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Four hundred discerning readers and $14,000 just can’t be wrong; in addition to covering most of the publishing costs for the next issues of Farel Dalrymple’s It Will All Hurt and François Vigneault’s Titan as well as Sam Alden’s debut graphic novel Haunter, we’re delighted to announce that the next issue of our hybrid comics/criticism flagship magazine has also been Kickstarted ["™"] in the first stretch-goal stage of our campaign — now, we can cram even more content into issue #3D than we had hoped, at no extra cost to our beloved but largely cash-strapped readers. Instead of the planned 80 pages, #3D is 96 pages! We can only hope that it doesn’t bully its 64-page siblings, issues #1 and #2.

We’d like to thank all of our supporters for helping us give the new and improved flagship such a boost, and we’re excited to share material from the issue in the next few weeks — but, for now, you can tell your friends, tell your enemies, tell that guy in the comic shop who always smells like a sour-milk smoothie of cumin and yeast and follows you around the store trying to chat if you accidentally make eye contact — tell everyone you encounter that this is the complete rundown of Study Group Magazine #3D’s contents:

In full living color, we have:

A slyly brilliant 3D cover by Jim Rugg

A back cover by SG Godfather Zack Soto

Comics by Sophie Franz, Pete Toms and Connor Willumsen

An interview with Ron “D-Pi” Wimberly by Milo George

An essay on the use of color and texture in Wimberly’s Prince Of Cats by Sarah Horrocks

 

In Studygroup’s trademark limited color:

Comics by Trevor Alixopulos, David King, Mia Schwartz and Benjamin Urkowitz

An epic double-page illustration by Tyler Landry

 

In glorious black and white:

A haunting B&W short story by Julia Gfrorer & Sean T. Collins

A profile of comics critic/advocate/editor/publisher Ryan Sands by Rob Clough, and an essay on Rob Schrab & Dan Harmon’s Scud: The Disposable Assassin by Sean Witzke

A hybrid article/comic about a childhood rape, the Dark Shadows TV show and the sometimes strained relationships between memory/meaning, words/pictures and parents/children, concluding with a comics adaptation of an essay by William S. Burroughs, by James Romberger

 

And in the heart of the issue, our reason for numbering it #3D — 19 pages of articles and comics in full-color and classic-red/blue anaglyph 3D [glasses included in every issue]:

A history/commentary on the rise and fall and rise and fall and rise of stereoscopic art by the issue’s 3D consultant/engineer/SGM MVP, Jason Little, and an essay by Joe McCulloch on Le Dernier Cri’s own 3D anthology, 3DC.

Comics by Chris Cilla, Kim Deitch, Jason Little, Malachi Ward and Dan Zettwoch

Written tributes to the late King of 3D, Ray Zone, by Mary Fleener, Melinda Gebbie and Alan Moore, with an introduction/appreciation by the editors

A short interview with Kim Deitch about Mr. Zone and 3D, by Chris Duffy, featuring never-before-published 3D material from Deitch’s There’s No Business Like Show Business

 

*******

If you don’t want this issue, then you are insane. There’s no other explanation. You could wait and pray that your local store orders SGM#3D, or you can take control of your life and order the issue, and/or other fine SG publications, right now right here until the 26th.

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This took some digging to find — I don’t know if it’s just my collection or if Hank Ketcham’s comic-book crew simply didn’t have much interest in Halloween stories — but I’m glad I can treat you to some solid funnybook craftsmanship from writer Fred Toole and artist Al Wiseman. This was one chapter in Dennis The Menace Giant #49, “Dennis the Menace All Year ‘Round,” as published by Fawcett in 1967.

The second page is particularly interesting to me — it may have a rare example of Wiseman cutting corners in his work, violating what seems to have been a rule he followed to have no more than one silhouette a page. He loved saving such blacked-out shots for full-body profile drawings, carrying the moment with his expressive body language, which often depicts the moment when Dennis thinks of a plan to achieve his goal but will wreak havoc on the adults around him.

By the time in his run on the series, Wiseman had transitioned from a bravura style — lots of big, show-stopping, elaborate establishing panels and perspective drawing that you never saw in kids comics before or after him — to a deceptively simple but so-easy-to-screw-up-it-takes-guts-to-attempt minimalism. His George Wilson may be almost as difficult to draw correctly as Charlie Brown is.

