Sunday, 18 June 2017

Swords Of Cerebus Vol 6: Cerebus #23-25


PAUL SLADE:
Published between 1981 and 1984, Dave’s six Swords of Cerebus volumes were his first attempt to collect the book in a more permanent form. He gave each story included in these volumes a prose introduction, explaining where the book stood when he’d been working on that particular issue and how he was thinking of its prospects at the time. This is the second of Swords volume 6’s three introductions, so make the most of it – we’re nearly at the finish line. Also check out the full 'Swords Of Cerebus' Introductions Index.

The news Dave refers to near the end of this intro is the murder of John Lennon, who was shot dead on December 8, 1980. For more on Dave’s Rochester trip, see his intro to The Morning After.


“I had decided to make Chris X. Claremont this enormous negative force
who wants to destroy everything around him,” says Dave.

Next week: Spunky, the Charming Giant

Saturday, 17 June 2017

James Kochalka's Cerebus!

"I did this drawing of Dave Sim's Cerebus for someone recently"
by James Kochalka
(via Twitter, May 2017)

Cerebus vs Sophie The Dog

Cerebus vs Sophie The Dog (2017)
Art by Gerhard

Gerhard's 2017 Convention & Signing Itinerary:

Keep up to date with Gerhard's latest news at Gerz Blog!

Chester Brown: Reasons For Thinking That Sex-Work Is Wrong


Cerebus In Hell? #4 (April 2017)
by Dave Sim & Sandeep Atwal

A Fake Name's Reasons For Thinking That Sex-Work Is Wrong 
by Chester Brown 
(first published on Patreon, 14 June 2017)

In response to my request, the individual who goes by the name A Fake Name has politely explained why he-or-she thinks sex-work is morally wrong and should be illegal over on A Moment Of Cerebus.

When I'm quoting other people in this piece, I'll do so in italics, but I'll put A Fake Name's positions in bold type, like this:
"Prostitution is damaging to men because it’s saying they can’t attract a woman on their own."
In relation to this proposition, we can broadly divide the clients of sex-workers into four types of guys.

Type One: According to sex-workers, the majority of their clients are men who are married or are in a romantic relationship. They’re not guys who can’t attract a romantic partner, they’re guys who have attracted one and yet want to have sex with sex-workers for a variety of reasons.

Type Two: Some guys can get romantic partners, but see sex-workers in-between serious romantic relationships.

Type Three: There are also guys (like me) who are not in a romantic relationship, who do not want to be in romantic relationships, and who prefer being with sex-workers. I've had girl-friends, so I know the difference between being in a romantic relationship and paying for sex, and I like the latter better. So it’s not emotionally “damaging” for me (and other Type Three guys) to pay for sex, quite the opposite.

Type Four: Of course, there are some guys who want romantic partners but can’t attract them and visit sex-workers as a substitute. But sex-work and sex-workers have not caused the problem there. The problem is the inability of those guys to attract romantic partners. Blaming sex-work for that is misplacing the blame.

(Not all clients of sex-workers fit into those four categories. For one thing, some clients are women. And some clients have unusual circumstances, like the guy who was a virgin, got cancer, and wanted to get laid before he died. His story, written by his twin sister, can be found at SexWorkClients.org under the name MsLeigh, posted March 1st 2017.)
"Instead of honest self-assessment and fixing things within themselves, [the clients of prostitutes have] chosen to pay for a fleeting illusion, knowing any orgasm and accompanying feelings are based on a financial transaction, creating a mental and emotional dissonance. In place of self-improvement, putting in the effort to be a better version of themselves, thereby increasing their confidence, achieving more in life and thus attracting women they’d want to have sex and relationships with, they’ve settled for a damaging shortcut."
The assumption here seems to be that, if sex-work didn’t exist, Type Four guys would be forced to better themselves and would then be able to get romantic partners, so, therefore, sex-work is bad. The thing is, Type Four guys want romance but can’t figure out how to get it. Even if all sex-workers magically disappeared from the planet, the majority of Type Four guys would still not be able to get romantic partners. I have a friend who’s a Type Four guy who pays for sex regularly. Believe me, he put lots of effort into trying to find a girlfriend before he resorted to paying sex-workers. Sex-work wasn’t responsible for his failure with women. He doesn’t feel “damaged” by sex-work — he’s glad it gives him a way to experience sexual intimacy despite the fact that he can’t find a girlfriend.

