The Power of the Red Pen

It's Tuesday, which means it's time to take comics-buying advice from Joe McCulloch. (Also featured: Chris Foss.) Things look a little lighter than usual this week, so it might be a good time to go back into the archives and look at some of Joe's earlier columns, to be reminded of opportunities missed. The important thing is never to go a week without buying something, whatever it is.

We also have Rob Clough's review of the latest Dupuy & Berberian Monsieur Jean volume, The Singles Theory, this time published by Humanoids.


—The great Justin Green gives advice on breaking into cartooning, in what appears to be an excerpt from a longer text about the field. I had no idea he was writing such a book, but can't wait.

—Dave Sim is in the midst of a week-long, question-a-day interview over at A Moment of Cerebus, which describes it as "a grilling that would make even The Comics Journal wince." So far, it's mostly just been a chance for Sim to rehearse his tiresome, self-inflicted martyr routine, but now that that's out of the way, I imagine the questioners will move on into more interesting territory.

—Bill Moyers invited journalist Chris Hedges onto his program last weekend, to discuss his latest book, Days of Destruction, Days of Revolt, which was created in collaboration with Joe Sacco. The episode also features a visit to Sacco's studio:

—Robert Boyd revisits an old Love & Rockets post to honor the title's 30th anniversary.

Cheers & Jeers Dept. Cheers: The Guardian invited a whole slew of cartoonists, including Gabrielle Bell, Tom Gauld, Ivan Brunetti, Kate Beaton, Lilli Carré, and Nicholas Gurewitch, to create comics strips presenting their worldview.

Jeers: The Guardian invited Dan Clowes to participate in an interview, then edited his answers down to the point of actively misrepresenting his words.

Diamond Digital launched, which apparently allows customers to buy digital comics through their local comic shop's website. Noted for further research.

—The San Diego Union-Tribune interviews Andrei Molotiu about abstract comics and that terrible Slate series that ran during Comic-Con.


Carrot Soup

OK, it's really summer -- slow news, hot days, etc. etc. Weekend readers may have found Frank's latest New Talent Showcase, this one featuring Alex Schubert, Matt Seneca and Jaakko Pallasvuo. Frank has also started a Tumblr called Comics Workbook. He's busy! And coming up on today we have the complete footage of another panel, as arranged by the mighty Kristy Valenti. This one is called Comics and Journalism in a New Era and finds PW Comics World co-editor Calvin Reid talking to Susie Cagle, Andy Warner, Stan Mack, Ed Piskor, Dan Carino, and Chris Butcher about using the comics medium for journalism. Filmed by Justin Bloch and David McCloud.

And elsewhere the pickings are slim:

Speaking of SDCC, Jamie Coville has the audio for a number of panels.

Tom Spurgeon graces us with an interview with Jessica Campbell, who is leaving Drawn & Quarterly after over half a decade. I am, as some know, a very grumpy, some would even say "savage" presence at comic book conventions/festivals/whatever but not Jessica. She would roll off an all-night bus, set up, have snacks, make fun of Devlin, and generally be better than me in all ways. Well, good luck Jessica -- and bless your heart for escaping comics. You've done what so many of us have tried and failed to do. See you in Chicago!



Off Topic

Today is the day for Comics of the Weak, and this time, Tucker Stone & Abhay Khosla team up to co-write the column, which is interrupted by convention news, and introduced with a true-life tale:

Perspective--the kind of perspective that will prevent someone from overreacting to a stranger's opposing reaction to an incredibly successful piece of corporate produced entertainment that is in no danger of disappearing in your lifetime, the kind of perspective that will keep you sane. I, personally, cannot honestly admit to possessing this perspective, as evidenced by my near-death experience not but two nights past, wherein I looked directly at a red light and confusedly said to myself "red light means keep going" and was only saved from the wheels of an oncoming vehicle because of a combination of their extraordinary instincts and an excellently tuned set of brakes and not in the least by my own dumbfounded, wide-eyed "what have I done" momentary incapacitation.

We also have video from one of the panels that took place at San Diego last weekend: Gary Groth's interview with Gilbert, Jaime, and Mario Hernandez for the 30th anniversary of Love and Rockets. So that's 90 minutes of my day planned out...

Also on the site, but somehow lost in the blog shuffle and never linked to this week:

—Rob Clough's review of Jon Chad's formally innovative Leo Geo and His Miraculous Journey Through the Center of the Earth.

—Sean T. Collins's review of Batman: Earth One.

Elsewhere, the post Comic-Con hangover seems to have slowed down the normal news cycle, but you can't go wrong reading the aforementioned Jaime Hernandez's memories of San Diego past ("I remember when every panel ended up 'How can we get comics into book stores?'").

—Seth has a new comic strip out, related to that barbershop we told you about last week.

—Jessica Abel reports from the recent Chicago Comics: Philosophy & Practice symposium, in comics form.

—And the only-sorta-comics must-read of the week comes in the form of Tom Spurgeon's notes on his recent 200+ pound weight loss. It's a great read, and even better is the news (if I'm understanding correctly) that he is developing the classic Comics Journal essay these notes are a thematic sequel to ("Comics Made Me Fat") into a book.