In the “I dunno Mr. Wilson! Honest!” panel, the slight tilt of Dennis’ head mitigates the malevolence of the devil mask at the same time it leaves us with no sense of what Dennis’ emotional state is behind it. Is he smirking, gloating over how Mr. Wilson is inconveniencing himself to help Dennis dismantle his own gate? Is he simply having some innocent fun on Halloween? Dennis is such a cipher, I suppose it’s none of the above; he’s just asking for a screwdriver because that’s what the plot needs to progress.

The treat to enjoy on this page is the bottom left panel’s addition to accommodate the roof. This could be seen as laziness or poor planning on Wiseman’s part, but I don’t see how the page could be done better and still cover everything the way it does. Shrinking the elements [the roof and the boys] in that panel to fit the square would upset the balance of the shots, which keep the boys at roughly the same size/distance to emphasize the distance between them and Mr. Wilson in the first panel and them to the ground in the last.

I like the vignette quality in the top panel — it’s not just an establishing shot of the garage relative to the house, they add a nice bit of business where Tommy [the clown] peers around the corner while standing next to a nervous Joey [the rabbit] and the purloined gate that they need the ladder & rope for. Cropping off the top of the roof in the panel wouldn’t work either; bad storytelling, even worse graphics. Do we need to see Mr. Wilson’s legs in the panel above? No, we get a full shot of him in the next panel anyway, so the roof helps break up the sameness of that tier’s compositions. This ain’t no use-arrows-in-the-gutters-to-traffic-cop-the-reader-through-the-page layout laziness, fanboy.

I love the borderless panel and its composition so, so hard. All competing pleasures will be destroyed. But always — do not forget this, Joey — always there will be the intoxication of power, constantly increasing and constantly growing subtler. Always, at every moment, there will be the thrill of victory, the sensation of trampling on a neighbor who is helpless. If you want a picture of the future, imagine Mr. Wilson slipping upwards on a screwdriver — forever.

I should take the time to discuss the Dennis team’s lettering beyond pointing out the obvious — it’s beautifully crafted and extraordinarily expressive — but I’m running out of room and I can’t let go of two things:

One, Dennis is the devil, Joey is the rabbit, the dialogue cites Tommy as the clown — who’s in the Frankenstein mask? Why did they need a third sidekick, anyway?

Two, Dennis and his crew don’t even stick around to watch Mr. Wilson flip out over his missing gate. Clearly, this was business, not personal. Oh, your wife forgot to buy candy for Halloween? Fuck you pay me.

Finally, let’s acknowledge the elephant in the room whenever I rave on about these Dennis comics; as brilliant a draftsman as Wiseman was, the bulk of his best-known work was wasted on weak, often bizarrely flawed scripts. This story relies on the idea that a childless neighborhood hen like Martha Wilson would forget to buy candy or make cookies for the kids on Halloween. She had treats ready for them every other day of the year, but not today? I kinda like that it’s George who learns a lesson at the end, not Dennis — without examining my heart and soul too much about why, I’ll guess that I’d rather see Wiseman draw Wilson in action than read page after page of Dennis — but that’s probably another reason why these comics can’t quite stand on par with its spinner-rack peers like Barks’ duck comics, Little Lulu and Kurtzman’s MAD, despite Wiseman’s supreme level of craft.

Happy Halloween, kiddies NOW GET OFF MY LAWN

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HEY GET WITH IT

There’s new books from every PRESS GANG publisher! 

We’ve got awesome guest friends BWANA SPOONS (saturday only, maybe), BRANDON GRAHAM, & FAREL DALRYMPLE!

Several of us are on various panels or workshops!

YEAH WE’RE GONNA HAVE FUN!

 

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So in all the hustle and bustle trying to get Farel Dalrymple’s new book promoted and ready for Stumptown Comics Fest, we haven’t really talked about our other debut of the show:

Study Group Magazine #2!

Yes, it’s true. We finally got it together. It’s here, and it’s beautiful. Same format as #1 but in classic SG Pink & Blue this time.

