Well, this is it for us for 2013, everyone. Click on over to our TCJ year-in-review and read yourselves silly.
Well, this is it for us for 2013, everyone. Click on over to our TCJ year-in-review and read yourselves silly.
Well,folks. R.C. Harvey is here this morning, with a column on George Baker and Sad Sack:
A few months following the Sack’s debut in Yank, Baker was transferred to the staff of the magazine, and he served there for the duration of World War II. Yank sent Baker to military installations all over the world to expose him to every possible phase of Army life in order that he might reflect it in the cartoon. In the early months of Yank’s run, Baker also distributed subscription blanks wherever he went. Eventually, the magazine acquired a circulation department, which involved Baker only to draw promotional posters. One of these gave the cartoonist “the first tangible evidence” that the Sack was a success. The poster said: “Subscribe to Yank and see the Sad Sack every week.”
Baker shouldn’t have worried. As perennial low man on the regimental totem pole, the Sad Sack was popular from the very start. He epitomized the frustrations and disappointments of Everyman, dragged somewhat reluctantly into a military bureaucracy he didn’t understand and could never master. The Sack’s adventures took place entirely in pantomime; each cartoon was a series of eight-to-ten borderless pictures that progressively depicted the cascading persecution of the week. Like some dumb animal being inexplicably punished for behaving in a perfectly natural way, the Sack was all the more pitiful for being mute.
—Interviews & Profiles. Fast Company talks to Neil Cohn about his research into the visual grammar of comics. Ruben Bolling and Vanessa Davis are guests on the latest Gweek. Jesse Reklaw was on Inkstuds. Comics Journal regulars Joe McCulloch and Sean T. Collins talk about the business of alternative comics with Tom Spurgeon. I love both those guys, but that is a very odd and even skewed discussion to read, at least from my perspective. (I’m probably too close. Maybe they’re too close, too.) One thing I do think is worth saying is that given that the closing of PictureBox was a personal decision and not one forced by economics, it probably shouldn’t be overinterpreted; if Dan was a slightly different guy, or in slightly different circumstances, it would still be running. And I don’t agree with Sean’s comment that it’s hard to “imagine another 30-year anniversary of an alt-comix publisher after Drawn & Quarterly has theirs, maybe ever again.” Top Shelf is more than halfway there. AdHouse could easily make it, if Chris Pitzer wants to do it. If anything, there are more stable or semi-stable small publishers around right now than at any time I can remember… A thirty-year-plus run in independent publishing has always been the anomaly. Those guys are always worth listening to, though, so go to it.
—News. Stumptown is merging with Rose City Comic Con. The comics writer Scott Lobdell has admitted to being the mystery aggressor in MariNaomi’s xoJane story, and has given a statement to Heidi MacDonald. Screw publisher Al Goldstein, who employed many prominent cartoonists in his day, has died.
Today on the site: An anonymous (by request) article recounting one female cartoonist’s experience with being made to feel uncomfortable by unwanted attention.
I don’t normally feel like being a woman in this field is enough to justify having to answer questions about it all the time, most frequently: “What is it like to be a woman cartoonist?” Let’s face it, this is not dangerous work. This is not even physically demanding. I am not a police officer, I am not a fireman, I am not in the army. I don’t put my life on the line every day. Hell, I don’t even work in an office where some asshole could potentially pinch my butt. I work from home! I am practically a housewife. So please, stop asking that question.
And Frank is here with his final column of the year: Best of Greatest Hits 2006-2012.
In related news, the cartoonist MariNaomi has also just posted an article on XOJane about being harassed on a comic convention panel.
The Shia LaBeouf craziness continues. The Beat has an update, and I’m in the absurd position of reporting that it’s been brought to my attention that, yes, yours truly was also plagiarized by young Shia. Seriously. The “about” page of his publishing company is lifted from the “about” page for PictureBox.
Here are my words:
Why is PictureBox? Because I love the things I love and I want to champion them. I tend toward outliers and I’m obsessed with the history of visual culture writ large and small. But look, ostensibly PictureBox is a publishing company. I publish around 10 books a year (graphic novels, prose, design, art, etc.) as well as assorted specialty items like DVDS, CDs, and prints. Each project comes from my own tastes and relationships, and are rooted in what I believe in.
And here’s Shia:
Pretty amazing. And sad.
I should also note that this site reviewed LaBeouf’s comic books (since discovered to also contain lifts). We have amended the reviews.
Zak Sally has begun writing a history of his publishing company, La Mano.
And… the most unusual R. Crumb appearance I’ve seen yet:
Today, Rob Clough has his last column of 2013, with an enthusiastic introduction to the gay/wrestling/death-metal humor comics of Ed Luce:
Luce’s storytelling structure is far more loose, and in some ways, far more self-indulgent [than Bryan Lee O'Malley's]. I mean this in the sense that Luce simply writes about everything that interests him and throws it into one big stew. He’s a huge music nerd and manages to throw in references to everything from death metal to dance music to Morrissey to punk. He’s a knowledgeable fan of professional wrestling, so of course his lead character Oaf is a former pro whose nom de ring was Gote Blud. Luce can’t help but throw in musical puns and references, as Oaf’s finishing move involved him wearing a goat horn mask that spewed fake blood and was called “Raining GoteBlood”–a reference to the band Slayer. Luce is fascinated by cats, and so the cats here have weird fantasy lives of their own. And of course, Luce is gay and writes extensively about gay culture, particularly what he refers to in the comic as “oafs and bait”–big, frequently muscular and sometimes fat men (popularly known as “bears,” though Luce puts the kibosh on that term here) and their smaller lovers. There are elements of magical realism and just plain weirdness at work here, such as when the cat’s hair sometimes take on a life of its own or a future story where Oaf is the savior of the new cat race.
—Rob Clough takes to his own blog to review comics by Jonathan Baylis, Matt Runkle, and Jason Martin. Chris Randle has a really strong take on Gilbert Hernandez’s Maria M.. Jason Heller of the A.V. Club appreciates a Carl Barks Christmas story. Impossible Mike at HTMLGiant reviews the much-anticipated reprint of Martin Vaughn-James’s The Cage. And Bobsy, one of my favorite Mindless Ones, did a best-of-2013 via Twitter.
Hey, it’s Tuesday on this web site and that means Joe McCulloch is here to tell you about the week in comics.
And elsewhere in the world:
-The big news is that actor Shia LaBeouf has allegedly plagiarized a Daniel Clowes comic for a short film. Buzzfeed has the story. This is a weird and sad one.
-The writer about comics Sarah Horrocks has posted a link, with commentary, to her 2013 writing.
Today, John Hogan examines the hidden connections between conceptual art and gag cartooning through a comparison of Mark Newgarden and Richard Prince:
Whereas Newgarden’s humor manifests as functional jokes about how jokes are created, Prince’s jokes are simply defused and deconstructed, and his humor remains more withholding. The jokes he appropriates are unfunny borscht-belt groaners. Gags like a woman catching her husband in his office with his secretary on his lap become vaguely disturbing and sad without the levity of an appropriate zinger attached. According to Nancy Spektor, in her essay for his 2008 recent retrospective at the Guggenheim Museum, this is Prince “bring[ing] to the surface the hostility, fear, and shame fueling much American humor.” (Spektor, p.37)
In the conceptual art mindset, the humor must be obfuscated and neutralized before the nastiness beneath it can be revealed. I would argue as much shame, fear, and hostility are evident and made obvious in Newgarden’s work, and with a functional sense of humor intact.
The comedic motivation behind pairing tired jokes with tired imagery on a large canvas is blatantly nihilistic. The failure of the jokes and gags are built in to the composition of the work, relegating humor into a subject rather than a tool for communication. These neutered sex cartoons are incapable of triggering any honest laughter, and thereby reinforce the objecthood of the painting and its status as painting as painting –art as art– thereby keeping it firmly entrenched in a tradition of the avant-garde and safe from being confused with entertainment.
—Reviews & Commentary. Jeet Heer reviews George A. Walker’s wordless graphic bio of Conrad Black. Bob Heer reviews Matt Kindt’s MIND MGMT. Steven Heller puts together a slideshow of design and comics books for the Times. Corey Blake looks back at Miracleman. Julian Darius at Sequart does a more expansive look at Miracleman coloring & reprinting than Robot 6 did last week. Rob Clough reviews Faction.
—News. Brian Hibbs of Comix Experience is expanding to a second store. I can’t believe we neglected to link to this New York Daily News story about accusations against Archie’s Nancy Silberkleit last week.
