Dogpatch Press

Fluff Pieces Every Week

Tag: comics

June 17, 2020

The Sprawl volume 1-3 — graphic novel review by Roz Gibson

by Dogpatch Press Staff

The Sprawl was reviewed with a creator interview a year ago: “my favorite furry webcomic and certainly ranks among my favorite webcomics of all time” — so enjoy a fresh take. Welcome to Roz Gibson, furry artist and animator in Southern California. Roz was guest of honor at Confurence and created the Jack Salem comic character that first appeared in Rowrbrazzle in 1987. Roz is a community access guest and contents are hers. See Roz’s tag for more reviews.

The Sprawl volume 1-3 
Written and Illustrated by Snowdon
Published by Ringtail Café productions

I picked these three volumes up at AnthroCon last year. There are not a whole lot of new furry comics coming out, particularly if you’re looking for something other than porn, slice-of-life or gay interest, so I decided to give this series a try.

The back blurb describes this as “Sci-Fi/Horror meets Dark Fantasy on a dead world. It’s only inhabitants are  the descendants of an ill-fated colonization mission, now huddled together in an ever-growing mega-city known as The Sprawl.” But the story turns out to be closer to Bladerunner meets The Thing, with something from the original Heavy Metal movie thrown in for good measure.

Volume 1 is pretty simple: a survey team is sent to a distant part of the dead planet (referred to as the “South Pole”) to look for another survey team that vanished. You see boobs early on, as the female characters are either topless or wearing really skimpy clothing. The two female surveyors are apparently along solely to hump the guys, which they get to doing as soon as they leave on the mission. When there’s an explosion on the ship and they have to evacuate, the guys are all fully dressed, but the bunny girl bails out wearing nothing but bikini panties. When they arrive on the frozen, snowy surface of the South Pole, someone gives her a jacket that she never bothers to zip up, so she’s wandering around Antarctic cold in panties and an open jacket with her boobs hanging out. I think this is known as ‘pandering to the audience,’ which might have worked if the bunny girl was attractive, but all the characters are squishy lumpy with big Bugs Bunny-type feet.

While I waited for the bunny girl to either die of hypothermia or her bare feet to turn into frozen blocks, the team reaches the prerequisite spooky mysterious abandoned ruins with dead bodies. The previous survey team is dead and one of the characters– without even touching or examining the bodies–declares that they killed each other.

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May 8, 2020

Animosity #4, The Walled City — graphic novel review by Roz Gibson

by Patch O'Furr

Welcome to Roz Gibson, furry artist and animator in Southern California. Roz was guest of honor at Confurence and created the Jack Salem comic character that first appeared in Rowrbrazzle in 1987. Roz is a community access guest and contents are hers. See Roz’s tag for more reviews.

Animosity #4, The Walled City (graphic novel compilation of issues 14-18)
Written by Marguerite Bennet, art by Rafael De Latorre, Ornella Savarese and Elton Thomas.
Published by Aftershock Comics

The  scenario of animals suddenly developing sentience has been used recently in at least two comics (Squarriors and Animosity) and two novels (The Awareness and the Mort(e) series). Animosity  has been ongoing for several years, chronicling the journey of young human teenager Jesse, her devoted bloodhound ‘father’ Sandor, and their group of companions, including a Pallas cat, goats, a bison, a ring-tailed lemur and Kyle, an adult human who may or may not have Jesse’s best interests at heart. 

The group is traveling from New York City to San Francisco, where Jesse can hopefully find her half-brother. Sandor is eager to make the trip as quickly as possible, since he’s old and is afraid he’ll die before getting Jesse to safety. The landscape is typically post-apocalyptic, and they encounter various obstacles and allies along the way. While this is volume 4, you don’t necessarily need to be familiar with the other chapters to pick it up, since it does contain a complete story arc and there’s a helpful synopsis of ‘what has gone before’ at the beginning of the book.

During their journey Jesse and Sandor encounter groups where animals are dominating humans, animal-only enclaves, and, in this volume, a place where humans still own animals. At the end of the previous volume, Kyle has kidnapped Jesse, ostensibly to ‘save’ her from Sandor, whom he does not trust. Kyle has heard of a human-only enclave called the Walled City in the south, where he thinks Jesse will be safe. Now, in volume 4, when they arrive at the Walled City, and find the inhabitants are eager to take in any female of childbearing age—and not so interested in taking single adult men. Too bad for Kyle.

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May 7, 2020

The Snow Cat Prince by Dina Norlund — graphic novel review by Roz Gibson

by Patch O'Furr

Welcome to Roz Gibson, furry artist and animator in Southern California. Roz was guest of honor at Confurence and created the Jack Salem comic character that first appeared in Rowrbrazzle in 1987. Roz is a community access guest and contents are hers. See Roz’s tag for more reviews.

