out for work and accomplish nothing as while it is the McDuck’s land the combination of the hound and the lack of money to move back means it’s pointless. She also mentions their younger brother Pothole, who went to America. This will be important later. 

Scrooge storms off and Fergus laments, in a scene that’s more painful the more I think about it, how his clan has fallen, with he and his brother lamenting their chances at glory are long gone.. but Fergus has hope his son can do better, and for his son’s birthday makes him a shoeshine kit in the hopes of inspiring him to greatness. This scene still resonates since many of us are poor, struggling and not doing so good money wise. I’m sure many parents have doubts and regrets about not being able to do more for their kid.

 Not only that but the story carefully avoids the trap of Fergus accidently being abusive by you know, pinning his family’s future on one 10 year old. While yes he is asking a lot of Scrooge, to restore their family name.. it’s very clear he mostly just wants his son to do better than him. Even if Scrooge was just slightly more successful, Fergus would likely be happy with that. He’s not using the legacy as a “This what you must be” like say the Gems in steven universe did for Steven with Rose’s Legacy, the kind where it sort of suffocates you till youc an make it your own. He’s just saying “this is what you can be” He believes his child can be great and simply once him to reach his full potetial and is simply giving him a means to hopefully do so, a simple home made shoe shine kit. While Jake scoffs, the narration notes the idea isn’t worth a dime.. it’s worth THE dime. The dime that would set Scrooge’s destiny in motion. 

The next morning, Fergus goes to check up on his son and his new buisness but Scroogey’s having no luck and about ready to just quit, the poor child. Also Matilda is dragging her baby sister around like a doll and it’s entirely precious as it is funny. 

But as for those Dorty Boots, Matilda wonders why her dad dosen’t just tell Scrooge that Burt the Ditch Digger is coming. Fergus tells her to quite and then explains his plan: he’s sending Burt to scrooge, with an American dime Fergus and Matilda found, to teach his son a lesson: By giving him a hard days work, he’ll teach him what hard work truly means.. and by having Burt “cheat” him with the American dime, it’ll give him the motivation to keep going and to nto be as wide eyed and trusting. It’s a well meaning if harsh lesson, and the kind you’d expect from 1900′s parenting and fits the origin well: Scrooge still earned his first money square, as he still did work.. but his getting cheated being a lesson dosen’t diminish what it taught scrooge, and helps flesh out what I talked about above, Fergus knowing his son has great potential he just needs inspiration to reach it. And instead of just telling him that he does a con job but it’s the 1900′s. This orign, and Fergus’ part in it would be entirely untouched in Ducktales 2017, the first scrooge based adaptation since this comic came out, and I bless them for it. Frank even said this comic was used as a bible by the writers and while theirs clear deviations, and we’ll get to that, they were mainly done for good reason, and it’s very clear that while scrooge’s history is very VERY diffrent in the reboot, the core of his past is still there. 

So the plan is on and young scrooge spends half an hour killing himself to get Burt’s shoes clean before getting his dime.. and realizing he’s been had, makes this proud decleration that will be the bedrock of his entire life and character. 

Scrooge being naturally stubborn as you can see takes his cheats a leson: There will always be hard honest work, and he will be there to do it and he’ll be tougher and sharper than anyone trying to cheat him out of his pay. Fergus’ plan has the intended effect, and Scrooge having learned a hard lesson now has the drive and determination we know him for. As for why it gives it to him.. I had to think on it a bit but it makes sense: For some a setback like this would make them quit.. for Scrooge it’s just proof he CAN find customers, he CAN do this job, or any at his hardest and instead takes this as a lesson to be prepared ot out think and outfight anyone who dares cheat him again, and to not earn his money by being the kind of guy who cheats a kid out of an honest days pay, but as a good honest duck like his father and his father before him. =He will make his money square so he can be the kind of person this seeming stranger SHOULD have been. Granted we’ll see Scrooge doesn’t end up as the best person at times but .. we’ll get there.  So with the fire inside turned from a spark into the flame Scrooge soon got to work, and by the next panel we see he’s eventually worked his stand up from a small box given to him by his dad, to a three seater shoeshining bench, who he wipes all at once by stretching one of his mother’s girldes over a light pole, a detail I didn’t get the first time around but now love. Naturally being a good kind boy much like his Nephews, Scrooge always gave his proud father a portion of his earnings, if with a full receipt for tax purposes. Because he’s still scrooge after all. His dad wonders he did too good a job while Hortense glxbit’s in agreement. 

As the years go on, a now tween Scrooge is eventually able to save up for a horse cart, and starts selling Fire Wood up in the city. He eventually realizes Peat, an earthy subtance found in bogs I only know about because I had to look it up for this review, is more profitable and with some snappy marketing moves into selling Peat for the rich instead, also showing the young lad already has a grasp of how to sell to obnoxious rich people. 

