What’d I Say

Today on the site:

Ahead of next week's publication of Kill My Mother, we have Jules Feiffer's introduction and afterword to his landmark book The Great Comic Book Heroes.


Self promotion alert: I curated this show opening September 18th at the RISD Museum of Art. Also, there's a 368-page catalog I put together with texts from faves Nicole Rudick, Naomi Fry, among others. The show attempts to create an alternate lineage from 1960 to the present and includes comics people Jack Kirby, Gary Panter, Mat Brinkman (and Forcefield) alongside the Hairy Who, Christina Ramberg, Elizabeth Murray, Destroy All Monsters, Joan Brown, Peter Saul and others. You'll hear more about it as it goes. 10 points if you can name both objects on the cover of the book.

Still elsewhere:

Speaking of Rudick, Tim and I tried to draw her into a contentious email discussion about whether or not Santa Claus is a super hero, as so named in this article. To my dismay she refused to respond!

Great deep dive into history with a spotlight on workaday early cartoonist C.H. Wellington.

Hilarious Milo Manara swipe file here. I would maybe feel bad about people making fun of Manara if he was still a hippie. As it is: Eh.

Jason Miles recommends Eroyn Franklin.

Nice review of Brecht Vandenbroucke’s .

I got this Multiversity comic book thing in the mail and tried to read some of it this morning because I am a masochist, but was baffled. This annotated guide may help me, but I may also never read it or the comic itself.

Have a good weekend!


Wring Your Hands All You Want

Sean T. Collins is bringing back the column in which he investigates the work of up-and-coming artists, and today he's introducing the Brooklyn painter turned cartoonist Meghan Turbitt. Here's a sample:

You were doing fine art back then.

I was doing large-scale oil paintings of geishas incorporated with Catholic imagery—prayer cards and rosaries. I was also using the image of the Virgin Mary and other female saints as inspiration for making large-scale geisha prayer card portraits. I also painted directly onto Catholic prayer cards, turning the saints into geishas. I became obsessed and made over one hundred of them. I incorporated Japanese culture into my work. In school I also became interested in Jenna Jameson, started listening to Howard Stern, and really was exploring my sexuality. I painted myself as Jenna Jameson and did collages of myself using porno mags and birth control pills. Lol.

What was the connection you saw between the saints and geishas? Did the cultural familiarity of saints give you an entry point into a less familiar culture?

I was rejecting my upbringing and culture, and wishing I was anything else -- and, probably, being a bit disrespectful. I think I even told my mother and grandmother that I wished I was Japanese at one point, which is something a ten-year-old would do. I remember being intrigued by the fact that the geishas and the female saints were wearing very similar outfits, even though they were such different ladies.

And now that you're making comics rather than fine art, have your underlying ideas about this changed along with your medium of choice?

In Lady Turbo and the Terrible Cox Sucker, my sidekick is a geisha named Brent, a friend in real life, so I guess I'm still using geisha imagery now. I'm just more interested in making work that's funny and a commentary on how ridiculous my life is right now, and I think I'm less angry at my family, so I'm making work that's less an "F U" to them.

Meanwhile, elsewhere:

—Profiles & Interviews. Sean Howe has a nice, long profile of Frank Miller for Wired, and it's easily the best, most thorough one I've seen in this latest round of media for the artist.

Amazon interviews editor Chris Duffy about his recent anthology of comics based on WWI poetry.

Harper Harris talks to Farel Dalrymple about The Wrenchies, which I've been hearing a lot of good things about.

—Reviews & Commentary.
Aaron Noble has an in-depth analysis of Jack Kirby art, comparing a 1950s Boys Ranch spread with a similar 1970s spread from Mister Miracle.

—Misc. I think it's kind of hilarious that iO9 thinks it's necessary to repeatedly inform its readers that Michael DeForge's "Canadian Royalty" story is "fake."

Ralph Steadman letters.

The Comic Book Attic has released a new Basil Wolverton e-book.



Hi there,

Today on the site we have more coverage of Brian Evenson's book on Ed the Happy Clown, this time via an excellent conversation with our own Mike Dawson. Why? Because there can never be enough discussion of great comics. And great comics is Chester Brown. Or Chester Brown is great comics. Whatever. You know what I mean. Every cartoonist I respect is intimidated by Chester's work. That's a good thing.


