Today on the site, Joe McCulloch brings us the last comics haul of the season.
Today on the site, Joe McCulloch brings us the last comics haul of the season.
Today on the site, Greg Hunter checks in with Gilbert Hernandez about his many recent and upcoming books.
You know, if there were other books like Blubber coming from other people, I’d probably just do a few issues and then back off. But since nobody’s going to go where I’m going there, I’ll keep doing it for a while.
I don’t know. I just know that I have to separate it, because it’s a different audience. There’s a large audience for comics, but I’ve discovered there’s just groups of people who like different things. They like their comics to be certain things. If I go too far in Love and Rockets with fantasy, or crazy violence-type stories, people will be asking, ‘When are you going to stop doing that? [I want] Palomar. When are you doing to do this?’ They always want me to do what I’m not doing.
But—that’s not entirely crazy. I can see where they’re coming from. ‘I read Palomar stories and felt really connected to the characters. This other stuff is something else.’ And since all those something-else’s are different aspects of my personality, I have to find different places for them. You’ll notice the sex in Garden of Flesh is different from the sex in Blubber, say. ... Yet it’s still sex, and most people see it as the same thing, but of course, it isn’t.
—Reviews & Commentary. Other than Brigid Alverson's always-excellent news roundups and infrequent features, Robot 6 hasn't really been Robot 6 for some time now, but it's still sad that it's now officially over entirely. Tom Spurgeon has a bit of commentary. The slow atrophy of the intelligent comics internet continues.
I have no idea what this means for comics in general. I would assume this is a choice by CBR's new owners to focus more on broader, more popular content to try and make the site maximally profitable.
Faith Erin Hicks writes about emotion and pacing in comics.
I consider [Naoki] Urasawa especially to be a master of emotion and pacing. When I first started reading his comics, it was like light struck my brain; finally I saw what I’d been trying to do for years right there on the comic page in front of me! I like the way he lays out his emotional scenes a lot. Here’s an example (read right to left):
Urasawa uses repeating panels and decompression to draw out the emotions of a scene. In this single page there isn’t a lot of movement. It’s literally just two characters staring at each other, but the tension rises going from panel 1 to panel five. Gesicht (the man)’s expression doesn’t change between panels two and five, but we literally feel his anger rising off-panel, concluding in the close up in panel 5.
—News. The Boston Globe writes about the Center for Cartoon Studies and its outreach to a local veterans hospital.
Cartoon students and faculty have been working with veterans to tell their stories — some harrowing, others heartwarming — in comic-book form.
The resulting comics are a far cry from the Archie and Superman comics an earlier generation of GIs kept under their cots. The Center for Cartoon Studies (CCS) has just released the first product of this unique collaboration: a 48-page comic book called “When I Returned,” a wide-ranging collection of tales adapted in illustrated form from the lives of New England veterans, from one World War II survivor’s experience in a German P.O.W. camp to a Vietnam veteran coping with post-traumatic stress disorder through his art.
—Interviews. Paul Gravett interviews the Dutch cartoonist and Bosch biographer Marcel Ruijters.
The information about [Bosch's] person is quite limited. Too much has been lost - if it had been recorded at all. As a result, a lot of nonsense has been written about Bosch, so it takes some time before you know how to weed out the bad books. And one has to learn a lot about the time in which he lived. For instance: yes, there are references to alchemy in his work, but the church was not against alchemy, so that rules out the popular misconception that he was some kind of heretic, which determines what kind of story you are going to write. On top of that, getting your historical facts straight is one thing, creating a meaningful story out of it, with believable characters, is something else!
Scoop talks to Columbia University's comics librarian, Karen Green.
