![]() ![]() Anthony grows frustrated as her fellow campaigners swoon over men and get distracted by shoes. Only occasionally does Beaton slip into easy parody, as in ‘Suffragettes in the City’, where Susan B. In ‘Schedule Making’, a spoof on the opening scene of Macbeth (‘When shall we three meet again?’), one of the Weird Sisters protests that she’s busy that day – she has a dentist’s appointment – then whips out a spiral-bound calendar. ![]() In ‘Sick Manuscript Bro’, a calligraphist monk in tonsure and robe invites another to ‘check out’ his Gospel of Mark fan fiction. The humour is silly and unexpected, often leaning on the collision of the bygone and the contemporary. Beaton’s lines are fluid and loose, her faces expressive. ![]() The black-and-white, six-panel vignette is characteristic of the Hark! series, which lampoons subjects drawn mostly from revolutionary history and canonical literature. ‘Sir, if I may,’ a voice interrupts from outside frame, ‘it looks like someone has thrown a pair of bloomers into the machine.’ Beaton shows us the frilly underpants then cuts again to the frenzied women. As Tesla attempts to calm the crowd, his new contraption starts to sputter. Instead of the respectable-looking men we might expect, there are rows of women panting like teenagers at a Harry Styles concert. In Hark! A Vagrant, a comic published online between 20, she sketched the handsome inventor on stage, welcoming an audience to a demonstration of his latest invention. O ne of Kate Beaton’s more famous illustrations features an unlikely protagonist for a cartoon strip: Nikola Tesla. ![]()
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