The Client is Always Right

Today on the site, R.C. Harvey bring us a slice of Milton Caniff history, namely a time when he ran afoul of his public's taste.

Caniff included a woman in virtually every story for the obvious storytelling reasons: not only does a damsel in distress give a hero a mission, but relations between the sexes are central to the human condition. A man-woman situation enhances the drama of any high adventure, giving it an added human dimension. Since Terry’s early days, Caniff acknowledged the sexual aspects of his storytelling. His erotic or titillating allusions were undertones, but they were evident enough to those who could recognize them. In such man-woman relationships, Caniff once remarked, there should “always be the feeling of potential rape in the air—legal or otherwise.” Words and pictures usually convey this feeling, but not in tandem.

A mark of Caniff’s sophistication as a cartoonist is that when the dialogue dilates with double entendre, the women in the accompanying pictures are typically demurely dressed, softening the suggestive import of the language. When the women slip into something more comfortable, they talk like choir boys. Adjusting his pictures to temper subtly his suggestive words, Caniff controlled his medium masterfully. The sexual connotations of Delta’s backseat struggles would be intolerable for most readers if she wore skimpy clothing. But Caniff dresses her in a conservative skirt and sweater. Admittedly, she fills them amply, but she keeps her knees out of sight most of the time. Caniff focuses our attention on Delta’s dilemma not on her sexuality. Caniff’s treatment of Madame Lynx illustrates the reverse effect. In the absence of verbal reminders of Lynx’s sexual role, the pictures remind us. In this case, however, Caniff for once misgauged his audience and went too far, upsetting the delicate verbal-visual counter-balance.

And in other parts of the internet...

There is more legal maneuvering to report on the Superman copyright case. There's a summary here, with more detail and the relevant documents here.

Sean T. Collins has an epic series of posts honoring the 30th anniversary of Love and Rockets. Go read them and then check out his updated reading guide to the series as well.

Jillian Tamaki chronicled the trash on her block for Print magazine and the full piece is online.

Hey, what does Milo George think about the new Batman movie?



Bad Guys

Today, we bring you the inimitable Bob Levin's review of the newly collected cartoons of the great writer Flannery O'Connor. He wasn't wholly satisfied:

Flannery O’Connor: The Cartoons acts as if there was no mystery as to how she managed. It proceeds as if Step One is "Teach a chicken to walk backwards"; Step Two "Mock Physical Fitness Day"; and Step Three... BANG! You have bumped noses with Hazel Motes. It makes nothing of the newt eyes and bat claws bubbling within O’Connor’s cauldron: prematurely deceased father; controlling, disapproving mother; not entirely chosen celibacy; lurking, potentially fatal genes. It overlooks the gasses fermenting in this mix: frustration and fright, bitterness and pain, grief and rage. All brewed while she drew her way through GSCW. All foretold unseen vistas, untasted spice, unheard notes, unscented perfumes, uncaressed flesh. Only her imagination could compensate. Only it could lead her on. And cartoons only carried her so far. She required a greater conveyance to discharge what she held within.

O’Connor would not encourage this type of analysis.

Off-site, I recommend reading the following, among other links I have surely missed or forgotten:

—An article on Dan Dare and Eagle written by the eminent comics historian Paul Gravett to accompany a British museum exhibition. Gravett's always worth reading.

—Rafael Medoff writing for the Jewish Journal about a 1942 cartoon drawn by Theodore Geisel (that's Dr. Seuss), the only cartoon in which he ever explicitly addressed the Holocaust. (via)

—Robin McConnell, the host of the popular comics radio show Inkstuds, has launched Canadian Comics Archive, an online repository for rare and unusual Canadian comics.

—Noel Murray writes about Comic-Con for the A.V. Club, in which he plausibly claims we are currently going through something of a "golden age" of comics. I think this is arguably true. What puzzles me about Murray's article is that he claims this to be the "legacy of Comic-Con" itself, but never really explains why this particular convention is responsible. I think the efforts of historians like Bill Blackbeard, publishers like Fantagraphics and D&Q and IDW, editors like Spiegelman and Mouly, and scores of individual cartoonists have far more to do with the current renaissance than did any particular movie-promotional event, no matter how visible it is. And they would have done it with or without—and maybe even did it despite—things like Comic-Con. But aside from that flaw, Murray's impressions as an intelligent outsider are worth reading, and make me wish I'd attended.

—Jim Emerson writes about the dumb morality of superhero stories. This just one of dozens of these kinds of stories that have been written over the past few years. I am not linking to it for any other reason other than that I enjoy the idea that the bread and butter for decades' worth of TCJ reviews and articles has now become the most popular hobbyhorse of movie critics instead.

—At the Hooded Utilitarian, Ng Suat Tong reviews Joe Sacco's Journalism, and Marguerite Van Cook ponders the "postmodern sublime" she finds in cartoonists like Ben Katchor and Mark Newgarden.


