Excerpt from Ho Che Anderson's afterword for THE SOLAR GRID:

Ganzeer’s The Solar Grid, tells the story of a future we’re going out of our way to create. One of environmental collapse and a rabid technocracy in which humanity is expendable if it means fulfilling the whims and fantasies of an enlightened elite. What upsets me about this reverie of Mars, aliens, and space lilies, is how real and current it all feels, replete with shitty oligarchs and imperialists who always fail upwards, gorge on corporate welfare, and gaslight as they promise a glorious future. What they leave out is that the coming glory will be promised to us, financed by us, but denied us, reserved only for the other masters of the universe and their curated plebes and acolytes. All for them, none for you, the enemy, from whom they must steal to ensure their protection.

And what an OGN, visually inventive, filled with audacious design choices, and armed with a confident range of styles, including some Kirby-inspired collage. It’s a game I like to play, trying to spot the sources and inspirations behind the work I’m taking in. Half the time I’m off by a light year but it doesn’t make the game any less fun. And I swear I noticed some Matt Wagner, Sergio Toppi, Ridely Scott (of Ridleygrams fame) in the mix. A little Caza, Rizzo, Basquiat, Philip K. Dick, and maybe even a smidge of James A. Corey. I thought I noticed a sprinkling of Miller, Moebius, Darrow, Otomo and Matsumoto. Am I stretching beyond all reason in seeing a little Kubrick and Gerry Anderson, creator of my beloved Space: 1999? Probably. But even if I’m wrong about their direct influence, the spirit of some of these creators and what they brought to the popular culture lives inside Ganzeer’s lines and storytelling.

What I really dug about this comic was the world building. It’s the kind of project that bears rereading to properly grasp the layers you missed the first time around. It reminds a little of Watchmen with its devotion to text-based spreads, headlines, and faux magazine and online layout, using the ephemera of this society to comment on its complexity.

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Read it in full in the pages of THE SOLAR GRID hardback, now available for pre-order.

#tsg

From the introduction by Sim Kern:

Speculative fiction started pulling its punches in the 2010s. Stories were scrubbed clean of any grit. Authors sanded down sharp edges, and the safest bet was to write low-stakes, low-conflict, “cozy” fiction—a label that came to define a booming sub-genre.

Don’t get me wrong—these aesthetics stemmed from legitimate critiques of genre fiction that had come before. Western scifi, fantasy, and horror stories of decades prior often did contain white supremacist, sexist, etc. elements, and so conversations about avoiding harmful tropes were long overdue. The culture of interrogating authors’ identities and questioning whether they were “allowed” to write about people unlike them, came from the desire to make room for marginalized voices in a publishing industry that was (and remains) dominated by white people. And the demand for trigger warnings and cozy options in genre fiction was an understandable reaction to the extreme, graphic violence—especially, the gratuitous sexual violence—that dominated the fiction of some of the most successful speculative authors of the decade prior: Frank Miller, Cormac McCarthy, and George R.R. Martin.

But something had clearly gone wrong when these legitimate concerns became strict commandments, used to crush dissent, flatten literature, and destroy the burgeoning careers of young, marginalized authors they were supposed to help. In his book Elite Capture: How the Powerful took over Identity Politics (And Everything Else), philosopher Olúfémi O. Táíwò calls the weaponization of identity politics “deference politics,” which he defines as, “an etiquette that asks people to pass attention, resources, and initiative to those perceived as more marginalized than themselves.” Táíwò argues that deference politics winds up harming marginalized people—by tokenizing them, reducing their value to the sum of their traumas and oppressions, and by directing “what little attentional power we can control at symbolic sites of power rather than at the root political issues that explain why everything is so fucked up.”

When well-meaning people fall for deference politics, it’s easy for elites to position themselves as the most marginalized person in the room, grab the mic, and direct liberatory energy towards symbolic struggles, while those same elites materially rob, poison, enslave, and kill us. Back in the 2010s, the Twitter literary community was a small legion of well-meaning activists, and we could’ve been doing any number of things with our time—organizing to feed and house people, boycott evil corporations, or seize political power, to name a few ideas. Instead, we each spent hundreds of hours online, focusing our collective ire, not on the pedophilic oligarchs, war profiteers, and oil-and-gas corporations dooming our planet to mass extinction, but on debut twenty-two-year-old authors who’d written space adventures and dragon stories for our amusement.

Ganzeer was evidently aware of these forces, because in 2016, as he inked the first pages of The Solar Grid, he offered one of the most incisive critiques of deference politics I’ve seen in fiction.

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It's a big one, coming in at 3147 words, and it is awesome. It can be read in full in the pages of THE SOLAR GRID hardback, now available for preorder.

#tsg

Excerpt from the foreword by Warren Ellis:

900-odd years from now, Earth is just a power station for Mars. Something that occurred to Ganzeer after recalling a teenage trip to the Aswan Dam and seeing a giant, impossible machine that he later learned was an environmental disaster. A machine to generate and transmit power. A machine whose construction displaced 100,000 people and caused significant ecological and health issues. We follow two young people subsisting in the glare of the Grid. The future’s killing everybody on Earth. This is the oldest and purest form of science fiction: taking a new angle on the present condition to light it in different and awful ways. Even absurdity brings clarity.

And this book does have absurdity. Stylistic shifts pile up, jokes clatter about, it gets goofy and funny. But don’t be fooled. Ganzeer is fucking furious. The book is jagged with it. THE SOLAR GRID is big and full, it pushes boundaries and it absolutely crackles with the anger of an artist who’s been watching his world go stupid and cruel and mad for far too long. So he gives us a book that amplifies that stupidity and cruelty and madness but never lets us lose sight of where it all emanates from and where it lays today.

THE SOLAR GRID is an immense undertaking that combines so many different styles into a coherent whole that I think it alters the conception of what a big graphic novel can be, and rich enough to be one of the few graphic novels that deserves the term “novel.”

---

An old acquaintance from the science fiction literature field actually cut ties with me over this. Fuck him.

The foreword can be read in full within the pages of THE SOLAR GRID hardback, now available for pre-order.

#TSG

I may have unlocked promotional god mode.

Since I started posting on instagram more regularly just a handful of days ago (especially with the reels), orders for THE SOLAR GRID hardback have been pouring in (at an average conversion rate of about 10%) and my follower count has made a 5% jump (And we're getting so many applicants for the producer job).

The danger of course is getting too swept up by the social media sinkhole. We are after all, only human, and it is exactly the seductive lure of social media sinkholes that forces us to run for our lives away from these platforms from time to time (my old Z Flip actually helped immensely with weening me off social media; you're less inclined to reach for your phone every few mins if there's no big screen on its face calling out to you). Shunning social media is certainly a necessity when you'd like to lock in on a project and just get to work with as little distraction as possible. A little less of a necessity when work on the project is done and it's time to get the word out about it.

Instagram can be a time suck, especially if you're making reels for it. Quite the workload in its own right. Difficult to add more work to your plate when you're in the middle of working on something else, let alone something big. But once you're done with said big work (especially big work you might've poured 10 years of your life into), isn't it worth it to put just as much effort into promoting it?

What can I say, I'm kind of an all-in sorta guy.

#work #tsg

Hmm, not as smooth as I'd like. Rotation's kinda bumpy, but okay for a first try.

50 orders in the first 24 hours since opening pre-orders for THE SOLAR GRID hardback. Not too bad.

I should probably note that the designated target of 750 orders does not make me, personally, any money. It's just the bare minimum needed to cover printing and fulfilment costs. The latter of course entailing warehousing the books, packaging, and shipping to readers, along of course with the labor of fulfilment operators. Profit margins are only unlocked beyond the 750 order-count, because that's when the per unit cost of each book starts to drop a little. But you'd need to hit at least double or triple that 750 for any kind of profit margin worth your while.

I haven't actually made any money off THE SOLAR GRID in the 10 years since I started working on it. Which is fine, it's something I've learned to make peace with. At this point, I'd just like to get the work into the hands of those who want it.

Uh, okay, excuse me while I freak out for a minute because I can see that an order has just been placed by none other than Paul Levitz.

#work #TSG #comix

A pre-order page for THE SOLAR GRID hardback has been created.

After being strung along by a handful literary agents, editors, and publishers for the better part of the year, it seems that the punk-rock self-publishing route is all I've got. Agents coil at the thought of representing the work, and mainstream publishers shrivel when considering it. I understand; it's transgressive and hard-hitting and the publishing landscape is not what it was in the days of Metal Hurlant or early Vertigo (who I fully blame for my irreversible corruption).

Despite the fair degree of praise THE SOLAR GRID has received thus far, it just doesn't quite check any of the boxes drawn out by publishers these days. It is neither a biography, memoir, or piece of graphic journalism—seemingly the only forms of graphic noveling deemed literary by the big boys. And it is way too complex and textured for publishers who peddle escapist genre. So I understand, I get how it doesn't quite fit within the norms of the current publishing landscape.

On the other hand, it is so often praised by readers, authors, reviewers, and media outlets. It's even won a couple awards!

Earlier in Dresden, seeing scholars beam excerpts from THE SOLAR GRID on a big screen as they dissected the work with intellectual scalpels was quite surreal. I recall Imre Szeman starting his presentation with something along the lines of: “The Solar Grid is one of the greatest works of fiction I've ever read.”

I almost cried.