The Snow Cat Prince
Written and illustrated by Dina Norlund
Published by Hushbird publications

The Snow Cat Prince is a gorgeous hardcover graphic novel by Scandinavian artist Dina Norlund. I received my copy through a Kickstarter campaign, but it is available from her website: Hushbird.com (and the furry book sellers would be smart if they picked this up for sale at conventions). Unlike most of the graphic novels I’ve reviewed, this is not a zillion-volume series that will never get done — story is self-contained in this one book. What a pleasant surprise that was!

The plot is a standard “Prince searching for an artifact so he can reclaim his kingdom.” And it is definitely an all-ages title, with minimal violence (but some threat and peril).  After a short introduction setting the background, the titular Snow Cat Prince is introduced. Syv, the youngest of seven brothers, will probably not inherit the throne, and he’s okay with that.  But his six ne’er do-well brothers are concerned because he’s popular with the human inhabitants of the city, so they decide to send him on a wild goose chase to find the lost crown.

In the introduction we’re told how the evil shapeshifting foxes stole the crown from the first, mighty snow cat king, and if the crown can be found and returned the snow cat’s city will once again flourish. Syv is kind but very naive, and doesn’t question why his more powerful brothers would send him off on this important quest. Almost as soon as he leaves the city he comes across Kit—a red-haired elfin sprite who invites herself to tag along. The rest of the story follows their adventures and perils, as Syv learns a lot about the world and the real history of what happened to the crown.

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March 6, 2020

VOTE! For the Ursa Major Awards for best furry works of 2019.

by Patch O'Furr

Have you heard? Rumors are flying around about some kind of contest for votes in the USA. It has a Birdie and a Bi-Den. That sounds furry, doesn’t it? Maybe it’s for the Ursa Major awards for the year’s best in furry movies, art, books, news magazines, and more.

You can vote HERE during all of March 2020, but don’t wait until it’s too late! VOTE NOW! 

Non-fiction and fursuits aren’t up for awards due to not enough nominations. (You CAN still nominate for the Good Furry Award.) Remember, armies of furry soldiers fought for your freedom to vote without getting told “yiff in hell”. So please do support those who are nominated, whether it’s for art, fiction or news from some fabulously erudite news hound!

Since 2001, these awards have been run with long hours of work by volunteers. They would appreciate any support you can give to defray costs for a website, making and mailing awards, and more.

NOMINEES FOR BEST OF 2019

Best Motion Picture
Live-action or animated feature-length movies.

• Avengers: Endgame (Directed by Anthony Russo and Joe Russo; April 26)
• Frozen 2 (Directed by Jennifer Lee and Chris Buck; November 22)
• Pokémon Detective Pikachu (Directed by Rob Letterman; May 3)
• Rocko’s Modern Life: Static Cling (Directed by Joe Murray and Cosmo Serguson; August 9)
• Toy Story 4 (Directed by Josh Cooley; June 21)

Best Dramatic Series or Short Work
TV series or one-shots, advertisements or short videos.

• Aggretsuko, Season 2 (Directed by Rarecho)
• Amphibia (Directed by Bert Youn and Derek Kirk Kim)
• Beastars (Directed by Shinichi Matsumi) Episode 1, October 8, 2019 (Japan)
• Mao Mao: Heroes of Pure Heart (Written and Storyboarded by Phil Ahn, Allison Craig, Nathanael H. Jones, Griffith Kimmins, Alexandria Kwan, Nora Meek, Michael Moloney, Emily Oetzell, Parker Simmons, and Chris Ybarra)
• My Little Pony: Friendship Is Magic, Season 9 (Directed by Denny Lu, Mike Myhre, and Gillian Comerford)

Best Novel
Written works of 40,000 words or more. Serialized novels qualify only for the year that the final chapter is published.

• Darwin-sensei, Kemono Musume-tachi ga Gakuen de Omochi desu!, by Daisaburo Nonoue
• Fair Trade, by Gre7g Luterman
• Nexus Nine, by Mary E. Lowd
• Off The Mark, by Bernard Doove and Jeff Hartt
• Red Skies, by GS Cole and NC Shapero

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October 18, 2019

Murder: All Edge, No Cut — comic review by Enjy

by Enjy

Sometimes review books come here from outside of furry fandom. ‘Murder’ is a comic about an animal-rights antihero, where “animals mysteriously begin linking telepathically” and there’s a “powerful new plant-based badass”. It’s now in issue #2. “‘Murder’ takes readers into the darkest corners of animal agriculture, as one species at a time they begin to hear each other’s thoughts. Only one human, The Butcher’s Butcher, is able to hear their thoughts. As the animals revolt and the world’s food supply comes into jeopardy, the animal-rights activist is forced to decide between his vegan ethics and a world dependent on meat.”

