Today, Rob Clough reviews the Runner Runner anthology. Here's some of what he had to say:
Greg Means is well known for his "Clutch McBastard" zine alter ego as well as for editing the exquisitely designed Papercutter anthology. Runner Runner was his contribution to Free Comic Book Day 2012 as well as a staple at his convention tables. Far from a throwaway freebie, this lean minicomic has a killer lineup of excellent work. It seems like Means will be concentrating on Runner Runner as far as his anthologies go, as he's discontinued Papercutter and Nate Powell has announced he is doing a comic with Al Burian for this year's Runner Runner. The anthology is mostly comprised of West Coast cartoonists, including a number from Means' home base of Portland, Oregon. As such, it's an excellent sampler of the most experienced cartoonists from that scene (as well as a smattering of other good cartoonists) who are mostly known for their minicomics.
—Avi Steinberg has a great short review of Maurice Sendak's last book on The New Yorker website, linking it to Sendak's first unpublished book, which he created as a child.
—New progress seems to have been made in the age-old quest to find the secret origins of MAD magazine's Alfred E. Neuman. (John Adcock has more.)
—The New York Times profiled a day in the life of comiXology CEO David Steinberger, written just before the Marvel promotion that knocked out the site's servers for two days.
—Michael Barrier has a short essay on Walt Kelly, illustrated and explained through publicity photos taken for a Chuck Jones-directed Pogo animation special.
—Paul Di Filippo reviews Lynda Barry's Freddie Stories, Glen Weldon reviews Ben Katchor's Hand-Drying in America, and Craig Fischer reviews Bernie Krigstein's Messages in a Bottle.
—Maren Williams at the CBLDF blog writes a short history of the end of Australian comic-book censorship.
—Via Twitter, Erik Larsen argues, "If you need to include an arrow to tell readers which panel to read next your page is a failure. It should be obvious." Which seems more or less like a comics equivalent to "invisible style." And like invisible style in film, its use-value depends on what kind of comic you are making.
—For his day job, Chris Mautner profiles a local comic-book collector.
—Not Comics: What a great photograph. I know it's hipper these days to dig Keaton and disparage Chaplin, but I don't care what you say. City Lights, man.
—Also Not Comics, But Closer: Here's the trailer for a new documentary about a group of artists not so dissimilar from cartoonists, sign painters: