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Lost Cities

Matthias Wivel is here with a new installment of his Common Currency column. This time, he focuses on the latest book by Posy Simmonds, Cassandra Darke.

Cassandra Darke, the titular protagonist of Posy Simmonds’ latest comic, is the cartoonist's most heroic figure so far, the book an assertive step in the direction of more proactive social engagement, more upbeat than previous efforts but with the same cynical undercurrent. As in her previous long-form comics—Gemma Bovery was based on Flaubert’s Madame Bovary, Tamara Drewe on Thomas Hardy’s Far from the Madding Crowd—it wears its literary source material loosely if comfortably. Cassandra is a modern Scrooge, convinced of her own contentment in isolation, yet compelled beyond it.

Set in London, key points in the story appositely take place around Christmas of 2016 and 2017, between which Cassandra’s circumstances change considerably. She is the proverbial unlikely heroine: a portly 71-year-old art dealer running the business she co-founded with her ex-husband, who since married her stepsister and yet handed over the day-to-day to her due to the onset of Alzheimer’s. When we first meet her, she looks like the long-lost cousin of Grandma Giles, sheathed in a puffer coat and a low-set trapper hat. Roaming the holiday rush at Picadilly on a sugar high fueled by a box of macaroons from the Burlington Arcade, she is about to be outed as a fraud.

It turns out she has issued and sold unauthorized copies of a bronze sculpture by one of the artists she represents. According to her unreliable narration—Simmonds likes those—she did it to placate the market out of contempt for collectors who see only investment where she sees art. It seems clear, however, that the reason was mostly that she needed the cash in order to support her lavish lifestyle—her house in Brittany, her holidays in five-star hotels, her live-in housekeeper and her penchant for fine wine—in a field that for most smaller business owners are bringing diminishing returns these years, especially if they are unwilling to adapt.

Meanwhile, elsewhere:

—News. Lone Wolf & Cub co-creator Kazuo Koike has died. We will have more coverage soon.

The pioneering comics scholar Donald Ault also passed away recently, which we also plan to cover more fully. In the meantime, the International Journal of Comic Art blog has republished a short memoir written by Ault.

In 1968 it was unthinkable to me that as a beginning literature professor, I could incorporate comic books -- especially Donald Duck comics which I had admired since I was a child -- into upper division and graduate courses at a major research institution. ... My mentors cautioned me against introducing the study of comic books into my professional profile for university teaching because, as Arthur Asa Berger has noted, popular culture studies were looked down upon at that time by "serious" scholars at research institutions. Drawing attention to my interest in Donald Duck, they said, would surely jeopardize my chances of getting (and keeping) a high-powered teaching job. Consequently, though I had been reading and collecting comics for over twenty years, my academic studies had sequestered me from comic "fandom" and the intellectual movements, especially in Europe, that had made great strides in legitimizing comics and raising their cultural profile through exhibitions such as those organized by Maurice Horn and others. I knew nothing of the various comics "clubs" formed at private universities including Harvard, and I was unaware that Terry Zwigoff (later the director of "Crumb" and "Ghost World") had already been teaching non-credit courses that focused on Donald Duck and Uncle Scrooge comics at the University of Wisconsin in 1966-1967. At that time it would have been inconceivable to me to learn, as Wolfgang Fuchs has remarked, that Donald Duck comics were already one of the "darlings of [European] intellectuals." Even though I was just across the Bay from San Francisco State, I didn't know that Arthur Asa Berger was teaching courses in comic strips using diverse analytical tools such as semiotics. In 1968 I did not yet know Carl Barks's name, and I feared the anonymous author, who I was sure had both written and drawn his own stories, had died, or certainly retired, since the steady flow of his comic book work had suddenly stopped in mid-1967, replaced at first by reprints and later by pale imitations.

—History. For Hogan's Alley, Jean Kilbourne writes about the sexual harassment and manipulative behavior she encountered during her experiences with Al Capp.

Brilliant and talented, Capp also was a depraved predator. In February of 1968 he was asked to leave the University of Alabama (where he had been invited to give a lecture) after being accused of making “indecent advances” to four college students in the space of a few days.[1]

According to reporter Jack Anderson, Capp told a young woman who had delivered some materials to his hotel room that he was impressed with her and discussed the possibility of hiring her to help produce the "Capp on Campus" radio series, then in progress. He began making forceful advances toward her and exposing himself to her. I was struck by the following: “Although she was not injured, she was sufficiently upset by the experience to be admitted a few days later to the university infirmary where she remained under sedation for several days.”

—Reviews & Commentary. Maggie Umber writes about how her company 2dcloud has survived health concerns and financial difficulties and other obstacles.

Before I got sick in 2018, Raighne and I got divorced. I relocated with him to Chicago, we collaborated on my graphic novel 270° and launched a book collection on our revamped website. I did all the touring for 2dcloud while Raighne worked four jobs. However, there still wasn't enough money to pay artist royalties, printer and credit card debt. Every week people dropped out of our lives, cancelled book deals, contracts. Our company shrunk down from a team of people to us and our publicist Melissa.

Any sane person would have given up, but 2dcloud was our baby. Unfortunately, 2dcloud cost us our marriage and me my health but it also brought so many wonderful and weird books into the world. We didn't want to give up on our baby.

—Crowdfunding. Bill Mantlo's younger brother Michael has undergone severe financial hardship while caring for his disabled sibling, and has set up a GoFundMe to solicit help.

My big brother is, and has been, permanently disabled for the last 27 years, and I willingly accepted the responsibility of being appointed his caregiver all those years ago.

I have been attempting to bring my brother home from the nursing home he has been placed in for the last 10 years. It has been a difficult struggle, filled with numerous pitfalls and obstacles, but I gave my word to him that I would do everything in my power to make it happen so that he could live out the rest of his life with dignity, and peace. It has become painfully obvious to me in the last few months that the powers that be will not let that happen.

 

As You Will Be

Today at the Comics Journal, we're basking in ongoing Sloane Leong content: this Friday, she's talking with Antonio Hitos, another one of the artists-in-residence at Maison de Auteurs. Rules and Peanuts--there's nothing I don't love about both of those subjects.

In the past couple of years, especially in the field I’m in which is part of a more rigid tradition, the comics are just storyboards for movies or they’re just pitches for a tv show.

Yeah, that’s a shame. I mean, comics can also be cool just because the story is interesting or the drawings are fun or whatever, they can work that way just fine. But it would be so much better if, on top of that, they were also exploring the possibilities that are inherent to their own language.

Exactly, yeah. I totally agree. What are some challenges that come up when you work in such a…I don’t want to say strict—

It is strict.

Today's review comes to us from Keith Silva, and its on Ascender #1, the latest comic from content machine Jeff Lemire. It's a negative review of the comic and Lemire in general

Perhaps it’s too harsh to rest Ascender’s bankruptcy of ideas on only one of its storytellers when Lemire’s script shoulders as much (more?) of the burden. Lemire works his familiar familial theme into Ascender which his readers have come to expect and depend upon. Like legions of others, Lemire has made a prosperous living and professionally respectable career being a family guy. He’s never met a damaged ragamuffin or traumatized and (mostly) straight white male whom he hasn’t found a way to write into a family either by their own blood or manufacture. When not hammering home ‘the family,’ Lemire’s stories stick to the most popular literary themes: love, war, survival, coming-of-age, good vs. evil, etc. This isn’t to fault Lemire for writing stories that rely on popular literary themes, but to point out he’s more run-of-the-mill than exceptional. And yet he maintains steady employment, receives positive critical attention and is more prolific than many of his peers: there are a lot of middling comics on the shelves bearing the name Jeff Lemire.

 

Secret Projects

Cynthia Rose has returned to TCJ with a monster of an article (the good kind of monster), reporting on the Pulp Festival outside Paris, new books and exhibits by and about two major cartoonists—Posy Simmonds and Catherine Meurisse—as well as interviews with both cartoonists.

The Pulp Festival "forces comics out of their frames," in order to mix them up with all the other arts. As well as hosting guest stars and staging exhibitions, Pulp combines BD with music, dance, film and a range of offbeat happenings. But one of the best things about it is that it happens at La Ferme du Buisson.

Just beyond the edge of Paris, this is a former farm that dates from 1879. Developed by the Menier family of chocolate barons, it once fed hundreds of their workers and supplied the beetroot used in their chocolates. Now its one-time stables and dairies have become studios, theaters, cinemas and a médiathèque.

Ferme Director Vincent Eches conceived Pulp in 2013. This, its sixth edition, proved every bit as ingenious as bigger-name fêtes. One reason was its stars: the artists Posy Simmonds and Catherine Meurisse. Simmonds is the subject of a major retrospective, called "J'ai deux amours" ("I Have Two Loves") and Meurisse created a Festival installation, D'après nature ("From Nature"), based on her book Les Grandes Espaces ("The Wide Open Spaces"). Pulp also celebrated the French debut of Cassandra Darke – Posy Simmonds' first graphic novel in eleven years – and the monograph So British! The Art of Posy Simmonds by critic Paul Gravett.

Meanwhile, elsewhere:

—This year's Pulitzer winner for editorial cartooning was Darrin Bell.

Michael Cavna at the Washington Post profiled Bell.

Amy Lago, his longtime Post Writers Group editor, says she had been urging Bell to do editorial cartoons since she arrived at the syndicate in 2004. “There were two things that prompted him to finally accept: the death of Trayvon Martin and the birth of his son,” says Lago, who calls Bell “quite possibly the hardest-working cartoonist among my [many] acquaintances.”

(At one point, she notes, Bell was writing and drawing two daily comic strips, creating three editorial cartoons a week, successfully submitting New Yorker cartoons and working on a “secret” storyboard project.)

—Tillie Walden's On a Sunbeam won this year's LA Times Book Prize. That award has a good record.

—At PW, Deb Aoki writes about MariNaomi and her Cartoonists of Color and Queer Cartoonists databases.

Both sites provide a resource for comics creators, publishers, editors, librarians, academics, journalists and event managers; anyone looking to discover new creators. Largely created and funded by MariNaomi, both databases are free for artists to join and free for anyone to use. Cartoonists can submit their contact info to the database to be listed.

MariNaomi (who is half-Japanese) said that the need for the databases occurred to her after she noticed an article that spotlighted “20 female cartoonists who draw themselves naked.” Although delighted that the article focused on women making comics, MariNaomi was dismayed that the story included only white women cartoonists.

“I was sick and tired of feeling invisible; tired of not seeing diverse representation and of hearing that there weren’t diverse creators out there, which I suspected was bullshit” she said. “It inspired me to start telling stories about race, which was something that I had avoided since I was told that my story wasn’t universal enough a few years back.”

 

WRENSDAY

Today at the Comics Journal, we're sharing a 22 page look at Nobrow's Darwin: An Exceptional Voyage. I first heard about this book when one of the people (not a Nobrow employee) who worked adjacent to it condescended to me about how he'd already read it, and hadn't realized how good Nobrow was until he had read that specific book, and why hadn't I told him about the book before? (At the time of this conversation, I had not worked at Nobrow for 16 months and had never heard of the Darwin book.) As I was listening to him and nodding and wondering how soon I could leave the conversation and go anywhere else in the world, I realized that he must think that I care to be this nasty--he must think I want something, to talk like this? But I had just said "hi", you know, trying to buy time to surreptitiously look at his name tag. Never figured that one out. Comics is a weird business.

Today's review comes to us from Josh Kramer, and he's taking a look at Brian Fies A Fire Story, the extended hardcover edition of Brian losing his house in a 2017 California wildfire, which he had previously described in a webcomic.

On the first page, after Fies’ name, an asterisk leads to text at the bottom that reads, “but not to his usual standards.” This caveat makes the deft cartooning and vulnerable storytelling that follows all the more impressive. But it also begs the question, what would this be like if it were up to Fies’ standards? The full-length graphic novel version, also titled A Fire Story, came out this March from Abrams ComicsArts. And not only is the book inspired by the original webcomic, it is more or less a faithful recreation.

Over on Facebook, you can find an impressive collection of Alberto Breccia images. If you'd like to see them without Zuckerberg's involvement, there's two exhibitions--one in Argentina, one in France--that'll solve that problem for you. For more information 0n that, John Freeman has you covered.

Over on Tumblr, our very own Matt Seneca has launched a webcomic edition of his Infinite Prison--according to him, you've only got a couple of weeks to read it, so get cooking.

RIP, Kazuhiko "Monkey Punch" Katou. The manga creator most known for Lupin III reportedly passed away last week

 

Lumpen

Today on the site, TCJ stalwart Bob Levin takes a look at Andrew Whyte's recent book about Maxon Crumb, Art Out of Chaos.

Whyte comes across as someone who has seen enough art to be confident in his own judgments. He considers Maxon’s writings to be “complex” and “intriguing,” “alien” yet “erotic.” He finds his visuals “extraordinary,” “perceptive... and original,” “provocative and profound,” rich with “foreboding,” demonstrating “arrestive inventiveness” and mastery of “composition, detail and technique.” Most impressively to me – since it underscores my own shortcomings – is his ability to get beyond Maxon’s externals and, while avoiding none of them, relegate them to a place where they do not interfere with his gaze. He views Maxon’s deviations from the norm no differently than most of us would another’s choice of eyeglass frames.


Meanwhile, elsewhere:

—News. Nominees for this year's Doug Wright Awards have been announced, and include Michael DeForge, Hartley Lin, John Martz, and Fiona Smyth.

Slate and CCS have announced the winners of their annual Cartoonist Studio Prize: Keiler Roberts for print, and Lauren R. Weinstein for online.

—Reviews & Commentary. For The New Yorker, Stephanie Burt reviews Tillie Walden's On a Sunbeam.

The big, densely plotted volume has all the virtues of “Spinning,” plus the scale, the sense of wonder, and the optimism intrinsic to what’s called space opera or science fantasy. (Think “Star Trek” and Starfleet Academy.) As with “Spinning,” it can be hard to equal in prose the comic’s inviting, spare line work, use of black-and-white, and expressive qualities. (Walden can make one pen stroke on one character’s face equal two pages of dialogue.) “On a Sunbeam” is at once a queer coming-of-age story, a story about how to salvage lost love and youth, and a multigenerational story about how to thrive in a society that does not understand who you are or what you can do. It is the kind of story that adults can and should give to queer teens, and to autistic teens, and to teens who care for space exploration, or civil engineering, or cross-cultural communication. It is also a story for adults who were once like those teens, and the kind of story (like the Aeneid, but happier) whose devotees might occasionally return to it, hoping for divine advice from a randomly chosen line, or panel, or page.

At The Nation, Jillian Steinhauer writes about Mark Dery's biography of Edward Gorey.

For 33 years, Edward Gorey rented an apartment in Manhattan. The author and artist hated New York City, but like so many others, he had moved there after college to embark on a career. The one-room apartment, at 36 East 38th Street, was Gorey’s refuge, his “cabinet of wonders, bohemian atelier, and Fortress of Solitude rolled into one,” as the cultural critic Mark Dery puts it in his new biography, Born to Be Posthumous: The Eccentric Life and Mysterious Genius of Edward Gorey. The place was crammed with books, art, and miscellaneous objects that Gorey had collected, often memento mori. These included a real mummy’s head, which, by the time Gorey lost his lease in 1986, was sitting on a shelf in a closet, wrapped in brown paper. When he was away in Cape Cod, as the story goes, Gorey asked some friends to pack up his things for him, but they managed to miss the head. Instead, the super found it.

“I got a call from a detective at some precinct or other who said, ‘Mr. Gorey, we’ve discovered a head in your closet,’” the artist recalled in an interview. Gorey responded, “Oh, for God’s sake, can’t you tell a mummy’s head when you see one? It’s thousands of years old! Good grief! Did you think it took place over the weekend?”

Nicholas Theisen writes about the ethics of scanlations.

I’m back on my bullshit, because the whole discourse surrounding the “wrongness” of scanlation that I constantly see on social media, frankly, drives me bonkers, in part because people on “either side” of the issue never seem to be asking the useful questions or speaking from a shared set of facts. The anti-scanlation crowd is largely made up of people who either are professional translators or work in publishing, in other words those who directly benefit from the existing copyright regime. If I were being more fair, perhaps I would describe this group as those who have firsthand knowledge of the negative impact of scanlation in the manga distribution economy. On the other side we have the, if not pro-scanlation, then at least scanlation agnostic who speak almost solely from the perspective of readers and consumers in a market economy. In other words, the “two sides” are arguing from two completely different realities.

And I say manga distribution economy, because whether the two sides like it or not, the licit and “illicit” trades in translated Japanese comics are not wholly distinct entities. They are, in fact, inextricably linked to one another.

—Interviews. NPR interviews Cathy Guisewite.

—RIP. Gene Wolfe.

 

Cruel-sing

Today at the Comics Journal, we're starting off the week with the National Cartoonists Society--by speaking with Steve McGarry, the current president of the NCS Foundation, one of the key players in the recent attempts to rebrand the NCS to keep up with the next generation of creators.

You have a wide range of people at the festival – Jaime and Gilbert Hernandez, Ed Brubaker and Joyce Farmer, Lewis Trondheim and Dan Clowes. A lot of people that most would not associate with the NCS.

We’re trying to show this is a broad church. I think the perception of the NCS is that it’s old white guys who make comic strips – and it’s not. Part of this outreach is to change that perception. Look at who we have as members. Look at whose art we’re celebrating. Look at the exhibitions. I did a history of soccer at the National Football Museum in the UK last year so it was easy for us to basically replicate that here, though it has more LA Galaxy and US soccer, but it’s basically the history of soccer. We’re celebrating 90 years of Popeye which is ubiquitous. We have a French exhibition where they re-imagine classic comics figures as females. That exhibition addresses the under-representation of women in comics. Look at our guest list. We’re trying to be as inclusive and broad as possible. To try and dispel some of these myths that have grown up around the NCS. There is a disconnect between the online comics community where there are cartoonists who rail against these old dinosaurs. I think all cartoonists – probably without exception – are comics fans. Anybody that does good work appeals across the spectrum. The medium might have changed but good work is still good work whether it’s done by a 95 year old or a 15 year old. One of the selfish aspects of this is to present the NCS and put a spotlight on it and what we’re doing and who we are. At the same time we’re entertaining the public.

Our review of the day is a delightful one, from Darryl Ayo--it seems to be his debut for us, if the system we use to track your name can be relied upon. That seems hard to fathom, but maybe it is. He's here with a look at Wasted Space #8, from Vault Comics.

So if you’re me and you’re reading this comic book which could not be more random if you tried—the eighth installment of a serial that you are unfamiliar with—and you’re hoping to just dive in feet first? It pretty much works. The two parallel storylines of this issue both deal with repercussions of events that occurred in previous issues. One guy had his arm ripped off and another guy is coping with having murdered his own father. I get the impression that, for the long-term fans of Wasted Space, this issue might be a let-down in terms of action. Both stories in issue 8 are just people talking about how sad they are. Nobody gets dismembered or murdered. 

Over at Atomic Junk Shop, Edo Bosnar does a rundown of 2005's attempt to update Archie comics. Back in 2005, that consisted of hiring 80's super-hero artists and adapting licensed YA novels form the 90's. Not sure why that genius plan failed to take off.

Over at Bleeding Cool, they've got a great rundown of Sean Murphy's recent complaint that people should stop complaining. Why is it that every time a real man tells it like it is (with no filter), the result is always whining about what other people are saying on social media? My check engine light has been given me a hard time ever since the catalytic converter was stolen, and I would love it if a real man would come along and help me figure out whether it's the oxygen sensors or not. But all the tough guys in comics seem to spend the majority of their time rewatching super-hero movies or complaining incessantly about what other people do on fucking twitter.

 

We May Already Be Too Late

Today on the site, Sloane Leong returns with the first in a series of features, in which she interviews her fellow residents at the Maison des Auteurs in Angoulême. First up is Rebecca Roher.

Sloane Leong: So the first thing I’m going to ask is what you’re working on, and what brought about the project.

Rebecca Roher: I’m working on a project called One Hundred Year-Old Wisdom, where I’m interviewing near-hundred-year-olds about their keys to long life, their histories, and how they live today. I’m making comics based on the interviews. It’s framed as if I am a news reporter for a fictional TV network. I really like the reporter voice, you know like, “Hello, I’m reporting live–”

[Chuckles] yeah.

I think it’s very humorous and a nice way to frame it and also, I was really inspired by the videos you see of reporters visiting old people on their hundredth birthday asking, “What’s your secret to long life?” and the hundred year-olds are like, “I eat oatmeal every day and stayed away from men.”

And Joe Decie wraps up his week with Day Five of his excellent Cartoonist's Diary.

Meanwhile, elsewhere:

—News. The Arizona Republic checks in on Gahan Wilson.

Gahan Wilson has a way of looking at the world and he reflected it in his cartoons.

An elevator in a corporate building that eats people.

Two aliens viewing earth, predicting, "Another decade or so and it will be warm enough for us."

A doctor telling a skeleton patient, "We may already be too late, Mr. Parker."

His work was playfully sinister and clever. Each cartoon made a point. The horrors of war. The destruction of the planet. The indignity humans inflict on one another.