But while his business is booming, our young hero can’t resist visiting his family’s ancestral home and longing for it, hoping one day to have it for himself and in a nice show of how despite his temper and tenacity forged over the last few years he’s still at hear the kind, sweet optimistic lad he was just a few pages ago, he decides to tidy up the Clan’s Cemetary while he’s here. 

Unfortunately as proof that Donald and Della’s terrible luck comes from both sides of the family the Whiskervilles are sub-glomgold levels of human beings.. or Dogfaces in this case, and are digging up the McDuck Clan’s graves to hunt for treasure. Scrooge tries to simply do the smart thing and flee, but the asshole brigade catch sight of him and mistkaing him for a peat burgalar chase after him.. and spend WAY too much time and energy chasing a teenage boy over some fucking bog grass you clearly aren’t selling yourselves. I mean spare a thought for how dumb this is: They could easily sell of of that peat to put up a fence or chop down some trees to get the material if their really that concerned about someone getting in the bog. Then again this isn the 1800 and 1900′s where the child death toll was simply “Yes”, so they likely thought whose gonna notice one more dead child on our property?

Scrooge heads toward the castle and is gestured in by a friendly mystery duck who gladly shows him around and can tell he’s a McDuck just by look, showing the castle is still in glorious condition as the whiskervilles are too spooked to go in, hence why they didn’t chase Scrooge inside. I’d say being afraid of ghosts but not murdering a child is weird but these are the same guys who thought murdering a child was plan A. We’re not dealing with a brain trust is what i’m saying.  So the mystery duck shows Scroogey around, showing off some colorful stories about his ancestors recycled from that scrapped prologue I mentioned. THe mystery man, who brushes off Scrooge thinking he’s a McDuck asks Scrooge what he’s doing to restore the family glory and while Scrooge points out he’s already working on it, Mystery Duck points out he’s still missing something: He has the drive and the dream, but peat and shoeshining, while getting him good money for his family, aren’t the thing you can build a fortune or a future off of. He then points out where Scrooge’s dime comes from: America.. and that gives the boy the idea to head to the states. As for what he could possibly DO there to start, the mystery guy mentions his uncle pothole. So Scrooge has the dream, the drive.. and now a plan: Go to america, work for his uncle on the riverboats, and work his way up from there till he finds his fortune and restores his family name.  But while his future is settled, the present is still an issue and Scrooge wants to teach the child murder club a lesson and thus borrows, though MM wisely points out it’s all his property a horse and some armor, and stuffs the armor with peat. As for what his plan is.. welllll

That.. is fucking awesome. And far from the last fucking awesome moment in this thing. It also shows off even as not quite a teen yet, Scrooge is still a badass already, and while he doesn’t have his trademark strength or fighting skills quite yet, his ingenuity is already there.. and that will always trump both. The Whiskervilles run away and into some quicksand and Scrooge vows to return one day as laird and reclaim his family land. But that’s a story for a few chapters down the line. As for who the mystery duck is, he’s naturally Sir Quackely himself, or rather his ghost, who was simply guiding Scrooge and didn’t give him the treasure as simply handing him the money wouldnn’t restore their family’s good name or continue their bloodline now would it? 

For now Scrooge returns to work for a bit before finding his way to America: A cattleboat to New Orleans looking for a Cabin Boy. And so Scrooge bids farewell to his family. His Dad, feeling bad he can’t even give his boy shilling, gives him the family pocketwatch with jake pitching in with the family gold dentures. While Scrooge naturally refuses to sell the watch, he does plan to sell the teeth as soon as possible for good reason. We then get some sweet goodbyes with him, his sisters (With hortense uttering her first words to everyone’s astonishment) and loving mother as he wonders just what awaits him in America. 

And there he stands on the bow of a ship, heading for a new land, in New Orleans he can be a new man. And we’ll see just what kind of man he becomes as this series continues. For now this is the end of a chapter but the beginning of a lifetime. 

Final Thoughts on Last of the Clan McDuck:

This story is excellent. While there are even better chapters to come, this one is still one of the most memorable and most joyous, showing just how Scrooge became what he is, where some of his values come from, others will be instilled along the way , and beginning to flesh out his family. We see Scrooge’s love of wealth comes from starting from the bottom, growing up with a family that barely had anything and badly needed everything, but was loving and instilled fine morals in him. We also see a Scrooge far removed from the bitter old man he is in present day, an optimistic naïve young lad who only wants best for his family. It’s a nice stark contrast to who he’ll become, good and bad, and a nice way to both compare him to Huey Dewey and Louie and break your heart as his own hardens before briefly turning black later on.  The art, as is standard for this series and Rosa, is breathtaking, and the story isn’t lacking in good jokes, their just downplayed so the story itself can take center stage. There’s nothing really more to say: it’s an excellent start to an even more excellent tale and stands proud among an already stellar story as one of it’s finest outings. 

