Tuesday, April 20, 2021

April 29: Meet Trots and Bonnie

Meet Trots and Bonnie

On Thursday, April 29 at 7:30 pm EDT, Shary Flenniken will be talking about her legendary cartoon strip, Trots and Bonnie, which ran in National Lampoon from the 1970s until the early 1990s. Flenniken will speaking with New Yorker cartoonist Emily Flake and will present new illustrated adventures from America's funniest teenagers.

Goodwyn Cartoons Newsletter 4/13/21


What to do with the Morton Crania Collection?

What Should Museums Do With the Bones of the Enslaved?

As one museum has pledged to return skulls held in an infamous collection, others, including the Smithsonian, are reckoning with their own holdings of African-American remains.

April 20, 2021

The rest of Warren Bernard on Cartoonist Kayfabe

Richard Corben's UNDERGROUND Comix - Slow Death, Fantagor, Anomaly, Rowlf, Death Rattle, and more!

Ed Piskor, Jim Rugg and Warren Bernard
Apr 17, 2021

The Heavy-Handed Green Lantern/Green Arrow Comics From Denny O'Neil and Neal Adams!

Ed Piskor, Jim Rugg and Warren Bernard
Apr 16, 2021

The Best Comic of the 20th Century - Krazy Kat by George Herriman

Ed Piskor, Jim Rugg and Warren Bernard
Apr 15, 2021

Ed's Links (Order RED ROOM!, Patreon, etc): https://linktr.ee/edpiskor Jim's Links (Patreon, Store, social media): https://linktr.ee/jimrugg -------------------------

Ted Rall and Pablo Callejo at noon CDT TODAY

Join Rain Taxi for a special midday event with Ted Rall from Brooklyn and Pablo Callejo from Spain as they discuss their new graphic novel The Stringer — the story of a world in which journalism is dying and a star reporter goes from reporting the news to manufacturing it. Rall is the acclaimed (and sometimes controversial) creator of biographies of Bernie Sanders, Edward Snowden, and Donald Trump, among a slew of other books; Callejo is one of Europe's finest and the artist behind the award-winning graphic novel Bluesman. Registration info HERE (and don't forget you can watch the replay if you're otherwise engaged at lunchtime!)

Monday, April 19, 2021

Comics at the Lily that weren't tagged as comics

I started tracking my menstrual cycle — and it has given me a renewed sense of control

As I'm getting older, I've noticed my cycle is affecting me more than it used to

I started tracking my menstrual cycle — and it has given me a renewed sense of control
(Maritsa Patrinos)



Teaching in the pandemic is tough. But after a whole year, there are important takeaways.

I run high-school art classes online and in person

Teaching in the pandemic is tough. But after a whole year, there are important takeaways.

Friday, April 16, 2021

The Post on adapting tv to animation due to pandemic


A scripted comedy series was about to be shut down by covid. So producers made everyone into a cartoon instead. 'No Activity,' a cult hit on Paramount Plus, took a most unusual route out of lockdown

Steven Zeitchik

Washington Post April 16, 2021


DC-born Liza Donnelly interviewed by NBC News

How this cartoonist fought for her dream to draw for The New Yorker – and made it happen

In 1979, Liza Donnelly was only one of four women cartoonists at the prestigious magazine. Now she's using her art to inspire other women to pursue their passions.
By Brittany Loggins
April 12, 2021

Wednesday, April 14, 2021

Flugennock's Latest'n'Greatest: "DNC Ramen"

From Mike Flugennock, DC's anarchist cartoonist.

"DNC Ramen"

 From the party that brought you DNC Dog Food, New Blue Money 
Detergent, Blue Box Chardonnay, and their Premier Donut Assortment now 
comes — DNC Ramen! Just the thing to blow that big-ass $2000 — uhh, 
that is, $600 + $1400 — stimulus check that we were supposed to be 
getting. Never mind that Gropin' Joe, Jon Ossoff and Raphael Warnock 
came right out and said in front of god and everybody that their being 
elected would allow the immediate passage of $2000 per person in 
Covid'19 relief.

That would be two thousand —count 'em — two triple-zero dollars. Not 
the measly $600 and the "oh, alright" $1400 after that, which is what 
Snopes uses to give its master class in triangulation and "meaning of 
is" asshattery in an attempt to "fact check" what Biden & Bros said 
right in front of our personal faces. Luckily, we now have 
fact-checker checkers.

