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Haunted World

Chris Mautner is here with a review of Ulli Lust's most recently translated book, Voices in the Dark.

Ulli Lust’s North American debut, Today Is the Last Day of the Rest of Your Life, was a harrowing, heartbreaking and incredibly powerful work. Her 2013 graphic novel, Voices in the Dark, released recently in the U.S. by New York Review Comics, strives to be just as ambitious and emotionally wrenching. It unfortunately isn’t, but it's not for lack of trying, and it does prove that Lust is more than a flash-in-the-pan cartoonist.

An adaptation of a novel by German author Marcel Beyer, Voices in the Dark tells the story of two people during the second world war: Helga Goebbels, the eldest daughter of Nazi propaganda minister Joseph Goebbels, and Hermann Karnau, a fictional sound engineer who ends up working for the Nazis and finds himself in the Führerbunker, alongside Helga and her siblings, during the final days of the Third Reich.

One of the biggest problems with Voices lies in the character of Karnau. I have no problem with an unsympathetic or unlikeable protagonist, but Karnau is: a) clearly designed to be a surrogate for the reader; b) really boring.


Meanwhile, elsewhere:

—News. The biggest news in comics began on Friday with the publication of a lengthy, well-reported BuzzFeed story detailing accusations of sexual harassment leveled against the longtime DC editor Eddie Berganza.

Among the women who reported Berganza to human resources, none still work for DC. None are even working at mainstream comics publishers anymore; they’ve largely put superheroes behind them.

“We all left, and he’s still there,” said Janelle Asselin, a former DC editor who spearheaded the multi-employee HR complaint against Berganza in 2010. “That, to me, tells me what DC Comics’ priority is.”

Berganza did not respond to requests for comment for this story. A representative for DC Comics said DC and WB were “committed” to a harassment-free workplace. Unlike cases in other industries, the people who spoke to BuzzFeed News did not know of settlements, payouts, or nondisclosure agreements with women who say Berganza harassed them. Instead, what has kept many of these stories confined to gossip, blogs, and occasional social media posts is the small size of the comics industry, and fear of being blacklisted by the biggest publishers in comics.

Later in the weekend, DC announced that Berganza had been suspended pending review:

DC Entertainment has immediately suspended Mr. Berganza and has removed him from performing his duties as Group Editor at DC Comics. There will be a prompt and yet careful review into next steps as it relates to the allegations against him, and the concerns our talent, employees and fans have shared. DC continues to be extremely committed to creating a safe and secure working environment for our employees and everyone involved in the creation of our comic books.

This is the most prominent story involving sexual misconduct in comics, but not the only one, as accusations have been made against at least two cartoonists involved in small-press comics. After we gain more information, we will report on those.

—Interviews. At the Los Angeles Review of Books, Nathan Goldman interviewed Eli Valley.


Speaking of that, you get a lot of shit from the Jewish right: Commentary’s John Podhoretz called you a kapo, meaning a Jew who cooperated with Nazis; The New York Times’s Bret Stephens called your work “grotesque” and “wretched.” How do you feel about those kinds of remarks?

I think they’re despicable, but they’re entitled to their views. “Grotesque” and “wretched” is fine, actually. “Kapo” is inexcusable — although I’ve been using it lately. However, I think when I’ve been using it, talking about people who are normalizing Nazism in the United Staes, it has much more relevance and accuracy than calling me a kapo for doing a comic that was a cry of anguish after a Palestinian boy was burnt alive. That’s literally why Podhoretz called me a kapo.

The most recent guest on RiYL is Anders Nilsen.

—Reviews & Commentary. Jason Shiga has written a guest post for the science fiction magazine Locus about the final volume of Demon.

Science fiction has always been my favorite genre, especially when the story takes the form of scientific discovery itself. There’s something incredibly satisfying about the classic scientific method of observing, imagining, testing and finally getting a clear answer from the universe about some fundamental way it’s structured. I feel the human mind has a science shaped keyhole in it and hearing a good story or joke or cleverly designed experiment all satisfy that same part of the brain. It could be Sherlock Holmes figuring out that what everyone else thought was a ghost was just a (spoiler for 100 year old story) dog covered in luminescent paint. In a way, I think all great fiction is science fiction of a sort.

