Back East

On the site today:

Michael Dean has a report on the news of sudden closure of the Museum of Comic and Cartoon Art's Soho location. And Craig Fischer brings us video arguments for the Jack Kirby family. Something to keep in mind as the megalith of Comic-Con rumbles to life. And Sean T. Collins reviews the first issue of Gilbert Hernandez's new series, Fatima the Blood Spinners.


-Kevin Huizenga, whose Gloriana (one of the all-time great comics) was recently reissued in hardcover, is interviewed at the AV Club and PW.

-Here's a guide to the Love & Rockets 30th anniversary celebrations at Comic-Con.

-TCJ-contributor Sean T. Collins has a cartoon collaboration with Jonny Negron over at Studygroup.

-I've enjoyed comics by lots of these people, so this Oily Comics subscription seems like a good deal.

-Huh, Peter Milligan and Brendan McCarthy briefly had a comic strip in 1987.

-Finally, here's a mess of Edgar Rice Burroughs covers, just because.




Advertising Looks and Chops a Must

Today Joe McCulloch brings us news of the Week in Comics, and extends his recent streak of being especially amazing with a look back at a little remembered Alan Moore Vampirella story from the late '90s. Here's an excerpt:

Moore, in keeping with the genre, plays up the sexual aspects of these encounters, with a queasy emphasis on acts of violence inflicted upon the sexual-and-therefore-lethal women populating his story; a two-page sequence preceding the image above sees Jack’s slaying of Dracula’s wives intercut with the vampire bursting in on disaffected Lucy & Mia (“So what? I mean, it’s that kind of world these days. I read about Bosnia or Romania, or wherever, and I’m just, like, bored, you know?”), seizing them by the face and hair and ‘taking’ them in a shadowed but distinctly connoted manner not unfamiliar to several Alan Moore works. Yet as Jack gradually reveals to the reader that he’s aware of how shallow this little update seems to be, Moore’s true target comes into view: the purposeless banality of modern society and its pop culture, a full 15 years before the similarly situated The League of Extraordinary Gentlemen: Century, except with an American focus, and the tv sensation Friends standing in for Harry Potter as avatar of all that’s hopelessly shit.

Also, Rob Clough reviews Karrie Fransman's The House That Groaned.


In less welcome news, the Museum of Comic and Cartoon Art has abruptly closed its doors and canceled many of its upcoming events, so far limiting its public discussion of this development to a brief notice posted on its Web site and Facebook page. Here is the full text of the announcement:

The Museum of Comic and Cartoon Art (MoCCA), New York City’s only cultural institution dedicated specifically to celebrating the comics medium, will be closing its physical location effective immediately.

The SoHo museum, currently at 594 Broadway, recently celebrated its tenth anniversary. While the physical space is closing, plans are afoot to continue MoCCA in a new and exciting incarnation. An announcement of MoCCA’s future arrangements will be forthcoming by the end of July.

Current memberships will be honored at the new venue, as will table renewals for MoCCA Fest 2013.

They have also claimed on Twitter that they will announce a new venue by the end of the month. (via)

Michael Dean recently reported on the museum's status for its tenth anniversary on this website. Obviously these new developments bear watching.


—The cartoonist Seth has recently branched out into barber-shop design, mapping out the look for his wife Tania Van Spyk's new Guelph establishment, Crown Barber Shop. Bryan Munn and Brad Mackay have photos.

—Barry Moser's essay on Flannery O'Connor's cartoons has been excerpted in The New York Review of Books.

—Mark Waid talks to the A.V. Club about his new digital comics venture.

—Robert Boyd, who was recently named the best arts blogger in Houston (he'd certainly have been my vote), has just posted reviews of the latest books from Joe Sacco and Joost Swarte.

—James Romberger has just penned (or keyboarded) a post briefly reviewing a whole slew of books, including titles featuring Mort Meskin, R. Kikuo Johnson, Richard Corben, Brandon Graham, Michael DeForge, and Josh Bayer.