(includes full 11x15 and 8x10 "product shot")


"Did Biden, Ossoff, and Warnock Mislead Public With Promise of '$2000 
Checks'?" Alex Kasprak at Snopes, 02.17.2021 

"Fact-Checking is Dead, Killed by Snopes over Biden's Broken Promise 
of $2,000 Checks", Lambert Strether at Naked Capitalism, 04.08.2021 

"#TBT: What is the meaning of 'is'?" Brenna Williams at CNN, 

Mike Flugennock, Political Cartoons: http://www.sinkers.org/stage
and follow me on Mastodon at https://mastodon.social/@flugennock

Meet an Icelandic cartoonist: A Chat with Animator Gísli Darri Halldórsson, part 2

by Alexandra Bowman

 (continued from part 1)

Alexandra Bowman: So what do you hope that people come away from this film thinking? How do you hope that their daily lives change?

Gísli Darri Halldórsson: I hope people will look at their own life and their daily life, you know? That's why I've made this film for myself. Somebody told me, and I really took that comment kindly, is that somebody said that the film had just felt like a hug.

Alexandra Bowman: I was looking at the comments on YouTube and   the comments are beautiful. You should read them, if you haven't already. Someone said, “This really hit me hard. I feel this is what life is. We're a bunch of lonely people who are just trying to get along together. And this film kind of shows that amidst all the sadness we're going to keep progressing.”

Gísli Darri Halldórsson: It's funny because it seems like nothing's going on, but somebody said there's a lot of movies about Marvel superheroes saving the world but it feels like this is the battle of the everyday people, just people, who have normal jobs. And this is the biggest thing, how do I make life a bit more meaningful?

Alexandra Bowman: Realistically, like these are the battles we’re all are going to be fighting. There's so many definitions and concepts of what it means to see yourself on screen, but this is very much a way for everyday people to see things that they might not expect to be cinema-worthy on screen, in terms of “Wow, this is something that other people are dealing with and these are interesting kind of conflicts all their own as well.” How did you develop the humor in this film? Because there are a couple moments that are pretty dang funny.

Gísli Darri Halldórsson:  I don't know how to answer that…

Alexandra Bowman: Did you get it instantly or did you have to like think it through?

Gísli Darri Halldórsson: Some of them, some of those things have happened. I've seen a moment. I've seen an old man break wind and his wife go “Eww.” I knew I definitely wanted to have it light because I knew it was a really dull subject matter and it was going to be not very exciting. I was trying to go for the silent film format where you don't cut a lot. You don't have that relief, because that didn't seem right with that subject matter. [The film has] one still camera and it doesn't move or anything. So I knew it needed to be light. In fact, during the writing process, my grandparents died and they came into the story. When people die, you just suddenly see the big picture of their life as well. That's kind of what really inspired me about their life - they were married for 65 years or so. I know they got on each other's nerves and stuff like that, but they just had this unbelievable way to turn something into a game, or just make a life out of things. I guess maybe that's what you learn over time, kind of rebelling against the mundaneness. I don't know…

Alexandra Bowman: Rebelling against it, but almost reveling in it and seeing the beauty in it at the same time, maybe rebelling against thinking about the mundane is mundane.

Gísli Darri Halldórsson: It's just like a twist in attitude. This person may annoy me, but we can have fun. I don't know, that's not the right way to say it.

Alexandra Bowman: This is in a way, even though it's so “every day,” and even though it seems boring and unexciting and regular at the time, there a beauty in it, and it probably is different, in terms of what that beauty is for everybody. But there is beauty there.

Gísli Darri Halldórsson: Yes, a little bit refusing to take part in this everyday-ness, you know, without having fun, your own fun, something like that. So I'm really happy because I did, even though the characters aren't really them, the energy between them is from my grandparents really.

Alexandra Bowman: So what will you be doing on Oscar night?

Gísli Darri Halldórsson: I'll be in LA. I'm going to LA soon and we'll be quarantining until the ceremony. So I'm looking forward to that. Obviously if I'm COVID positive, I won't be going. [laughs]

Alexandra Bowman: So you're going to be in the Oscar auditorium then. When your film gets nominated, what does that look like? Do you get an email or…

Gísli Darri Halldórsson: I just have to watch the live show and then you get an email later after that.

Alexandra Bowman: You don't get anything in advance?  You find out that your film got nominated at the same time as the rest of the world?

Gísli Darri Halldórsson: Yeah. Also when it was shortlisted, it was the same. I heard they I think I have Price Waterhouse Cooper to hold the envelope of the results, so nobody knows apparently who wins and stuff.