Paul Gravett has assembled a panel of critics and writers from Brazil, Denmark (our own Matthias Wivel), Finland, New Zealand, Serbia, and Singapore to choose the best comics of 2016 from those countries.

Ytournel is the brightest and probably funniest newspaper cartoonist in Denmark. At their best, his strips break the old, long-established boundaries in terms of format, medium and — most importantly — humour, demonstrating that editorial cartooning can be different and creative, in spite of prescriptive tradition. And he is just plain funny, blending political with keenly observed, social satire. He has an eye for the absurdity and vanity in the banal details of diction and posture that other cartoonists either don’t notice or find too shallow to mine for commentary. This book collects his best work from more than a decade’s worth of work at the daily newspaper Politiken, including his brilliant 2013 comics inset on Søren Kierkegaard, written and drawn on the occasion of the world-famous Danish philosopher’s bicentenary. In it, he not only provides an ‘Existentialism for Beginners-type intro, but also comments hilariously on recent reception history and attendant controversy, and most poignantly situates Kierkegaard’s relevance to the average life of an average person wanting to be a football coach.

 

“They Kill Everything”

 Today at TCJ, we've got an excerpt from the upcoming Chuck Forsman release, I Am Not  Okay With This. Chuck is my brother from another mother, so you can view this as an abuse of power if you'd like, I am not in charge of your feelings. The new book is more teenage angst, and the first time Chuck did teenage angst, it got turned into a television series on Channel 4 with a soundtrack by the guy from Blur. Does it sound like i'm bragging about my friend Chuck? That's because I am. Because Chuck got a big time television show, and he got it by making a comic book in his house and selling it for a dollar a piece to people through the mail, as opposed to hanging around Meltdown in Los Angeles and chicken-hawking people with hooves for feet. If we don't brag about the times when good people find success, we're leaving the whole thing up to the assholes who are gonna run their mouths anyway. Congratulations, Chuck.

ELSEWHERE

Excerpts are all the rage, it seems--here's one from Julie Maroh over at Buzzfeed from her latest, Body Music. It took me a second, but then I got it. Okay, more than a second. You should time it for yourself!

If you wanted to read any of Lucas Siegel's articles for StarWars.com--why?--you can't, because they've all been removed from the site, and his bio page no longer exists. There's still been no public statement from any of the sites where Lucas used to work, despite the fact that all of the allegations of harassment made against him so far seem to have taken place during the time he was working directly for those companies. I asked Newsarama about the allegations earlier this week, and was told the following by the Senior Director of Marketing and Communications at Purch, the company which currently owns Newsarama.

"We will not provide comment on the specifics of Lucas Siegel’s employment at Purch, or the specifics of employment for any other Purch employee, other than to verify that he was an employee from 2009 – 2014."

What's interesting about this story so far is that, while it does appear obvious that these companies let Lucas go in part due to the allegations of sexual harassment made against him, none of these companies appear to be willing to admit that's what they've done. Normally, a company would want to get out in front of a story like this, and make it clear that, when an employee violates their sexual harassment policy (thus putting said company in danger of a lawsuit by the victims of harassment), they look after their people. That isn't what's happening here. 

It's almost like these companies aren't worried that any of the websites that cover this particular subculture are going to take the time to write about this story in any substantive fashion.

ANYWAY

Here's a nice round up of what most struck the fancy of the Seattle Review of Books when they went by the most recent Short Run Festival

I'm at a show myself right now (AASL), and while I'm sorry to miss seeing my friends at CAB--I can't remember the last time I didn't attend that show, and i've exhibited the last five--it would be disingenuous to act as if i'm not enjoying myself. Attending library shows with comics, even in the most minor proximity, is one of the most tremendously psychologically and professionally rewarding things one can do, and shows driven by buying and selling just can't compete. These shows aren't without their challenges, the primary one being that a good bit of the success comics has found in libraries has been won by using them as the gateway drug that will hook reluctant readers on "real" books, i.e. prose--but even the fact that that mentality is being acknowledged as a challenge is a good sign, and the conversations surrounding such subjects is one full of curiosity. I wish more comics artists and publishers would attend these shows for the artform as a whole, but selfishly--it sure does make what I do so much easier when there's only a handful of us to visit.