—The Mindless Ones have posted their third and final marathon group reading of Alan Moore & Kevin O'Neill's League of Extraordinary Gentlemen: Century: 2009.

—I don't post links to webcomics very often on here, but I'll always make an exception for Justin Green.


Goodbye Captain

Welcome to the new week. Over the weekend, Frank Santoro posted an interview with Ed Piskor, author of Wizzywig. And we're leading off with the great Bob Levin. Join him as he revisits Ed the Happy Clown:

Drowse-inducing scholarship aside, footnotes can be fun. They can provide hilarious counterpoint to the text (Will Cuppy), an entire alternative narrative (Vladimir Nabokov), the ruminations and reflections of an over-flowing intelligence (David Foster Wallace), or the opportunity to shoehorn in anecdotes one can’t find space for otherwise (Not infrequently, me). In Louis Riel, Brown’s footnotes amplified his text, explained his choices between competing “facts,” afforded voice to others’ differing views, and revealed what he had made-up, overlooked, exaggerated, got wrong, guessed at, can’t explain, and flat-out falsified, wonderfully illustrating the unreliability of historical “truth.” I hoped Ed’s footnotes would provide insight into Brown’s magic. I wanted his thoughts on from where those pygmies and perversions,  plot loops and dimension jumps had come. I hoped to have his genius, wars-and-all, self-investigated.


Frank Santoro is giving a talk tonight at 7 pm in NYC as part of the NY Comics & Picture-story Symposium.

Tom Spurgeon has an interview with Rob Salkowitz, who wrote a book about Comic-Con and the pop culture biz.

Here's an interview with cartoonist Jason Karns, who we featured early this year.

Fred Guardineer did some awfully nice work back in the 1940s.


Damp Squibs

Why does a week that's so short feel so long? Holidays on Wednesdays are just wrong. In any case, we have a your standard comic-book-related Friday distraction for you, with Tucker Stone's weekly column. His guests this week include regulars Nate Bulmer and Abhay Khosla, along with a special visit from this week's holiday-defying MVP, Joe McCulloch! Here's Joe on the old (and new) Ozymandius story:

It’s a commentary on very act of staring into multiple television screens, positing a means of discerning some meaning from contemporary media overload; William Burroughs’s cut-up technique is cited, and, insofar as a wall of television screens is analogous to the stern grids of artist Dave Gibbons’s page layouts, the alert reader is duly congratulated for having sifted through the unorthodox POV shifts and fragmented character histories of the past ten issues to arrive at this point of a nefarious master plan’s gala revelation, though [Alan ]Moore, being Moore, slips in a final puckish joke through the issue’s title: a statement of bravado which the English majors among the readership will know is the last-standing legacy of a doomed ruler’s supreme plans. Basically, Moore is giving away the book’s ending, beyond even the seeming ambiguity of the famous corporate-owned ketchup dripping onto the world-renowned corporate-owned smiley face t-shirt of that fat guy whose childhood I am dying to explore.

Len Wein, in contrast, spends his opening page basically explaining the concept of ambiguity to the slower readers, via a block of metafictional rib-nudging wherein Ozy goes on about how very nearly flawless his crazy plan is, though history will be the judge in the end — because his plan totally might not stand up to history at all, that was the ending of the original book, remember? It’s dramatic irony!

Elsewhere on the internet, many things have been posted. Including...

—Our own Tucker Stone again, this time gushing over Carl Barks.

The New York Post tracked down Steve Ditko for an article, in which he makes it clear that he has not shared in the profits for the gajillion-dollar Spider-Man juggernaut:

“No,” he tells The Post, when asked if he was paid anything for the four recent Spider-Man movies.

“I haven’t been involved with Spider-Man since the ’60s.”

Whatever the case, the artist doesn’t seem much interested in money. Although he could make thousands doing commissions for fans, he consistently refuses. Instead, he forges ahead on black-and-white, self-published books with titles like “The Avenging Mind.”

“I do those because that’s all they’ll let me do,” he tells The Post, suggesting big publishers aren’t interested in his work anymore.

—The regular Alison Bechdel links are slowing down from daily to weekly, but here's an interesting one: Lee Konstantinou at The New Inquiry.

—Your regular Jack Kirby link comes by way of Rodrigo Baeza's look at Kirby's Davy Crockett strips.

—Daniel Best has posted the transcript to an entertaining (as always) 1979 interview with Jim Steranko, which includes the new (to me) information that Steranko designed the sets and production for an unfinished Alain Resnais film!

—The magazine Guernica has an excerpt from Harvey Pekar & JT Waldman's Not the Israel My Parents Promised Me.

—Donna Barstow is braver than I am. [I'm not taking a side on the argument, for the record.]

—Chris Pitzer has announced that AdHouse will no longer be in the distribution business.

Part two of the Mindless Ones' extraordinarily thorough crosstalk on Moore & O'Neill's LOEG: Century.


Grand Designs

Welcome back. While you were having weenie roasts and throwing firecrackers at neighborhood children, Joe McCulloch was sweating over his computer to bring us a Richard Corben interview and preview of the artist's upcoming projects. Here's Corben on his recent process:

I had been drawing some Hellboy projects and it dawned on me that if I ever wanted to do some projects I wanted, it was time to do it or forget them completely. I decided to promote projects of my own design or choice. I wanted them to have a good start which meant a good writer. Margopoulos’ ideas about Poe horror and mine no longer seemed to mesh well. Jan Strnad would be an excellent choice. I told him I wanted a Poe-esque story that could be a one shot. He agreed and Ragemoor was the result. It came out well, but now it’s over and I wanted more. And to have more control, I would have to do more. Doing a short adaptation of a Poe story wasn’t too difficult and it was a sample of my goals. This and a project outline was sent to Dark Horse and they accepted.

Elsewhere, as you might imagine, it's been slow, but here goes:

-Here's Tim Marchman attempting to talk to Len Wein about Before Watchmen. Marchman found the Ozymandias comic book more interesting than I did. I mean, they're all incredibly dumb, but that one, with it's bullying tropes, faux-risque sex, and barely-there artwork, was allllmost as bad as Silk Spectre, which was the worst (that Darwyn Cooke thing is technically probably the "best" but also the worst because he tries so hard with the cutesy 1950s bullshit that it just seems sad. Loosen those drawers, son! In fact, maybe pity is the new anger in reaction to BW. Like, holy shit, this stuff is so bad it's sad? No, I know, the moral aspect trumps all. Just trying it out.) But then again, they were all "better" than the last DC comics I read -- all of the 52 first issues. But all much worse than any given run of, I dunno, Power Man and Iron Fist. Basically just bad comics. Oh wait, I forgot, I also read (perversely) Batman Earth One, which I guess is some sort of practical joke? Right? Someone dared someone else to make a movie pitch into a book, and include lots of bromancing and Deer Hunter stuff, right? Because I've never seen bromancing like that before. Oh, and yes, I will read superhero comics that arrive in the mail. Dog-like behavior, I know.

-And here's a palette cleanser: A fine C.F. interview on Inkstuds.

So, I swear, that's all I have. It's all I should have. It's that kind of week. And really, all I can say about yesterday is contained in this video of Albert Brooks exploring our national heritage.

I'm not sure how I got from there to here, but nevertheless, here's a video of a Commodore 64 Howard the Duck video game. Huh.



It's a holiday week. Fair warning: We are taking the day off tomorrow. Bank holidays are TCJ holidays. Speaking of... us... we're very happy to have received a Harvey nomination for Best Biographical, Historical, or Journalistic Presentation. Thanks very much.