At That Age

Well, it's a new day. Did anyone else listen to three entire episodes of Comic Books Are Burning in Hell over the weekend? No? Oh. Well, you should consider indulging in this fine podcast, which makes the best case yet that Joe McCulloch could become a religious leader of some kind, maybe like L. Ron Hubbard. He's just the convincing. Speaking of Joe, here's his Week in Comics.

And elsewhere:

This is actually a Punisher "fan film" by Punisher actor Thomas Jane. Why am I fascinated by this? I don't know. Maybe because I was looking at some Klaus Janson over the weekend.

Somewhat comics-related: The Library of America has launched a companion web site to its American Science Fiction series. Here's William Gibson on Alfred Bester.

Bill Kartalopolous profiles our ol' Ganzfeld co-founder, one-time cartoonist and current Vector Park maestro, Patrick Smith.

Not comics: It's been alternately distrusting and fascinating to watch the Museum of Contemporary Art, Los Angeles completely implode. There are many lessons here about curatorial integrity, not pandering, fiscal responsibility, and, as the artists all resign from the board, a lot to be said about maintaining the trust of the people who make the stuff a museum is meant to show.

Finally, TCJ-contributor Frank Santoro has an excerpt from his graphic novel, Storeyville, over at What Things Do.


The Show!

Ah, the long comics-world nightmare is over, and Comic-Con has ended. According to what I have gathered from reading other comics sites in search of links, a new Superman movie poster has been unveiled, as well as the armor from Iron Man 3. The Eisner Award winners have been announced. Many pictures were taken. (We will surely be linking to more photo reports over the next few days.) And the Evil Eisner-winning Tom Spurgeon has provided his traditional show notes, always worth reading for those who couldn't attend. (For the record, Tom is my favorite comics blogger.)

We don't have much exciting movie news here, unfortunately, but we do have Ryan Holmberg's latest essential column on manga history, this time with a closer look at truth behind the conventional wisdom that Disney animation was the primary influence on Osamu Tezuka. Here's an excerpt:

One of the biggest blind spots in the scholarship on Tezuka Osamu is the assumption that his main access to Disney was through animation.

Granted, first contact might have been made watching Mickey alongside other American animation stars like Popeye and Betty Boop in theatres and at home in the 1930s. Wrote Tezuka in 1973 (roughly translated, here and throughout):

I liked Disney, I adored Disney, here before you is a man whose life was determined by Disney.

I first encountered Mickey around second grade at an animation festival [Tezuka was born in 1928]. Also my father brought home a rickety home projector called the Pathé Baby, and amongst the films he purchased was Mickey’s Choo Choo. From that point on I became attached to Disney by a chain that could not be cut.

And then from fascination to emulation,

I first followed the comics of Tagawa Suihō and Yokoyama Ryūichi. But suddenly, once I became devoted to Disney, I set out to copy and master that stuffed-animal style, eventually ending up with how I now draw.

But note that he does not specify what Disney media he “copied,” and nowhere does he say that he learned to “master” the Disney style on the basis of the animation alone.

We also have Frank Santoro's latest "New Talent Showcase", this time with reports from up-and-comers Angie Wang and Charles Forsman.


The Guardian has an audio slideshow linked to Joe Sacco's recent collaboration with Chris Hedges.

—The Evil Tom Spurgeon has the first part of a massive interview with Image publisher Eric Stephenson.

—In an interview with the art blog Hyperallergic, MoCCA president Ellen Abramowitz revealed a bit more about the reasons for the museum's recent closing, claiming they were primarily financial.

—The A.V. Club revisits Chris Ware's Jimmy Corrigan.


It’s Only Comic Books

Well, today on the site we have the full complement of Tucker Stone content. I look forward to your complaints. And Sean T. Collins reviews The Walking Dead #100:

When you pick up an issue ofTWD, there’s no telling who’ll be left when you put it down. Your odds of any given issue featuring that kind of shock to the system may be low, but they exist (especially for the milestone issue numbers), which is more than you can say for all but probably under half a dozen monthly comics total. Despite, or because of, the increasing wait between payoffs, Kirkman finds a way to make them worth it, frequently far enough beyond worth it and into gobsmacking awe that he went there that it doesn’t seem like a wait at all.

It's Friday and there's a full weekend of Comic-Con ahead of some of you. The news out of the con thus far is almost completely irrelevant to anything I'm interested in. And yet I can't look away! There's stuff about "dark" things and stuff about "IP" and other stuff. For you TCJ readers demanding things of traditional TCJ interest, you'll be heartened to know that Art Spiegelman's monograph, Co-Mix, named for the now-deceased cutting edge tween culture blog, is coming out from Drawn & Quarterly. Despite his stature, Spiegelman's work remains scattered across decades and mediums, so it'll be nice to have a selection in one book. Anyhow, our man Eric Reynolds has the perfect antidote to all this news: Memories! Sweet, sweet memories from a man who has had waaaay more fun at comic conventions than I ever have.


If you can't get enough of Tucker, Jog and the gang, here, listen to their voices!

And if you like comics, you can read about Dennis the Menace here!

And... I bet there will be so much more, so very very soon. But for now, kind people, there's little other comics news. It's all over... there.