Gabrielle Bell, another amazing cartoonist, is selling her journal comics day-by-day on eBay.

Here's an interview with Annie Koyama by Anne Ishii about Koyama Press.

In other sale news: I am intrigued by this Joe Sinnott book currently being Kickstarted. Why? Because I like to know what a longtime workhorse cartoonist dreams of towards the end of his career.

Here's another Frank Miller piece, this time an interview with Playboy in which Miller sounds exactly like the guy who draws Sin City should sound. That's not a good thing. But! Miller's work was inventive and interesting for many years... I still like that DK2 book. Or at least I like my memory of it.

Speaking of macho men, here's the story of the ill-fated first Nick Fury TV movie.

I can't remember if I linked to this already, but who cares! Here's an excellent article by Gabriel Winslow-Yost on Tardi's war comics. There is not nearly enough written about those incredible comics.



Total Stranger

Today, before laying out a guide to this week's new comics releases (with spotlight picks from Raina Telgemeier and Ed Piskor), Joe McCulloch writes about one of the manga giants still largely unavailable to Anglophone readers: Leiji Matsumoto.

I was very much struck yesterday by Ryan Holmberg’s characterization of the manga studies terrain as “a field dotted with crumbling edifices and surrounded by vast tracts of virgin territory.” Specifically, it appealed to the conservationist in me to check after the health of the edifices.

Is Leiji Matsumoto an edifice? I’d argue he’s barely a foundation right now; in spite of the enduring success of animated iterations of his works, dating from Star Blazers in the 1970s to last year’s Space Pirate Captain Harlock CG movie, the sum total of his officially translated manga oeuvre consists of a single short story (“Ghost Warrior”) printed in Frederik L. Schodt’s Manga! Manga! The World of Japanese Comics in 1983, and five volumes’ worth of a 1990s revival of his Galaxy Express 999 manga published by VIZ 17 years ago in conjunction with the release of various anime. There may be more pages of licensed Matsumoto tribute comics from the ’80s and ’90s like Comico’s Star Blazers and Eternity’s Captain Harlock series than there are actual Leiji Matsumoto comics accessible in translation.

Meanwhile, elsewhere:

The latest slate of Ignatz Award nominees were announced yesterday. Read and enthuse/grow despondent, as is your wont.

MariNaomi is making a database of cartoonists of color. She has instructions on submitting names and other FAQ here.

—Interviews & Profiles. Chris Mautner spoke with comics scholar David Ball about a new series of critical anthologies he is editing.

Tim O'Shea talks to Jesse Jacobs about Safari Honeymoon.

I'm behind on both listening and linking to podcasts, but recent episodes of possible interest include the aforementioned Jacobs on Make It Then Tell Everybody, Rob Liefeld on Inkstuds (with guest cohost Brandon Graham), and Aron Nels Steinke on Comix Claptrap.

—Reviews & Commentary. Robert Boyd reviews recent books by Sam Alden, Gabrielle Bell, and Peter Bagge. George Elkind looks at Mould Map 3. Rachel Cooke likes Emily Carroll's Through the Woods. And a Ferguson-themed cartoon by Tom Toles makes the National Review's Tim Cavanaugh so sputteringly angry he calls him "the worst cartoonist in America." It's nice when political cartoons spark a reaction.

—Misc. One and only one person will buy this at SPX.

Sometimes the comics blogger's imperative to shove every possible topic into a superhero frame is ill-advised.

That Sergio Aragonés poster of fifty years of MAD history which went around online a while back is now being annotated by Doug Gilford.

Is Lilli Carré the youngest HiLo Hero?

Ben Towle posted an image of Charles Burns inking over John Romita Jr pencils from an old Official Marvel Comics Try-Out Book.



Today on the site: Ryan Holmberg discusses his recent residency at the Sainsbury Institute for the Study of Japanese Art and Cultures, as well as contemporary art and Seiichi Hayashi's recent visit to London.

