Today on the site Mat Colgate profiles the British comics collective known as Decadence:

Reading through their releases you get the feeling that both artists are asking the same questions of the same situations but that they are speaking in different languages.  Their work reads beautifully together, one almost completing the other. Both are pure sci-fi artists – if by sci-fi you hold to that old chestnut about it being set in the future but dealing with the now – but their approaches differ. Crudely, where Lando is the apocalyptic futurist, dealing with the nuts and bolts of worlds in strife and the realities of survival in far off lands, Tsemberlidis is the mystic – concerned with humanity’s evolution and possible escape routes from a destructive manichean present in which it is imprisoned within false divisions. If this sounds like some hippy throwback, well, perhaps it is, but the execution is sharp and unsentimental. There is no easy-way-out spirituality being offered here. Both artists are aware that hard choices need to be made if we are to escape the mess we have made for ourselves and that large parts of our way of living will have to be jettisoned. In the words of mathematician and philosopher Alfred Whitehead, words which could stand as a masthead on every Decadence release (and were later appropriated by Brit space-cadets Hawkwind), “It is the business of the future to be dangerous”.

And Rob Kirby reviews Mimi Pond's Over Easy.

And elsewhere:

Tim mentioned yesterday that we now have all 300 issues of TCJ available for digital and print subscribers. Dig in.

Congratulations to Dash Shaw on being awarded a Cullman Center Fellowship by the New York Public Library. Related artists who have been fellows include Gary Panter and Ben Katchor.

Paul Gravett has a nice profile of Oscar Zarate.

Here's a very early article on Wacky Packages.



Rise of an Empire

As many of you know, ever since this site relaunched three years ago, Kristy Valenti and her team have been diligently working behind the scenes to upload back issues of The Comics Journal to our digital archives. Today, we are pleased to announce that every issue of the original print magazine up to #300 is now available online to subscribers. This really is the deal of the century for anyone interested in the contemporary history of comics -- if you want to understand how we got where we are today, there is no better place to look than The Comics Journal.

Complete access to our archives is available both with a subscription to the magazine's print edition, and via digital-only subscription.



Joe McCulloch is here today, as he is every Tuesday, with a guide to the best-sounding new comics in stores (with spotlight picks by Mimi Pond and Evan Dorkin), as well as part one of a series of essays on pre-WWII manga, starting with the old-old-old-school giant-"robot" manga Tank Tankuro. (It probably says something bad about my parenting skills or my four-year-old daughter's future ability to fit in at school that this book is the one she most frequently asks to take with her to bed at night.) Here's a sample:

It is difficult to remain annoyed with Tank Tankuro, however; it is far too valuable a book. Other manga releases have afforded readers translated access to the comments of Japanese writers and critics, and not a few 'historical' releases append supplemental texts by western experts, but this one sees editor/co-translator Shunsuke Nakazawa offering a a rare and extensive overview of the pre-Tezuka eon, from the formative influence of Punch and Puck on Meiji period artists through the popularization of newspaper cartooning, the rise of children's entertainment magazines, the development of emonogatari and the proliferation of akahon - all rushing towards the cataclysm of World War II, through the American occupation and into the midst of the Tezuka phenomenon.

Running parallel to this is the life of Sakamoto himself, who offers additional, personal testimony (penned in 1964), as does his son, Naoki (new to this edition). Sakamoto, we learn, was a trained painter and advisee of emonogatari progenitor Ippei Okamoto, whose dissatisfaction with a children's samurai comic he'd been drawing for a newspaper company ultimately led him to Kodansha's Yōnen Club magazine -- yes, the same Kodansha which publishes Attack on Titan today -- where he cut loose with an imaginative serial about a strong boy inside an iron ball who can produce any item necessary ("like a chest full of toys," declares the artist) to defeat villains. Tank Tankuro was a big success, enough so that Sakamoto adapted some of the comics material into an experimental emonogatari variant format he dubbed manga-dōyō, with uniform rhyming text accompanying dialogued panels (see above, and note the lack of English-equivalent rhyming). Then, of course, came a collected book edition, the texture of which Presspop perhaps means to suggest through its own deluxe slipcased hardcover production.

This looks like one you're going to want to bookmark.


Jen Sorensen and Angelo Lopez won editorial cartooning awards from the Society of Professional Journalists. The Hugo Award nominations were announced, and included comics such as Saga, xkcd, and Girl Genius (and incidentally, this year's slate kicked up an awards controversy that makes comics seem mature).

