Posts Tagged ‘NewOrleans’
17 items.
This storyline came about because the summer after dropping out of UMass, I house sat in New Orleans, a mix of wanting to be close to my brother who was living there at the time, and not knowing what to do next with my life.
Lenny’s Mug reads, “Jove’s Drink.”
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She’s playing the “I’m squishing you between my fingers” game.
Paul was interesting to write. Someone who would be outside of my usual liberal circles, and sometimes even rather unlikable. It was also interesting to write it so that Bruno accepted him, but Lenny and Paul show outright animosity towards each other.
Anyhow, Paul and Bruno. Paul is one of those friends, who you got to know, and saw a good side of them, and your friendship continued on, despite further and deepening evidence that your values are very divergent.
I think a strength the both of them have is being able to mock each other’s values, and still get on.
I lived (house sat) in New Orleans the summer I wrote these strips. And I can tell you, the roaches, crawling, hiding, flying…. they gave me the willies. I felt guilty each time I attacked, but attack i did.
In New Orleans, sitting around the house in a bra or small top is totally reasonable.
I’m guessing this strip originally ran in late spring/early summer.
Notice the cockroach on the wall. I’m telling you, I was obsessed.
I’m sure this strip was mainly just to say “yay” about that news. Â And although this strip was part of the experiment of writing such an opposing foil, I think I played Paul a little too one-dimensional here.
One of my favorite places I went was the bar atop the Trade Center in New Orleans. It slowly revolved about once an hour, so you got to see the entire city.
Not much to say on the dialogue. Just that feeling of insignificance. Stars are always good things to have around when illustrating insignificance, they emphasize the point.
This is a very odd strip (in the early strips especially) because of the use of black. To explain, I’ll have to take you back to high school, where a teacher told me that the things that add value or make something “artistic” in illustration are: use of blacks, and variable line weight.
This was one of the main reasons in Bruno that I used neither. I was young, it was a stupid reason, but the end result was that I learned a hell of a lot.
Give yourself good limitations or a nasty crutch, and you’ll be amazed at the solutions you can fine.
While in New Orleans, I contemplated many times drawing portraits for money on the streets. I’m not sure if I truly thought I wouldn’t be good at it, or if it was merely fear, but I never did. So I had Bruno do it.
In general I avoided trying to write dialects this strong in Bruno, but this was an actual conversation I had with a man on the street, as best as I could record it after the fact.
I now know what a corn is.
