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Review: The Wrong Earth #1

On one world, Dragonflyman and his sidekick Stinger enjoy a life of adventure. On another Earth, the Dragonfly hunts criminal parasites like a lethal exterminator. But what happens when these two heroes change places?

AHOY Comics launches their imprint with this superhero series which is as much a spoof as it is a serious take on the genre. The concept of the multiverse is popular in comics and this series is running with that with a concept like we’ve seen before, but I couldn’t tell you exactly where.

The Wrong Earth #1 has two Earths where one superhero is the classic positive one that works with the police and their counterpart on another Earth is the gritty version who murders and is wanted by the police. The series is a fun take on the classic and modern superhero with a Freaky Friday sort of twist as the two switch places in a way.

Writer Tom Peyer nails the differing tones of the characters with ease resulting in a story that’s a send-up of comics in a way. There’s the classic story which really does feel like a golden age tale. It has the tone and interactions down perfect. The grittier version is so over the top it’s hard to not laugh in a good way. Peyer doesn’t take either seriously as both are played to extremes in their own way.

The art by Jamal Igle nails the switch down too. Each Earth and character is different in so many ways yet the basics are there. The style itself switches in a subtle way that becomes more noticeable as the two characters switch spots. It’s a great idea and really emphasizes dueling eras. All of the characters are so detailed and all will remind you of others in a way. It’s as much it’s own thing design wise as it is an homage to what has come before, similar to the concept and story.

But beyond that main story, which would be more than enough AHOY promises more from their comics. There’s a “Golden Age” solo story featuring Stinger, Dragonflyman’s sidekick. Written by Paul Constant and art by Frank Cammuso, the story has the “golly gee” vibe about itself and then you get to the end… really was expecting that twisted end.

And there’s even more! Grant Morrison provides a prose story with art by Rob Steen and a cartoon is provided by Shannon Wheeler. It all comes together to create an experience that feels jam packed and you can take on as much as you want.

AHOY promised a lot going into this debut and they have delivered a comic that feels at times more magazine than comic (in a good way). You really feel like you get a lot out of this and if this is the start, I can’t wait to see what’s next.

Story: Tom Peyer, Paul Constant, Grant Morrison, Shannon Wheeler
Art: Jamal Igle, Frank Cammuso, Rob Steen, Shannon Wheeler
Story: 10 Art: 10 Overall: 20 Recommendation: Buy

AHOY Comics provided Graphic Policy with a FREE copy for review

Preview: The Wrong Earth #1

The Wrong Earth #1

(W) Tom Peyer, Paul Constant, Grant Morrison (A) Juan Castro, Shannon Wheeler (A/CA) Jamal Igle
In Shops: Sep 12, 2018
SRP: $3.99

AHOY Comics launches with a biting superhero satire! On one world, Dragonflyman and his sidekick Stinger enjoy a life of adventure. On another Earth, the Dragonfly hunts criminal parasites like a lethal exterminator. But what happens when these two heroes change places? By Tom Peyer (Captain Kid, Hourman) and Jamal Igle (Black, Supergirl)! And, a “Golden Age” Stinger solo story, by Paul Constant and Frank Cammuso! Plus: An all-new text story by comics legend Grant Morrison: “‘Hud’ Hornet’s Holiday In Hell,” illustrated by Rob Steen! All this plus a cartoon by Shannon Wheeler!

Check Out These Previews of What We Can Expect From AHOY Comics

Earlier today we brought the news of the launch of AHOY Comics, a new publisher who has already announced four series with an impressive group of creators. Now, we have a look at the actual series that we’ll be able to enjoy starting in September.

THE WRONG EARTH

6 Issue mini-series by Tom Peyer and Jamal Igle

AHOY Comics launches with a biting superhero satire written by Tom Peyer (Captain Kid, Hourman), penciled by Jamal Igle (Black, Supergirl), inked by Juan Castro (Transformers),and colored by Andy Troy. On one world, Dragonflyman and his sidekick Stinger enjoy a life of adventure. On another Earth, the Dragonfly hunts criminal parasites like a lethal exterminator. But what happens when these two heroes change places?