—Reviews & Commentary.
Robert Boyd writes about Mimi Pond's Over Easy. Leo Carey at The New Yorker talks late Tintin (Flight 714). Rob Clough tackles recent Ryan Cecil Smith. At The Beat, Jessica Lee reviews selections from the spring "Oily bundle." Alicia DeSantis reviews Philip Guston's Late Works.

—Subscriptions & Spending Opportunities.
Up-and-coming publisher 2D Cloud has begun offering full-year subscriptions to their lineup. The Study Group 2014 subscription crowdfunder is now into stretch goals. Julian Darius wrote an essay complaining that crowdfunding for comics is "broken" that I don't really understand, but I do know that people in comics love to argue about Kickstarter, so maybe some of you will.

—The Recent Troubles. Janelle Asselin has written a followup post regarding the fallout from her recent review of a Teen Titans cover, which led to violent threats from fans. Will Pfeiffer, the writer of the comic in question, spoke out against this response and asked fans not to threaten her any more. It is depressing that any of this needs to be said out loud to adults, but I guess it does.

—Interviews. R. Crumb and the East River String Band appeared on Soundcheck. Paul Gravett profiles Oscar Zarate. The Schulz Library Blog talked to Montreal's Julie Delporte. Gil Roth talks to comics librarian Caitlin McGurk. Paul Levitz interviewed Neal Adams for the 2013/2014 Taschen catalog. The New Yorker gives Jesse Jacobs a preview and the shortest profile possible.


Eight is Great

Today on the site we welcome new contributor John Seven with his review of Beautiful Darkness.

Accentuating the “grim” in “Grimm” for both laughs and shudders, French comics writer Fabien Vehlmann and married illustration team Kerascoet – the pen name of Marie Pommepuy and Sébastien Cosset – take the precious trope of tiny fairy-like people wandering the land of giant people, and turn it on its own violent head, snapping its neck and leaving it to decay. It’s like the Borrowers found themselves stranded in Lord of the Flies, without either canceling out the essence of the other.


It's been a while since a Comics Books Are Burning In Hell podcast, and I'm relieved to link to a brand new installment!

Here's an overview of recent Oily Comics releases.

The great Ross MacDonald, interviewed.

An interview with Bob Fingerman by Brian Heater.

Finally, this is excellent advice on the business of being a cartoonist.



R.C. Harvey is in fine argumentative form in his latest column, in which he reviews various recent graphic novels including Bohemians, Darwyn Cooke's Slayground, Jules Feiffer's Kill My Mother, and the Italian SuperZelda. Here's how he begins:

As the humble comic book has graduated from the denigrated throw-away periodical to the esteemed and culturally significant “graphic novel,” the shelves of the nation’s bookstores have been increasingly polluted with the works of ambitious well-meaning comics enthusiasts who don’t understand the medium and whose perversions of it not only threaten the form but indoctrinate an audience with false perceptions: readers of such lame endeavors will have a skewed understanding of what graphic novels are and what the cartooning arts are capable of.

And SuperZelda: The Graphic Life of Zelda Fitzgerald by Tiziana Lo Porto with drawings by Daniele Marotta; translated from Italian by Anthony Sugaar (176 6x8-inch pages, b/w with second color; 2011 One Peace Books paperback, $16.95) is a poster boy bad example of this defilement of the visual-verbal artform. We must stop praising such enterprises because they seem to elevate the form and start condemning them for demeaning it.

And it's the fifth and final day of Tessa Brunton's week of diary comics. Today, she leaves Disneyland and contemplates the "death zone."


—Brian Hibbs has an editorial warning against the possible negative outcomes of the Amazon/comiXology deal. ["There is not, I suspect, any reason to think that Amazon will not try to use their newly-increased leverage to squeeze out the largest profit margin that they can at the expense of publishers. This is a long historical pattern for them. Obviously, an Amazon-powered comiXology has far more leverage to do so than comiXology ever could have on its own. Because Amazon can now add its combined share of the print and the digital businesses to the negotiating table."]

—The New York Times has a short piece about the Off Broadway production of the Fun Home musical planning shows in South Carolina at the College of Charleston, which as most readers already know, has been recently threatened with budget cuts for including Bechdel's book in a reading program.

—Finally, we've probably been remiss in not drawing attention earlier to the recent outcry surrounding the response to this Janelle Asselin review at Comic Book Resources, in which she criticized the sexualized portrayal of a teenage superheroine. Asselin wrote a post on her Tumblr describing some of that response, which apparently has included threats of rape and other forms of violence. Heidi MacDonald has more on the situation in general. And Asselin has posted a survey for comics professionals and fans about their experiences with sexual harassment. The discussion of the problem has since expanded. It seems obvious that this kind of behavior is fundamentally wrong, and it's shameful and embarrassing for comics to be associated with it.


