Minis Monday: Morgan Pielli and Jen Vaughn

Posted by on March 15th, 2010 at 1:00 PM

Over time, last year’s Maine Comic Arts Festival in Portland has come to seem increasingly like a particularly productive orchard. Here’s more of what was plucked.

Indestructible Universe Quarterly

Morgan Pielli

morganstories.com

Morgan Pielli’s inaugural issue of Indestructible Universe Quarterly posits a realm of the miraculous and underexplored that is coexistent with and impinging on the commonplaces of our daily lives. The notion is pervasive, beginning with a striking screened cover of a domestic neighborhood set at a sharp angle and running amok with creatures. The endpapers pick up the motif with silhouettes of tree-lines and monsters. The unaccountable is capable of breaking through to our awareness at a moment’s notice and to spectacular effect; or, just as likely, the visitations occur with little recognition on our part at all. Moreover, we ourselves can make the leap and pierce the veil with a sufficient degree of resolve. The caveat here is that our leap permits the unaccountable to interact with us as well. Pielli posits this permeable realm through the commingling of animate objects of cartoon liveliness and inanimate objects of some study and detail. His next step would seem to be more involved narratives consistent with the essential enigmatic nature of this extraordinary confluence.

Menstruation Station

Jen Vaughn

www.thevaughncurse.com

Appropriately enough , Jen Vaughn entitles the first issue of her Menstruation Station “Menarch Aboard.” In her initial foray into under-explored territory, she mixes   irreverent, colorful, practical, gross, realistic, candid and fantastic elements with humor as the universal solvent. The pamphlet contains two short stories indebted to the fancifully madcap with a number of featurettes that take off on a wider variety of tacks from the menstral mundane. Vaughn’s strongest treatments are captured in her short strips and single-panel tableaux — gag panels, if you will. That silent cover cartoon, set in its deep red paper, is a particularly deft, worldly wise and expressive depiction of a drama of intimate biological upheaval within a setting of stupefying environmental banality. While expressly all-gender-friendly (there’s even a strap-on uterus for the bereft of the deprived), this strikes as an ingenious party favor for fiestas that men remain in the dark about. By way of preview, issue #2’s to be titled “Heavy Flow.”

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