Selectors' Comments:
I like this because it looks at bad childhood memories as if at an insect down a microscope. It amplifies the absurdity that you always sensed as a kid when threatened by a bigger kid. The drawings are really taut and involving in their own way too.


For this American, anyway, Jason Nelson's Mon Then and Brian rendered my ears useless: I couldn't make out a word of the Scottish accent. But the eyes had it for sure: Nelson's mix of talking, floating photo head and lazily drifting clouds with action-figure animation and dooptydoo, black/white perspective townscape – not to mention the variable speed and intensity of Brian's inscrutable, smashed monologue and Python-esque sparring, made me cry laughing.

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Selectors' Comments:
I like this because it looks at bad childhood memories as if at an insect down a microscope. It amplifies the absurdity that you always sensed as a kid when threatened by a bigger kid. The drawings are really taut and involving in their own way too.


For this American, anyway, Jason Nelson's Mon Then and Brian rendered my ears useless: I couldn't make out a word of the Scottish accent. But the eyes had it for sure: Nelson's mix of talking, floating photo head and lazily drifting clouds with action-figure animation and dooptydoo, black/white perspective townscape – not to mention the variable speed and intensity of Brian's inscrutable, smashed monologue and Python-esque sparring, made me cry laughing.