Alexandra Bowman: How do you submit a film to the Oscars?

Gísli Darri Halldórsson: Well, it has to be eligible, so they have a rigorous process. You have to go through to make it eligible. And to be honest, I have to say, I was just happy that it was eligible. That was my peak. And then I got nominated and I'm on cloud nine.

Alexandra Bowman: What makes a film eligible? Is it length requirements or what does that look like?

Gísli Darri Halldórsson: Yeah, a lot of requirements. It has to win in a certain film festival or be screened in a major city for a week in the cinema. Some other ones - obviously the year counts as well.

Alexandra Bowman: What do you hope wins the best animated feature Oscar? Do you have preference for those?

Gísli Darri Halldórsson: I've seen Soul. It's beautiful. I really like it. I have a three-year old, so I haven't been able to see a movie in a long time. I managed squeezing Soul there, but I'm hoping to use the time in quarantine to see them. Cartoon Saloon did WolfWalkers. I'm always a fan of them. I went to the same college as the founders of that studio.

Alexandra Bowman: Speaking of filmmaking, what is your next project?

Gísli Darri Halldórsson: Oh, I have a few. I'm not sure which one is next. I think after this Oscar discotheque I'll know better, but I have a book that I want to do that’s almost ready. And I have a TV series and a live-action film and an animated film.

Alexandra Bowman: Any sneak peaks or into what they're about?

Gísli Darri Halldórsson: No. I burned myself on this before, about revealing something too soon that takes a bit of the edge in your head about it. I've learned that hard lesson before, but believe me, I want to say it…

Alexandra Bowman: Do you have anything else that you want to say to the masses about filmmaking or inspiration or art, creativity, any of that?

Gísli Darri Halldórsson: I don't know. I don't think so. Probably when I'm in bed tonight, I’ll go “Aha! I have this golden nugget that I could have shared.”

[End part 2, as the conversation turns to Georgetown University and basketball…]

Warren Bernard week at Cartoonist Kayfabe

The Galactus Trilogy! Fantastic Four issue 48-50. Stan and Jack's Epic Masterpiece!

Ed Piskor, Jim Rugg and Warren Bernard
Apr 11, 2021

CGC Snuff Film - Action Comics 48 with Warren Bernard

Ed Piskor, Jim Rugg and Warren Bernard

Uncle Scrooge! Carl Barks! A Macro-view of a Master Cartoonist and His Beloved Comic Series!

Ed Piskor, Jim Rugg and Warren Bernard
Apr 13, 2021

Graphic Novels - The REAL History

Ed Piskor, Jim Rugg and Warren Bernard
Apr 14, 2021

Tuesday, April 13, 2021

Cavna remembers Mad's Frank Jacobs

Remembering Frank Jacobs, the 'poet lauridiot' of Mad magazine who inspired comics like 'Weird Al' Yankovic [in print as 'Poet lauridiot,' a genius at puttin' on the wits].

Meet an Icelandic cartoonist: A Chat with Animator Gísli Darri Halldórsson, part 1


By Alexandra Bowman

Georgetown University student Bowman interviewed the Icelandic cartoonist Gísli Darri Halldórsson as his short movie Yes-People is nominated for an Academy Award (it's online at the New Yorker's site). They spoke via Zoom for the Hilltop Show on April 12, 2021 (and the video will be appearing there soon) and the edited transcript follows the press release background information (so we don’t have to rephrase all of the information on Halldórsson’s career.)

Gísli Darri Halldórsson’s animated short film YES-PEOPLE shares a story about an eclectic mix of people finding a way to cope with life’s daily struggles. After premiering at the Minimalen Short Film Festival in Norway, the film went on to win numerous awards and has just been Oscar® Nominated for the 93rd Academy Awards® in the Animated Short Film category. Icelandic Animator and storyteller Gísli Darri Halldórsson graduated with a BA (hons) from the Irish School of Animation (Dublin). He has been a professional animator since 2007. Notable films he worked on include the Oscar nominated short GRANNY O’GRIMM’S SLEEPING BEAUTY, the Oscar nominated short THE ROOM ON THE BROOM and Bafta award winning TV-series THE AMAZING WORLD OF GUMBALL.

Gísli has also worked in live-action doing storyboards for Nordic noir series TRAPPED (Series 1) and Icelandic feature films such as VULTURES and I REMEMBER YOU. His narrative music videos such as WHATEVER by Leaves, received a nomination for best music video at the EDDA Awards (The Icelandic Film & TV Academy) and THE GREAT UNREST by Mugison received best music video of the year at the Icelandic Music Awards.

