Comics review: Marc Ellerby's Ellerbisms

A comic strip that began life with few pretensions.

Ellerbisms began life with few pretensions. It was to be a diary comic like so many others: a page of a Moleskine a day, illustrated with something which happened to Marc Ellerby in the last twenty-four hours. These are the bread-and-butter of the indie cartoonist's world, and, along with gag strips, make up the majority of webcomics (once you exclude the furries, at least). But, as Ellerby says:

Then I met a Swedish girl called Anna and it stopped being so sporadic (and boring).

What you end up reading is a chronicle of a relationship, messy bits included, written as it happened. To this end, Ellerby has also added a new prologue and epilogue, as well as adding a few pages in near the beginning to elaborate on the context of some of the strips. This is a good idea; those early strips, already the weakest part of the book, occasionally make reference to events which Ellerby simply didn't get round to illustrating in real time, and the extra content helps the story hold together as one coherent piece.

New artwork next to old does serve to emphasise how much better a cartoonist Ellerby is now than he was when he started. But thanks to his decision to excise the first few months of Ellerbisms strips, and turn the book from "the complete collection" to "the complete Marc and Anna", there's little of the genuinely amateurish stuff left in. His very first strip remains as a nostalgic title page, and it's a nice scene in its own right; but if the first twenty pages were like it, readers might never hit the good stuff.

Which would be a shame. Like Joff Winterhart's Costa-nominated Days of the Bagnold Summer, Ellerbisms' short episodes, frequently just a page each, build up a detailed, touching portrait of the young couple (whereas Bagnold Summer's episodic nature was an affectation, this is the real deal). We see them fighting over nothing, singing and preparing, and their holidays, working days, and days out in the park. The end, when it comes, isn't surprising, because we have come to know the pair so well that the writing was on the wall. But it is saddening nonetheless.

Not that Ellerbisms is a mopey book. It wears its page-a-day heritage on its sleeve, and the pages of silliness and gags are frequently laugh-out-loud funny. But without that emotional core, it would feel like so many other good but ephemeral webcomics.

Ellerby has also worked hard to make Ellerbisms worth reading as a book, rather than just mooching off the still-available free archives. As well as the aforementioned extra content – and removed content, because what's not collected is as important as what is – it's also packaged together with production values (including delicious rounded corners, a hat-tip to the Moleskine heritage) that well exceed what was necessary to get it out the door. It's all part of Ellerby's – and diary-comics co-conspirator Adam Cadwell's – audacious self-publishing venture, Great Beast.

The two are publishing high quality editions of their complete diary comics – Cadwell's The Everyday is available in hardback, nigh-on unheard of for a self-published webcomic – as well as their other works, like Cadwell's six-part Blood Blokes, about hipster vampires, and Ellerby's Chloe Noonan: Monster Hunter, a sort of Buffy-without-powers. If it works, it will let them cut out the middleman, and may just make publishing these sort of comics, if not quite profitable, then at least break-even. If it doesn't, it will have been an expensive experiment.

No matter what the quality of the physical objects produced, Great Beast will live or die on the skill of its artists. While Chloe Noonan has failed to find the commercial success it deserves, leading to a reboot being planned, it shows that Ellerby has the chops to make something fun and accessible. Hopefully it will find the audience it deserves, and give Ellerby a ticket to riches. But Ellerbisms is proof that he can do much more than just that.

What you end up reading is a chronicle of a relationship. Photograph: Getty Images.

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

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Katy Perry’s new song is not so much Chained to the Rhythm as Chained to a Black Mirror episode

The video for “Chained to the Rhythm” is overwhelmingly pastel and batshit crazy. Watch out, this satire is sharp!

If you’ve tuned into the radio in the last month, you might have heard Katy Perry’s new song, “Chained to the Rhythm”, a blandly hypnotic single that’s quietly, creepingly irresistible.

If you’re a really attuned listener, you might have noticed that the lyrics of this song explore that very same atmosphere. “Are we crazy?” Perry sings, “Living our lives through a lens?”