On sale on September 12, 2018, THE WRONG EARTH debut issue is a full color, 40 page comic book magazine retailing for $3.99, with extras including:

  • A  prose story by comics legend Grant Morrison: ‘HUD’ HORNET’S HOLIDAY IN HELL, illustrated by best-selling artist Rob Steen
  • A mock “Golden Age” Stinger solo story, by Paul Constant and Frank Cammuso
  • A cartoon by Shannon Wheeler

HIGH HEAVEN

5 Issue Mature Readers mini-series by Tom Peyer and Greg Scott

Chronic malcontent David Weathers dies and goes to Heaven—where everything is terrible, and everybody hates a complainer. HIGH HEAVEN is a savage satire by writer Tom Peyer (Hourman, Batman ’66) with art by Greg Scott (Black Hood, X-Files), colored by Andy Troy.

On sale, September 26, 2018, HIGH HEAVEN’s debut issue is a full color, 40 page comic book magazine retailing for $3.99, with a cover by Mad Magazine’s Richard Williams and extras including:

  • A HASHTAG: DANGER backup story by Peyer, with art by Chris Giarrusso (G-Man, Mini-Marvels)
  • A cartoon by Shannon Wheeler
  • An all-new prose story by comics legend Grant Morrison: FESTIVE FUNTIMES AT THE NEW WORLD’S FAIR, illustrated by acclaimed artist Rick Geary

In October, AHOY Comics will launch a creator owned title:

CAPTAIN GINGER

4 issue mini series by Stuart Moore and June Brigman

When the human race died out, the cats inherited the Earth! Or at least one starship. Now the intrepid Captain Ginger struggles to keep his fellow felines united against a hostile universe. Thirty-five pages of comic adventure—with a bite—by writer Stuart Moore (Deadpool the Duck, Batman: Noir Alley) artist June Brigman (Power Pack), inker Roy Richardson and colorist Veronica Gandini.

On sale, October 17, 2018, CAPTAIN GINGER’s debut issue is a full color, 48 page comic book magazine retailing for $3.99, with extras including:

  • An all-new text story by comics legend Grant Morrison: THE ELECTRIC SKY BEAR THAT INSPIRED BEN FRANKLIN, illustrated by Phil Hester
  • A cartoon by Shannon Wheeler

October will also see the debut of an all star anthology series:

EDGAR ALLAN POE’S SNIFTER OF TERROR

6 issue Mature Readers mini series

EDGAR ALLAN POE mangles classic tales and brand new stories in this cross between Drunk History and Tales from the Crypt! First, meet AHOY’s own alcohol-damaged version of Poe in The Facts in The Case of M. Valdemar, adapted by Tom Peyer (Batman ‘66) and drawn by Fred Harper. Then: Sugary cereal meets vampirism in Dark Chocolate, by writer Mark Russell (The Flintstones) and artist Peter Snejbjerg (Starman).

On sale, October 31, 2018, EDGAR ALLAN POE’S SNIFTER OF TERROR’s debut issue is a full color, 40 page comic book magazine retailing for $3.99, with extras including:

  • Hunt Emerson’s take on The Black Cat
  • Unsettling verse by Cienna Madrid illustrated by Carly Wright

Should We Expect More from Comics? New Publisher AHOY Promises Exactly That.

This falls sees the launch of a brand new comic publisher AHOY Comics who already boasts an impressive lineup of creators involved. Founded by journalist Hart Seely, the publisher already has landed Grant Morrison, Mark Russell, Jamal Igle, and more. Tom Peyer is the Editor-in-Chief and will also be contributing a series and Stuart Moore is described as AHOY’s “dark ops” manager. AHOY stands for Abundance (more pages per issue), Humor, Originality and Yes (Yes to comics, more pages, collected editions, meaningful design, dramatic art, shipping on schedule, enjoyment, etc).