Just some of the accolades YES-PEOPLE has received include the Best European Short Film at the Wierd International Animation Film Festival in Spain, the Children's Choice Award Nordic Youth Category at Nordisk Panorama in Sweden, the Best Nordic-Baltic Short Film at the Frederikstad Animation Festival in Norway, the Audience Award at Uppsala Short Film Festival in Sweden and many more.

YES-PEOPLE was written and directed by Gísli Darri Halldórsson produced by Arnar Gunnarsson as well as Halldórsson for the production companies CAOZ and Hólamói. Just some of Gunnarsson’s work includes the animated TV Series’ TREASURE TREKKERS, TALKING TOM AND FRIENDS, ELISA: RESCUE TEAM ADVENTURES, the animated feature LEGENDS OF VALHALLA and more. International sales are being handled by Magnetfilm. The film was supported by the Icelandic Film Centre.

Alexandra Bowman: I am sitting down today with filmmaker Gísli Darri Halldórsson, the director of the animated short film, Yes-People which has just been nominated for best animated short film at the Oscars, the 93rd Academy awards. Thank you so much for sitting down with me. I'm so excited to hear from you about how this film was made.

Gísli Darri Halldórsson: Yeah, thanks for having me.

Alexandra Bowman:  How did you develop the concept for this film - in which the idea is that people use one word, a minimum amount of communication to go about their daily lives, and express a whole range of emotions and feelings and situations to each other?

Gísli Darri Halldórsson: So a long time ago I was talking to my Irish friends and I was explaining to them this concept of the Icelandic “Yes” which is “Já,” and how it's ridiculous how often it’s used in Icelandic everyday speech to the point where our neighbors and Faroe islands call us the Yes people. They were just laughing at it, and it just got me thinking about a film with only one word. And then I started thinking about the semi-silent film format, which is I'm sure it has been done before, but I really wanted to pursue that. Animation is a performance that has a lot of gestures, and you control over every single pixel, so you can really be pretty polished with the performance. At the same time, I was also obsessed with routines and habits and I was sort of terrified about living my life in a loop and not growing at all. I kind of married those two ideas together. I thought it would help to have characters who are living their life in a loop and they can only say one word as well. So it was a marriage of the two ideas. I feel like the yes thing is like butter and the habit routine thing is like the bread underneath.

Alexandra Bowman: Did you start making this before or after March 20,20? When did you start making it?

Gísli Darri Halldórsson: The seed, the conversation with my friends was in 2012. So yeah, in2013 I started writing and designing the thing, but yeah, there was like a five-year period of just finding tiny pockets of time between freelance jobs to work on it. I got a production grant from the Icelandic film center and worked on it until the end of 2019. Yeah. So it was completely a coincidence that it kind of fits with the COVID situation. I think it  has another level maybe that was not planned.

Alexandra Bowman: It's interesting to hear you talk about it in terms of the loop, because for me, at least living at home has really showed me the little habits and ruts that I tend to get into. The pandemic emphasized all the little things in life that you might not notice when you're kind of stuck in your own world.  What have you been doing over the last year and how has it helped your creative process?

Gísli Darri Halldórsson: I was following the film and it did really well in film festivals. It’s gone into a lot of lovely festivals, but I didn't manage to see it at all with an audience except in Iceland, which was a lovely experience. And yeah, that's a lot of work. I think there's probably more work doing the online … the COVID festival work. I don't know. It seems like it seems like more work somehow. But, I was working also offsite for a London based animation studio called Blue Zoo on show called Paddington …

Alexandra Bowman: Paddington! Are you serious? Oh, I'm a big fan. Big fan. Big. I have a plush Paddington right here…

Gísli Darri Halldórsson: It’s a lovely show from Nickelodeon. They're doing a really good job. Now I'm on another show, but I guess that's, that's been the benefit for me in the COVID situation. Remote work has been more for me, because I live in Iceland and there's not a lot of animation work on offer. I was kind of living my life in a bubble, like in the COVID situation, because I was working a lot from home before, even as early as 2009. So maybe that's why I started thinking about this because there was a lot of just being in the house, working.

Alexandra Bowman: Because you have been doing this longer than any of us, you gave us a preview of what it would look like. How do you typically look for inspiration for your work? What gives you the creative spark?