Art & Comics Contributions From:
  • Jesse Balmer
  • Lilli Carre
  • Michael Deforge
  • Jeremy Onsmith
  • Lark Pien
  • Tim Root
  • Kris Mukai
  • Mickey Z
  • Zack Soto
  • Trevor Alixopulos
  • JT Dockery
  • Dan Zettwoch
  • Julia Gfrorer
  • Jonny Negron
  • David King
  • Aidan Koch
  • Chris Kuzma
  • Sam Alden

And Comics Journalism by:

  • Rob Clough on Josh Bayer
  • JT Dockery visits with John Byrne
  • Milo George interviews Angie Wang (who provides our cover)
  • Sean Witzke on Baker & Helfer’s JUSTICE INC.
  • Zack Soto interviews Maré Odomo 

64 oversized two-color pages, edited by Milo George & Zack Soto. Drops 4/27/13.

art above by David King & Mickey z

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Whew! It’s been a busy couple of months here at SG HQ. Stumptown was a blast, Milo and I are working on SG Mag #2, and Larry Reid of the Fantagraphics Bookstore & Gallery asked me to curate a SG themed art show! crazy.

I asked a handful of SG artists from both the website and the magazine to send in art for the show – in the end the show consisted of myself, Aidan Koch, Jennifer Parks, Farel Dalrymple, Kazimir Strzepek, Levon Jihanian, David King, Malachi Ward, Ian MacEwan, François Vigneault, and T Edward Bak. The space was limited or I would have shoved even more homies in there.

So it was one beautiful Friday afternoon before the show that Ian, my wife Krista and I headed up there to peep the show and see some friends. I managed to take a couple photos here and there, and stole a couple from pal Max Clotfelter’s facebook account.

Here’s Ian and Kaz getting sleepy Friday night at the Redwoods bar. They were playing TCM (instead of a sports channel or Seinfeld) on a big screen and Ian and I were overly impressed by that. Not a bad place to pass the time, plus some good people watching. Krista and I talked about how nice it was to be in a bar and not recognize a SINGLE PERSON (Portland, for all its charms, is a relatively small/big town).  Tom Van Deusen and Dalton James Rose came and met us for a drink, but before long it was time for some Tacos Gringos and deep deep sleep on Kaz’s couch. I wish I’d thought to take some pics at Kaz’s place, as he has a CRAZY amount of awesome old toys and pages of Mourning Star to ogle. I somehow never realized Kaz works at print size?!??! the pages are TINY. Kaz, if you don’t watch out you’re gonna get hand cramps!

 

Anyhow, the next morning Kaz and his lady Jesica joined us for brunch before Krista and I went down to the waterfront for some olde-fashioned tourista action. We made a beeline for Ye Olde Curiosity Shoppe, as Krista has a squished penny collection that needed adding to, but we also met some new friends there, like Sylvester:

And here I am shoving Krista into a wall of disgusting bubblegum. This alleyway was COVERED in chewed up gum, it was sort of like being in a HR Geiger bioform tunnel.

After a couple hours of sun-worship, we met up with Ian and Dalton at Half-Priced Books, which we joked is one of our favorite comic book stores. Seriously, I always find some crazy out of print gems, and the .25 cent comic selection is awash with lots of great back issues. This time I picked up a cheap reader copy of Jeff Rovin’s Encyclopedia of Super Villains, mainly because I have such fond memories of poring over the Encyclopedia of Super Heroes as a kid. I doubt it’ll have as much of an impact on 36 year old Zack as 16 year old Zack, but that’s a nice Ernie Colon cover!

 

From there, we decided to bop down to the Fanta Bookstore, check out the show, and grab some grub. Larry was busily cutting up labels for the art and waiting on his “signage guy”, and pointed us towards Smarty Pants, a sweet sandwich shop around the corner. We were all starving and in need of a beer, so Ian, Dalton, Krista & I headed over and enjoyed some refreshments before the show:

and by the time we got back, it was all set up!

Please excuse the cropping of the edges of the show, and the general low-res nature of the images. I posted these photos to Instagram and my phone decided to delete the originals so these are the only evidence of the show that I have. Larry did a great job framing and hanging the show!

And look at that signage! Worth waiting for, very Pro! That’s a blown up version of Eleanor Davis’ logo from SG Mag #1, btw.

It wasn’t too long before people started to show up, and I became more focused on socializing than taking pics. Here we have Kaz, Max Clotfelter, Marc J Palm and myself all comparing our “Kuatos”. Hey, we’re cartoonists who drink beer!  Cut us some slack.

Scott Faulkner checking out the show. Kaz & Ian debate pen nibs or something. More of that/different angle:

Aaron Mew! I love that guy! He’s a funny boy. Pals from the local comics scene that showed up that I managed to not get photos of include Kelly Froh, Tom Van Deusen,  Jacq Cohen, Lillian Beatty, Dalton Webb, Tony Ong, Eroyn Franklin, Matt Southworth and probably more. A great time was had by all.