Seely said the releases aren’t so much issues as “comic book magazines” which will feature a full-length lead story and back-up material including cartoons, prose, and poetry from mainstream and indie creators, as well as journalists, prose writers, and New Yorker cartoonists. Seely is an award-winning reporter for the Syracuse Post-Standard. His humor and satire have appeared in The New Yorker, The New York Times, Los Angeles Times, National Lampoon, and on National Public Radio. He is the editor of Pieces of Intelligence: The Existential Poetry of Donald H. Rumsfeld and coeditor (with Tom Peyer) of O Holy Cow! The Selected Verse of Phil Rizzuto.

The publisher launches this September with two series. The Wrong Earth is a six-issue miniseries by Tom Peyer and Jamal Igle. In it, two heroes — one an adventure-loving crimefighter with a kid sidekick, the other a ruthless vigilante — trade places and find themselves trapped in worlds they never made. In High Heaven, a five-issue mini-series aimed at mature readers, Tom Peyer and Greg Scott debut a chronic malcontent who finds himself in an afterlife where everyone hates a complainer. The Wrong Earth debuts September 12.

Both of those series launch with 40 page first issues. The Wrong Earth features a prose story by Grant Morrison along with material from Shannon Wheeler, Paul Constant, and Frank CammusoHigh Heaven features another prose story from Morrison, with another cartoon from Wheeler and a back-up strip from Peyer and artist Chris Giarrusso.

In October AHOY launches two additional titles: Edgar Allan Poe’s Snifter of Terror, a six-issue anthology described as a “cross between Drunk History and Tales from the Crypt . That 40 page first issue features material by Peyer, Mark Russell and cartoonist Hunt Emerson. Captain Ginger is a four-issue series about a spaceship piloted by cats after the human race has died out, by Stuart Moore and June Brigman. That first issue will include a prose story by Morrison, illustrated by Phil Hester, and a cartoon from Shannon Wheeler.

Future creators involved include Peter Milligan, Mariah McCourt, Rachel Pollack, Gary Erskine, and Roger Stern.

From Sh*t My President Says to Memoirs of a Very Stable Genius

New Yorker cartoonist and multiple Eisner Award-winner Shannon Wheeler debuts Memoirs of a Very Stable Genius this July from Image Comics and Shadowline Comics.

Memoirs of a Very Stable Genius is an irreverent book of personal short stories and gags featuring Shannon Wheeler’s critically acclaimed humor, pathos, and honesty—including a 40-page full-color section!

Memoirs of a Very Stable Genius TP (Diamond code: MAY180071, ISBN: 978-1-5343-0966-1) hits comic book stores Wednesday, July 11th and bookstores Tuesday, July 17th. The final order cutoff deadline for comics retailers is Monday, June 4th.

Review: Harvey Kurtzman’s Marley’s Ghost

A Christmas Carol is one of those stories that resonates with you for years. I say this, knowing that most people only know the story from watching the many adaptations of the story itself in the movies or your favorite’s show’s own version. Recently, Charles Dickens’ own adventure in creating the story itself has been immortalized on screen in The Man Who Invented Christmas. Then there is the twist of the same story, but with hint of modernization and a ton of sentimentality in Its Wonderful Life, which many consider a classic all its own but borrows heavily from Dickens epic tome.

One of my favorites of the adaptations of this epic tale is the Muppets Christmas Carol which added some levity to an otherwise gloomy yet hopeful tale. Another of my favorites is Scrooged, the vey definition of dark comedy throughout, as it was both funny and horrifying. Within the comic realms, I cant recall any direct adaptation for the work, until I heard of Harvey Kurtzman working on his own adaptation a few years before he died. It is a good thing that his unfinished work was discovered recently, and what was discovered is probably the most brilliant adaptation of Dickens work, in Marley’s Ghost.

In the opening pages, we get an even grimmer version of Ebenezer Scrooge, a man whose whole life has passed him up, including his business partners. The one consistency amongst all the adaptations is just how dispirited Ebenezer is, and this one doesn’t mince words, as the creators behind this book, understood what Dickens was trying to convey including the late Kurtzman. Each ghost also is as haunting as every adaptation, this one is more on the spooky side sie than some of the more light hearted version. By book’s end, Scrooge, gets a new lease on life, as most anybody who knows this story.

Overall, this is the adaptation that comics fans will love to read over and over again, as it captures those iconic moments the movie and television shows did, including some moments only book readers will remember. The story by Josh O’Neill, Shannon Wheeler, and Harvey Kurtzman captures the perfect balance between adaptation and storytelling. The art Gideon Kendall is gorgeous as it reminded me of some of my old MAD Magazines. Altogether, you may think you know this story, but definitely not the way this team brings it together.

Story: Josh O’Neill, Shannon Wheeler, and Harvey Kurtzman Art: Gideon Kendall
Story: 9 Art: 9 Overall: 9 Recommendation: Buy

Educator’s Perspective: “Sh*t My President Says”

It’s said that no work of literature is written in a vacuum.

One of the first things you learn to do as an undergrad in any course in literature is to unpack the political, cultural, and societal implication of whatever it is you’re reading, because whether the author intended it or not, he or she was assuredly influenced by the circumstances in which it was written.  Even as a high school student I learned that Shakespeare’s fascination with witchcraft in Macbeth is likely an influence of the King under which he was writing, who had an interest in the occult himself; The Lord of the Flies and Animal Farm both have their roots in a kind of British political anxiety, and the only way that On the Road can be more of a manifesto of the early counterculture movement is if copies of it are beaten by riot officers.

Yet I’ve always been more interested in the political, cultural, and social capital hidden away in the more obscure media, the stuff that, for whatever reason, has for so long escaped the notice of conventional scholarship. Though teachers have long adored the political cartoon there remains a strange, standoffish attitude toward the comic book, as though we’re all still in the 1950s and Dr. Wertham is sitting across from us making all sorts of uncomfortable eye contact over a stack of World’s Finest. Thankfully that attitude has receded significantly in recent years and I’m happy to see more and more that teachers like myself are having success in using the rife political and cultural content of comics as a springboard to discuss ideas as diverse and grandiose as race relations, diplomacy, and the importance of de-mystifying the “other”ness of foreign cultures, peoples, and ideologies.

The conversation about the political and sociocultural implications of comics – really, of all media – is always hobbled somewhat when it hits a K-12 classroom environment.  There begin conversations about correctness and age-appropriateness, and whether a book can or should be introduced to the student population for fear of indoctrination. Year after year mainstays like The Catcher in the Rye and To Kill a Mockingbird are called into question by school boards and parent groups across the country, and while their reasons are varied they general boil down to what we want our children to discover about who and what we are.  Works that are censored for classroom use have a common thread: they oftentimes highlight the worst of us, in an attempt to ensure that we avoid making the mistakes of our ancestry.

That being said, it seems highly unlike that Shannon Wheeler’s “Sh*t My President Says” will ever see regular use as a implement of classroom instruction, given that it is both a comic book, and therefore still a subject of academic uncertainty by some of my colleagues, and demonstrative of one of the most deranged, startling, and ultimately embarrassing garbage fires of the 21st century.  It is eye-opening in its candor, tragically funny, vitally informative, and ought to be required reading for anyone hoping to study the political machine of the early 21st century. It may very well be one of the most important historical artifacts of this decade.

All because of Twitter.

“Sh*t My President Says” is a perfect example of the historically-embedded nature of media. Even without Wheeler’s accompanying caricatures of Trump as a riotous toddler with a phone fetish, the collection of our mentally-errant President’s 140-character temper tantrums provides a sobering look at just how we got to where we are. Taken with Shannon Wheeler’s supplemental artwork, the Tweets take on a second life: their childishness is thrown into a stark relief with the inclusion of the author’s idealized boy king Trump, and indeed the whole work might read as a fiction were we not living it as we are now.