Today on the site:

Joe McCulloch brings us The Week in Comics, because that's his job.


-Bookslut interviews TCJ-contributor Michel Fiffe about fan fiction and his Suicide Squad comic.

-Comix Claptrap features an interview with Dan Zettwoch about his new book, Birdseye Bristoe.

-I've enjoyed Ed Piskor's Wizzywig in its various iterations. I'm really glad it's getting a full release.

-The Believer has an interview with Brian Chippendale on music and comics and art, many months in the making.

-In the history column, Bhob Stewart takes a look at the transforming daily comics page while Daniel Best examines some recent Superman-related legal developments.

And finally, Frank Santoro writes about an Aircel comic. Y'know, it's a funny thing, the surge in interest in 80s-glut action/superhero comics. Surge might even be an exaggeration. In this Twitter/Tumblr feedback loop it's hard to tell what's actually generating lasting interest and what's just a passing click. Anyhow, the point is, most of this interest is from artists -- and really, that's almost the only way these things can be enjoyed -- as material for influence. Frank writes:

The stuff that holds up, to me, sometimes reads like some gang slang. Kinda cool. I'm not trying to convince anyone that these "throwaway" comics are actually any good. I just really like them for the airbrushed tones - real airbrush, none of this Photoshop airbrush crap [...] I doubt any of it is future Art Out of Time material but it is interesting. Even if only for historical reasons. And airbrush coloring.

He's right, it's probably not future Art Out of Time for material, in the sense that it won't, like a lot of the AOOT stuff, broaden and enrich the "canon" (if you'll forgive the term. It's late.). These aren't lost masterpieces, but they contain blips that are almost best seen through, say, Frank's eyes. They're almost impossible to enjoy as they were meant to be enjoyed -- as comics. I mean, they might provide a visceral thrill, but the function has changed. Now they're repositories of technique and attitudes, and ones that have mostly been left unexamined, like a lot of 1980s independent comics, both because of how close we are to that period and because comics was supposed to have transcended that stuff, too. I'm sure there are analogies to be drawn between these comics and z-level horror/SF movies, of course. And... that's all I have on the subject for the moment.


Old One Hundred

We begin another week today, as always with an installment of Frank Santoro's Riff Raff. This week is double-sized, as he recruits guest reviews from Ariel LeBeau and Matt Seneca, and includes an e-mail interview of his own with Simon Hanselsmann.

We also bring you Sean T. Collins's review of the new Alan Moore/Kevin O'Neill League of Extraordinary Gentlemen: Century: 2009. His reaction is measured:

Moore’s oft-expressed, arguably oxymoronic, simultaneously held ignorance and contempt of contemporary entertainment leaves his stab at a post-millennial literary mash-up a much less comprehensive, more idiosyncratic venture than past installments of this long-running series. The events of the issue are dominated almost entirely by pastiches of the James Bond and Harry Potter franchises, both of which he reduces basically to bad jokes: The various movie Bonds are a series of replacement agents who’ve all aged in real time, up to and including a wheelchair-bound nonagenarian version kept alive by M (who’s also Emma Peel) as punishment for being a dick; Harry is the Antichrist, which discovery he celebrates by massacring everyone at Hogwarts before transforming into a giant with hundreds of eyeballs all over his body who shoots lightning out of his dick. Nods to the two TV shows Moore has admitted to watching over the past decade are almost disproportionately prominent: The fathers of half the cast of The Wire are the protagonists of the prose backup story, while the fellow who curses creatively in all those YouTube supercuts assembled from Armando Iannucci’s various enterprises does so here for two full pages.

Personally, I haven't known quite what to make of any of the Century volumes so far, and probably won't until at least one more re-read—they are too dense for me to entirely parse on first attempt. (Although in general, I think that Sean and the other critics I've read assume far more contemporary cultural ignorance on Moore's part than is actually demonstrated. There are a lot more than two recent tv series referenced in it, to pick one example... Of course, some of the references are extremely hard to spot, which may be another kind of flaw.) But anyway, when I do re-read it, I am sure that the new annotations from Jess Nevins will help, and in the meantime, the Mindless Ones have begun their own series on Century, and it's the kind of long, wide-ranging critical conversation they do best.

