by Mike Rhode
Early next month, DC will have the rare treat of two Slovenian cartoonists visiting to
sign their graphic novel and
open an exhibit of comic art at the Embassy of Slovenia (which was part of Yugoslavia when I was young). As
Izar Lunaček noted on our blog last week:
The first days of November will see a double hit of Slovenian comics descend on Washington DC. On Thursday November 1st at 7PM, Nejc Juren and Izar Lunaček will swing by Big Planet Comics on U St., NW to talk about and sign their book Animal Noir, a comic thriller about a giraffe detective in a world of lion politicians and hippo mobsters that came out with IDW last year, and on the 2nd the same guys will open an exhibition on the vivid history of their own country's comics scene at the Slovenian embassy on California Street. Admission to both events is free and food and drinks might be served. Come on, come all, it'll be wonderfully fun!
He was also willing to answer a slight modification of our usual questions.
What type of comic work or cartooning do you do?
Funny and thoughtful are probably my two mainstays. I love comedy and I'm a trained philosopher, so that's probably the stem of that. Within those margins, however, I've done everything from anthropomorphic newspaper strips to socially critical detective novels to autobio and science stuff.
How do you do it? Traditional pen and ink, computer or a combination?
I love drawing by hand, still, the scratches of the crowquill pen and the smooth waves of the brush intoxicate me. That said, I have started coloring mostly on the computer because it simply reproduces so much better. Plus, I like the stark look of computer graphics used sparingly.
When (within a decade is fine) and where were you born?
At the very end of the seventies in Yugoslavia. I grew up reading great local and Italian comics (Marvel was a bit off-limits because ... Communism) that you can learn more about at the expo opening. When I was 12, however, my birthplace broke up into a buch of smaller states, accompanied by a bloody war. Lucky for us, Slovenia only got off with a 10-day skirmish and a couple dozen dead. It has, however, lost the entire huge, cosmopolitan Yugoslav comic market and that's something we're all still recovering from.
Where do you live now?
In Ljubljana, Slovenia's tiny capital. It's a beautiful little town with just over a quarter million folks, but all the perks of a capital, from well stocked bookshops to possible investors to great party venues. It has a river winding through downtown where you can sit and drink and sketch and chat, I love living there. The only downside is the minuscule market that can't really support comic creators - not even commercially-bent ones - hence my regular job-seeking trips to France and the US.
What is your training and/or education in cartooning?
I studied classical painting. Mainly because all of my favorite Slovenian cartoonists (TBC, Miki Muster, Magna Purga - you'll learn about them at the exhibit 😊) attended the same Ljubljana academy of fine arts. It's not really an "Art School;" it's more of the army crossed with apprenticeship; you had to be there the whole day, no excuses, from morning til night, and somebody was constantly shouting at you while the whole class stood still and didn't dare object too much. It's very classical, with obligatory attendance to daily session of drawing naked old bums posing for cheap and learning how to mix your own paint and stretch canvases and listening to lectures on art history. But it was great; together with my PhD in philosophy, it's given me a wonderful grab-bag of crafts and ideas to do comics with.
Who are your influences?
Apart from the local guys mentioned above, I read a lot of newspaper comics as a kid - Calvin and Hobbes, Pogo, Krazy Kat - and later moved on to more mature stuff by Alan Moore, but also Moebius and the madmen gathered around the Parisian mag
Charlie Hebdo. I'm currently freshly charmed by French new wave comics with guys like Joann Sfar and Christophe Blain, but have also been discovering American gems I'd overlooked before - like Mignola. I guess an unlikely combo of whimsically loose and fatefully blocky art is what drives me at the moment.
If you could, what in your career would you do-over or change?
Maybe I'd have gone to New York for a few years in my twenties which I always dreamed of, but was stopped by a bad relationship at home. It'd be fun to have gotten some isolated, unanchored, bridge-burned work done at that time. Other than that, everything's been pretty great.
What work are you best-known for?
In Slovenia a whole generation grew up on my newspaper comics in the early 2000s and I still get patted on the back for that at parties. Internationally, I made a tiny splash with an intricate webcomic called
Paradise Misplaced that was later published in book form both in Spain and the UK. And in the States, my one claim to fame is IDW's recent
Animal Noir series I co-wrote with Nejc Juren, a fantastic Slovenian writer and good friend. We're trying to get more stuff published over here, but meanwhile, we always have our home public as a grateful if not always paying recipient.
How does one pronounce "Nejc?"
Nejc is pronounced Neyts (j is like y and c is like ts in Slovenian). It's short for Jernej so Jerry basically.
What was your comic strip about?
The newspaper comic was about two tiny animals, the inquisitive, species-unidentified Professor and his unwitting helper Hedge the hedgehog. They'd live at the edge of a human city, discover human artifacts and devise ingenious theories about them. Or put on a theater show for the other animals or talk about politics etc, etc: in short, philosophical mayhem infused with a whole lot of silliness.