NEXT RAINBOW: Scrooge goes down to the mighty Missipi to work on the riverboats and meets one of his signature Rogue’s for the first time in their first form, as well as Gyro’s dad.. or grandpa.. or possibly both I don’t know his family tree. Point is, tune in next time for some riverboat hyjinks.  Until then if you’d like to comission an episode of any animated show, especially ducktales and the various other duck related disney shows, or another Duck Comics story you really like from Rosa, Barks or whoever you want really, I take commissions for 5 dollars a review, with 5 dollars off your full order when you put in for more than one episode or issue. You can also follow me on patreon.com/popculturebuffet and for just two bucks a month get access to polls (which i’ll start once we have at least three patreons), and my exclusive discord server. And if you liked this review be sure to reblog it to show off. My self promotion done until next time: There’s always another rainbow. 

[someincompetentgirlcomics-blog]

Competent boy comics

Post 3 of 3

Those readers with a keen eye for footnotes will have noticed that in past posts (via said footnotes) I allude to the idea that there are some “state sanctioned” exceptions to the New Zealand competent boy comics hegemony. That is, I consider there are a small number of comics that don’t fulfil all the criteria but that the competent boy gatekeepers appear willing to include in their various ‘New Zealand comics’ conversations, events and publications.

I am referring essentially to the practice of tokenism; when an organisation or group, on their own terms, incorporates a limited number of ‘others’ and in doing so appears inclusive and progressive. And I think in the competent boy version of ‘New Zealand comics’, tokenism is rife. I will illustrate this contention with some specific examples, but first want to discuss generally the concept of tokenism as I understand and utilise it in this post.

Tokenism is more ambiguous than the definition suggests. While it is no replacement for true diversity, good things can come from it. For those tokenised, the benefits include visibility which can lead to connection with others and/or genuine opportunities. For the ‘New Zealand comics’ audience, token works do provide at least the glimmer of a world more exciting and interesting than that of the competent boys and a basis for further exploration should individuals be so inclined.

Tokenism can be deliberate or unintentional (I suspect in the case of competent boy comics it is mixture of both) and does not preclude genuine skill on the part of the individual being tokenised, nor genuine admiration on the part of those ‘doing’ the tokenising. So I do not say that the comics I am about to discuss are not worthy of attention, nor that they are not truly loved by individual competent comics boys (and others)[1].

Tokenised objects and the individuals who make them may be admired intrinsically but within the context of a dominant discourse this is not their only worth. They are also valued for their representative purpose. Tokenism places a burden on individuals and/or works to represent all others like them.[2] There are some typical ways by which we can recognise tokenism via this representative function.  These include (in no particular order):

●      When a lone ‘other’ is asked repeatedly to speak for their ‘group’ and/or about being a member of that ‘group’.

●      When the same named individual appears as the ‘representative’ over and over again; when instead of involving many qualified and diverse participants, organisers limit involvement to one or two who are canonized as the most worthy or expert.

●      When the activity or output of the canonized ‘other’ resembles that of the organisers; it can be comprehended to some significant degree against the values of the dominant paradigm. With competent boy comics I perceive there are two non-negotiables in this regard. These are ‘success’ (the comics are published or win awards or some celebrity says they like them) and the ability to draw in a traditional, things-look-like-things kind of way.

I think all of the above attitudes and behaviours are evident within ‘New Zealand comics’ as promoted by the competent boy comics discourse. I’m going to illustrate this contention with examples regarding women, LGBQT, and punk comic makers (there are others).

First up, punk comics. Whether ‘punk’ is the right word is debatable, but by it I mean comics that are obviously ‘made’ by someone and rejoicing in this. Comics that are a bit brutal, a bit silly, and a bit ugly-beautiful; that don’t care about being universally liked or commercially successful; that are a paradoxical mix of deep-deep- love and don’t-give-a-fuck-ness. The kind of comics I like.

It is interesting that despite all their hard work to make comics as bland and respectable as possible, competent comics boys do cling tightly to romantic notions of the comic as defiant, outlaw and a bit punk. Therefore whenever they organise anything ‘New Zealand comics’ they tend to include a token example, and fairly often this example is Oats.