 

Dollar Dollar Bill Y’All

Today on the site, Rob Kirby reviews the latest four minicomics from Kuš!, created by Evangelos Androutsopoulos, GG, Patrick Kyle, and Andrés Magán.

The Latvian comics publisher Kuš!, helmed by David Schilter and Sanita Muižniece, celebrated its tenth anniversary this year. From its inception, Kuš! has been dedicated to promoting art comics from international creators with subject matter ranging from light to dark, whimsical to inscrutable, and everything in between. I’ve thought of each new quartet of Kuš! minis as a sort of quasi-anthology and this latest batch genuinely coheres as such: while the comics within wildly vary both tonally and stylistically, all of them traffic in unreliable narration­ or highlight the subjective nature of reality. All four of these minis underscore what makes this publisher such a unique, exciting, and valuable branch of the indie comics scene.


Meanwhile, elsewhere:


—Interviews & Profiles.
Tom Spurgeon talked to the new co-curator of CAB, Matthew James-Wilson.

I've been reading comics for most of my whole life, so I think they've always been a big part of my art education. I think in comparison to a lot of other mediums, comics are really equalizing in that you don't need a lot of resources to make them, consume them, or share them, and there's a really low barrier of entry to become a part of the community around them. It's really important to me that art is available to people no matter what background or situation they're coming from to it, and comics fulfill that really well.

I also think, since there's so little money for the artists and publishers in the industry, there's a level of purity with people's intentions to make comics that's missing from a lot of other art forms. I don't think there are a lot of people who are in it for disingenuous reasons. With comics, if you didn't truly care about doing making them, you probably would have given up by now.

Entertainment Weekly talks to Mark Millar about his first comic book officially published by Netflix, and maybe puts that last quote from James-Wilson in a different light.

Millarworld was always, first and foremost, a comic book company, but since we sold to Netflix it’s obviously become something that crosses all media. If something was turned into a movie, that was a lovely novelty in the past, whereas now when I’m creating stories as a member of staff, I need to keep my eye on the whole picture. We’re thinking of these as movies and TV shows, and the ones we feel would be great for comics will also appear as comic books. I’ve been writing comics since I was 19, so this is amazing for me because it’s what I love doing. I want to do as many comics as I possibly can but keep it all at this kind of level. The Olivier Coipels and so on. It’s actually a pretty perfect arrangement.

The most recent guest on Virtual Memories is Martin Rowson, the most recent guest on Comics Alternative is Joseph Remnant, and I missed that a recent guest on Gilbert Gottfried's podcast was Drew Friedman.

—Misc. Time tries to figure out how much money you can make in comics.

[The letterer] is the person who uses a variety of fonts and sometimes even hand-drawn calligraphy to create everything in the word balloons and illustrating the sound effects. Typically this job runs between $10 and $25 per page, according to the FairPageRates survey. “I was lettering for a long time, that’s how I paid my bills,” Ed Brisson, writer for Iron Fist and an Old Man Logan, told New York Comic Con attendees last month.

 

The New Boss, Same As The Old Boss

Today on the Journal, we’ve got an interview with Gabe Fowler about this weekend’s Comics Arts Brooklyn festival. Longtime readers will know that Gabe used to do a similarly themed show in Brooklyn with former TCJ editor Dan Nadel and beard enthusiast Bill Kartalopoulos, but that relationship fell apart when they realized they were the same person.

"Is it possible to have a comics festival on the East Coast and not have Peter Kuper as a featured guest? How did you keep Dean Haspiel from attending?
Kuper is a featured guest, partly because he is awesome and partly because he is a Pratt alum.  We want Pratt to feel good about our newfound partnership and are taking the opportunity to focus on alumni who have impacted comics culture, such as Kuper, Bill Griffith, Paul Karasik, and Jules Feiffer, who will all participate in programming.  I can just hear Haspiel bitching that I didn't personally handcraft a royal invitation for him to participate, but nobody gets that treatment around here.  But really, he has been involved in our show in the past and I would love to have him."
 