Before too long, though, we had to pack up and head home. What a great trip. I’d like to send a super special big shout out to Larry Reid for both the invite to do the show and the excellent hospitality we received in Seattle. The whole thing was just so damn nice and refreshing. And hey, if you’re in Seattle in the next few weeks, the show will be up until June 6th!

 

 

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Getting an artist’s professional-life story down on tape can sometimes be quick work; documenting the evolution of that artist’s creative process across that career always takes a hideously long amount of time. This is probably why most journalists don’t do craft/process interviews.

Even at its final, mammoth size in Study Group Magazine #1, my “Where It’s Done” feature on Craig Thompson omitted a lot of interesting/amusing comments and conversations that he and I had over the course of our marathon interview session and subsequent followups. I plan to periodically stitch together some of the deleted material from the raw tapes and share them here. – milo

 CRAIG THOMPSON: I went to the Milwaukee Institute of Art and Design [Wisconsin] for one semester because that was all I could afford. I paid for it out-of-pocket and then spent six months paying off my loans. I never ended up back in school. All you end up doing in your first semester is toothpick sculptures. I felt like I was in kindergarten. We also spent a lot of time in wood shop too, so it felt like we were in a white-trash high school. You’re in White-trash high-school wood shop or you’re in kindergarten; that’s art school. Appropriately, my favorite class and favorite instructor was English. I went to a community college for a year, where the art classes were my favorite; when I went to art school, English was where I thrived. I didn’t fit in either context.

MILO GEORGE: Did you work during your time in college?

THOMPSON: When I was at community college I got a job driving a delivery van for the Wausau Daily Herald newspaper, like dispatch for all the missed papers, for a year and a half; you’d drive out to deliver a paper to a house that didn’t get theirs and called in to complain. I used to draw these elaborate cartoons on the dispatch board and someone in the design department saw them and encouraged me to apply for a low-end ad-stylist job for the paper. So I applied and got promoted from low-end delivery-truck driver to doing graphic design at a newspaper. I was there for over a year full-time; at one point, I phased out my schooling and just became a worker. I think everything I learned about computers and graphic design, I got there. They were still doing paste-up back then — this is like 1994, ’95. It was cool to have daily deadlines too; it’s a great exercise for any cartoonist. You could walk downstairs into the gigantic pressroom with these massive presses running, it was all very tangible; if you made a mistake, you’d see how it turned out off the press. I still use all that information; it’s probably a little outdated.

GEORGE: So you’ve been drawing with final printing in mind from the beginning?

THOMPSON: Yeah. They had two presses: One was a small offset, small-run digital press — I made my first minicomic on that press. I wasn’t stealing copies; since I was an employee, I just had to pay for the materials. The only thing I did on the professional press was 2-Way Cartoon Machine. That’s actually my first minicomic is actually a flipbook, with myself on one side and Kurt Halsey on the other. He’s fairly well known in the indie painting world in Indiana. He went from being a cartoonist — he was the one of the people who convinced me to start drawing comics — to being a painter, but he has a cartoony style still.

I worked a bunch of shitty jobs in Milwaukee. I was there for another year, a full year after dropping out of art school. The biggest stepping-stone jobs I had back then were jobs animating laser-light shows for a children’s museum, Discovery World, and later drawing stuff for a small advertising agency.

For the museum, I was a one-man lackey for these two stuffy theater guys who ran the theater department at the museum. It was actually pretty cool; the actors were really good and they did a lot of things with Tesla coils and big gimmicks, semi-explosive things going off on stage. The museum acquired these lasers, and I got hired at seven bucks an hour to animate laser-light shows; they would give me a theme and a song, like, “Use ‘I Am The Walrus’ by the Beatles and the theme is ‘Alice in Wonderland,’ now run with that!” and I would have to create a storyboard, a narrative, and draw all the cells for the laser animation by myself. They were drawn with the mouse or a WACOM tablet, 20 plates or so per second, with a lot of loops. It took an insane amount of work and then they took all the credit for it; I think they’re still showing these laser shows that I did 20 years ago! That was a great best-worst job, because I was finally getting paid to make art, and at that point in my life, $7 an hour was amazing pay because I was doing telemarketing and working in bagel shops before that, but the museum job totally destroyed me; it was a lot of all-nighters and I didn’t get to see my friends.