Oats is a gang of friends who made a lot of comics in the mid-nineties and who make a few comics now. It is my comics gang and it is difficult to describe, coming to me as a series of impressions and feelings - mischievous giggling, the green glow of the photocopier, the smell of Waikato Draught, the furtive handing out of comics at parties, fun, love, and productive rebellion. The competent boy comics discourse has though a different version of Oats. It goes pretty much like this:

1.      Oats is a group with an outsider DIY punk-type aesthetic;

2.      Stefan and Clayton’s comic ‘City of Tales’ is amazing and here’s a City of Tales comic to illustrate;

1.      Some other Oats comics/comic makers exist including xxx;

2.      A few quotes, nearly always one from me (if the Oats exposé is in written form).

The above narrative, while not exactly untrue, has been put through the competent boy comics filter. Thus it fulfils a bunch of tokenism criteria:

●      First is the ‘canonization’ of Oats and its repeated use as the lone ‘representative’ of punk comics (there are an infinite number of other amazing and diverse New Zealand punk comics and comic-makers that bear no resemblance to anything Oats and are hardly ever acknowledged).

●      Next is the ‘canonization’ and repeated use of named individuals and their works as the lone ‘representatives’ of Oats (I love Stefan and Clayton with all my heart, and City of Tales is amazing - heartfelt , weird, funny, sad, brutal, beautiful - but there is a whole lot of other Oats stuff).

●      Third is that the ‘representative’ comic ‘City of Tales’ can be comprehended by the competent comic boys against their own success criteria. It’s ugly but obviously intentionally and skilfully so (Stefan and Clayton can ‘draw’), it’s ‘successful’ (was in the Small Press Expo for example), and you can get it in ‘proper’ book form. (There is much more to City of Tales than this, but these are the parts the competent boys generally ‘get’.)

●      Finally are my own experiences in regards to the way I am inevitably asked by competent comics boys to speak for Oats or about Oats (this is not the same in other comics sub-cultures where I am asked about all kinds of things). I have mixed feelings about this. I do want the world to know about Oats, and as I said tokenisation brings with it some good things. It is tiresome though to always be approached as a ‘representative’ of other comic-makers and never really as a comic-maker yourself.

When it comes to LGBQT comic-makers, the tokenised, canonized, lone representative individual-of-the-moment is Sam Orchard. Sam does many great non-competent things in his comics, my favourite being the way his characters talk to the reader (I do love a comic that knows it’s a comic!) But as with Stefan and Clayton, Sam can draw things-that-look-like-things and his work is ‘successful’ (available in ‘proper’ books and bookshops). And again, a whole lot of other LGBQT comic-makers are ignored. This country’s proud history of radical feminist lesbian cartoonists for example, is consistently and upsettingly invisible in any competent boy comics ‘New Zealand comics’ narrative.

Competent boy comics tokenism is probably most stark in relation to women comic-makers. Like the radical feminist lesbian comic-makers of the previous paragraph, the discourse renders most female cartoonists invisible, acknowledging only one or two specific individuals. This is forcefully illustrated by the following handy real-life anecdote: “Hey!” I said recently to a competent boy comics gatekeeper, “why weren’t there any women in that New Zealand comics thing you organised?!” Without a trace of irony, he replied “Sarah Laing wasn’t available”.

Sarah is my friend. She is also the most recent of a small number of canonized female comic makers whose work somehow satisfies the competent boy comics criteria and who are therefore considered ‘important’.[3] In this capacity Sarah is often called upon to ‘represent’ all women, a lone female amongst the competent comics boys or featuring on that most blatantly tokenistic of initiatives, the ‘women in comics’ panel.

I find lots of non-competent beauty in Sarah’s work; it is unflinchingly honest and there are those lovely scratchy lines and bright blobby colours. From a competent boy comics perspective though, her work is ‘successful’ (published in proper books and magazines) and she can draw things-that-look-like-things. Like Stefan and Clayton and Sam, her work meets the ‘right’ criteria. The gatekeepers ‘get’ it, therefore they deem it important, include it in ‘New Zealand comics’ and feel like they are inclusive, progressive and ‘right on’ for doing so.

But I don’t think the competent boy comics status quo is ‘right on’. I think it is stink and I yearn for an alternative. Instead of tokenism I’d like to see ‘New Zealand comics’ as a genuine celebration of diversity, one based on respect, dialogue, and learning and laughing about different comics, comic-makers, comic-making approaches and values. Fckn Oats.

[1] For my own part, in any competent boy comics context I am drawn to the things not-quite-like the others. I consider these comics to be the most interesting and they are the ones that don’t give me a stomach ache.

[2] The issue of ‘representation’ is particularly infuriating and funny given the minutiae separating the work of one competent comics boy from another. Apparently though, these (to me barely perceptible) differences are important signifiers of personal style and unique voice.

[3] I count four ‘important’ women in twenty years (full disclosure - I’m not one of them) and they’ve been canonized chronologically, one after the other, definitely not all at once. I know this because I am observant but also because of all the messages I got from competent comics boys telling me we really must include xxx in Three Words, that no New Zealand women’s comic anthology would be complete without them. I say, yes those women are amazing. And so are the 60-odd others in the book.