RJ Casey is back to day with a review of Tommi Parrish's Perfect Hair.
You’re at a party and someone is telling you all about their new job, new significant other, new something. You’re trying to listen, but all you can concentrate on is making eye contact, like you’ve been taught. Don’t look over their shoulder or at their moist mouth. You try staring at the left eye. Then the right. It’s not possible to split focus on both eyes, is it? You start fixating more on the performative act of communication than the actual practice. That zone right there — where you’re half-listening and fraught and floating with self-consciousness — that’s the feeling Tommi Parrish explores in Perfect Hair: a book that may not make you happy to be alive, but sure will make you glad you’re a comic reader.
—Brian Nicholson has a couple of interesting reviews up, of Tristan Wright's Low Light and Mark Wheatley & Rick Burchett's 1991 Black Hood.
I don’t know about anyone else, but when I was a kid, not being a sociopath, while the image of a man with a gun might have been compelling, I felt no desire to project myself into it, as a fantasy, the way I felt with the idea of flight. That image, though, was everywhere. I was a child during a time when there were four ongoing Punisher comics, and Robocop and The Terminator, despite their origins in rated-R movies, were common sights in toy stores.
Reading comics from fifty-cent bins, where a comic shop’s cast-offs from the year or two before went, I encountered the early issue of the Impact Comics line. I didn’t realize until much later that this line of comics was designed specifically for children, that the teenager protagonists were meant to be relatable or aspirational. At least, I didn’t think of them as being intended for children any more than the other comics I read were. The Black Hood was the line’s take on the simplistic stripped-down concept, of a vigilante with firearms. He was introduced initially as a guest star in the line’s first four books, before being given his own title, the fifth to debut. Reading that series now, what’s striking about them is how focused they are on the dismantling of a dangerous notion. It seems like it’s taking the responsibility of a young audience seriously, to parody ideas too many people a few years older were taking completely seriously.
—At the Criterion blog, Eric Skillman writes about Paul Pope and Ron Wimberly's work on the packaging for the new Lone Wolf and Cub box set.
The Lone Wolf and Cub film series has its roots in the Kazuo Koike and Goseki Kojima’s seminal manga of the same name, which was itself a major influence on western cartooning and illustration in the 1980s. It felt only natural to pay homage to that connection in our design. We brought in Paul Pope, an American artist whose work is heavily influenced by Japanese brushwork and manga styles.
—The latest Comics Workbook roundup post has a lot of good stuff in it.