From a teachable standpoint, nothing beats a work that provides the subject’s words as they were uttered while simultaneously offering a responding critique of them. In this way Shannon Wheeler has submitted to his audience a kind of living primary source, an artifact that both serves to document history as well as record our collective reaction to the oftentimes unbelievable events of our current political climate – which, of course, is a form of history in and of itself.

Is it teachable? Absolutely, and pertinently so: in much the same way that we recognize the crassness of the language in The Adventures of Huckleberry Finn or the sexuality of “The Awakening” as indicative of the societies and cultures of the time in which they were written, Wheeler’s compilation of the fractured thoughts of our enfeebled Commander-in-Chief are likewise a reflection of the state of our society. Wheeler provides a means to process an pivotal event in American political history in a way that is accessible for its simplicity, honest for its presentation, and as painless  an experience as it could be possibly be for the author’s satirical approach to her bumbling, foolhardy subject matter.

Nevertheless, I give Mr. Wheeler a great deal of credit for his work in compiling this trainwreck of a timeline in recording the Trump tweets he has.  For the levity with which it is presented, there is something truly sinister about seeing these words become actions, and those actions engender other, more awful actions. Longtime exposure to those levels of ego-maniacal word vomit cannot be healthy for an individual, and I hope sincerely that Mr. Wheeler recovers quickly for his exposure.

While its unflinching revelation of the worst of our potential all but guarantees it never sees widespread classroom use, I fully expect that passages from “Sh*t My President Says” will find their way into political science and literature classrooms across the globe. This cutting work of comics journalism is a vibrant reminder of how we ended up in this mess, and I wager that there’s more than a few daring educators willing to make the case that, like Mockingbird and Rye, just because something is uncomfortable doesn’t mean that we turn a blind eye to its implications.

Literature isn’t written in a vacuum – but sometimes the stuff that inspires it sucks nonetheless.  It’s our job to learn from it, and works like Wheeler’s make that possible.

Weekly Graphic Novel Review: Sh*t My President Says

It’s Wednesday which means it’s new comic book day with new releases hitting shelves, both physical and digital, all across the world. This week we’ve got Sh*t My President Says: The Illustrated Tweets of Donald J. Trump by Shannon Wheeler.

The comic is in comic book stories today.

Get your copy now. To find a comic shop near you, visit www.comicshoplocator.com or call 1-888-comicbook or digitally and online with the links below.

Sh*t My President Says: The Illustrated Tweets of Donald J. Trump
Amazon or Kindle or comiXology or TFAW

 

 

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Shannon Wheeler Talks Sh*t My President Says

At San Diego Comic-Con there were a few releases I was super excited for. One of those was Shannon Wheeler‘s Sh*t My President Says: The Illustrated Tweets of Donald J. Trump which takes President Trump’s Tweets and give them a comic twist. Wheeler has drawn cartoons for the New Yorker, MAD, the Onion—he’s very, very, good, okay?

But these cartoons, plus the Tweets, it’s absolutely fantastic and a must have for anyone interested in politics and humor, or want a good laugh as the world crumbles around us.

EVERYONE is going to want this book — even the haters and losers (Sad!).

I got to talk to Shannon about the book and what he learned reading all of those Tweets.

Graphic Policy: What got you interested in even doing this? The concept alone sounds like torture.

Shannon Wheeler: I was actually going through my own cartoons trying to put together a book collection. I was sick of looking at my own art. I was complaining about it to a friend of mine. He goes “You don’t want to write your own stuff. Why don’t you just illustrate Trump’s Tweets?”

GP: You’ve gone through his entire history to figure out what to draw?

