The Happy Monster

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About Happy Monster Poems - a tiny book with a monster big heart. Moment Monsters. Under a Leaky Roof. Free Thinker, Free Stinker. See Stretch Goal Box at end of page for more info! Simple Math.

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Support Select this reward. Estimated delivery Mar Kickstarter is not a store. It's a way to bring creative projects to life. Learn more about accountability. All told, these stories make up a baroquely layered shared world, a vast, sprawling web of narratives. Mignola set the terms of this world, and has drawn many of the stories himself, but a host of other artists notably including Guy Davis, Duncan Fegredo, and Richard Corben have leant their hands and visions.

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These stories, most of them collaborations with the superb color artist Dave Stewart, are the real template for the Mignolaverse. They offer a blend of raw cartooning, elegant design, pulp revivalism, superhero action, Lovecraftian weirdness, and oddly personal forays into folklore, mythology, and legend. How might we read comics page?


Bukatman examines this one at length. Hellboy the comic manages to hit a sweet but damned hard-to-define spot between blustering adventure and aesthetic delectation. They read for the experience, of course. One hallmark of a great comic is its capacity to draw readers into the internal world of a creator: a personal microcosm defined by the aesthetic and handiwork of an artist.

This performance — this pleasurable, often self-aware labor — Bukatman suggests, is the thing that makes comics engrossing. Bukatman identifies and builds outward from that delight. Clearly Mignola is a reader through and through. Howard variety.

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As Bukatman points out, weird tales often center on, or grow out of, acts of reading of esoteric and forbidden texts. Such reading can invoke monsters, or rend the curtain between our world and others. Hellboy , Bukatman realizes, partakes of this spirit of bibliomancy, this eldritch sense of reading as a passageway to the sacred and terrible. Weird fiction is a learned and antiquarian tradition, after all. The treatment of page as page, the attention to surface, the de-emphasis on linear sequence, the move toward abstraction — all of this is less traditional than innovative.

The recently completed Hellboy in Hell revels in the bookish and meditative qualities that Bukatman favors.

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Lovecraftian and Jack Kirby-esque touches are everywhere, of course. Even as the book explores qualities distinct to comics, it takes in a wide range of other cultural referents: to call it eclectic would be an understatement.

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This is typical of Bukatman, whose books are marked by inspired acts of poaching from disparate fields and a knack for unexpected rhizomic links. His other most recent study, The Poetics of Slumberland , is, in his own words, a very happy book, celebrating the ways that daydream and fantasy help loosen or provide partial escape from the strictures of modernity. In short, The Poetics of Slumberland is a paean to pleasure. His breath is part of the air of the events narrated, and all the participants breathe it.

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He mingles with the characters far more closely than grownups do. He is unspeakably touched […] and, when he gets up, he is covered over and over by the snow of his reading. Bukatman quotes this passage on his first page, and appropriately so. Both Benjamin and Bukatman envision the child reader as one who reads alone, a free and autonomous explorer of books and storyworlds.