Gísli Darri Halldórsson: I feel like inspiration just happens. Something comes in front of me and I go, “Wow.” I think for this film, it was a very long time project. You know, if you have an inspiration to do a film, you can you can lose momentum. And I think a lot of films end up that way; it becomes a chore. I think there's a lot of unfinished films and books and all that, but I think what helped me is obsession. Finding an obsession and an inspiration, because there you have a natural tendency of the brain to go somewhere and it seems unresolved. So far that's my wisdom.

Alexandra Bowman:  Because you're already thinking about something so much. You probably dwell on it a lot and explore it and think about the nooks and crannies and the ideas. So it would be easy to go and make a whole movie about it. What did you consider while designing the characters in this film? Because they have that kind of beautiful rubber-hose stylized look, but they're also in a hyper realistically-rendered world. And I always think that juxtaposition is really interesting.

Gísli Darri Halldórsson: So actually, the world is photographs. It's animated against photographs, but I know what you mean. It looks almost unreal because I took [out] all the color and I recolored them, which makes them slightly less like photographs. And there are some props in there that are 3D, but the reason I chose that style is that I wanted to have that feeling of…  there's something about those sort of caricatures that for me, they're like interpretations of a spirit as well. It’s almost like the spirit version of a person. And I just wanted to have that sort of characters that seem to have a lot of potential and they're stuck in this real world. So that was the idea - to emphasize their stuckness. They don't quite sit in their world.

Alexandra Bowman: Right, you want stylistic contrast between the people and then the world that they're living in? What did the process look like as you developed the characters from like beginning to end? Does it start with a sketch maybe?

Gísli Darri Halldórsson: Some of the characters that are based on people that I know. And I think a few of them have realized this, but they're not completely the character, sometimes it's just the look and the person[ality] might come from someone else. I tried to avoid arbitrary designing. I tried to have something as an anchor. So for instance, the bitter alcoholic lady, she has a huge hairstyle. I started off from, “Oh yeah, I want this person to be kind of like living in a dark cloud so big that, you know, nobody can approach her really, unless she has her hair in her curlers.” Then there was the music teacher who was based on a bird, like this idea of somebody who likes to sing naturally. Those sort of just little things. There was always one idea, just as a starting point.

Alexandra Bowman: How many drafts do you usually go through for one character?

Gísli Darri Halldórsson: I can't say. Some were really easy. The music teacher was really quick and really hit and there was one character, the old man, he was too similar to the fat person in the film. I didn't want people to go like, “Oh, who's this guy?” I also tried to make them a different color or different from each other, so you just immediately know, so I had to redesign him quite a bit. And so I can't really say how long it takes; it's such a hard thing to measure that nebulous five-year period where I was just working. Sometimes I was working for nine months and I couldn't do anything on the film, and then I'd get like a month to work on it, so it was hard to say.

Alexandra Bowman: My vantage point as a 21-year-old, currently taking some animation classes, might be hard for people like myself who are used to the social media model of “you produce something, you post it, you produce something, you post it” kind of like feeding the beast, feeding the algorithm. Do you have to fight that in yourself? I finished a little short film a while back, but it was tough for me to work on something for that several month-long period of time.

Gísli Darri Halldórsson: Absolutely. It is tough. I'd say I came from the blog generation, so I was posting drawings and stuff on my blog, and there was no “likes” or stuff like that. It wasn't as addictive in terms of, “Oh, how are people liking this one?” Right. But still you check the weekly hits and stuff, so I definitely know exactly what you're talking about. I really thought, “I really enjoy doing this blog. It's great for my visual development and my thinking, but I'd really like to do a long-term [piece]. All the work that's gone into this blog could have been a film as well.” I think really the key was finding the inspiration in the obsession. I just remember thinking, “I know it's going to take a long time to make the film. I really need to find something or work with something that I know is going to have the oil to last.” And it was hard. It was a hard film to finish, but I think the key for me was I always had a sense of meaning, because I was working on something that was quite close to me and something that I was concerned with, and interested in.

Alexandra Bowman: What would be your words of advice to a college student or recent graduate who has always been interested in filmmaking, but hasn't quite gotten the boost to go make their own film? What would you say to them to help get them off the couch and into their little studio?