Then I worked at an advertising agency. I had moved back home for three months before moving to Portland — my lease was up, my job was up and I was in no-man’s-land. I was 21 at that point, living with my parents and working in a small-town advertising agency, which was an awesome job. They had one copywriting guy who wrote slogans and jingles, two designers, two fancy-pants business people and a secretary — a really small agency. Probably the most fun job I’ve ever had; the energy was really funny, the stakes are so low because you’re just doing graphic design for small-town Wisconsin companies. That led to me eventually getting a job at Dark Horse.

I mentioned the children’s museum earlier as probably my best-worst job ever, but Dark Horse was definitely my best-worst job ever — I was in comics for the first time in my life, but so far away from actually making the kind of comics I wanted to do.

I lucked out; very early on, they singled me out as the designer for all the quirky, indie-style books, which made me so happy and I got to work with guys like Dave Land and Phil Amara. I remember the first time I got to talk to and work with Jay Stevens, on Land Of Nod, being a huge fanboy moment. I worked on Mike Allred’s Madman when it was still at Dark Horse — across the board, if they had a fun, quirky project, I was assigned to do the graphic design and that was the best part of the job, although still it was just graphic design. But I also had to do design for stuff like action figures for the character Ghost, very buxom, and “Aliens Versus the Vikings” when they put out books like that. [I thought Craig was joking or exaggerating but no, this really is a thing that exists.- milo] When I was working on projects like that, it was the worst thing in the world. Just in general — I was working on a computer all day long, making lunchboxes and logos when I wanted to be making comics, so it was both really exciting and yet super-frustrating but still a high point.

Anyone who’s been to Dark Horse knows it has a sort of dungeon-like quality; you have this perception that it’s going to be, ah …

GEORGE: You’re literally in Richardson’s fiefdom; it seems like there’s some Dark Horse department on almost every block of that town’s center –

THOMPSON: Yeah, but it’s very oppressive when you’re in there — or at least the design department was. It was like, “Shhh, no talking” like a library. Just working, no talking. I don’t know, maybe that’s how most of those jobs are. I visited LAIKA a few times; that place seems dynamic and fun but maybe, if you’re working there, it’s not. Maybe it’s oppressive there, too.

GEORGE: Was the design department upstairs when you were working there?

THOMPSON: Yeah, but I don’t think it was different from editorial, which wasn’t a playground either. There’s no windows in that area, everything’s very closed off. At least there are windows upstairs!

GEORGE: No windows, no wall clocks except one in the meeting room—

THOMPSON: There was a big clock right where I was working; I kept an eye on it.

GEORGE: Maybe they uninstalled the clocks recently; some corporate-productivity consultants come into an office and the first thing they do is get rid of the wall clocks, take them out of general-use areas like hallways. It’s the same theory behind why Las Vegas casinos never have clocks.

THOMPSON: Why?

GEORGE: That people are more focused and can stay focused on whatever’s in front of them for much longer-than-normal amounts of time if they have no reminders or indicators in their field of vision that time is passing.

THOMPSON: Man — that Life is passing.

GEORGE: Did you pick up a lot of knowledge about production for comics there?

THOMPSON: I learned Photoshop coloring at Dark Horse, and I still use that method, basically. There’s so much that they teach you about production methods that are outdated because they haven’t necessarily shifted as the technology has gotten so much better in terms of what printers can output; they’re still outputting at a pretty low resolution, so most of what I learned about production that has been most valuable and still useful I’ve gotten from my friendship with Jordan Crane, who is one of my first buddies in comics. We used to nerd out on the phone a lot.

I learned how to trap at Dark Horse, which was handy recently. Actually, that was one of my interview questions. I was interviewed by a couple people there, but one of them was Cary Grazzini; I brought in all these samples of work I had done at the advertising agency and he asked “Did you trap this?” And I said yeah, not kind of knowing what he meant; it was nothing I had to worry about before. Then he asked “How did you trap it?” and I finally asked “What’s trapping?”