—Video. James Sturm at ESAD Art+Design:
Ed Piskor at the Chicato Humanities Festival:
And Lynda Barry at the National Book Festival:
Today on the site we bring you Ryan Holmberg and his tales of
bird poo Indian comics.
I had been under the impression that Comix India, inaugurated in 2010, was the first amateur comics magazine in India. It might have been the first with significant heft and geographical reach. Chronologically, however, there is at least one precedent.
Out of Kolkata’s Jadavpur University in 2009 came Drighangchoo. It only lasted three issues. It is a pamphlet affair in black and white. The first issue is half prose, but by no. 2 Drighangchoo is a robust comics magazine. It is printed cheaply but the artwork can be as good as what one finds in the luxurious mini-comics from Manta Ray in Bangalore. And dealing as some Drighangchoo comics do with harder social issues, it is generally a meatier magazine than its more polished peers. It definitely feels like something produced on a university campus, due to its jocular but palpably self-conscious editorial commentary, peppered with baroque self-deprecations and mocking academy-ese. But the evident earnestness of the project and the increasing quality of the contents and production from issue to issue suggest that, had it lived a bit longer, Drighangchoo might have become a standard-bearer in amateur comics publishing in India, or at least in Bengal.
I am so baffled by all the year-end list and how they don’t coincide at all with my experience of the comics-reading year, and yet I can’t look away. I’m fascinated. Why here’s the Montreal Gazette. Here’s part four of Comics Alliance. This one from the Village Voice is incredibly confusing and yet alluring in its singularity. Naturally I approve of this take on Pompeii. That confuses me not. Had enough? I might’ve.
Also bizarre is the first paragraph of this Gilbert Hernandez profile. Read it and then think about the last half-decade in comics. Then read it again. Strange, right?
Here, go cleanse yourself with this funny Steve Brodner list. Have a good weekend.
Today, Shaenon Garrity has a column exploring the way cartoons and comics are shared online, often without their original creators being credited.
[T]he uncredited versions of comics often spread more quickly than the credited versions. After all, the sites and individuals sharing the uncredited versions are likely to be less ethical about how they use the art. While the credited version may be reposted by fans sharing it with a small circle of friends, the uncredited version can wind up on a series of image-sharing sites dedicated to spreading maximum content for maximum hits.
“In some cases, an individual edits out attribution in order to pass the work off as their own,” says [Rachel] Dukes. “More frequently, attribution is edited out by staff of meme-based websites like 9GAG that profit off of ad revenue. The reason that they do this is because they want readers to stay on their website, clicking from image to image, for a long period of time. That’s how they make their ad revenue.” The last thing these sites want is for users to leave their site to look at an individual artist’s website instead.
—Reviews & Commentary. Art Spiegelman on Ad Reinhardt. Françoise Mouly on Ad Reinhardt. The cartoonist and critic Derik Badman writes about a slew of comics. I like Badman’s writing partly because though his tastes are sometimes baffling (to me), he is always upfront and forthcoming about them, and doesn’t seem to be posturing or rancorous. Sean T. Collins has moved all of his Vorpalizer webcomics reviews to a new location. Kevin Melrose compares the coloring of the new Marvel reprint of Miracleman with the Eclipse originals.
—Best of Lists. The A.V. Club’s list includes some interesting choices. The Comics Alliance list is occasionally weird, superhero-heavy, and published in multiple parts annoying for linkblogging, but some of the entries are written by strong reviewers familiar to readers of this site. (1, 2, 3). Whitney Matheson at USA Today and Publishers Weekly also have lists.
—Interviews. Alex Dueben talks to Jennifer George, Rube Goldberg’s granddaughter
and the editor of about the new book celebrating his work. Bryan Munn asks Jeet Heer about his new endeavors as a comic-strip writer. Former DC publisher Jenette Kahn was interviewed at the Chicago Humanities Festival:
—News. Forbes takes a look at how the growing popularity of tablets may affect the comics business. NPR’s All Things Considered devoted a segment to the Billy Ireland library. Bleeding Cool has promoted Hannah Means-Shannon to editor-in-chief. That site’s coverage of alternative and independent comics has improved measurably since she started writing for it.
—Random. Brandon Graham continues to be a good blogger.