SW: Through Twitter I found a programmer who had downloaded all of them. I got them as a PDF, started reading through 30,000 Tweets. At the same time there were all these sites popping up that were archiving, a bunch that go through and organize them differently. At the same time there were all these articles about his outrageous Tweets. I’d use those as well. Whenever something would come up in his speeches or in the news and I’d Google search the keyword and his handle.

GP: Going through so much, is there anything that sticks out to you about his patterns, what he says, topics he touches upon?

SW: Yeah. A lot of people have talked about his psychological makeup. The narcisim. The pettiness. The immaturity. That’s well trodden. But, what I thought was interesting was his image of himself. He thinks of himself as a stand up guy, here’s the honorable one. What he’s doing is right. And that’s why drawing him as a child made more sense. There’s a “common sense” aspect to children, “it’s snowing outside, there must be no Global Warming.” That’s the view Trump has, that “common sense” point of view of life.

GP: The end result is Trump as kid-like. Were there other versions of him that you tried to use?

SW: Yeah, I started off trying drawing him as ugly, a large brutish man with tiny hands, and whatever. And slowly there’s a petellence, and maybe that’s the word. I probably drew a hundred different versions. Until a Tweet came a long that felt like a little kid and I felt this works.

GP: Did you always envision a book?

SW: Yeah, it was a book. First I started with can I do this. Then I thought this would be much more interesting than another collection of my stupid ideas.

GP: The one thing I immediately think of is the trolls. Is that something on your mind.

SW: I’m not really good at receiving anger and such. I fully expect there to be a backlash and people attacking me. I’m trying to prepare for that.

GP: That’s what the block button is for. In the back of the book you have a really interesting observation. FDR had radio, JFK had tv, and Trump has Twitter. Do you think this is his tv and radio?

SW: I supposed so. I don’t know how people reacted at the time, but I’m sure both said radio and tv was crazy and the worst thing ever. It’s similar. It’s Trump getting himself out there and exposing himself in an unfiltered way. It’s part of his appeal, a reaction against a super guarded persona, warts and all.

GP: FDR’s chats were clearly scripted, JFK was a natural on tv. This is probably the most unfiltered we’ve ever seen a President, really any politician.

SW: Yeah, but that might be an act too, which I thought about. It could also be a thing he uses for distractions as he passes his agenda. I feel like I’m adding to the distraction, I feel a little guilty at times.

GP: He’s the perfect example of politics as entertainment and you’re doing entertainment diving into politics. Do you see him as the ultimate blending of those two things together?

SW: That’s interesting. Those two things have been blending for a long time. I think, so far. Every generation probably says that. He’s made reality television and taken that to politics. Nobody knows where it’s going to go.

GP: I don’t know if you get the sense but it feels like he’s putting on a show. He’s taking the heel concept of wrestling and as long as he gets the big pop, that’s all that matters.

SW: He does think he’s the hero and he’s putting forward the sense that fake media, the polls were fake obviously, these things that validate everyone is a liar. It’s you and me against the crazy world. He also likes the attention too. It’s a layered thing.

GP: With the number of Tweets that are in the book, how much is sitting on the table not in there?

SW: There were 30,000 Tweets and a couple hundred in there. When people cite 30,000, most of them are “buy my book” or “I’ll be talking here.” I think it’s close to 5,000 Tweets. I wanted it to be relevant, so there’s stuff about Russia and his Tweets about wanting to be Putin’s friend. Those are the one’s I pulled. As new events happen, Sessions become more relevant. I pulled one.

GP: As far as what’s in the book, how’d you choose what to include?

SW: I wanted there to be a story arc with a beginning, middle, and an end. So I’m picking them to create a narrative. We probably left about a hundred on the floor. Lots more to do.

GP: You’ll be busy… two to eight years?

SW: Hopefully not.

GP: During the Mueller hearing he was threatening to live Tweet. Then you said you were going to live sketch. When he didn’t Tweet what was going through your mind.