In my opinion, the social and cultural value of contemporary art is grossly overblown. I am not saying that I think contemporary art is bunk. There is an amazing amount of imaginative and thought-provoking work out there. Simply that the amount of capital invested in it, the amount of press coverage it is given, and the claims made for it within curatorial statements and critical essays are all so utterly inflated that it actually does most artists a disservice. The lucky few are rewarded with fame and fortune. But the vast majority is stuck in a web of puffery that effectively cuts artists off from meaningful feedback and meaningful relationships with a wider public. This has created a situation in which one has to be wealthy not only to buy art, but also to afford the education required to understand art, and moreover to afford the social privilege of maintaining oneself in a community that does not ask too many fundamental questions about the actual social, political, or intellectual worth of contemporary art. Such questions are necessary for any field’s long-term health, and of course there are people asking them. But my general sense — as someone who has had extensive contact with the art world in New York, Tokyo, and Mumbai, who writes art reviews with fair frequency and tries to keep up with what’s published in the field — is that contemporary art is suffocating on its own hot air.


The British Library features a post about female cartoonists.

Famed Garbage Pail Kids painter John Pound has quietly been producing comics made from coding languages. He's profiled over at Wired.

Chris Randle discusses the dominent color palette in superhero movies.

The New York Times had a very comics-heavy weekend on opposite ends of the content spectrum. Jules Feiffer's new book was featured on the cover of the Book Review. And here's a very, uh, gentle profile of Frank Miller, as well as a sidebar with suggested reading.

And here's a link to recent writing by Kevin Huizenga on Saul Steinberg. After years of sustained interest in Steinberg, I've somehow lost interest in his work. It's smart and frequently beautiful, but the symbology became formulaic after a while, and the flavor of his intelligence somehow became less intriguing to me. I don't think it's a reflection of the work itself, but rather my own changing taste. It's like I don't want it all quite so spelled-out for me, and I want a little less of that analytic New York feel. It's also possible my taste is just degenerating. Ha.


Theater of the Mind

We're excited today to introduce a new column from the cartoonist Julia Gfrörer. It's called Symbol Reader, and in it Julia plans, in her words, to use "principles of psychoanalysis, philosophy, and comparative mythology to deliberately overthink the symbolic language of comics." In her inaugural column, Julia overthinks comics by Joe Decie, Eleanor Davis, and Michael DeForge. Here's a sample:

The psyche requires an "other," the hypothetical imaginary friend to whom we address dialogues we cannot entrust to actual people in our lives. Often this other takes the form of an idealized version of a person close to us (we imagine a loved one holding our hand during a difficult medical procedure), or even someone we dislike (we visualize delivering the tirade an unscrupulous friend deserves, and enjoy imagining that person's reaction) and we withhold the pursuit of the experience in reality because we know it cannot produce more satisfaction than its counterpart in fantasy. In fact the task of reconciling our actual relationships against the projected desires with which we mentally conflate them can be aversive, leading us to dodge true intimacy lest actual events somehow contradict a more comfortable constructed narrative. Essentially this is the question posed in the very first panel of Eleanor Davis's comic for The New Yorker: Who needs friends when you have Terry Gross?

Meanwhile, elsewhere:

—News. The Joe Shuster Awards' most recent Hall of Fame inductees have been announced.

—Reviews & Commentary.
Rob Clough reviews the British volume of the Hic & Hoc Illustrated Journal of Humo(u)r, and pans Lucy Knisley's latest.

—Interviews. Shaenon Garrity talks to Gene Luen Yang, and Chris Mautner talks to translator/publisher Ryan Sands. Oh, and Ed Brubaker reveals some interesting Tom Hart/Jon Lewis trivia in an interview about the end of Fatale.

—Misc. Melissa Mendes wrote a candid short essay on her struggles with depression and anxiety.

The L.A. Register takes the 80th anniversary of Al Capp's Li'l Abner as a hook to run a timeline of American comics strips.

Cartoonist Hillary Price visited the home of Mort Walker.

Sean T. Collins takes to Rolling Stone to explain the history of the Teenage Mutant Ninja Turtles.

Wired has a nice, fascinating article on Topps veteran John Pound's code-based comics.

Seth likes his refrigerator.

—Funnies. Mike Lynch posts the midcentury pyschoanalysis-flavored cartoons of Marcel Vertès.

This Pete Toms comic going around is really strong.

