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No, Seven

Today we should keep you busy. First, Bill Kartalopoulos has a report from the grand opening of the Billy Ireland Cartoon Library & Museum last weekend:

This calendar year has seen no shortage of comics-related events and exhibitions, but the occasion most likely to have a long term impact for comics is the opening of the Billy Ireland Cartoon Library and Museum at Ohio State University this past weekend in Columbus, Ohio. The unveiling of the new dedicated museum and library space is the culmination of founding curator Lucy Shelton Caswell’s thirty-five-year vision and sets a new high water mark for comics-related institution building in North America. The ribbon-cutting of the new facility and the opening of its first exhibits was marked with a two-day academic conference, followed by a weekend of public events featuring artists including Matt Bors, Eddie Campbell, Jaime Hernandez, Gilbert Hernandez, Paul Pope, Jeff Smith, and many more. The event also served as the site of major announcements from the BICLM itself, as well as from other organizations represented there including the Center for Cartoon Studies and the International Comic Arts Forum (ICAF).

And then we have Ken Parille, with the second part of his column exploring the use of dialogue and narration in comics. Here’s a sample of that:

After Byrne’s super-villain introduces himself in 1986’s Superman #1, Lois Lane goes on the attack: “’Metallo’? You have got to be kidding. Where the heck did you pick up a cornball name like that?”

RU1

The trope of a character calling a villain’s shtick “corny” pops up repeatedly in ‘Silver Age’ comics (c. 1956 -1970), particularly those scripted by Stan Lee, one of Byrne’s major influences:

RU2

The Amazing Spider-Man #13 (1964). Dialogue by Stan Lee; Art/Plot by Steve Ditko.

If you know it’s corny, then why do it? Perhaps Byrne sees no other option: such names are part of the fantasy world he operates in. But admitting to foolishness rather than quietly playing along makes it worse — can you really write something corny and then act like you’re above it? I think “Metallo” is a solid villain name and needs no apology.


Elsewhere:


—Reviews & Commentary.
Timothy Callahan reviews three new comics and one old issue of Lloyd Llewellyn. Chris Mautner lays out six comics he found at Comics Art Brooklyn. Then James Romberger beats them all by reviewing eight comics from CAB. [UPDATE: I stupidly missed this extremely harsh takedown of the Art Spiegelman Co-Mix show written by Jed Perl at The New Republic.]

—Interviews & Profiles. Over at the Los Angeles Review of Books, Sarah Boxer has a great interview with Françoise Mouly. At one of The New Yorker’s blogs, Mouly herself presents an interview with Joe Sacco. Paul Gravett profiles Algerian cartoonist Sofiane Belaskri. Neil Gaiman talks about Sandman: Overture.

—News.
I can’t imagine people interested in the ongoing Brian Wood/sexism-in-the-comics-industry conversation haven’t seen most of these links already, but just in case, a second woman came forward with claims about Brian Wood, and a blogger has made a timeline of the controversy and its coverage.

Reports that filmmaker Hayao Miyazaki plans to make a samurai manga in his retirement have some visual confirmation now.

Finally, cartoonist and Yam Books publisher Rina Ayuyang has started an online art auction and book sale to raise funds for the victims of the Typhoon Yolanda/Haiyan disaster in the Philippines. Participating artists include Kevin Huizenga, Dylan Horrocks, Vanessa Davis, Eleanor Davis, Jaime Hernandez, and more.


11 Responses to No, Seven

  1. Briany Najar says:

    Neil Gaiman is like the Rick Wakeman of comics.
    Vacuous, meretricious appeals to class aspirations coupled with dismally crabbed imagination.
    Both owe success to resources other than creative.
    “Overture” my arse.

    • Dave Hartley says:

      Bit unfair to Wakeman. He was great in Lisztomania.

      • Briany Najar says:

        I saw Wakeman on a documentary recently. He was talking about Roger Dean’s cover art for the Yes albums (I resent Yes and ELP all the more for having such attractive packaging for their poorly produced records which link rock and classical by presenting the worst of both worlds.).
        His observation was (this is not verbatim) : people say you can tell a book by its cover, and you can certainly tell these albums by their covers.

      • Paul Slade says:

        Wakeman’s a good bloke. He used to scoff curries and knock back pints of bitter in the dressing room while the rest of Yes were fannying about with their micro-biotic brown rice and Perrier. He’s happy to acknowledge today that his King Arthur on Ice extravaganza was the (unintentionally) ludicrous highlight of 70s prog excess. He pops up on UK television now and again, wryly telling stories against himself, bemoaning the amount of alimony he has to pay or cheerfully bashing out a bit of pub piano. Like I said: a good bloke.

    • Robert Boyd says:

      If that’s true, then who’s the Tony Kaye of comics?!

    • Briany Najar says:

      Fair enough. If I knew him personally I’d probably be more impressed by his good bloke credentials, rather than being ever so slightly disgusted by his cultural presence and weak aesthetic pursuits, which are all of his that I have access to.
      I’m not saying he should suffer for his crimes. Especially not if he’s into beer and that.
      He should make recompense, ideally, but not necessarily suffer.

  2. David says:

    That seems a bit harsh towards Gaiman. I’m not even a big fan of his and the hyperbole that surrounds most of his work makes me roll my eyes, but I’d still say he’s a good writer.

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