There are actually some guys out there who were Type Four guys and who, through their interactions with sex-workers, were able to learn how to be with women, and, as a result, were then able to attract girlfriends. (There’s a story very similar to this at SexWorkClients.org but it’s about a woman who was having difficulty relating to men but wanted a romantic relationship. So she hired a male sex-worker, and her experiences with this guy led her to feel “at home in my body, able to not just tolerate another’s touch, but enjoy and relish the sensation of skin on skin.” As a result, she was able to start dating and found a guy she’s now been married to for two years. Her story’s under the name Sheila and was posted on April 23rd 2017.) Far from damaging, as I've said before, sex-work often has therapeutic value.
"On top of that, men risk developing feelings for a prostitute, deluding themselves and missing out on real opportunities with the opposite sex. Unrequited love is bad enough without having to pay for it.”
It does happen that some clients fall in love with sex-workers, and such a client can imagine that his sex-worker loves him back. A lot of sex-workers wouldn’t lead on such a client, but some would — this happened to two guys I know. (Neither of them is the friend I mentioned above.) But these sorts of guys sooner or later figure out that the sex-worker doesn’t really romantically love them. (Having to continue to pay for sex is usually a clue.) If such a guy has “real [romantic] opportunities with” non-sex-workers while he's in love with a sex-worker, then he’ll likely still have real opportunities after he realizes that the sex-worker doesn’t love him. The two guys I mentioned who fell in love with sex-workers and were taken advantage of by them? Both of those situations happened several years ago. One of the guys hasn’t seen a sex-worker since then, but, even though he wants a girlfriend, he hasn’t found one in the intervening years, so I very much doubt he missed any opportunities for real love during the few months that he was in love with that sex-worker. The other guy has seen a few sex-workers since then, but not many. He’d like a girlfriend too, but knowing this guy well (he’s a friend) I can assure you that his inability to attract women has nothing to do with seeing sex-workers. I’m completely positive that he didn’t miss any romantic opportunities while he was in love with a sex-worker.

And this says nothing about the profession in general. The fact that some sex-workers can exploit the emotional vulnerability of some clients doesn’t mean that all sex-work is wrong. There are people who pretend to be in love with someone in order to marry for money, but that doesn’t mean that all marriage is wrong.
"While it’s quite possible one can switch from prostitute/client to a relationship, I’m skeptical since the beginning of the relationship comes down to: Would she have fucked you if you hadn’t pay her? […] I doubt any relationship in which the man directly pays the woman can ever be as legitimate as those who don’t, the obligation casting a shadow over any and all interactions."
I have a female friend (who is NOT a sex-worker) who has a well-paying job and, many years ago, was able to buy a relatively large condo. She met a guy who seemed very loving and affectionate. He didn’t make as much money as she did, but that wasn’t an issue for her because his personality seemed so wonderful. So they decided to live together, and he moved into her place. (Given his financial situation, he’d been renting a much smaller apartment.) They seemed like the perfect couple. Only years later did she admit to me that, as soon as he moved in, his personality changed — he became cold and unaffectionate when they were alone. She didn’t speculate about this to me, but I couldn’t help but wonder if he’d ever loved her. It seemed to me like he'd been pretending to be a certain kind of guy in order to get her to want him to move in with her. Once that was accomplished, and he was ensconced in a nicer setting (one in which he didn’t have to pay rent), he felt able to be his real, unloving self.

What I'm saying is that financial concerns also cast a shadow over a lot of romantic relationships between people who have no connection to sex-work. There are a lot of romantic relationships between people who are financially unequal. Even romantic partners who are financially equal can and do fight over money. Despite the experience of my above-mentioned female friend, there are good romantic relationships between financial unequals. If one can recognize that that can be true for romantic relationships, then one should also be able to recognize that there are good (non-romantic) relationships between sex-workers and clients who are financial unequals.

Aside from my own experience with Denise, I’ve read many sincere, heartfelt declarations of affection for their favourite clients written by sex-workers in various books and on the internet. I don’t doubt that sex-workers can genuinely like their clients. An example can be found in this interview with Annie Sprinkle: 
“I had this client I’ll call Samuel. […] I saw him steadily for twenty years [….] Over twenty years you really get to know someone. […] He was someone I wouldn’t be having sex with had he not been paying me. But I cared about him deeply and genuinely wanted to know about how his life was going. […] Looking back I’d have to say it was definitely a type of long-term relationship. The only reason it ended was because I moved out of New York. He was a great guy. […] He was a client, and also a friend. Such things are more common than people might think.”
Since Annie’s relationship with Samuel sounds very similar to the one I have with Denise, I know she’s right that “such things are more common than people might think."

It’s inconsistent to use financial dependence as a reason to dismiss real connections between sex-workers and their favourite clients while ignoring that financial concerns also affect romantic relationships. If one uses financial dependence to argue that all sex-work is wrong, one should be condemning all romantic relationships for the same reason.