—Rodrigo Baeza investigates the non-Marvel work of letterer Artie Simek.

—Michael Dooley interviews JT Waldman about his work on one of the more interesting looking posthumous Harvey Pekar projects, Not the Israel My Parents Promised Me.

—Tom Spurgeon interviews Jessica Abel and Matt Madden about their upcoming move to France and their most recent book, Mastering Comics. (We have an interview with the pair too that was conducted a while back and should appear soon, once it makes its way through the transcription process at our Seattle offices.)

—Christopher Irving has a nice, long interview with Peter Bagge, one of the great comics talkers. Here's a brief excerpt of his discussion about when Hate sold out:

“We – meaning me and Fantagraphics – started selling ads so we could expand the page count and run color comics by other artists without raising the cover price. Rick Altergott was the first, with his soon-to-be-regular regular ‘Doofus’ strip. Rick knew how to use Photoshop, which was still a fairly rare skill back in 1995, and I was really impressed with the full color comic strips he had done on it. He also was understandably eager to see his color work in print, but the only way we could afford to include him or anyone else in Hate was by selling ads.

“Well, it was that or raise the price, which I was loathe to do. I was determined to keep Hate’s cover price as low as possible back then, since I associated that with accessibility. A lower price meant someone was more likely to buy it on an impulse, thus making Hate double as a recruiting tool or introductory title to indy comics in general. Which it was to some degree, though I’ve come to realize that it was pretty futile of me to try to make anything published by a company like Fantagraphics cheap and ‘accessible.’ Trying to create ephemera just doesn’t fit into their business model, since it ignores the fact that alternative comics – and at this point, all comic books – are and always will be a specialty item that only appeals to a small subset of the general public. I deeply regret and resent that that’s the case, but I’ve finally realized that there’s no point in fighting it, either.

—Andrew Wheeler's long, annotated list of fifty LGBT characters and comics for Comics Alliance is much more thorough and thoughtful than those kinds of lists usually turn out to be.

—And in the New York Times, film critics A.O. Scott and Manohla Dargis talk about the soul-deadening nature of what they call "comic-book movies" (superhero movies to you and me) for ever and ever and ever.


Shoes Off

Hear that? No? Me too. It's quiet out there in comics land. I mean, there is a gentle humming of the usual controversies and complaints, but really, it's summer and there's a slow-down afoot. I mean, unless you count SDCC, but I'm not going, and really, why go when I can just read Tom Spurgeon's reports. Soooo much more satisfying. Anyhow, on with the day I guess?

Tucker Stone slows down for no one, and so here he is to get you through the weekend.

And Rob Clough reviews Nelson, the enormous British comics project.

Elsewhere online:

Here's David Brothers on Garth Ennis. Everyone tries to get me into Garth Ennis, but so far I think I only liked his Punisher series. R. Fiore has me wanting to read The Shadow, though. See, I'm susceptible. Oh, and holy shit, did you all read Funnybook Roulette on Wednesday? It's nice to publish one of the all-time greatest writers about comics. I mean, he went from Chester Brown to Alex Ross without skipping a beat. That's just goooood.

And the great R.O. Blechman was recently inducted into the Society of Illustrators Hall of Fame and here's a fine profile on The Atlantic site. Blechman's work is worth seeking out in any form, whether the recent short story collection that D&Q released or his incredibly fun monograph, Behind the Lines, which is now out of print but really important. Jeet Heer interviewed the artist for us last year.

And finally, hey, it's Vern Greene! I love to read about Vern Greene, one of the great personalities in comic strips. Not a major talent, but an important figure and I guy it woulda been fun to chat with.