Gahan's cartoons appeared regularly in Playboy for 50 years and in Collier's, The New Yorker and National Lampoon.

At 89, Gahan is still drawing pictures, but he doesn't publish them anymore.

Vice has excerpts from Alex Jones's deposition in the Matt Furie/Pepe the Frog case.

Moments before the impassioned speech, Jones admitted that, at first, he didn’t understand the cartoon frog at all. “I get most memes,” Jones said. “But I just didn’t understand [Pepe the Frog.]” Much of the deposition consists of Jones alternating between saying that he doesn’t care much about Pepe and discussing the finer points of the frog, like noting that his forehead looks “like a butt.” At one point, Jones says that if he loses the case, it would be “like [being made to make] a payment to the Statue of Liberty or something when we’re talking about liberty.”

—Reviews & Commentary. At openDemocracy, Louie Dean Valencia-Garcia writes about the recent Twitter spat between Jim Carrey and Mussolini's granddaughter over one of Carrey's cartoons, and some of the political context.

Recently, the comedian posted a crude drawing of fascist leader Benito Mussolini and his mistress, Clara Petacci ­– disfigured and hung upside down as they were in their deaths. Notoriously, Mussolini and Clara’s bodies were left virtually unrecognizable after an Italian mob got hold of the bodies after their executions. Carrey captioned the image: ‘If you’re wondering what fascism leads to, just ask Benito Mussolini and his mistress Claretta’. Carrey’s warning is two-fold: 1) fascists are on the losing side of history and 2) fascism’s end is particularly horrific.

—Interviews & Profiles. For no particular reason, I have never listened to a full episode of Studio 360, but the latest episode features Cathy Guisewite (as well as novelist Frederic Tuten, author of the comics-adjacent novel Tintin in the New World).

 

Longsharks

Today at the Comics Journal, it's time for Tegan O'Neil's latest installment of Ice Cream for Bedwetters. This time around, she's used Tom King & Gabriel Hernandez Walta's Vision series as inspiration to discuss the impact of 9/11, Jonathan Franzen, Jonathan Hickman's Secret Wars, Stan Lee, the infamous Comics Journal canon issue and comics criticism. Buckle in.

It’s a terrible thing to be a critic out of a feeling of resentment or anger at the object of your critique. Especially when the feelings aren’t even inspired by the work itself but simply a negative reaction to the enthusiasm of someone else taking joy in comics. I hardly want to live down the reputation of critics as choleric firebrands who never leave the house and bathe less often than they should - but, I mean, yeah. 

It’s not all comics fault. They didn’t ask to be the most intense relationship of my life.

Today also sees the latest installment of Joe Decie's Cartoonist Diary. Today's installment is painful, honest and elegant. Thank you Joe.

Our review of the day comes from Leonard Pierce. Here's looking at Ghost Box, from John Pading and Shigeharu Kobayashi.

Ghost Box first saw the light of day last year with a successful Kickstarter, and it’s now making its way to direct sales via Frank Comics, the imprint run by its creators, artist John Pading and his co-writer Shigeharu Kobayashi. It’s a quasi-sequel to their 2012 book Princess Calabretta, with which it shares not only characters and DNA but a hyperactive mélange of pop culture influences. Pading’s art style is vivid and cartoony, and while it’s not the most accomplished, it’s very well suited to the material, which benefits from the kinetic, colorful nature of his work. The script, on the other hand, is rather a mess: ideas come and go, events explode and spill over with no real rhyme or reason, and most of the appeal of the narrative comes from the fact that it throws its story developments, such as they are, at you with such wildfire rapidity that you give in to its admittedly good-natured energy more or less out of exhaustion.

Over at Smash Pages, Alex Dueben can be found speaking with Finnish cartoonist J.P. Ahonen about his heavy metal family comedy, Belzebubs.

Over at Broken Frontier, Andy Oliver speaks to Anna Readman about her comics work. Oliver had previously referred to Anna as "the future of British comics". The art by Readman illustrating the interview makes a pretty effective case for Oliver's claims.

Anytime a new Brian DePalma movie appears on the horizon, I think of old Kim Thompson remarks about DePalma that I'd caught wind of, years after they'd been made, via comments made by other people. I wonder what his level of anticipation would have been for Domino, which was reportedly such a terrible experience that the film director has sworn off the country of Denmark.