ELSEWHERE

While it might be fun to ignore yesterday’s latest development in the longest and dumbest fight between two entertainment conglomerates, ya gotta admit: DC hiring away Brian Michael Bendis, the dominant creative voice behind the last two decades of Marvel Comics is big news. It’s not as big as it would have been seven years ago when the creator in question was still king shit of fuck mountainbut it's DC Comics--they didn't get ahold of John Romita Jr. when he was still taking chances, either. There's a lot of uninteresting articles out surrounding the move, but what unifies all of them is the total lack of access to the people and company involved. The move was announced via the DC Comics Twitter account at 6 in the morning, with a follow up tweet coming from Bendis a few hours later--and the rest of the day consisted of thinkpieces and shot-from-the-hip takes until George Gene Gustines remembered where he'd written down Brian's phone numberYou'd think years of cheerleading might get you more access, but apparently, that isn't the case. 

Anyway. If you've read a few Bendis comics in your time, then your prediction of "what this means" is as valid as the next persons. They will probably be readable, have a compelling enough thru-line that you will be curious about what happens next even if you don't really enjoy the experience. They will have too many words. But whatever it is, it'll just be another super-hero comic. It won't be as good as the ones you read when you were younger, it will be too expensive, and it will probably be drawn by someone you don't like. Enjoy!

ONWARD, TO INTERVIEWS

Jesse Jacobs, whose only failing seems to be that he's so effortlessly interesting that I take for granted that he'll keep getting better and have forgotten to be surprised at how consistently he does exactly that, is as fascinating an interview subject as he is a cartoonist. He showed up at Hazlitt in an interview with Matthew James-Wilson, the same person whose praises are being sung in today's Gabe Fowler interview.

I thought this Kelly Sue DeConnick interview was pretty interesting. I haven't read much of her writing, but it's rare to see a comics creator speak with such frankness about the nature of creative work. DeConnick seems to have been saddled with the "explain sexism to people" role that certain women in comics get assigned when they're smart and successful, and she handles that task with real passion. 

 

The Ball is Rolling

Those of you suffering from Dan Nadel withdrawal will get some temporary relief today, as we present his interview with Paul Karasik and Mark Newgarden, regarding their extraordinary new book, How to Read Nancy.

You mention a few times that Nancy has not received the historical attention (or affection) it deserves. I wonder if that’s because is so prosaic on the surface. What is it about the way comic-strip history has been written that you think kept out Nancy? Is part of your contention that the almighty gag is equal to, say, the emotional heft of Krazy Kat or Peanuts, or the grandeur of Little Nemo? I think the answer is yes, and I agree, but perhaps you can explain a bit.

Krazy Kat and Little Nemo resemble “Art.” Peanuts resembles “Philosophy.” Nancy resembles nothing more and nothing less than a comic strip (and a gag-driven, self-proclaimed “dumb” one at that), hence: easily dismissed from the canon.

The public’s affection has always been there. Savvy critics such as Manny Farber certainly “got” Nancy at the time of its initial popularity, but the next wave (1960s–1990s) of “serious” comics historians tended to revile the strip, for a variety of reasons that reveal more about their agenda (and their generational bias), than the merits of the work. Nancy was simply a hard sell for anybody trying to get the middlebrow public to take comics “seriously” when, for whatever reason, that was the name of the game. This includes the heroic Bill Blackbeard who single-handedly archived complete runs of nearly every 20th century American comic strip of consequence except Nancy, so deep was his ambivalence. (Due to this sin of omission, as far as we know, there is no complete hardcopy run of this once–ubiquitous comic strip left on planet earth.)

Our choice of the late, great Jerry Lewis for a foreword was highly intentional, yet despite some obvious parallels, Ernie Bushmiller never had the contemporary equivalent of the French New Wave publicly championing his work. Lewis gave us a great compliment in saying that ours is “a book that was written with an infinite care rarely seen in today’s world.” This is how we feel about Nancy.

We hope that How To Read Nancy will encourage the skeptics (who assume that Nancy was just another vapid kiddie strip), as well as the hipsters (who Instagram their Sluggo tattoos, yet have never actually read it), to reevaluate and appreciate the mastery of Bushmiller’s work.