Gísli Darri Halldórsson: First of all, I would say not everybody needs to make a film. I think it's also finding your voice. What do you really want to do? I think a lot of artists, really talented artists, they think about their ideal self and think, “Oh, I should do a film,” but try first, listen to your real self. What do you really want? It's really hard, because our environment is constantly telling us what we should do. There's so many little systems that are tricking us and seducing us into this. But a part of, you know, the subject matter of the film is talking about what do you do with your every day? It's like looking at a huge painting that's either beautiful or sad or horrific, but if you go zoom in on a tiny square, it's completely meaningless and it's ugly, or it's dull and it doesn't have any meaning. But if you know the big picture, it is actually a really important part of that picture obviously, and that's how I think I view habits and routines. T might be helpful for younger people or anybody actually, who wants to do something over a long period. I read a book, I I'm sorry, I can't remember the name, but it was some reporter or journalist who had gathered all these habits and routines of politicians and scientists and artists. It was just like a little book like that. And it was super interesting to see their day-to-day life. It was really dull, but the work that these people produced! It was all the big artists such as Picasso and all these people had some really funny routines. Gertrude Stein apparently liked to go every morning with her girlfriends to the countryside to sit in front of a cow and write.

Alexandra Bowman: (laughing) They're serene. They are inspirational. I aspire to that level of peace.

Gísli Darri Halldórsson: I know it's cliché, but if you write for 10 minutes every day for a week, suddenly in a week, you're so invigorated and your day has meaning. If you do that in a year, suddenly the year doesn't seem like a blur anymore. I think it's like the first thing people should think about. Figure out what they want to say, who they are, who the real them is -  the ideal version, and just kind of chip away every day and in a year, maybe they'll that at least they'll be happy with what they put their mind to. I also experienced it first hand because I was really not good at drawing. And there was that same thing, my drawing teachers saying, “Oh, if you draw out 15 minutes a day, you'll be amazed in a month.” Obviously you do [better] under the direction of a teacher of course, but yeah, it's unbelievable.

Alexandra Bowman: Last year at the start of quarantine, I challenged myself to draw one cat every day in April. And just because I would feel bad for skipping a year, I'm doing that again this year. Even after a week, I feel like I've improved and I already draw most days. But for some reason, focusing deeply on something over the long term or doing something little every day helps add up.

Gísli Darri Halldórsson:  Your mental health is just also for your happiness, to have meaning in your life. There's nothing sadder than just thinking, “What did I do last week? Like what was I doing?” and there's nothing, you know?

Alexandra Bowman: Yeah. I kind of enjoy looking back at my Instagram and what I've drawn and thought, “This is evidence that I existed, just to myself. Maybe it probably won't be remembered in 50 years or whatever, but at least I know that I was alive and I was thinking and creative and used this time.” I think that's really interesting.

(continued in part 2)

Tonight!: ‘The Underfoot’ graphic-novel series co-creators talk

'The Underfoot' graphic-novel series co-creators plan Member Book Talk for 7 pm on Tuesday, April 13

National Press Club member Emily S. Whitten, co-writer of the award - nominated "The Underfoot" graphic-novel series, along with co-writer Ben Fisher and artist Michelle Nguyen, plan to discuss the second book in their series, The Underfoot: Into the Sun, during a Virtual Member Book Talk on Tuesday, April 13, at 7 p.m.

The Underfoot

The event is open to everyone but to be admitted to the Zoom event, you must RSVP by email to Heather Forsgren Weaver at heatherforsgrenweaver@gmail.com.

The Virtual Member Book Talk is slated to preview the second book in the series, Into the Sun, which is scheduled for publication on April 20.

Set in a post-apocalyptic Washington, D.C., where all humans have disappeared, "The Underfoot" sci-fi graphic-novel series chronicles the animal kingdoms left to rise and fall in the absence of the "Giants-That-Were." At the center of the series are groups of intelligent hamsters with special skills struggling to survive amidst a world of deadly threats and conflicting stories about their species' origins. Suitable for middle grades and above, the first book in the series, The Underfoot: The Mighty Deep, was nominated for a 2020 Ringo Award for "Best Kids Comic or Graphic Novel."  The Mighty Deep focuses on the valiant Hamster Aquatic Mercenaries, or H.A.M., as they seek to find new recruits for a mission to save their badger allies from dangerous flooding in an epic fast-paced adventure that combines heroic battles, dark mysteries, and heartfelt friendships.

Into the Sun revisits the H.A.M. and their new allies, the Hamster Airborne Paratroopers, in a tale full of escapes, rescues, and strategy.

The event is sponsored by the Member Author Book Group, which seeks to produce events for members to promote their recently published books. To inquire about the group, please contact Joe Motheral at joegm35@aol.com. The group meets (currently virtually) on the second Tuesday of the month at noon.