So, yes, I was given the go and I began with award winners. I found lists of every Eisner, Harvey, and Ignatz award winning title, and I bought all of them and I had to decide how and what to buy, given that I only started with $4,000. I was nervous about justifying my purchases. I worried that any suspect title would bring the whole project crashing. After I bought all of those books, I started looking at what creators kept reappearing, and then I bought their entire corpus. I started reading blogs like The Beat and The Comics Reporter, and going to cons and festivals, and showing up at book launches, and going to publisher events. I was meeting everyone I could and asking them their advice. Most of them didn't have any experience with academic libraries, so I got a lot of public library advice, which was frustrating. But I kept building. Now, I started in the summer of 2005, and then in the spring semester of 2007, our Heyman Center for the Humanities hired Art Spiegelman to teach a comics course, and I was his librarian. I asked him for a list of the essential titles for an academic comics collection, and he sent me a few dozen. So I bought those, too.
—Misc. The New York Review of Books has posted a selection of Glen Baxter cartoons.
Here's a preview for the upcoming HBO documentary on last year's Charlie Hebdo attack.
Enough Astronaut Blood To Last The Wintermakes for a strange bit of business. First, it’s an odds-and-sods assortment of illustration, microfiction, and photography chronicling Derek Van Gieson’s salad days in New York City. Second, who in the hell is Van Gieson? And last, how does a little known artist rate the sort of pseudo-retrospective reserved for more long-lived, let alone well-known, artists?
Let’s take the second part first.
Now relocated to his home state of Minnesota, Van Gieson has previously published only one title: Eel Mansions. Originally released as a series of six minicomics (Uncivilized Books, starting in 2012, collected in 2015), Eel Mansionsfollows an ex-military, ex-Satanist, ex-children’s-variety-show auteur named Armistead Fowler and a put-upon indie cartoonist named Janet Planet, as each navigates their own self-made hells. The series also includes seemingly non-sequitur strips like “The Negative Orphans”, “The Record Store Guys”, and Janet’s own “Milk City Comics”. To call Eel Mansions eccentric or eclectic leaves out both its charm and its downright weirdness. Think A Velvet Glove Cast in Iron if Daniel Clowes made references to ’80s synth rock and baroque Brit pop and added more dancing. As a cartoonist, Van Gieson is singular to a fault, an artist who has never met a page he has not wanted to dribble, slather, and soak in ink. His chops as a writer rest in a narrow band of offbeat humor, record-shop bravado, and self-awareness that, at times, gives a reader the sense it’s all a put-on, a rock-and-roll swindle.
This is a very nice piece about a collaboration between The Center for Cartoon Studies and the White River Junction VA Medical Center.
Vice-Presidential candidate Mike Pence was once a cartoonist!
And lastly, an ode to Enid Coleslaw's style.
Chris Mautner writes about Lynda Barry's new collection, The Greatest of Marlys.
If you were asking me (and I’m just going to assume that you already did, very quietly, to yourself just now) what the essential quality is for any worthwhile “young adult” author, I would say it’s first and foremost honesty. The ability to accurately convey what it’s like to be 7 or 12 or 15 without delving into sentimentality or cliche is a tougher skill than one might suppose, given by the plethora of bathetic or worse stories lining bookstore shelves these days.
It would be reductive of me to put Lynda Barry in the YA camp – her work routinely transcends such narrow genre specifications – but she meets that standard easily. Few cartoonists are able to detail the various joys and bitter hurts that line the path to adulthood as well as she can, often in a voice that might not sound like our own, but certainly resembles someone you know or once knew.
—Interviews. RIYL checks in with married couple (and first-time professional collaborators) Miss Lasko-Gross and Kevin Colden.
Comics Alternative talks to Leela Corman.
—Commentary. Laura Andrea Garzón Garavito writes about what she calls the "new wave" of comics in Latin America.
Gary Groth, editor of Fantagraphics, publisher and critic, said in a conference held in Bogotá last year, he felt Colombia’s panorama looked pretty similar to the one he had seen in the United States in the 80’s, which was a time for alternate exploration of both markets and formats. That means thinking comics through various lenses, thinking audiences can be broader than imagined, not only kids or old-time series followers, but a whole spectrum of different ages, backgrounds, genders, and so on. In this scenario, underground comix hadn’t even seen Maus yet! Just like it happened here!
