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Today, we have Bill Schelly’s obituary for Carmine Infantino:

In 1956, [Julius] Schwartz chose Infantino to pencil a tryout issue of a new version of the Flash. Working from a script by Robert Kanigher, Infantino’s pencils on “Mystery of the Human Thunderbolt!” in Showcase #4 (September-October 1956) achieved a new kind of superhero action, emphasizing design and movement, with a kinetic quality that was exhilarating. Infantino’s design for the retooled Flash — an all-red costume except for bits of yellow — was like a sleek, modern sports car. His visual conception, along with uncommonly mature stories by Robert Kanigher and John Broome, sold the reinvented character to the burgeoning number of baby boomers who were looking for something new and exciting. The success of the Flash led to the reinvention of Green Lantern and other Golden Age heroes at National/DC, which in turn inspired Stan Lee and Jack Kirby to create the Fantastic Four in 1961. Later comics historians would identify Showcase #4 as the kick-off for what came to be called the Silver Age of comics.

Infantino was also memorialized in The New York Times. Mark Evanier and former assistant Nelson deCastro have also posted their thoughts.

Elsewhere on the internet, as we wait for the deluge of MoCCA fest reports. (I went Saturday. It seemed much improved in terms of organization, I met up with various people I like to see, & I got some interesting-looking comics I haven’t read yet. Otherwise, I didn’t get a strong sense of how the people at tables felt about the show.)

—Peter Bagge was interviewed by Reason:

Which alerted me to the fact that somehow I missed that Bagge had reviewed the new Al Capp biography.

—Tom Spurgeon, who was in fine form at MoCCA, has interviewed one of the other big ’90s humor cartoonists, Bob Fingerman.

—The CBLDF has named the new members of their advisory board.

—Steven Heller reviews The Best of Punk Magazine, and interviews Nora Krug.

—Lilli Carré has a new Tumblr I don’t understand, but in a different way than the other people’s Tumblrs I don’t understand.

—And people are still writing long stories about Bill Watterson keeping to himself.

 

Carmine Infantino, May 24, 1925 – April 4, 2013

Comic book artist, writer, art director and publisher Carmine Infantino has passed away at the age of 87. The introduction to Gary Groth’s definitive interview with Infantino best sums up the man’s achievements:

Like several others in his generation, Infantino began his career by doing a number of different jobs — writing, pencils, inks, even some support work — for a variety of publishers and titles. His strongest work during this period was for Shelly Mayer at National, where Infantino worked on popular second-tier superhero titles like Flash and Green Lantern.

Infantino produced his most fondly remembered and important comics art for DC in the “Silver Age” of the 1950s and 1960s. He was the artist on the title which marked the beginning of this period, the revamped Flash, from its launching in 1956 into the mid-’60s. His art on Adam Strange, with its elaborate cityscapes and elegant line-work, remains for many the quintessential American science-fiction comic. In 1964, his work on what was called the “new look” Batman saved that title from cancellation and pointed the way to several refashionings of the character of the next 25 years.

A popular artist and extremely effective cover designer, Infantino scaled back his artistic output at the height of his powers to become DC’s artistic director. He eventually became publisher in 1971 and then president of DC. In all of these positions, Infantino presided over a number of experimental titles and laudatory publishing efforts: comic-book version of pulp characters like The Shadow and Tarzan, the fan favorite Green Lantern-Green Arrow series, the Fourth World saga of Jack Kirby, and the revival of C.C. Beck’s Captain Marvel among the high-profile efforts; the luscious Sergio Aragones/Nick Cardy Bat Lash and the active recruitment of Filipino artists among his most important, lesser-known efforts.

We’ll have further coverage next week.

Infantino was not the industry’s only death this week. New Yorker cartoonist Ed Fisher passed away, and longtime Archie writer George Gladir also died.

On the site today:

Tucker Stone and co. with the wrap-up. And Lucy Knisley finishes out her week-long residence on the site.

Elsewhere:

Interview with Gilbert Hernandez are always a treat. Here’s one.

Bil Keane will have a statue built in his honor.

I never ran across this group of images by Spain on his Facebook page.

Finally, here’s something on self-publishing with a you-guess-it comics connection.

 

 

Multitudes

Today, Rob Clough reviews Miriam Katin’s Letting Go:

The entire book is drawn in colored pencil. This adds a vibrancy and immediacy to the comic that makes it look like it was ripped right out of Katin’s sketchbook. It also allows her to shift from naturalism to a cartoonier style with little effort. Katin’s own self-caricature is one of the best I’ve ever seen from an autobiographical cartoonist. The scribbly lines of her hair, the slightly pointy nose, the tiny but wriggly eyebrows that express so much emotion and the way her posture alternates between slumped shoulders and excitedly active tell the story of a woman who is so often bursting with energy. In real life, Katin is poised, stylish, and charismatic, so it is funny to see her depict herself as slightly disheveled and neurotic in the pages of her book.