Trapped in our white picket fence
Like ornaments
So comfortable, we’re living in a bubble, bubble
So comfortable, we cannot see the trouble, trouble
Aren’t you lonely?
Up there in utopia
Where nothing will ever be enough
Happily numb

The chorus muses that we all “think we’re free” but are, in fact, “stumbling around like a wasted zombie, yeah.” It’s a swipe (hehe) at social media, Instagram culture, online dating, whatever. As we all know, modern technology is Bad, people who take photos aren’t enjoying the moment, and glimpses other people’s Perfect Lives leave us lonely and empty. Kids these days just don’t feel anything any more!!!

The video for this new song was released today, and it’s set in a (get this) METAPHORICAL AMUSEMENT PARK. Not since Banky’s Dismaland have we seen such cutting satire of modern life. Walk with me, through Katy Perry’s OBLIVIA.

Yes, the park is literally called Oblivia. Get it? It sounds fun but it’s about oblivion, the state of being unaware or unconscious, i.e. the state we’re all living in, all the time, because phones. (I also personally hope it’s a nod to Staffordshire’s own Oblivion, but cannot confirm if Katy Perry has ever been on the Alton Towers classic steel roller coaster.)

The symbol of the park is a spaced-out gerbil thing, because, aren’t we all caged little hairy beings in our own hamster wheels?! Can’t someone get us off this never-ending rat race?!

We follow Katy as she explores the park – her wide eyes take in every ride, while her peers are unable to look past the giant iPads pressed against their noses.


You, a mindless drone: *takes selfies with an iPad*
Katy Perry, a smart, engaged person: *looks around with actual human eyes, stops to smell the roses*

She walks past rides, and stops to smell the roses – and the pastel-perfect world is injected with a dose of bright red reality when she pricks her finger on a thorn. Cause that’s what life really is, kids! Risk! At least she FEELS SOMETHING.


More like the not-so-great American Dream, am I right?!

So Katy (wait, “Rose”, apparently) takes her seat on her first ride – the LOVE ME ride. Heteronormative couples take their seats against either a blue heart or a pink one, before being whizzed through a tunnel of Facebook reaction icons.

Is this a comment on social media sexism, or a hint that Rose is just too damn human for your validation station? Who knows! All we can say for sure is that Katy Perry has definitely seen the Black Mirror episode “Nosedive”:

Now, we see a whole bunch of other rides.


Wait time: um, forever, because the human condition is now one of permanent stasis and unsatisfied desires, duh.

No Place Like Home is decorated with travel stamps and catapults two of the only black people in the video out of the park. A searing comment on anti-immigrant rhetoric/racism? Uh, maybe?

Meanwhile, Bombs Away shoots you around like you’re in a nuclear missile.


War: also bad.

Then everyone goes and takes a long drink of fire water (?!?!) at Inferno H2O (?!?!) which is also a gas station. Is this about polluted water or petrol companies or… drugs? Or are we just so commercialised even fire and water are paid-for privileges? I literally don’t know.

Anyway, Now it’s time for the NUCLEAR FAMILY SHOW, in 3D, no less. Rose is last to put her glasses on because, guess what? She’s not a robot. The show includes your typical 1950s family ironing and shit, while hamsters on wheels run on the TV. Then we see people in the rest of theme park running on similar wheels. Watch out! That satire is sharp.

Skip Marley appears on the TV with his message of “break down the walls to connect, inspire”, but no one seems to notice accept Rose, and soon becomes trapped in their dance of distraction.


Rose despairs amidst the choreography of compliance.

Wow, if that didn’t make you think, are you even human? Truly?

In many ways – this is the Platonic ideal of Katy Perry videos: overwhelmingly pastel, batshit crazy, the campest of camp, yet somehow walking the fine line between self-ridicule and terrifying sincerity. It might be totally stupid, but it’s somehow still irresistible.

But then I would say that. I’m a mindless drone, stumbling around like a wasted zombie, injecting pop culture like a prescription sedative.

I’m chained…………. to the rhythm.

Anna Leszkiewicz is a pop culture writer at the New Statesman.