Thanks to Enjy for big effort as always, check out her past writing, and remember we’re fiercely independent enough to be critical sometimes, but with hugs! – Patch

Murder: All Edge, No Cut

Murder is a comic created by the folks at Collab Creations (https://collabcreations.bigcartel.com/) which is billed as an “animal rights antihero” work centering on a vigilante activist and his wife, who fight to inflict the same pain on food company CEOs and ranchers as they inflict on animals ready for slaughter. It is written by Matthew Loisel with art created by Emiliano Correa, who also did work on the excellent Hexes series by Blue Fox Comics. We at DPP were given the first two issues for review.

The first thing you will do, when you open page one of Murder #1, will be laying eyes upon someone gassing an entire building of innocent people because they are working at a meat plant. In the next few pages, you’ll see something that’s meant to be taken seriously, but is unintentionally hilarious to the point where you have to read it over a few times to make sure there isn’t a joke being set up. The protagonist who just committed a literal war crime brutally murders a CEO with a steer, and then we’re led to believe this is the man we should be rooting for.

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May 29, 2019

The Sprawl: Review of the Sci-fi/Horror Webcomic – By Enjy

by Patch O'Furr

Welcome to guest author Enjy. Yesterday’s post was Enjy’s interview with comic creator Snowdon – now here’s how it rates for reading. – Patch

Now that we have spoken with the artist, we can look at his work and tell you, our readers, how it stacks up with the other furry webcomics out there. Is Snowdon’s dedication to his work and his storytelling skills enough to place The Sprawl at the top of the pile?

The Artwork

First and foremost, the most important thing about a comic is its artistry. This can go from amazing technical skills, such as the painting in Juan Diaz Canales and Juanjo Guarnido’s Blacksad, to the striking feeling of a style that is incomparable, like Warren Ellis and Darick Robertson’s Transmetropolitan. The Sprawl offers heaping helpings of both, especially in the latest chapters where Snowdon really finds his stride in creating a cohesive aesthetic. The amount of detail that goes into his backgrounds, the vehicles, and especially the space ships, is something to be marveled at and inspired by. I can only gape in amazement as I count every individual pipe, every screw, every seam of every piece of complex machinery that the artist created. Every character he creates, even ones that are used as cannon fodder in his Game Of Thrones-like glee for shredding people left and right, have personality and individualism that shows from their clothing, to their faces, to their body shapes. I believe this sets Snowdon quite apart from the crowd, because one trope I seem to see in furry media is that there is usually a character or characters in a central focus that seem to be always front and center, always paid attention to, like the world revolves around them. He also is quite proficient at the basics of comic paging, using great bubble and panel placement and lots of creative setups for his page layouts. You can tell at first glance that this comic was definitely created by an industry professional.

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May 28, 2019

The Sprawl: Webcomic Creator Interview with Snowdon – By Enjy

by Dogpatch Press Staff

Welcome to guest author Enjy, who goes above and beyond for any writing mission. I would have tackled this myself but couldn’t have done so well because comics aren’t my forte and neither is music reviewing (Enjy’s previous piece.) The opportunity to work together is part of the magic of fandom. Tomorrow, expect the comic review. – Patch

The Sprawl is a webcomic created by Snowdon. He was the lead artist for a small animation studio and worked on the Teen Nick show Alien Dawn, where you can spot some of his artwork in the series’ titular comic book and unique motion-comic scenes. Needless to say, Snowden has been working on comics for quite some time. His whole life has been spent drawing and creating. Before and after working at Nickelodeon, he was a high school art teacher, a private tutor, and a graphic design consultant. In recent years, he has turned to freelance comics like his creation The Sprawl. Making connections, having a good portfolio, and taking internship opportunities whenever you can get them are Snowdon’s tips for artists like him to get into the animation industry. I got to speak with this creator to help his fans learn more about him, his comic, and where he sees his art taking him.

(Enjy): My first question is, why did you choose for The Sprawl to be a comic featuring anthropomorphic characters?

(Snowdon): The original concept for The Sprawl was an idea I’d had all the way back in art school, in the late 90’s. A lot of my art school friends wanted to make comics and a lot of them were already making anthro art, so I thought it might be fun if we all worked on some comics set in the same world, as like an anthology. The idea didn’t go anywhere, unfortunately, but some years later, one of my art school friends was doing comics for one of the anthro adult sites and offered to put a pitch in front of the people running the site if I could come up with one. I remembered the old anthology idea and still wanted to do something in that setting, so I dusted it off and wrote an outline that included what would eventually be the first chapter of The Sprawl.