—Not Comics. Still, this excerpt from ace designer Peter Mendelsund's new book, What We See When We Read, and the book as a whole, is worth reading by those interested in the comics form, both for the way he integrates visuals into his text, and for his analysis of how readers of prose visualize what they read themselves (a process that, according to one point of view, cartoonists supplant when they provide readers with their own artistic representation).


High School Yearbook

Today on the site: Sean T. Collins on the latest comic from Lala Albert:

True, in a way, to its title, Lauren “Lala” Albert’s Alien Invasion III has two primary concerns: aliens and invasiveness. The former are presented in the fashion that has become Albert’s trademark as an artist working with science-fictional imagery in an underground context — otherworldly and elfin, their ubiquitous third eyes a collective locus of mystical enlightenment, erotic fascination, and viscous physicality all at once. The invasions are varied. Aliens visit Earth, humans visit other worlds, humans and aliens travel between worlds together. Alien biology is probed by a human performing an autopsy, explored by two aliens in a body-modification ritual with romantic undertones, inserted unexpectedly and forcibly into an unsuspecting human’s more familiar body. In all four cases the theme is intimacy, invited or not.


Robert Boyd uses the NY Times Chronicle tool to track the mentions of "comic strip" or "comic book".

PW examines the current digital landscape for graphic novels.

A look at Japan's anti-piracy campaign.

And here's a chat with Robert Rodriguez and Frank Miller about the new Sin City film. I think there's probably some value in watching that movie from a visuals standpoint. I don't know what value, but some kind!


The Sheep Look Up

Today we have Greg Hunter's interview with the novelist and translator Brian Evenson, who earlier this year published a critical monograph on Chester Brown's Ed the Happy Clown stories and the various incarnations they have been published in over the years since they first appeared. Here's a little of their conversation:

I’d like to tug at one of the notions in your book. Specifically, can we overstate the importance of a transition to a comics culture that includes the graphic novel? Since most young cartoonists still publish mini-comics or single-issue comics before moving onto larger volumes of work. Publishing in the graphic novel form can be as much a matter of resources and profile as it is an aesthetic choice. I think the graphic novel does come hand in hand with a greater respectability for comics, but is the shift in form as substantial as the shift in perception?

I think the shift in form—you’re completely right, that there’s all sorts of ways, web comics and other things, to get your work out as a comic artist that really have nothing to do with the graphic novel. But at the same time, when Chester Brown was publishing Yummy Fur, there was really a robust culture of independent floppies. So you could go out and you could count on selling quite a few issues. I think he lived on his comic books for a while, and I think it’s very hard for most people to do that at this point.

So I think that’s it. It’s not that that a culture [of independent floppies] doesn’t exist; it’s not that you can’t use it, as a comic artist, as a testing ground; that you can’t do some really amazing things with it. It’s just that it no longer has the kind of prominence—it’s not a kind of necessary step that everybody goes through. And it’s also not something that—I think it’s less likely to lead naturally do the graphic novel than it used to be. A lot of people publish first as a graphic novel, but of course that has a lot to do with finding the right editor and things. And then a lot of people who publish comic books just never get to that point.

Meanwhile, elsewhere on the internet:

—News. At Publishers Weekly, Bruce Lidi analyzes the state of digital comics publishing post-Amazon/comiXology, and Deb Aoki reports on a Japanese effort to curb online manga piracy.

There is a dispute between Greg Theakston and the Jack Kirby Museum over art.

—Reviews & Commentary. At Hazlitt, Will Sloan writes about the history of Dick Tracy. At NYRB, Gabriel Winslow-Yost covers Jacques Tardi's war comics. Brian Nicholson reviews Farel Dalrymple's The Wrenchies.

—Profiles & Interviews. Chris Randle visits Emily Carroll. Nikolai Fomich talks to filmmaker Robert Emmons about his new documentary on Fredric Wertham.

—Misc. BuzzFeed did a weird sort of "listicle" about women cartoonists drawing themselves naked?

—Giving & Spending Opportunities. The Independent Publishing Resource Center is raising money for a Dylan Williams scholarship fund to help cartoonists in financial need.

Jesse Reklaw has a successful, but ongoing Kickstarter. And there's another successful but ongoing Kickstarter for a reprint of Jon Stables adventure comics.