SW: At first I thought “oh crap this is embarrasing and really stupid.” Then I thought somebody hid his phone. So I did that as a cartoon and a series of cartoons as to where’s Trump’s phone. It’s under the couch, in a tree, an FBI agent has it.

GP: At one point did it click to do that?

SW: About 15 minutes.

GP: With the live Tweeting, I’d think most of these have multiple takes. How’d it work with the live aspect, one and done?

SW: Yup, from the hip. A lot of times I’ll do sketches and I’ll put them up on Twitter and Facebook and later rework them into something later. In a lot of ways I’ve become unfiltered, there might be a misspelling or bad drawing, I just put it up and move on to the next one.

GP: I’d think there’d be a point where you’re having fun but at the same time think this shouldn’t be happening.

SW: Yeah, there’s a point I think it’s so stupid and I’m laughing and it slowly becomes awe crap. This is real. We can make fun of this guy for being stupid or petty or mean or vulgar or thin skin, all these things or he’s stealing money from the country. A lot of the things he criticized Hillary or Obama, I think it was jealously. When he saw them, he thought I should be doing those things. The Tweets are relevant in that sense.

GP: Was there anything that was too mean and you don’t want to touch it?

SW: We pulled one Rosie O’Donnell one in there. There was one were I thought it was a really cheap shot, it was his fragrance, everyone built an empire. I thought of him sweating and I had him on a toilet. It was a cheap shot, but I’m not above being stupid.

GP: Is there anything that’s shocked you about this?

SW: What’s shocked me is that its kind of become normal. Where I’m not shocked anymore. The one thing that has shocked me is that I can’t tell parody anymore. I read something and there like “look at this shocking Tweet” and I think “oh my god” and I think it’s parody and he really said it and I think it’s parody and he really said it. That’s weird to me.

GP: I’ve asked this to a few folks in your line of work. Things are so absurd now, does that make your life more difficult?

SW: I don’t know. What I like is the social satire and looking at myself and asking what are the hypocrises I’m living, diving in myself. That doesn’t really change. I liked The Simpsons where they had Homer buying triple chocolate and when they did it, it was such an exaggeration it was ridiculous. Now we have this as a flavor.

GP: The Simpsons had Donald Trump as President.

SW: Right.

GP: When you see what should be parody in real life, what do you think when you see that?

SW: One of the jokes I made during the Bill Clinton scandal, in the future politicians would use the scandal to their advantage. They’d sell the sex tape to fund their campaign. I’m still able to be a bit more extreme than what’s happening.

GP: Has there been any reactions to the book that has surprised you?

SW: How enthusiastic people have been. I thought there’d be some enthusiasm and a lot of people would be mad at me. We did a panel at San Diego Comic-Con and it was standing room only. They were turning people away. That kind of shocks me. There’s a hunger for this kind of pushback. It gives me some hope.

GP: You’ve already done an addendum. Will there be a book two?

SW: I hope not. I hope we look back and ask “what’s a Tweet?” where you have to explain what it is. I like to do universal and lingering. I hope this is here today and gone tomorrow, like a pet rock. It’s been piling up and there’s enough for a second book already.

GP: Thanks so much for chatting!

 

Preview: Sh*t My President Says: The Illustrated Tweets of Donald J. Trump

Sh*t My President Says: The Illustrated Tweets of Donald J. Trump

Shannon Wheeler (w & a & c)

Some people are saying, I don’t know, you tell me, but a lot of people are saying this is the greatest book of the year. This guy, Shannon Wheeler, he draws these cartoons for the New Yorker, MAD, the Onion—he’s very, very, good, okay? Now he’s illustrated the most incredible tweets. Wow! You won’t believe what he does with these tweets. I mean, these tweets changed the world, folks. It’s true! It’s very true. EVERYONE is going to want this book — even the haters and losers (Sad!).

HC • BW • $15.99 • 120 pages • 5” x 6.5” • ISBN: 978-1-60309-410-8

 

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