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May 22, 2019

How furries resist a commercialized fandom (Part 3)

by Patch O'Furr

Furry fandom often has DIY ethics (intentional or not). That can mean nonprofit volunteer-led events, and directly supporting each other’s art instead of just consuming corporate products. A Daily Beast reporter asked about it and I shared lots of info that didn’t all make the news — so here’s a followup in 3 parts.

Part 1 looked at the roots of fandom, with fans being “fans of each other”. Stigma and undermining showed how the fandom didn’t just follow the path of least resistance, it broke out under pressure. A sense of outsiderness and self determination has stayed ever since.

Part 2 looked at conventions making a platform for industry and expression that keeps the group untamed. Relations with the media got better while making a certain fandom identity (instead of letting others make it). It can even connect to deeper identity of members, because it lets them be who they want to be.

Furries care about fandom identity with a kind of tribalism. When members say they’re prone to “furry drama,” it can come from conflict about who defines it or benefits from it. That’s how The Daily Beast noticed conflict about a luxury “designer fursuit” brand, which usually wouldn’t matter to anyone except furries.

I told the reporter: “I think it really struck a nerve. It really got to the root of this possessiveness that the subculture has about itself and what it built for itself.”

It’s a case for looking at resistance to commercialism. Backlash at the brand was provoked by tone-deaf marketing, where bringing a mainstream approach wasn’t workable with art based on unique personal identity. Also, luxury brands don’t get made from scratch when others go back 100 years. (Fans in-the-know could compare this with furry brand Hyena Agenda, whose stuff speaks for itself without rubbing the wrong way against a certain fandom identity.)

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May 21, 2019

How furries resist a commercialized fandom (Part 2)

by Patch O'Furr

Furry fandom often has DIY ethics (intentional or not). That can mean nonprofit volunteer-led events, and directly supporting each other’s art instead of just consuming corporate products. A Daily Beast reporter asked about it and I shared lots of info that didn’t all make the news — so here’s a followup in 3 parts.

Fandom is big business in the mainstream – but furries have their own place apart. Why does this fandom grow independently? Let’s look at unique expression at the heart of it. Of course furries do a lot more things than this story can look at, but one aspect brings insight about decentralized structure.

Some subcultures rise and fall with media they consume. But the influences seen in Part 1 didn’t make one property in common for every furry. They didn’t rise with a movie like Zootopia. Instead, this fandom is fans of each other.

Part 1 looked at the roots and growth of their conventions. Furry cons make a platform for the specialized craft of fursuiting, with bespoke, full-body mascot costumes that cost thousands. They’re uniquely original expressions of identity. They’re tangible, huggable products of imagination. They put the fur in furry.

A lot of the fandom’s rock stars are fursuiters, who give it a photogenic face. Unlike stars of other fandoms, their original characters usually aren’t promoting something else — and fursuits can’t be downloaded or easily pirated — they’re for live experiences. It matters because online community can be temporary, but live events glue it together. They can show why this fandom is independent, here to stay, and not tied to certain media.

Rather than naming great works tied to their activity, you could say that the group is its own greatest creation. And if writing, art, or other creativity in the fandom didn’t rise out of a certain type of event, fursuiting did.

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May 20, 2019

How furries resist a commercialized fandom (Part 1)

by Patch O'Furr

Furry fandom often has DIY ethics (intentional or not). That can mean nonprofit volunteer-led events, and directly supporting each other’s art instead of just consuming corporate products. A Daily Beast reporter asked about it and I shared lots of info that didn’t all make the news — so here’s a followup in 3 parts.

Why is commercialism a topic for an often disparaged subculture? Compare furry fandom today to its roots. Times change, and hindsight can help to see why. Let’s look at how industry and media influenced the American roots in the 1970’s, how it grew, and changes that come with bigger scale than ever.

The 1970’s could be a hungry time for fans with a taste for comics and animation of the 1940’s-50’s Golden Age. As it faded, funny-animal comics died off while the business suffered under the Comics Code. In movies, the fall of the studio system contributed to a dark age of animation. Hanna-Barbera reigned on TV with cheap formulaic product. Disney’s feature studio almost went bankrupt with barely any new artists hired for a generation. Robin Hood (1973) spread the furry virus before it had a name, but the movie wasn’t well loved by the studio. Then a new wave of artists (such as Tim Burton and Don Bluth) came out of Disney while it had a rebirth, peaking with The Lion King (1994), which launched a thousand furry projects. But by the early 90’s the furry fandom was already fully fledged to take off on its own. It happened under the influence of the ups and downs of industry, but also in spite of it.

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