That and being approached by professors who say they plan on including THE SOLAR GRID in their syllabi—along with the press and reviews (not to mention getting funding to turn it into a videogame)—really makes you wonder how on Earth this thing isn't being coveted by publishers.

It's fine though, everyone has their own measure of considerations. Rather than dwell, I move forward. I've devoted 10 years of my life to this 488-page tome, so I kind of don't have a choice.

I've spoken to the printers and fulfillment center at length, and it looks like we should be able to ship by May 21, 2027 if the printers get the final order by January. The catch is, we need to secure at least 750 orders (in addition to the almost 300 from the original kickstarter I ran way back when). That's the only way to make the numbers work, and securing 750 orders in indie publishing is apparently no small feat.

Best I can do is bang the drums wherever I can. I'd honestly rather not have to do the social-media song-and-dance thing, I'm just not cut out for it. But a man's gotta do what a man's gotta do I guess.

If you're reading this, have something of a social media presence and like what you see, do consider spreading the word. Here's the pre-order link again.

The book will break your heart and blow your mind. I promise you.

#work #comix #tsg

My friends at Radix Co-op are debuting THE SOLAR GRID box-set at Printed Matter's New York Art Book Fair as we speak. If in New York, swing by MoMa PS1 and check it out.

Front cover preview until I get glamor shots of the actual box in all its glory.

#work #tsg #comix

Bootlegged THE SOLAR GRID!

Imre Szeman, author of FUTURES OF THE SUN and one of the scholars on our THE SOLAR GRID panel at Petrocultures 2026 in Dresden, printed out the digital edition so he can read it that way in preparation for his presentation/commentary (which was so smart and immensely insightful). He made sure to have the pages printed on both sides, so his experience of the work would be the closest approximation to the intended format. And my, it's a big-ass motherfucker of a book, innit?

This is how I did much of my comics/graphic-novel reading in my late teens and early twenties, when my preferred comics-material was all too hard to come by in hardcopy formats in Cairo of the late-90s/early-2000s. So I have a strange affinity for that spiral-bound bootlegged home-printer aesthetic.

The panel was awesome! Super insightful (and embarrassingly humbling) presentations, great Q&A, and many exciting conversations thereafter. Several professors mentioned their plans to include THE SOLAR GRID in their teaching syllabi.

The air is refreshingly crisp in Dresden this time of year. Nothing quite like a midnight smoke out on the balcony in nothing but your underwear and a good German pilsner in hand.

#journal #work #tsg

Lords save me from this nonsense.

Many don't know this, but I never went to art school. Much to my misery, I actually ended up in business school (long story). Though not a very good one.

One of things I was most looking forward to upon graduating was pursuing art and design full time and never having to look at anything even remotely close to a ledger ever again.

How naive.

In other news, I keep coming up against hurdles in regard to finding an appropriate publication pathway for the collected edition of THE SOLAR GRID. While almost every editor I send it to does make it a point to acknowledge the book's merits; “a project of immense passion”, “unique”, “graphically sophisticated”, it still gets turned down for one reason or another:

• “Not mainstream enough”, according to one well-positioned agent.
• “Not interested in anything dystopian anymore” said the much-respected editor at a major publishing house.
• “Too big” according to another major publisher.
• “Not quite for us”.

And then there are the few odd correspondences where a publisher would express initial interest and then ghost you. I realize of course that rejection stories aren't cool to divulge unless you have a success story to go with (at which point, rejection stories become extra extra cool), but I don't think of this blog as a space to project any kind of awfully considered persona. I like to say it like it is, likely to my own detriment.

Two more days till I'm off to Dresden and there is just so much to do that I'd rather not have to do.

#journal #tsg

Sent off the new REVISED & EXPANDED edition of THE SOLAR GRID to everyone who downloaded the previous version. A rather embarrassing message to have to send, but at least it's something that could be salvaged, unlike the shipping of flawed physical copies (so it's actually a plus I never took it to print earlier in the year).

Some of the most major revisions made (spoilers abound, naturally):

Chapter 01:

The Tianzi Hotel is a real place in a province 50 km southeast of Beijing. I originally chose it because I wanted something to visually indicate China without needing to include a big “China” caption at the top, and I had originally referenced it and its surrounding buildings from a photograph. Its surrounding buildings however offer a quaint and rather dated impression of China, which doesn't quite measure up to the “rivalry” felt by the US and referenced earlier in the chapter, all of which takes place in the future. So it occurred to me that all the architecture surrounding the Tianzi Hotel needed to be projected into the far future. The new line-art turned out a little thicker than I would've liked, but I think it works well enough.