Another thing to mention is that the financial inequality between sex-workers and clients often goes the other way. Many of the escorts I used to see (maybe all of them) made more money annually than I did (probably much more for most of them). When I first met Denise, she was certainly earning more than I was. An individual client, even a wealthy one, doesn’t really have much financial power over a popular sex-worker who already has many regular clients.
"What about the damaging effects on women? My experience is women are happiest inside a relationship if the man is perceived as worthy of their emotion and time. Sure prostitutes can compartmentalize clients from boyfriends/relationships but I still think they want to be loved. The romantic cliches exist because they are true and fundamental to how people are. There are always exceptions […] but most women want to be in a relationship. Brazen Lee said she’s a “…romantic at heart.” So even someone who sells sex for money still retains the primal drive to date, be in love. From a strictly utilitarian point of view, most men won’t be interested in a woman who has the level of sexual partners that a prostitute has. It may not seem fair, but I’m being honest, most men would be turned off. So, by being a prostitute she’s running the risk of ruining a shot at a real, longterm relationship.”
Sex-work is wrong because sex-workers are risking "ruining a shot at a real, longterm [sic] relationship”? Not all sex-workers want a conventional romantic relationship. Some of the ones who do want such relationships have been able to find them. Still, A Fake Name is right that sex-workers who want romantic partners have challenges finding them, but that doesn’t mean that sex-work is morally wrong — it means that our society has screwed up sexual values. A Fake Name states that people have “utilitarian” reasons for not getting romantically involved with sex-workers. From a utilitarian perspective, what is a romantic partner for? Sex-workers can be and usually are loving people. The prejudice against having a sex-worker for a romantic partner has nothing to do with their value as individuals or their ability to be loving partners and everything to do with an emotionally insecure reaction to the idea of a romantic partner having sex with someone else. This isn’t something to condemn sex-work for, it’s a reason to condemn our society’s immature sexual values. A change in our values — a change that would recognize and honour sex-workers for what they do — would make it easier for them to find romantic partners (male, female, or gender-fluid, depending on the orientation of the sex-worker). (A Fake Name seems to strangely assume that all female sex-workers are heterosexual.) (Would A Fake Name be making this argument about male sex-workers? And if he-or-she wouldn’t, does he-or-she think male sex-work is okay and should be legal?)

Since this is part of his-or-her justification keeping prostitution illegal, what A Fake Name is calling for here is social engineering. A Fake Name thinks that law-makers should recognize that, because most women supposedly want to be in monogamous heterosexual relationships, the law should force women to make choices that increase their chances of ending up in such relationships. For most sex-workers, engaging in the profession earns them more money than they could get doing any other sort of work. Sex-workers are aware that their occupation reduces their chances of finding a romantic partner. The ones who want such partners know that they’re balancing money against romance and that is a choice that should be left to them. No one else can say which they should be valuing more. Law-makers should not be trying to influence the choice by making one of the options illegal.

Stripped down to it’s essential point, A Fake Name is saying that sex-workers are making a mistake in choosing money (career) over romance, but these days lots of women who aren’t sex-workers are doing that. It’s not immoral for women to choose to focus on their careers at the expense of their love-lives.
"For women, accepting money for sex is saying you have no other way to generate money other than on the most base level of existence. That’s not mentally healthy in the longterm. […] Having sex, surrendering an intimate part of themselves to men who pay for it is mentally damaging in the long term.”
The assumption here is that sex-work is base and that all sex-workers would agree that it is. That’s not the case. Here’s ex-sex-worker Norma Jean Almodovar on the subject:
“On a scale of pain or pleasure human beings can inflict on each other, if murder, rape, and torture are the worst, certainly giving another person an orgasm must be among the best. I cannot fathom how one could think that making another human being feel good for a fee could be degrading or demeaning [….] I derive a great deal of satisfaction knowing that I’m turning some guy on”. [From the 1993 book Ain’t Nobody’s Business If You Do by the late, great Peter McWilliams.]
A sex-worker who agrees with A Fake Name that sex-work is base might find sex-work mentally damaging, but they might not. I’m sure there are people who clean toilets for money and consider it to be base and yet aren’t mentally damaged by doing that work. What mentally upsets people is going to vary widely from individual to individual. I heard a piece on the radio recently about the high incidence of violence that nurses face and how many of them are experiencing P-T-S-D as a result. The fact that some people in a profession will experience mental health problems as a result of doing that work doesn’t indicate that the profession as a whole is morally wrong and should be outlawed.