What work are you most proud of?
I currently just love working on my biweekly blog for a Slovenian web-paper. I think I've broken new ground there like I haven't felt in a long time. And the five people who actually read comics in Slovenia all love it.
What would you like to do or work on in the future?
I'd love to do some more ambitious stuff for France or the States, just to kick me into gear for a bit and get me to test my boundaries. Working on
Animal Noir for IDW was really rewarding, so another project of that scope would be wonderful. My co-writer and I on that are currently working on a slice of life romantic dramedy set among the Ljubljana student population; that's fun and might get greenlit by a British publisher soon. While waiting, however, I just spew out pitches on everything from Greek monsters to killer Santas and cities populated entirely by birds and I'll jump into any one of them with gusto the moment I get a bite.
What do you do when you're in a rut or have writer's block?
I walk around town, I chat to people and I sketch and doodle and play. Chasing the zing but not so hard to chase it away. But that's when I'm between projects. If I have a deadline, I usually just plow through it, goggles on, engine revving, and it usually works, more or less.
What do you think will be the future of your field?
My hope is for comics to get increasingly accepted by the general populace. I love the French way where everybody reads comics resulting in a wide range of genres from art to trash to non-fiction to mellow pop. That's my hope but I think it stands a chance too; telling stories in graphic, easily graspable form is very much a trend now and I'd be willing to bet it's a long-term one.
What conventions do you attend?
I go to either Angouleme or St Malo, the two biggest French comic festivals, every year. Those are great for just seeing all these personal, passionate stories enabling their authors to survive on the sales. I went to San Diego Comic-Con for the first time last year to sign
Animal Noir and it was a soul-sucking experience to see an entire art form get trampled by its own geeky spinoffs. This year, I'm planning to stay in the US long enough to attend the Comics Art Brooklyn festival and I'm guessing I'll leave with a much better aftertaste.
Have you visited DC before?
Once, a few years ago. It's where a girl lives who I've been pen-pals with since we were 13. I visited her and played with her kids and baked burgers with her hubby on the back lawn. I hope they'll have us over this year too.
If you've visited, what monument or museum do you like?
I visited some strange sights during my first visit. I asked my hosts to take me to Baltimore and to the Chesapeake River and Cooke's Point in Maryland, because I'd been translating John Barth's
The Sot-Weed Factor novel into Slovenian and really wanted to visit the intricately described geography of the book I'd been living in for a year.
Can you tell us about your book talk at Big Planet Comics on U St?
On
November 1st at 7PM me and Nejc will be signing Animal Noir, a hardboiled thriller starring a giraffe detective loose in a city of lion politicians and hippo mobsters. We'll be talking about making the series too, writing the stories and creating the complex world enabling a range of African animals to live in relative harmony. The book came out last year with IDW and the company's legendary founder, Ted Adams, to whom I'd pitched the idea at a Barcelona comic festival, served as the series' dedicated editor for its brief four issue run. The book wasn't a huge hit, though, so it wasn't renewed for a second series, but we're shopping around for someone to get it running again 'cause we just love it. It got some really nice reviews too so I guess we're not the only ones.
Who does what on Animal Noir and how do you divide up the work?
The basic idea (giraffe detective in a world of mafia hippo, exploited zebras and some ruling cats) was mine and Nejc infused it with lovely details on how the social system was sustained -- from periodic zebra riots, to hunt porn, and struggles between political fractions. We were world-building over coffees for months before getting to the stories, which were also a joint venture. Nejc took care of the narrative and emotional structure and I provided the surface texture, but we constantly edited each other's contribution. I then broke the story down by pages and Nejc would do dialogues on the go for the spread I'd be working on that day. Once I did the linework and colors, we'd go over it again several times to trim the tone and rhythm here and there. It was a wonderfully intertwined, fun enterprise where we climbed on each other like rungs, ending up higher than either one of us could reach on their own.
Can you tell us about your history of Slovenian comics presentation?
The day after presenting our book - on
November 2nd at 7PM - I'll be opening an exhibition of the best of Slovenian comics at our
country's embassy on California street 1210, just a stone's throw from Big Planet Comics on U St, NW. Over 30 oversize prints of pages from our local masters of the medium will be on display and I'll bring a bunch of original books too. Translations will be provided and I'll open the expo with a brief talk on the history of Slovenian comics to give some context. Ours is a small country but the comics medium has produced a handful of truly class A creators that are really worth getting acquainted with, I promise. Again, there might be food and wine, so ...
Do you have a website or blog?
I have this
blog but it's in Slovenian. The best way to check out and follow my work right now, I think, is through Instagram, where I regularly post works in progress and finished stuff. My username is giraffedetective. Go figure.