Chapter 02:

When I first drew this page early on in THE SOLAR GRID's development, I left the background in the first panel blank because I had intended to put in a big “EARLIER” caption in big, bold sans serif type (probably set in Govan, just like the chapter titles), which I didn't want to clash with an overly detailed background. This might've been the SCOTT PILGRIM influence at work, which is amusingly full of such captions. It works really well for the tone of SCOTT PILGRIM, but I ultimately decided it wouldn't be right for THE SOLAR GRID. Yet, I never went back in to fill that background, and its bugged me ever since. Once I got that background in there, I had to change the background in the second panel to match. There's a bit of a style disconnect—to be expected when adding something to a drawing you originally made over 10 years ago—but it isn't too glaring and I think it works much better than the original version.

Chapter 03:

Always wanted to include a post-flood Egypt travel ad in the backmatter portion of chapter 3, but got too preoccupied with wanting to finish the actual comics of the book to get around to it way back when.

Chapter 04:

I was never satisfied with how tightly cropped the face in the second panel turned out (bottom left). Strikes me as just a tad confusing who the eyes belong to. So for the revised edition, I took a crop from a panel on a different page entirely and blew it up. Not a strategy I like to employ often, but applying it here improves the storytelling immensely.

The original bit of dialogue on the left adds nothing of genuine value. The revised dialogue on the right tells us something about the belief system prevalent in Wastecountry in regard to the titular Solar Grid. Which helps make certain scenes later in the book far less confusing.

Added to backmatter to further make clear that “the oasis” where the bunnylynx was found actually sits within Kovsky's lair.

Chapter 05:

Added a scannable QR code in the backmatter, which takes the reader to the actual THE SOLAR GRID SOUNDSCAPE tracks created by N Slash A.

Chapter 06:

In the original version, I had the “camera” swivel from the side of the character's face to the front in 3 consecutive panels. Ultimately, that motion doesn't quite translate very well in comix, and keeping the frames fixed on her profile works much, much better.

Chapter 07:

Added smaller versions of the text behind the panels in an effort to improve legibility and better make clear what is going on.

Earlier in the book, when not plugged into Hively, we have Mickie Stardust's train of thought fill the page behind the panels, something that gets completely obliterated once plugged in; he can no longer hear himself think. For Pierce Arcadia, I'd originally opted to not fill the entire page because he's intoxicated here and thus I figured his mind would largely be blank. This I think doesn't quite come across as intended, and the blankness of the page becomes a little odd after what we'd established with the Mickie Stardust sequences. In keeping with consistency, I opted to fill the page with a relevant train-of-thought for the new “revised & expanded” edition.

The original face in the 4th panel (top right) hadn't quite turned out as celestial as I would've liked (at all actually!). Messed with it, and made the dialogue stronger/more relevant.

Chapter 08:

Originally, the chapter title was overlayed on the art, making the text far less legible than I liked. I prefer it with the crop a lot more.

The revised dialogue (bottom right) ties better with something already established in the Galactic Geographic interview which appears a few pages earlier.

Even after using image-enhancing software, the excerpt from the 1812 edition of The Examiner is just awfully lo-res to be legible. Thus I decided to include 2 pages instead of 5, and fill the remaining 3 with an excerpt from Frederick Engels' The Conditions of the Working Class in England in 1844. Which was written long after the 1812 Luddite revolts, but there's enough of a thematic correlation to include it. And it beats relying entirely on a bunch of newspaper pages that are kind of impossible to read.

Chapter 9:

Opted for a less headliney title for the second appearance of Holly Badchapel's column.

Chapter 10:

The original dialogue exchange (top) actually says very little. The revised version (bottom) becomes shockingly revelatory to young Mehret, and better ties to a couple of other scenes earlier in the book.

Such a delicate and pivotal scene that became clunky primarily due to the largely nonsensical dialogue (much of which is actually too small for comfortable legibility). The revised version below really makes the scene count (also, the tongue's color in the top right panel needed a little pop).

Revised dialogue (bottom) better ties to the collage sequence that came before.

The Tsiolkovsky-1's launch into space didn't feel dramatic enough, so I added a double-page spread.

The Solar Grid's destruction—ostensibly the most important moment in the entire book—was way too abrupt. A couple extra pages help take the scene to a far more heightened level.

Again, revised dialogue (bottom) helps tie the scene to the pivotal collage scene that came before.

The joke towards the end didn't quite land very well the way I had originally depicted it. A couple extra pages allow the scene to breathe and make it work.

And finally, the very last closing page needed considerable reworking, but I'll refrain from showing that one here :–)

Sadly, none of the above revisions will be reflected in the serialized edition(s) from Radix Co-op or the boxset that collects them. But at least they get exclusive covers that don't appear in the “revised & expanded” edition.

Despite a considerably positive critical reception of THE SOLAR GRID to date, landing a publishing deal for the collected edition has thus far proven to be surprisingly challenging for some reason or another.

#comix #tsg #work