Meanwhile, elsewhere:

—Interviews & Profiles. The Guardian ran a special comics edition this weekend, featuring several pieces of note, including an interview with Alison Bechdel, interviews with various literary celebrities about their favorite comics (Zadie Smith seems to have the best taste in the bunch), and a slate of cultural recommendations from Chris Ware.

My own profession currently seems divided between comics fiction and comics memoir, the former more or less growing out of the childish fantasies now grotesquely metastasised as “superhero stories for adults” — which makes about as much sense to me as writing pornography for children. Some middle-aged colleagues and I believe literary comics fiction is possible without resorting to fantastical heroics, however, and the youngest and finest exemplar, 28-year-old Nick Drnaso, offers a new book next year to possibly top us all: Sabrina, about a missing woman, a video and the unspeakable possibilities of our contemporary mitigated reality. (After I recommended his first, Beverly, to Zadie Smith, she wrote back a one-word review: “wow,” and she’s just called Sabrina “the best book – in any medium – I have read about our current moment”.) I have no doubt that if Nick keeps it up, he will do things on paper that no other human has yet imagined (he basically already is), and that’s the best kind of heroism imaginable.

The most recent guest on the Process Party podcast is Sarah Horrocks, and the most recent guests on Inkstuds are Cecil Castellucci and Marley Zarcone of the latest Shade the Changing Man series.

—Reviews & Commentary.
Rob Clough reviews Anders Nilsen's somewhat under-the-radar Tongues.

The series is pretty much peak-level Nilsen, but what immediately struck me about this 48 page comic is how it mixes and matches various Nilsen themes and approaches from over the years. There's the apocalyptic quality of his mythological work like Rage of Poseidon and his classic short story "Sisyphus" from Kramer's Ergot. There's the typical wrecked and bombed-out backgrounds of Big Questions, complete with intelligent animals. There's even the central character from Dogs and Water on a walkabout, his teddy bear still strapped to his backpack. It's a recapitulation of his entire career, yet it still feels fresh and bold.

—News. New York City is naming a street in the Bronx after Batman co-creator Bill Finger.

David Lasky and Mairead Case have been chosen by the city of Seattle to create a comics history of the Georgetown Steam Plant.

The team will begin work immediately with in-depth research. As part of the project, they will be sharing progress throughout the next year in a combination of online updates on their blog at SteamPlantGraphicNovel and in-person events.

 

Maybe You’re Just A Muggle, After All

Today on the site, we've got Carta Monir's review of Higu Rose's Tittychop Boobslash. While it's normally a punk move to jump to the final sentence and spoil the blurb, I feel it's best to welcome Carta aboard with the same level of disrespect I once received, back when Michael Dean commissioned reviews from me for the print edition, and then never spoke to me again. Note to self: Fire Michael Dean

"Although this book isn’t framed as an educational comic, it is an excellent resource for any young trans person navigating the healthcare system. Understanding how other people manage against the same kinds of obstacles can be lifesaving, and Rose’s clear, personal account is full of helpful details. Trans or not, you owe it to yourself to read this book."

ELSEWHERE

Over the weekend, a number of comic and geek culture figures outed Lucas Siegel — a comics blogger, journalist, Disney and Star Wars enthusiast, improv comedy practitioner, and veteran of the Armed Services — as a serial harasser of women. While it doesn't appear, so far, that there's an actual news article out regarding the charges, it's rather early in the cycle. Lucas has posted a response on his Twitter account, which one can read if you feel necessary: -it is, in classic fashion, not really an apologySo far, his statement has been met with almost universal derision. Janelle Asselin, who was once married to Siegel, wrote about Lucas's past behavior and her own comments to him-- which occurred long before the recent allegations were made, and so cast Siegel's comments (that he learned about his behavior "yesterday") in an extremely curious light.