Laying Around

Today on the site, Frank Santoro reflects on his house and its spaces:

I moved some boxes around the other day but it just felt like I was playing Tetris for an hour and I gave up. It’s frustrating to remember what this house looked like before I took over. My grandparents must have had more possessions than me. Yet it doesn’t feel as spacious in here. I’ve tried confining all the boxes to one room, thinking it will seem more open in the rest of the house. It works until I start dragging boxes back out of the room to look for something. Then eventually putting the box back is like another round of Tetris.

And Tessa Brunton visits us with Day 4 of her diary.


Substitute comic book artists and collectors with musicians and record collectors and what you have here is comics-appropriate. Also, there is a Crumb connection! Even if not, it speaks so much to how our history has been found and written, and how much more there is to go.

This Pat Boyette strip is really killer.

The first issue of the classic British comics mag The Beano is up for auction.

This Blobby Boys video is very entertaining.



Today, in an excerpt from his new book, The Conscience of a Cartoonist: Instructions, Observations, Criticisms, Enthusiasms, the great cartoonist Jeff Danziger shares his thoughts on the art of political cartooning. Here's how he begins:

Political cartoons are the final word in man’s search for metaphor. Writers, the poor dears, struggle for the right words to make the reader see a situation. A writer might labor with the joke that George Bush swung from trees, proving Darwin was right — we are descended from apes — or refer to the White House as a petting zoo. An economist might dramatize his predictions, saying we are indeed balanced on the knife-edge of a fiscal machete. Political analysts describe verbal pictures to make their concepts clear, to illustrate while they explain. All these metaphors, and their illegitimate spawn, similes, exist to make readers remember a vision drawn from something they have actually seen physically. We hear of corporations and the stock market getting a “haircut” when they give up a portion of their earnings. We hear of real estate being “under water” if more is owed than anyone would pay.

A political drawing dispenses with the search for words. It goes right for the main receptor of metaphor: the eye. A Wall Streeter is missing part of his hair, or suffers a major trepanation from the brow line up. A house is drawn with fish swimming by. If a family is sitting down to dinner inside, the effect is even stronger. The poor suckers obviously don’t know how bad things are.

Art Lorte has our obituary of the great Golden Age cartoonist Fred Kida.

And, of course, Tessa Brunton has the third day of her Cartoonist's Diary. She's finally reached Disneyland.


—News. The Eisner Award nominations have been announced. Congratulations to all the nominees, especially columnists Charles Hatfield, Jeet Heer, and Paul Tumey, past contributors Marc Sobel and Zainab Akhtar, and our editorial coordinator Kristy Valenti, who was nominated for both the print version of The Comics Journal and The Love & Rockets Companion (co-edited with Sobel). As per tradition, there are fine honorees and odd omissions throughout all the categories, but analysis can come later. (Congrats, too, to all those nominated with us in the "Best Comics-Related Periodical/Journalism" category.)

Michael Cavna talks to the winner of the latest Pulitzer for cartooning, Kevin Siers.

USA Today interviews Mimi Pond.

The Schulz Library blog talks to professor/cartoonist/CCS graduate Beth Hetland.

—Reviews & Commentary.
I initially misread the headline of this Rachel Edidin piece on the Amazon/comiXology deal to mean Amazon has ruined a lot more than just comics.

Gene Luen Yang writes an essay wondering if the pursuit of art is a selfish one. (It dovetails a little with Mike Dawson's recent Cartoonist's Diary on this site.)

J. Caleb Mozzocco compares the film version of Darren Aronofsky's Noah with the earlier produced graphic novel based on an earlier draft of the script.

Adventure Time isn't exactly comics, but so many prominent or up-and-coming cartoonists work for the show that this long piece on it by Maria Bustillos may be of interest to many of you.

Chris Randle chooses the ten "sexiest" anthropomorphic animals in comics.

James Bacon reviews Charley's War, and Bob Heer reviews a slew of comics.

—Funnies. I neglected to link to Chris Ware's new strip in the recent New York Times Book Review. Here are two early Bill Watterson cartoons.


Get Out of Here, Bauhaus!

Joe McCulloch is here with your week in comics. And Tessa Brunton presents Day 2 of her diary.


First thing's first: This interview of Victor Moscoso by Norman Hathaway is the best in existence. This is your must-watch of the week.

These stamps have made the internet rounds. Best news of the week.

Ng Suat Tong on Margaret Sanger.

Business Insider on Comixology/Amazon.

Alec Longstreth interviewed on Inkstuds.