When there’s a stigma against a certain activity that causes mental health problems in people who engage in that activity, that doesn’t demonstrate that the activity itself is necessarily “base". As I wrote in Paying For It:
“Many gays prior to the sexual revolution experienced shame, depression, guilt, and disgust about being gay. That doesn’t mean that homosexuality is wrong, it means that, at a certain point in time, homosexuality was reviled, and many gays internalized the gay-negative values of the culture they lived in. Today, many prostitutes internalize the whoring-is-bad attitude of the culture we live in. That doesn’t mean that sex-work is bad.”
Counter-balancing the potential negative mental problems is the fact that sex-work can also benefitthe mental health of prostitutes, in large part because earning good money is good for one’s mental well-being. An article that addresses this is this one by ex-sex-worker Mitzi Poesner. From that piece:
“[C]ontrary to popular view of sex work, it is not a one way ticket to a breakdown. […]

“What drove me to sex work was a need to exist without aching poverty, to have time to see my many doctors, to work on being as healthy mentally and physically as possible, and to be able to claw back my life from the jaws of zero hours contracts and gaping overdrafts. You may see those things as separate to my mental health, but let me tell you: if you have never been poor you cannot understand the grip money holds you in. […]

“Sex work was messy, dirty, weird, confusing, and scary. It took me to places I wasn’t sure I wanted to visit again. But it also scooped me out of abject poverty and enabled me to start living life with joy.”
There can be other mental health benefits to being a sex-worker. In the interview with Annie Sprinkle that I linked to above, she says this:
“My johns adored and worshipped me, therefore they empowered me. When I was 18, 19, and 20, I had a poor self-image and needed attention. It’s hard for people who haven’t been prostitutes to imagine, but I think it’s often true.”
Back to A Fake Name:
“For society I think [prostitution] could damage civilization in ways I can’t quite explicate. A society with billboards advertising prostitution would be a place further down a spectrum of degradation.”
As Norma Jean implied in the quote that I reproduced above, consensual sex is generally good for people. A society that decriminalized prostitution would be a society in which more people would be having their sexual needs met. I think there’s a lot of unrecognized healing work going on in sex-work that benefits society in subtle ways.

As for the matter of billboards, there’s plenty of sexually suggestive advertising out there already. Using sex to sell sex seems more honest than using it to sell cars or beer. Such billboards wouldn’t have to be any more explicit than advertising already is.
"I don’t think prostitution should be legal […] but nor do I think the prostitution that Chester speaks of should be bothered by those in law enforcement.”
The easiest way to make sure that “the prostitution that Chester speaks of” isn’t “bothered by those in law enforcement” is to decriminalize sex-work between consenting adults. Why not? Especially since A Fake Name was not able to come up with good reasons for keeping it illegal. Let’s review A Fake Name’s reason’s again:
  1.  — Prostitution damages the clients who can’t attract a romantic partner.
  2.  — Clients fall in love with prostitutes and miss opportunities for real love.
  3.  — A sex-for-pay relationship can’t be as legitimate as other relationships since money can influence the sex-for-pay relationship.
  4.  — Women need romantic love and are less likely to get it if they’re prostitutes.
  5.  — Being paid for sex is base, so being a sex-worker it is mentally damaging.
  6.  — Decriminalized prostitution will “damage civilization”.
Reason One isn’t true. Reason Two is unlikely. Reason Three ignores the influence of money on other sorts of relationships. Reason Four is partially true, but societal attitudes are to blame for the problem, not sex-work. Reason Five is partially true, in that some sex-workers might feel that sex-for-pay is base, and they might, therefore, find the work to be emotionally difficult, but that’s offset by the fact that many other sex-workers do not think of prostitution as base, and many of them report that the work actually improves their mental health. Regarding Reason Six, A Fake Name honestly admits that he-or-she does not know what civilizational damage could result from decriminalizing sex-work.

A Fake Name doesn’t have strong reasons for thinking that sex-work should be illegal, but I appreciate that A Fake Name has made the attempt to explain why he-or-she thinks the profession is wrong, even if I don’t find his-or-her reasoning persuasive. And I admire A Fake Name’s civil (if sometimes exasperated and weary) tone throughout all of his-or-her comments on my posts. I hope A Fake Name has a sexual partner who brings him-or-her as much happiness as Denise brings me.

//////////////////////////////////////////////////////

In the same comments section, Jeff Seiler writes:
“While it is an old, old joke, the statement remains valid: ‘You don’t pay a hooker for sex, you pay her to go away afterwards.’ "
Yes, it’s an old joke, but it has limited validity. I’m sure there are clients who, after their orgasm, want the sex-worker they’ve hired to go away, but almost any sex-worker will tell you that a sizeable percentage (probably the majority) of her-or-his clients would be only too happy to spend as much (unpaid) time hanging out with the sex-worker as she-or-he would allow.

According to Seiler:
“The culture of strippers and sex-workers […] includes a lot of damaged people."
It seems to me that we're all “damaged” in some way. Are sex-workers more damaged than other people? Not in my experience. People are at their most vulnerable — literally naked — when having sex. We’re more likely to see the damaged aspects and insecurities of our sexual partners — particularly of partners we’ve been having sex with for a while — than of people we meet in more superficial circumstances. Yes, I can see ways that Denise seems “damaged”, but I’m sure that I seem just as damaged to her. And she doesn’t seem more damaged than the non-sex-workers I’ve slept with. She’s actually a remarkably well-adjusted person.