It's worth noting that Lucas is not someone who most Comics Journal readers may even be aware of. His tenure as an editor at Newsarama primarily consisted of him writing drearily written enthusiast prose about tiresome superhero comics, responding to any criticism by exaggerating his military record or accusing the critics of being "haters," all the while attempting to cash his mediocre role into a gig writing Star Wars comic books. I'd be hard pressed to imagine a reason why someone reading the Journal would have seen anything by him, or even been aware of him beyond the one thing that made him unusual amongst the rest of the mouth-breathers who are desperate to turn the hours they've invested in nerd products into a consistent paycheck, which is that he happened to be trusted by the US military to carry a firearm into combat. More to come on this subject!

 

Funny But How

Today on the site, we present a debut review from Tessa Strain, who evaluates the latest Garth Ennis & Goran Parlov Punisher comic.

Set dressing aside, this “America Was Never Great” narrative path is a well-trod one, memorably blazed by James Ellroy, among others, in his Underworld USA trilogy. Ellroy’s influence was all over Ennis and Parlov’s Fury: My War Gone By series from a few years back, and like him, Ennis has a tendency to use his cynicism about American self-mythologizing as a moral smokescreen for indulging in violent, macho excess. The nastiness can be exhilarating, but culturally (in both media and real life) it feels like we’re well past the point of saturation for that brand of nihilism, and it makes me wonder if it’s still possible to enjoy these kinds of stories, let alone gain anything from them. This may sound like I’m holding Punisher: The Platoon to an unrealistically high standard, but it would be easier for me to read it as straightforward exploitation fare were the framing device any less naked in its intentions. But when you have characters bludgeoning you with the thematic context of the story every five pages, at a certain point you have to take them at their word.


Meanwhile, elsewhere:

—Misc. Ron Wimberley is Kickstarting LAAB, a new magazine that looks like it will be exploring the intersections of black culture, science fiction, and comics, among other things.

Thi Bui's The Best We Could Do has been nominated for the NBCC Leonard Prize.

IDW's Library of American Comics has launched a podcast.

Here's a 1970s NYU documentary on Marvel artist Herb Trimpe:

 

A School Of Inattention

Today on the site...we got nothing? Shit, pal--that's on me. What can I say? Halloween and early morning flights and bad scheduling. I'm over the moon excited about what we have coming for you soon though. It'll be worth the bumps this week: promise! Here's a picture of what my brother did to his dog.

ELSEWHERE

Publishers Weekly posted their list of the Best Comics of 2017--if that feels early to you, I get it--it is early! But generally speaking, Publishers Weekly gets to look at books months before they come out, so they can get away with it. If you've kept up with PW, the list is an accurate reflection of the books that they've championed this year. While the big news at PW on the comics front is (and should be) Heidi's departure to focus on a Lion Forge-sponsored Beat, it will be interesting to see how their comics coverage changes in the coming year without her at the helm.

The newest episode of Salt and Honey features Rem, and it's as educational as it is fascinating.

I'd never read Remy Charlip's brief essay "The Page is a Door", but I knew it was a big deal to Brian Selznick. I guess I should've just checked his website, because he has it posted there. Handy!

Josh Simmons is going to be releasing another one of his Batman comics at the upcoming Short Run Festival, and to remind you why that's a good thing you can read Mark of the Bat (which is now ten years old) over at Study Group. It's as grotesque as you remember, which is good!

I haven't found much in the way of interesting writing about the new Grandville book by Bryan Talbot, but that will hopefully change in the coming weeks. This video succeeds about as well as any video does in selling a comic, which is to say, not very, but it's still Grandville.

comiXology's Pull List service, which actually predates their digital comics business, will be ending in mid 2018. I know firsthand how useful the service could be to direct market comic book stores, but I also know how frustrated some retailers found it to be partnered with comiXology as their business grew, and it would be interesting to know how many retailers still use that particular service. One could ask, but considering the way Amazon responds to even the most generic of questions, it doesn't strike me as a very productive way to spend one's time.

The Weekly Standard has a review up about some more non-fiction books focused on DC & Marvel. Neither of the books sound that interesting--I can't imagine reading anything with a spine about Stan Lee as a realistic option, the idea seems ludicrous--but I'll always support a mainstream publication of any kind taking shots at Marvel movies on the behalf of the Snyderverse. Go for it, you beautiful asshole!