And Lucy Knisley is on day four of her Cartoonist’s Diary.

Elsewhere:

—Speaking of Katin, she drew a fun short comic about the NYC launch of her new book tour.

—Another sad comics death this week, with the passing of European cartoonist Fred.

—In a smart get, Tom Spurgeon interviews the Society of Illustrators’ Anelle Miller about this year’s MoCCA festival. It will be interesting to see how things go there this weekend. People seem enthusiastic about the show in a way I haven’t noticed in years.

—The CBLDF has posted a story and short documentary about Ryan Matheson, the young man arrested while crossing the border into Canada a few years ago, because of various manga images customs found on his laptop:

—The Toronto Globe and Mail profiles Shary Boyle in advance of the Venice Biennale, Paul Di Filippo reviews Ben Katchor’s Hand-Drying in America, Discaholic Corner interviews R. Crumb about his record collection, and Paul Gravett turns in a late Angoulême report.

—It’s been too long since we had a good debate about how much work Stan Lee did versus how much Jack Kirby and the other Marvel artists did, so I’m sad Stephen Bissette posted this old “Bullpen Bulletin” that I’m sure will put the matter to rest forever…

—Serge Gainsbourg loved to laugh.

—Sean Kleefeld finds the missing link in the Prince Valiant/Jack Kirby Demon story… And an unexplained something that had been nagging at my subconscious for years is suddenly free and clear.

—Abhay Khosla unearths a 1997-era art tutorial from Mike Mignola, and Spitzenprodukte does the same for a 1980s UK feminist propaganda comic featuring Tintin.

—Fiona Deans Halloran, author of the new Thomas Nast biography, appeared on C-SPAN2′s Book TV.

 

Cat, Bag

Today on the site, Sean Rogers has a lengthy review of Ben Katchor’s latest book, Hand-Drying in America and Other Stories, which collects over a decade’s worth of color strips from Metropolis magazine.

Few books are as communal, as catch-all: every page a new hero, a new tale, a new voice. Or, rather, the same voice, a collective voice: Katchor yanks at his sentences with his characteristic taffy-pull between narration and dialogue, so that each merges into and props up the other, so that each person talks like the rest, and everyone contributes to the same conversation. A strip that begins with a narrator pondering the “velvet rope and stanchion” as “that most pernicious symbol of corporate greed,” accompanied by a management figure extolling the system’s virtues, soon opens its ranks to welcome in people off the street—“middle-aged men with hernias, unwed teenage mothers and tattooed first offenders”—who stage small, symbolic acts of rebellion, ducking under the ropes, violating the inflexible rules of the queue. “The physical expression of our free will,” they say, as Katchor draws them teetering, acrobatically off-kilter but assured in their acts of defiance. The effect is bathetic, of course—a bold “act of transgression” turned quixotic, the body awkwardly contorted to ridiculous effect and little gain—and yet Katchor, and the people who populate his America, will find their triumphs where they can.

And Lucy Knisley continues her week here with day three.

Elsewhere…. it’s kind of a slow new day, aside from various PR blasts. So, really you oughta just read Sean’s piece, above, but if you must leave this site, well here you go: The Decadence crew from the UK is discussed in this podcast. Hey, it’s Billy Possum! This is a classic “Oooooh Comics” story. And the great Dylan Horrocks is having an art sale with amazingly affordable prices.

 

We’re Sunk

As on every Tuesday, today is the day that Joe McCulloch gives you his rundown of interesting-looking comics new in stores.

And it’s also day two of Lucy Knisley’s week as our cartoon diarist.

Elsewhere:

Bob Clarke, RIP. Tom Richmond and Mark Evanier have reminiscences. I’m sure more are to come. Clarke was one of the great finds of the Feldstein era of MAD, with a gift for pastiche that helped him create many memorable covers and parody ads into the ’90s.

Here’s a Peanuts parody by Clarke from around 1961 (found here):

—Another sad death: Paul Williams. He has no direct connection to comics that I am aware of, but as the founder of Crawdaddy (the first serious magazine of rock criticism) and as a promoter of (and later literary executor for) Philip K. Dick’s writing, his cultural impact looms large. (Here’s his 1975 Rolling Stone article on Dick that really got the ball rolling.)