I was just in New York to give final approval on the Habibi cover and I said, “Wait, these are trapped! I didn’t prepare these to be trapped,” because it originally was going to be clothbound. We spent six months working on a clothbound design and then at the very last moment Pantheon said it was too expensive for clothbound, it has to be paperstock. They took the same files that were designed to be almost like a screenprint on cloth and, at the last minute, I pointed out that they weren’t trapped. I had completely designed for cloth, but now I’m OK with paper — the front cover was supposed to have a tip-in, which would’ve been glued and that would be something could peel off, and sometimes when you’re stamping gold foil on cloth it can look shitty. The cool thing about this is that it’s going to be very crisp. I’m 100% fine with it not being cloth, but I was really worried that it would have that look, like I was trying to make it look like cloth.
-30-

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Studygroup12/Study Group Magazine contributor and jet-setter Aidan Koch is on one of her periodic walkabouts away from Portland, but she’s sharing pieces of her travels in the form of observational drawings made at each of her stops. For just $20 postpaid, you can own a lovely pencil study sent from wherever Aidan happens to be resting her head.

 

Bookmark: FIELD STUDIES.

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Getting an artist’s professional-life story down on tape can sometimes be quick work; documenting the evolution of that artist’s creative process across that career always takes a hideously long amount of time. This is probably why most journalists don’t do craft/process interviews.

Even at its final, mammoth size in Study Group Magazine #1, my “Where It’s Done” feature on Craig Thompson omitted a lot of interesting/amusing comments and conversations that he and I had over the course of our marathon interview session and subsequent followups. I plan to periodically stitch together some of the deleted material from the raw tapes and share them here. – milo

MILO GEORGE: Ever try spotting blacks with Q-tips?

CRAIG THOMPSON: People use Q-tips for that? I wonder if that’s how you get that perfect Kirby crackle.

MILO: I think so, depending on what size you’re drawing at.

CRAIG: I’ve always wondered how they get that effect. That would be one of many advantages of working in a place like Periscope Studio, where they know all those pen & ink techniques.

MILO: You’d have to call dibs on sitting near Steve Lieber; the last time I was there, it seemed like he was only who didn’t have a laptop and a WACOM tablet on his desk.

CRAIG: Being in a room of WACOM tablets would be very depressing.

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Trevor Alixopulos draws Sexy Ladies

A favorite here at the Study Group Headquarters since the Shiot Crock days of yore, Trevor Alixopulos has been posting lovely watercolor and nib drawings over on his blog for a while now.

Trevor is, of course, a talented cartoonist – His contributions to the last two Study Groups are definite highlights of each anthology, and his two graphic novels published by Sparkplug are classics of his own weird brand of political fever-dream. That said, if I had a billion dollars I’d hire Trevs to waste his talents for a little while drawing and painting the Epic Tale of Sexy Spies and Space Ladies that he clearly has waiting inside of him.

via - Haute Junk: To sea in a sieve.

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Welcome to StudyGroupComics.com, the mutant offspring of our print publication Study Group Magazine, itself a comics/criticism hybrid of comics’ greatest Missing Link from Parts Unknown, the StudyGroup12 anthologies.

Already being publishers of fine mini-comics and periodicals, Study Group Comic Books is delighted to present our new dual-channel webcomics and blog. We hope to become a part of your life, especially when you’re supposed to be working and need excitement and/or entertainment the most.

Because we love making the Gods laugh, we have made a plan: We’ll be uploading new comics every weekday at noon EST, with the occasional one-shot story mixed in by our wrecking crew:

MONDAY: Danger Country by Levon Jihanian
TUESDAY: The Mourning Star: Klive’s Story by Kazimir Strzepek
WEDNESDAY: The Yankee by Jason Leivian & Ian MacEwan
THURSDAY: The Lone Wolf by Jennifer Parks, and Titan by Francois Vigneault
FRIDAY: It Will All Hurt by Farel Dalrymple

Additionally, Michael Deforge will be contributing complete short stories every 6 weeks or so, Zack Soto’s Secret Voice starts on February 3rd, and there are to-be-announced contributions coming from Malachi Ward, Tom Neely, and more!

The site already has several short stories available for your reading pleasure, including Tom Neely’s thimble theatrical “Doppleganger” and Malachi Ward’s mindbending “Utu,” as well as SG Founding Father Zack Soto’s mystery “Day 34” and art-school confessional “Lost Art.”

 

Study Group Magazine co-editors Milo George and Zack Soto will provide a variety of daily content on the blog, from image-tumbling, to link-blogging to criticism, with occasional guest posts from our site cartoonists.

If this is too much free entertainment for you to handle, may we recommend sir or madam visit our Publications page to puruse our wares, and perhaps then essay over to the Shop to purchase copies of your own. Especially as this is not a “goddamn library.”

Enjoy!

 

Milo,  Zack & the Study Group crew

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