///////////////////////////////////////////////////////

Damien Lloyd writes:
“I do not think Chester is correct that someone practicing in a field will automatically know more than an academic who studies that field.”
I tend to think that real learning comes from doing, not studying, so that a cartoonist who’s created comics for many years will understand the medium better than an academic who’s never created comics but who’s read a lot of them and has interviewed creators. But I can imagine that a very intelligent and well-read academic could understand the medium better than a stupid and untalented cartoonist, so I concede the point to Lloyd.


Chester Brown has been writing and drawing comics and graphic novels since the 1980s: Yummy Fur, Ed The Happy Clown, I Never Liked You, Louis Riel, Paying For It, Mary Wept Over The Feet Of Jesus. You can help provide him with a stable source of income while he works on his next graphic novel by donating at Patreon.

Friday, 16 June 2017

Happy 87th Birthday, Frank Thorne!

Cerebus #7 (December 1978)
Art by Frank Thorne
(Interesting Fact: This is the only Cerebus series cover not drawn by Dave Sim or Gerhard)

Weekly Update #187: A Call From Rob Walton


...featuring Ragmop's Rob Walton!

Wednesday, 14 June 2017

Sixteen Questions Before Breakfast

MARGARET LISS:
A few years ago I scanned all of Dave Sim's notebooks. He had filled 36 notebooks during the years he created the monthly Cerebus series, covering issues #20 to 300, plus the other side items -- like the Epic stories, posters and prints, convention speeches etc. A total of 3,281 notebook pages detailing his creative process. I never really got the time to study the notebooks when I had them. Just did a quick look, scanned them in and sent them back to Dave as soon as possible. So this regular column is a chance for me to look through those scans and highlight some of the more interesting pages.

We've looked at Dave Sim's final Cerebus notebook, #36, four times already, the most recent was in September of 2016 in Listening to Dead Cirinists. Notebook #36 only had 58 of the 108 pages scanned and covered Cerebus issues #266 through 300.

On page 451 of Latter Days - Cerebus #288, page 11, if you're following along in the single issues - Cerebus asks his interviewer about "the sixteen questions we (meaning you) would loooove to ask Cerebus before...breakfast." The interviewer manages to ask Cerebus questions #14, about Cerebus and Rick both being in love with Joanne.

However, we don't see what the rest of her questions were - there were a few others, about Leah. . .no Rachel, and Cerebus' calendar being wrong, but only a couple of the sixteen total questions. Dave's notes in the back, Notes on Latter Days, doesn't mention anything about these sixteen questions.

On page 67 of the final notebook, we see the start of Dave's notes for Cerebus #288, along with question number fourteen.

Notebook #36, page 67
Then on page 68 we see a few of the sixteen questions that weren't asked:

"Why did Cerebus stop trying to reform society after the sermon on the Mount of Dead Lawyers?"

"What did Cerebus do for twenty years after he dropped out of sight?"

Notebook #36, page 68
It looks like some of the answers are on the page, but not all of them. Nor do we get all of the sixteen questions.

Tuesday, 13 June 2017

Paper to Pixel to Paper Again: Part 19

1 | 2 | 3 | 4 | 5 | 6 | 7 | 8 | 9 | 10 | 11 | 12 | 13 | 14 | 15
16 | 17 | 18 | 19 | 20 | 21 | 22 | 23 | 24 | 25 | 26 | 27 | 28 | 29

A guide to creating the best looking line art in print in the new digital print world

Part 19
Working With Multi-generation Sources

Greetings!

This is the nineteenth installment of Paper to Pixel to Paper Again, a series that explains (in an overly thorough manner) the how-to's of preparing line art (and later in the series, color art!) for print.


And as always, if you have any questions, please let me know in the comments!

***
Alright, everyone, this is the big one, the reason (probably) that I'm writing this thing in the first place, the place where there's the biggest gulf between the general "received wisdom" and what's actually possible in print—working with multiple-generation materials. That is, restoring work from print copies of that work.

For the examples in this section, I'm going to be using the first issue of Cerebus, since it's a. very well-known to the AMOC crowd, and b. looked so terrible over the years. If you have a copy of the newly-restored Cerebus Volume One (out from Diamond in January 2017) and an older  copy of the book as well, you can follow along with the books.

But first—some background.

All Else Being Equal, Closest to the Source is Best

Just because you can produce working versions of books from multi-generational materials, doesn't mean you should. All things being equal, if you have access to (or can otherwise dig up!) earlier generations of materials—be that original artwork, production negatives, blue-line proofs of a book (which don't exhibit dot gain), or versions of the same material printed in a better manner on paper that exhibits less gain (tear sheets, for instance), then do so! It is almost always better to fix your image at the source than to try to "fix" something after the fact.