—Stefan Kanfer writes about George Herriman and Krazy Kat for City Journal, and Robert Boyd reviews six semi-recent comics on his art blog.

—Sean Kleefeld posts an old Life magazine story explaining why Al Capp finally decided to let Lil’ Abner get married.

—If you frequent more superhero-centric parts of the comics internet, you may have heard that Valiant is planning to relaunch the old Quantum & Woody series, without the original creators’ involvement. Prompted by this, V.R. Gallagher reposted some old thoughts of Q&W writer Christopher Priest, and offered some of her own on working in superhero comics as a minority.

—Chip Kidd has created some images to use as memes in support of Marjane Satrapi’s Persepolis in the ongoing Chicago schools case.

 

Tapestry Marple

Well it’s a new day here, but hey, let’s take a walk around memory lake with R. Fiore, who does not have fond memories of his decades-past debate with Harvey Pekar, which we recently posted.

I committed myself to several positions that I realized were ill-advised, but rather than pulling back on them I doubled down. On top of that I was in a savage mood generally, for reasons that had nothing to do with Harvey Pekar or his ideas. It had to do with a premature return to the world of dreary but remunerative work after a couple of years of working at a fun job with Fantagraphics, due to some very poor decisions I had made. In retrospect my performance in this conflict reminds me of nothing so much as that fight where Mike Tyson got frustrated and bit a piece of his opponent’s ear off.

And cartoonist Lucy Knisley, author of Relish, begins her week-long Cartoonist’s Diary.

And elsewhere around the web:

Let’s pop around and look at some comic book conventions. Here’s a super-depressing panel at WonderCon: The Creator’s Role in the Future of Comic Publishing. More and more comics is just a buncha different worlds, with no shared knowledge and zero historical awareness. Its like the ’80s never happened.

If there was historical awareness you might find the idea that Ben Jones was on a WonderCon panel about Axe Cop pretty funny. There’s a victory there of some kind. Times sure have changed. I wish there some more Bobby London in this Quick Draw post, but I’ll take what I can get. And Ann Nocenti was in the spotlight at the big Con. She remains a nostalgic favorite for Daredevil. On the other coast, Gil Roth goes to the Asbury Park Comic Con.

There’s something about The Phantom. Just like Tarzan, but that purple and weird colonialism. I always want to read it but am mostly content remembering it projecting onto it.

Oh, and here’s a two-part video interview with Alan Moore.

And finally, it was just that kinda night (nsfw)

 

Only One You Get

First off, after a month or so off not sleeping and cleaning up strange liquids all over his home, Tucker Stone has finally returned. And he’s brought his old pal Abhay Khosla with him. This column, it’s all catch-up reading, and Gaiman vs. McFarlane.

Elsewhere, the news is a little light this morning:

Hogan’s Alley interviews Michael Schumacher and Denis Kitchen about their new Al Capp biography, and CBR interviews Jim Rugg.

—Jason Lutes and several CCS students have an interesting looking Kickstarter project.

—Stephen Bissette has started a series of posts chronicling the history of the 1980s activist “prozine” WaP!

—The Beat as a group is spotlighting various artists for 24 Hours of Women Cartoonists.

 

Crushed V-8

R.C. Harvey returns today with a look at the great Virgil Partch.

The extravagance of his graphic inventions inspired similar excess among those who attempted to describe what they saw going on in front of them. In Newsweek: “The line drawings of Partch’s angular and rectangular characters have something in common with the tragic figures of Picasso’s Spanish War ‘Guernica’ … But Partch’s men, with their bushy or bald heads, pop eyes, bird-beak noses and cavernous mouths have their own particular brand of frenzied insanity, which makes them funny in almost any situation.”

Partch’s cartoons, said Goldstein, “made a style of drawing and thinking, with roots in cubism, surrealism and dada, part of America’s daily life.”

And Collier’s movie scribe Kyle Crichton thought Partch’s work “revealed plain signs of a pathological condition.”

The anonymous author of the Partch entry in Current Biography (1946) noted that “a Vip character sometimes wears an expression of dazed or wondering imbecility, but more often is glaring at some person or thing with fanatic intensity. … One Partch admirer has said, ‘the cartoons are funny if you enjoy remembering your nightmares.’” But it is not recommended, according to another critic, that Partch’s cartoons “be probed and examined for deep hidden meanings.”

And around the web:

Joanna Draper Carlson writes about her approach to crowd-funding comics.

Over at the CBLDF site: A capsule history of obscenity rulings.

The mighty SPX is expanding due to exhibitor demand.

Apropos of nothing, Jay Babcock’s uncut first five years of the band Black Flag.

And this is a fine looking poster.