—Misc. New work by Dan O'Neill!
Today on the site we have cartoonist J.R. Williams interviewing his old pal Peter Bagge about the new Complete Neat Stuff collection. It's a treat to read these guys chatting about Bagge's early NYC days and the 1980s in Seattle.
You attended SVA for only three terms. What did you come away with from your experiences there? What sorts of things influenced your decision to drop out?
I dropped out mainly because I ran out of money. I needed a job — a FULL TIME job — to get by. But I didn’t miss the place, either. SVA made me take a lot of courses in subjects like painting, sculpture and photography, which mainly taught me that I didn’t want to be a painter, sculptor or photographer. Not that the teachers were all that inspiring. Most of them showed up late, hungover and eager to hit on their students. I had nothing but contempt for them. And the then huge sway of abstract and conceptual art dominated the school at the time, which was a great way for blowhards with no skills to make the rest of us feel like rubes. SVA — and the New York “fine art” world in general — was a total scam back then.
Once your decision to become a cartoonist had been made, how did you proceed, at first? You said you didn’t really know (or socialize with) any other cartoonists at that point in time, and it seems that a few years would pass before you began to make connections with other like-minded artists.
Well, I started reading underground comics (especially R. Crumb’s) in earnest while at SVA, and decided “THIS is what I want to do.” But by then I was out of school and working day jobs. So I drew comics in my spare time, using tools like a crow-quill pen that I had no instruction in using, and, well…winging it. I drew a LOT, though. Obsessively, and naturally got better as a result, though I had a huge learning curve ahead of me. Comics are hard! Sure, “anyone” can make a comic strip (as many drunken accountants and dentists have informed me through the years), but to make a GOOD comic? I’d say dentistry is easier!
All humans should either run to a newsstand or keep checking Frieze.com, because Gary Panter has contributed a masterpiece of a 7-page comic using an entirely new coloring method that I'm not at liberty to disclose. Look closely at the comic and watch the patterning and the washes and you'll see something that, as far as I know, has never been done in comics. Also, it's an extremely funny and insightful strip drawn straight out, no penciling.
It's late August, people. That's it for now!
Joe McCulloch is here with his usual guide to the Week in Comics!, looking at all the best-sounding comics new to stores. And because it's a relatively quiet week at the stores, he's kindly offered a bonus short essay on The Crusaders.
There's a part of me that thinks "if your comic doesn't have a cover like this, you should just go home." I mean, holy crap - what's even happening?! I can't really describe the physics, or even the spatial relationships here, let alone the completely jarring and horrific juxtapositions of digital textures, but the fucking CHAOS of this image is fantastic. I want to see what's inside even before I notice that old-fashioned box in the upper left corner, and I realize Chick Publications is at it again.
—Interviews & Profiles. The most recent Inkstuds features Kevin Czap.
—Reviews & Commentary. Rob Clough reviews Tom Gauld's Mooncop and Lisa Hanawalt's Hot Dog Taste Test.
Her first book, a collection of assorted short stories and other ephemera titled My Dirty Dumb Eyes, was not quite the Full Hanawalt experience that I had hoped for. It was still really out there and funny, to be sure, but it felt a little safer and a little more measured & restrained. That's understandable, given that many of those pieces were assignments, rather than directly personal work. I was worried that her new book, Hot Dog Taste Test, might be similarly muted in content. Instead, despite the fact that most of it is a collection of work published in a food magazine, I found much of it to be not only Hanawalt's sensibilities fully unleashed, but also to be remarkably personal and even poignant at times.
At Best American Poetry, Laura Orem considers the "naked Trump" statues in relation to other political caricatures.
I've been very interested in the debate about the Donald Trump statues. Some find them offensive as fat-shaming, transphobic, or simply in bad taste. Others find them hilariously apt. I collected these 2-D caricatures from history because I wanted to pin down what it is about the DT statues that causes such a strong reaction, as opposed to other unflattering caricatures of him that are all over the media.
