|Or, you can just service a governor...|
|Written by Eric Reynolds | Filed under Ellen Forney, comic strips||14 Mar 2008 12:54 PM|
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Stay tuned for the newest "Chocolate Cheeks" strip from Steven "Ribs" Weissman... meanwhile, here's his cover illustration for this week's issue of The Stranger. (You can see his illustration for the "I, Anonymous" feature in the paper every week.)
UPDATE: Jacob Covey informs me that this illustration (in a different color scheme) is available for purchase as a silkscreen print right here.
Thanks a lot to everyone who took time to send in work-- more details on the Beasts Blog.
Everyman Glenn Ganges ruminates on the simple times of the dot-com era when the reality of business was propped up by the unreality of addictive technology and hope. Kevin Huizenga cleverly parallels that unreality with the unreality of addictive networked first-person shooter video games, and the attempts of people around him to genuinely connect with each other. Huizenga’s elegant neo-clear-line style brings a crispness and humor to these low-key slice-of-life stories, and the gray-blue duotone he has picked gives the art a new depth and complexity.
Part of the Ignatz Series.
The Splitsville series concludes as Fuzz and Pluck struggle to survive after their worlds have been turned upside down. A mad race and a tug of war culminates in a fatal convergence that changes everything!
Funeral of the Heart is Leah Hayes' stylistic tour-de-force and graphic novel debut, featuring a series of short stories by Hayes and illustrated entirely using the otherworldly medium of scratchboard. Hayes creates a world of unease and ambiguity populated by obsessive characters, forlorn animals, and mysterious, inanimate objects; odd occurrences, unnerving deaths and unconventional but genuine love bind these characters and their stories together. In "The Bathroom," a middle-aged couple discover a mysterious tunnel in their poolhouse after a neighbor's child accidentally drowns in their pool — leading to an immaculate bathroom and another drowning. In "The Needle," two sisters suffer the death of their grandmother as well as her possible resurrection at the hands of the woman with the needle.
The stories are hand lettered and juxtaposed against stark, highly stylized, graphically powerful, black and white images. Stories with titles like "The Bathroom," "The Needle," and "The Hair" sound innocuous, but they aren't fables that should be read to one's children — unless your children enjoy being made uneasy by beautiful things.
A stand-alone graphic novel from the "Locas" universe. It starts with a barely-glimpsed slaying ("Life Through Whispers") and ends with a funeral ("Male Torso Found in L.A. River"). Even though (or perhaps because) he's still carrying the torch for Maggie, Ray diligently pursues the dangerous and annoying "Frogmouth," aspiring actress and full-time train wreck, from seedy bars and back alleys through comic book conventions... all the way to the ultimate, and unexpected, consummation. Meanwhile, Hopey spends an eventful week during which she undergoes a couple of major life changes, both personal and professional... and for that matter cosmetic. New characters include Hopey's long-suffering on-the-side squeeze Grace; Maggie's new roommate, the sweet-natured jockette "Angel of Tarzana;" and the live-wire would-be gangsta Elmer — while such classic Love and Rockets characters as the hard-living Doyle, the aging but still-rocking Terry, and the mysterious super-heroine Alarma pop up in the margins... As does Maggie, well off stage but visible as Ray's resentful ex, Angel's roommate, and (forever and still) Hopey's best friend.
Fantagraphics Books is proud to re-release one of the most powerful and moving books in its distinguished publishing history: Debbie Drechsler's first collection of short comic stories, Daddy's Girl. Originally published in 1995 and distributed only to comic book specialty stores, Daddy's Girl was ahead of its time: Drechsler's account of her abuse at the hands of her father, told from the point of view of an adolescent, is one of the most searingly honest, empathetic, and profoundly disturbing uses of the comics medium in its history. Drechsler's meticulous brush lines gather into heavy textures that suggest the claustrophobic tension of the environment that threatens her pre-teen and adolescent female protagonists. Characters such as Lily, who can't escape her father's abuse, and Franny, a girl whose desire to be accepted leads her into dangerous territory, struggle not to be visually and emotionally overwhelmed. Central to this quasi-memoir is Lily's relationship to her father — a confused jumble of fear, trepidation, and love.