That being said, materials disintegrate. Negatives are thrown away or recycled. Tone shrinks. And sometimes what scans you have of an earlier generation might be inadequate compared to what you could have done were the actual materials still on hand. Hence, this series.

Different Editions of Materials Will Have Wildly Different Qualities

This goes along with the maxim above quite neatly. If you're restoring a work that's been printed multiple times, different copies, and especially different printings, will most likely have very different qualities, and the qualities you'll be looking for are different depending on your intentions with the restoration you'll be doing. Do you want as little to fuss with as possible, as little manual cleanup as you'll have to do? Then you might look for a printing of the material that has richer black than others. Want as much detail as there is to get? Then you'll most likely want to find the opposite—a lighter printing that has less dot-gain overall, and has a corresponding level of increase to the amount of detail in the darker, finer, denser areas of crosshatching or tone.

For my work, it's only been the latter, looking for printings that exhibit the finest details with minimum gain. In the case of, for instance, the High Society material, the Bi-Weekly reprints often have much more fine detail (and much weaker black) than the corresponding monthly issues, and the collections almost uniformly have much less detail than even the monthly issues. If you're serious about getting the best possible result, then checking a range of printings side-by-side is the way forward.

More caveats along the way. But now it's time to dive on in!



Dr. Mara scans the first issue of Cerebus waaaay back in 2014. My how time flies!

As I said in the above, different printings of the same materials can be wildly different from each other, even when the printer was working from the same negative. The first issue of Cerebus (and indeed, the majority of the first 25 issues) are a special case, in that the original negatives appeared to be discarded after their initial use. So barring the original art showing up for the first issue, working from the first printing print copies are the best that it gets.

As with the negatives, we're going to scan at 1200 ppi. Unlike the negatives, this time we'll scan in color, as it will enable us the most flexibility possible for manipulating our scan after the fact.


Here's the raw scan of the first page. Special features—Deni Loubert's hand-written notation in the corner, indicating...what, exactly? I'm not sure. This copy (and the other copies I have in San Diego of the first 50 issues) were the office "file copies," kept around to refer to when reprinting an issue, making an ad, etc, or any other time the issue needed to be referenced. So oftentimes they have mysterious markings, post-it-notes, etc in them.

We're going to write a script for working with newsprint, but unlike our other scripts, this one will require some work on the back end to get the most out of it. And first, we'll need to adjust the, erm, lean that this scan currently has.

When I restored this book, I did the rotation (and making the image grayscale) in advance for all of the pages, using Lightroom, as as I indicated in an earlier installment. But for now, we're going to do this in Photoshop.

Bring up the Layers menu, double-click the layer and then hit Enter to unlock it, and then hit Control-T to bring up the Free Transform feature. Now align the border boxes with the grid, and when you're done, hit Enter to complete the transformation.

Okay, now that our page is straightened, we're going to take a look and really see what our blacks look like up close, and if any particular color channel in our scan is better than another. 

Zoom in on the portrait of Young Dave Sim in the second panel. (What's that? You never noticed Dave's appearance in Cerebus,seventeen years before Minds? Well, he's also in issue 4. See for yourself!) 



Up close, we can see that, although the blacks are far from rich in color, there's not quite the snowstorm in the solid blacks that I was expecting. So this will be a bit easier than it appears.

I'm now going to bring up the Channels control and flip through the channels to find if any particular one has a stronger image (or less noise) than the others. (If you were doing this in Lightroom, the procedure would be different, but the principle the same).

I flip around on the Channels dialogue, selecting each one in turn and deleting the worst-looking ones until I'm left with the Yellow channel as the sharpest impression. Now I change the color mode of the document to Grayscale.

Here's the resulting image.


Okay, now we're going to bring up the Levels command (Control-L) and try to knock out our paper noise and bring the blacks up to a reasonable level of blackness.

Keeping my eye on the histogram, I move the Blacks point (far left arrow) to the first peak, shaving off the empty area of the histogram. Then I move the White point to the left in a similar fashion, while watching the finest areas of detail to make sure they're not disappearing or otherwise being modified. Once you have these in place, you can move the Mid point (the Gamma correction/exposure/gray arrow) to see if you can either a. get a slightly richer black without losing any detail, or b. bring any hidden detail out in your dense dark areas. If your scan is good, either is unlikely, but give it a shot anyway.


And now our page is ready for the next stage! Save (or save-as) and then start your script.

(Why can't we script this stage as well, like we did with the original art? Because there's so much variation in the blackness from page to page, especially if an issue was printed on a web press, and on newsprint, both of which are true of every issues of Cerebus. You can script this, but for the best result, do this stage manually, and then script the rest. Or, if you prefer, break your script into two stages, with your manual intervention (rotation, and then Levels) in between or before stages.)

