‘Comics are a valid art form too!’

On the rare occasions I step out of my bubble (or, I don't even need to: sometimes the call is coming from inside the house), I time-travel to the era before the rise of Alan Moore, Neil Gaiman, Art Spiegelman, Marjane Satrapi, etc, and encounter publishing or academic or institutional or creative people who think comics are not a valid art form or even a medium. Despite the fact comics are flourishing in the US, already a core part of literature in Europe and Japan, accessible to a varied audience, and proving itself a strong representational medium for a variety of issues/topics/experiences. But I don't have to reiterate the statistics and official articles and journals to confirm this. It should be as mundanely acceptable a phenomenon as prose books and films in the global cultural consciousness, because it already is a part of said consciousness.

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Writing Alexander, Book 1

Last weekend I received feedback from my editor, A, finally completing the second of a two part alpha reading stage- allowing me now the comfort to feel I've reached far along enough that I can start talking about the thing. The writing thing.

I wasn't sure how to document the Writing Stage of Alexander Comic (or my graphic novels in general). It's not as instant, fast or natural as the rest of the graphic novel making process, when it's just me reading or sketching or drawing, and I can just post a screenshot/photo accompanied with a quip. You can't really show much with writing; only the end result. Additionally, I have this superstitious belief that the period of making a story come to life should be treated as sacred, private, personal. Talking too much about the writing while you're supposed to be doing the work is an invitation for a jinx, or at least... it invites said jinx to me.

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Creating, Making, Giving

Some thoughts on making things exist. The joy and fear of it all. A sequel to this post on Passion and Work and Adulthood.

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How I Art Direct A Graphic Novel: Cooking the Onion

This is the second stage following the Onion Method: An Outlining Method for Graphic Novels. You got the onion...now how are you going to present it? This post will talk you through how I craft the art direction of a graphic novel... weaving the thematic and character motivations established earlier in the outline into its final, ultimate mode of language: the visuals.

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Organisation System for Research-Based Comics

I was talking to a friend in our Group Chat the other day, and he asked if any of us had any recommendations for a system that'd help him organise the research for his food culture graphic novel. It reminded me that the system I used has changed in the past year, and besides, it's time to make an addendum on the How I Do Research for Graphic Novels post. So here it is. An update of sorts.

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Online Talk: Life as a Comics Creator (June 14, 3 PM)

This Sunday, June 14 2020, I’m going to be on an online author’s interview to talk about my life as a comics creator. If you’re interested in knowing about my life, my villain origin story and my craft - this is the rare opportunity to ask those questions and hear my voice/accent live.

Registration is required for the event (link): bit.ly/TMC1DL1

The timezone is GMT+8, Malaysia time.

This event is part of the book launch for my upcoming graphic novel with Tintin Pantoja, The Maker’s Club! The full schedule and programming can be found on the Difference Engine website.

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Reimena Yee is a graphic novelist, artist and flamingo enthusiast.

She creates the webcomics The World in Deeper Inspection, and The Carpet Merchant of Konstantiniyya; the latter of which is the first Malaysian graphic novel to be Eisner-nominated.

Currently writing and drawing a whole bunch of stuff. Is a nerd for all things spooky and historical.

Melbourne / Kuala Lumpur

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me, shitposting in ancient greece:

*carving into stone tablet* if i were achilles i would simply protect my heel

Reminder that I have a website https://reimenayee.com and a blog https://blog.reimenayee.com for a decently active archive of my artwork and behind-the-scenes thoughts on craft, life and other things. Plus resources!!

I found that period of my life between ages 17 - 20 more impactful than preceding years, since it involved starting a new chapter independently, meeting new people outside of my bubble, lots of milestones, so why is this not explored more commonly in fiction and autobio?

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