Steven Heller looks at Trump.
The Comics Studies Society plans to start publishing Inks again next year, and it looks to have a very strong lineup of talent.
Hi there, today we have Annie Mok with a review of Lynda Barry's The Greatest of Marlys
Marlys continues D+Q’s reprint series of Barry’s entire output. The original edition, a floppy paperback from Sasquatch Books, gets an aesthetic update as well as a new comics introduction from Barry. The yellow brick of a best-of feels like a textbook, and thanks to the immersive nature of Barry’s comics, a reader can get lost for days in these semi-self-contained strips, picking up a few at a time at leisure.
The semi-autobiographical stories continues Barry’s juxtapositions of sweetness and horror in the lives of young people, but this group of strips lets a little more light in than usual (as seen in works like The Freddie Stories and Cruddy). One strip, “Who Are the Dogs?” goes down the list of dogs in Marlys’ neighborhood, each with wild, Muppet-y eyes.
Bleaker elements come through subtly, due to the child protagonists’ take on the situations. A strip called “Marlys’ Guide to Queers” ends with Marlys narrating, “If you see my Uncle John and Bill, please say I miss them and come back soon.” (My heart!)
Pam Butler takes a look at some rare Krazy Kat-related images and films.
Paul Gravett interviews Chinese cartoonist/illustrator Zao Dao.
Alex Dueben interviews Trina Robbins.
Frank Santoro's latest benefit auction for the Comics Workbook Rowhouse Residency is a treasure box of Hernandez brothers artwork and ephemera.
Today on the site, Greg Hunter's latest episode of Comic Book Decalogue puts the questions to MariNaomi.
—The nominees for this year's Ignatz Awards have been announced. (One of the nominated comics is one originally published on this site, the Cartoonist's Diary contributed by Rina Ayuyang. Congratulations, Rina!)
—Mike Baehr profiles Leslie Stein for Bandcamp.
Stein has also been soliciting suggestions on Facebook for abstract paintings, and songs to interpret. “It’s such a fun exercise for me, and seems to make other people happy too. And at the same time, I’m learning about different music and communicating with people about something we love. I think I am also trying to have fun, and obviously my work is incredibly emotional, so those blend the joy and the pain.” For Stein, her work, whether abstract or narrative, is increasingly about emotional connection: “I’ve gotten some mail from strangers that thank me for sharing [my experiences], and then they share with me. A couple have made me cry. So lately, more than ever, there’s also been a desire to help people by putting out honest and caring work.”
—The Kansas City Star profiles Joshua Cotter.
“I don’t like to spoon-feed the reader,” says Cotter, who appears as a featured guest at this weekend’s Kansas City Comic Con. “Anything I read or watch that appeals to me the most is the work that makes the reader meet the author or director halfway. The reason I like (Stanley) Kubrick, for example, is he doesn’t explain everything. He doesn’t say, ‘This is happening. Now this is happening.’ ‘Nod Away’ draws the reader into the world and makes them become a part of it.”
—The latest guest on Inkstuds is Lawrence "Rawdog" Hubbard of Real Deal fame.
—Noel Murray writes about Peter Bagge and Neat Stuff.
For Bagge, the real turning point for him with Neat Stuff was the ninth issue, which was taken up entirely by one 30-page piece, “Hippy House”—an early Buddy Bradley adventure in which he starts gravitating away from his high school friends and hanging out with a local weirdo who likes the same kind of ’60s rock that Buddy does. In the story, Buddy is both completely obnoxious and painfully relatable. He represents everyone’s worst teenage self, at once awkward and cocksure, but he’s also striving throughout to figure out who he wants to be when his school years end. “I was revealing certain things about myself in that story that I was a bit self-conscious of,” Bagge admitted.
("Hippy House" is one of the greatest comic-book stories ever created.)
—Paul Gravett interviews the Chinese cartoonist Zao Dao.