And now—

We Start Our Script

Begin a new Action in the Actions panel. I'll name mine "Cerebus V1 Newsprint Pt 2".

I'm going to list these steps below in a fairly perfunctory way. If you have trouble following along, please read over the first few installments again concerning original art, where I go into all of the above in a much more detailed way. The steps—



1. Hit Flatten Image. (Good in case you end up running the script on images in progress in some way.

2. Hit Control-Alt-I to bring up the Image Size dialogue. First, change the Percentage box to whatever amount of enlargement or shrinkage you want overall from the original scanned size of the image. In this case, I'm keeping it the same size, so I'll leave it at 100 percent. Then change your resolution from our scanned resolution (should be 1200) to your target resolution (should be 2400). Make sure the algorithym is set to Preserve Details, Photoshop's excellent fractal-based upscaling routine, and then hit OK.

2. Make a copy of the Background layer, and name it "noise reduction."

3. Make another copy of the Background layer, and name it "sharpened"

4. Make a blank new layer and name it "cleanup"

5. Make a new Threshold Adjustment Layer, and then turn it off.

Here's what your panel should look like so far.

Now, for the good stuff...

Next week: More newsprint scripting! Making the most of your many options.

Sean Michael Robinson is a writer, artist, and musician. See more at LivingtheLine.com.

Monday, 12 June 2017

On Sale 7 Years Ago: Cerebus Archive #8

Cerebus Archive #8 (June 2010)
Art by Dave Sim

DAVE SIM:
(From Cerebus Archive #8, which reprinted "Oktoberfest" by Dave Sim & Gene Day from 1976 )
Kitchener stages an annual Oktoberfest that is reputed to be the largest outside of Munich so what could make more sense than to link this enormous beer festival to a children's comic, modeled on the work of Carl Barks... particularly his legendary "The Golden Helmet" storyline from Dell Four Color #408, of which I had, then, recently obtained a coverless copy?

You can all put your hands down -- it's a rhetorical question.

It was basically an act born of desperation for paying work, originating in one of those comic-store jokes: "Hey, Harry, you should publish Oktoberfest Comics!"

Harry was Harry Kremer, owner of Now & Then Books who had already been roped into publishing the money-losing Now & Then Times #1 in 1972 and #2 in 1973.

The way I looked at it, he was overdue for another money-losing publication...

Sunday, 11 June 2017

Swords Of Cerebus Vol 6: Cerebus #21-22


PAUL SLADE:
Published between 1981 and 1984, Dave’s six Swords of Cerebus volumes were his first attempt to collect the book in a more permanent form. He gave each story included in these volumes a prose introduction, explaining where the book stood when he’d been working on that particular issue and how he was thinking of its prospects at the time. We’re starting on the final volume now, and this is the first of the three intros it contains. Also check out the full 'Swords Of Cerebus' Introductions Index.

“The presidential use of xeonphobia as a means of uniting widely-differing
 factions behind a single leader was central to the storyline,” says Dave.

Next week: Rick takes out the bullets.

Batvark #1--the Path to Paradise Begins in Hell? The Last Wednesday of Every Month...

JUN171076 BATVARK #1 Order from your Local Comics Shop now!

Saturday, 10 June 2017

Gerhard: The Smile Of The Absent Cat

The Smile Of The Absent Cat
by Grant Morrison & Gerhard
Heavy Metal #286: Episode 2 (May 2017)

Gerhard's 2017 Convention & Signing Itinerary:

Keep up to date with Gerhard's latest news at Gerz Blog!

Thursday, 8 June 2017

Batvark #1-- Buy Now, Repent Later!

JUN171076 BATVARK #1 Order from your Local Comics Shop now!

Wednesday, 7 June 2017

Good RIDdance

MARGARET LISS:
A few years ago I scanned all of Dave Sim's notebooks. He had filled 36 notebooks during the years he created the monthly Cerebus series, covering issues #20 to 300, plus the other side items -- like the Epic stories, posters and prints, convention speeches etc. A total of 3,281 notebook pages detailing his creative process. I never really got the time to study the notebooks when I had them. Just did a quick look, scanned them in and sent them back to Dave as soon as possible. So this regular column is a chance for me to look through those scans and highlight some of the more interesting pages.


We've looked at Dave Sim's notebook #26 only twice before. First in Cool's Right and last in Pig's Ear. It covers Cerebus #224 through #230 and only had 58 pages scanned.

Most of the notebook is hand written notes - either bits of Rick's Book, dialogue between Cerebus and Dave, etc. So when I saw a couple of pages with sketches of Joanne, I stopped on them.

The first one I saw was on page 16. I love the hunched look and clenched fists, and the sound effects and dialogue - one gets the sense that she is highly irritated while the other party is glad to be done with an upset Joanne.

Notebook #26, page 16
The next page that jumped out at me was Joanne thinking that if she plays hard to get, that Rick would fall in love and cast away Cerebus' friendship.  How so much can be said without a single word.

Notebook #26, page 26


Batvark #1-- Hell is Other People, the Last Wednesday of Every Month...

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Restoration Update: Minds, High Society, and the Work So Far



Sean Michael Robinson:


Greetings folks!

Paper to Pixel to Paper Again is taking a week off so that I can present a few hilights from the previous few months work on the Cerebus restoration.

First off, I've seen a few posts here and there recently about which volumes, exactly have been restored, and which are already in print and available for purchase. So I thought now is as good a time as any to present an updated list that indicates exactly where each volume is at in the process—

1 Cerebus—RESTORED, PUBLISHED January 2017
2 High Society—RESTORED, PUBLISHED March 2015
3 Church and State I—RESTORED, PUBLISHED January 2016
4 Church and State II—RESTORED, unpublished
5 Jaka's Story—restoration in progress and almost complete
6 Melmoth—artwork and negs scanned
7 Flight—no progress
8 Women—no progress
9 Reads—RESTORED, PUBLISHED August 2016
10 Minds—RESTORED, PUBLICATION IN PROGRESS (August 2017?)
11 Guys—artwork and negs scanned
12 Rick's Story—no progress
13 Going Home—RESTORED, PUBLISHED November 2016
14 Form and Void—no progress
15 Latter Days—no progress

You might wonder about the jumping around involved in the above list. We're restoring in the order of demand, getting to each volume as the sales figures indicate it will be up for reprint next. 

You might also notice from the above that Minds is finished! I received some final corrections on Friday for the finished draft of the 6,000 word essay/back matter, as well as the cover, and so now it's up to Dave to work out the details with Diamond, and then I'll get us on the print schedule with Friesens, the fine folks that did the outstanding job on the fully-restored Cerebus Volume One back in January.

Speaking of that Cerebus Volume One, just this morning I received a very kind email from a certain Internationally Renowned Cartoonist And Super Nice Guy Who Might Prefer His Private Correspondence To Remain Private, who had this to say about the new volume—

"I have to say. If you haven't seen this version of the first volume then you haven't seen the first volume. This is a quantum leap. Congratulations!"

Which, come to think of it, might make a nice pull quote.

"I have to say. If you haven't seen this version of the first volume then you haven't seen the first volume. This is a quantum leap. Congratulations!"
—Internationally Renowned Cartoonist And Super Nice Guy Who Might Prefer His Private Correspondence To Remain Private

Hmm. 

Anyway, if you haven't picked up a copy yet, it's a really good indication of where this project is headed with future books and future printings. Very little visible dot gain, rich lustrous blacks, and zero (or next to zero) technical issues that cause me to grind my teeth and curse the heavens for months afterwards. 

Speaking of reprintings—

Despite the Jaka's Story progress, it's likely by the numbers that a new printing of High Society will be up next. No surprise, I suppose, since it's the most popular volume of the series, and had a bubble of unmet demand during its long period of being out of print.

It'll be an interesting exercise, too, as the first restored edition was printed by a printer that was not really up to the task, bringing way too much dot gain and a really thin/gray black to the finished book. So it'll be exciting to see that same careful restoration work presented in a much better light by Friesens. 

The new edition will also include whatever new original art boards pages we've made scans of since the first edition, which, as of this count, is around ten pages of new original art scans.

About half of these come from the prodigious collection of James Guarnotta, including one of my favorite sequences from the book (below)—

This is a really interesting, design-heavy look that Dave began in this period and seemed to perfect right as Gerhard came on board the book. With Gerhard as the background artist, this look—lots of flat planes filled with textures, with lots of stark black and stark white set off by a few choice middle values—disappeared for the majority of the series, with only Going Home and Form and Void bringing some brief reappearances.
 The above image is clearly Dave trying out for Moon Knight and Mad Magazine simultaneously.



Some images, like the above, can look downright bizarre in color, when you can see the arbitrarily-cut tone overlapping the black areas. It takes a whole different set of skills as a cartoonist to imagine what this would look like in print.


Note the un-inked blue lines, which contribute to the designy-ness—line by implication in the printed image.

Good question, Cerebus. Good question.

And now! It's back to Cerebus in Hell? for me. I've completed the finished files for the first four of the one-shots, and they're now at the printer (Marquis. Thanks folks for the great job you're doing!) And now it's time to tackle the next four, in the hopes of building up six months or so of lead time on the book, so the future ones can be completed in a more leisurely fashion.

Any questions? Comments? Wanton insults? Gratuitous praise? Hit me up in the comments!

Sean Michael Robinson is a writer, artist, and musician. See more at LivingtheLine.com.