• Interview:The Believer presents part 2 of Ross Simonini's 2008 chat with Jim Woodring: "I depend on a certain little frisson that I get when I hit upon a valid idea, relationship, event, or image. The thing shimmers in my mind, gives me that sense that it is glowing with unseen energy. 'Fluorescing' is the way I think of it. I reject dead ideas and keep live, glowing ones until the story resolves itself and I have a script."
• Review: "Jacques Tardi is a master storyteller, and The Arctic Marauder is a great place to start reading his work. If you’ve ever had an interest in expanding your comics enjoyment to European comics, this may be the book for you. But only if you like beautiful, smart and imaginative stories of high adventure." – Chris Neseman, iFanboy
• Review: "As ever, Jaime’s clear line style is masterfully rendered. The simplicity of his characters is disguised only by their realism, a clash of styles that he’s an accomplished practitioner of. Truly, in my opinion, there isn’t another artist working in comics who can seemingly capture so much from his characters while using so little.... [Perla La Loca] may not be the biggest or most dynamic story that’s come from Jaime’s pen, but if the previous volume’s death of Speedy storyline was the catalyst that brought on Maggie’s adulthood, this volume is the inevitable fallout." – Grovel
• Review: "In addition to undermining the colonialist attitudes of Hergé and classic Disney cartoons with his R. Crumb-ish verve, Swarte also presents a clutch of perfectly packaged riffs on cartoon art. Having a Chris Ware introduction makes sense, given Swarte’s excruciating eye for architectural detail, and could help introduce Swarte to a larger audience, but the book [Is That All There Is?] may not need it — the art doesn’t speak for itself, it shouts." – Publishers Weekly
"The Puerto Rican slugger overcame family poverty, racial prejudice, and the language barrier to be voted the National League’s Most Valuable Player for 1966. Puerto Rican-born Santiago (In My Darkest Hour) superbly captures the kinetic excitement of baseball as well as Clemente’s skill and warm humanity on and off the diamond.... Highly recommended; buy several."
"First published by Fantagraphics in 2003 and nominated for an Eisner Award, this history of racial depictions in comics has been updated in both its content and its source list. Over 100 entries, each featuring a representative illustration and an instructive short essay, cover an international range of comics, from Moon Mullins through Tintin, Will Eisner, R. Crumb, Peanuts, Boondocks, and beyond."
• Plug: "The Fantagraphics reprint of the Mickey Mouse comic strip made by Floyd Gottfredson was already a gem in its first edition in two volumes separately, but with this new edition, with two volumes in a box and a lower price, it becomes essential." – CaraB (translated from Spanish)
• Interview (Video/Audio): Get comfy for an hour-long chat with Bill Griffith about Lost and Found: Comics 1969-2003 on Bob Andelman's Mr. Media podcast, presented in video and streaming audio formats: "I’m sure somebody will be offended, which will be nice — to still offend somebody after all these years. People who only know Zippy comics through King Features will probably be surprised to see that Zippy was more adult-oriented."
Big, exciting news on a Sunday: Congress of the Animals (Frank et le congrès des bêtes) by Jim Woodring has been awarded the Prix Spécial du jury at the Festival international de la bande dessinée d’Angoulême! Congratulations and well deserved Jim!
A novel of the Jazz Age, The Big Town is the story of a failed businessman whose dreams of prosperity hinge on the secret proposition of a millionaire industrialist and a dangerous relationship he finds with a poor orphan girl chasing love in the great American metropolis.
Harry Hennesey’s hopes of success, both in his household and the world, have driven him to sell his home in an Illinois small town and take his chances in the big city. He rents a room in a run-down hotel. He deals in wholesale items scavenged from yard sales and close-outs. One night at a movie theater downtown, he meets a teenage flapper named Pearl who latches onto him and won’t let go. For several years now, Harry has threatened his marriage and self-esteem with innumerable infidelities. Now he finds himself falling in love with a girl less than half his age. But that’s not all.
Charles A. Follette, chairman of the board of the American Prometheus Corporation, comes to him with a slick proposition: find Follette’s missing niece, and the road to riches shall be his. Soon, though, Harry discovers a darker secret to the identity of the missing niece and what lies behind the urgency for her detection. It’s this revelation that leads him to a closer examination of what it means to the life he’s known since the birth of his children and that life he believes awaits him if he can only reach the top of the ladder.
Harry’s story in The Big Town is set against a fantastic backdrop of an archetypal 1920s American big city. We see speakeasies, sanitariums, skyscrapers, and a glittering Gatsby-like party high atop the metropolis. Lost in his own moral confusions, we watch Harry try to reform his young lover and uncover the secret of her own past in a small canal town miles beyond a city where gangsters murder ordinary citizens and everyone seems to have a get-rich scheme as the Roaring ’20s come to a thunderous close. The Big Town evokes a lost era through language and flamboyant characters reminiscent of Fitzgerald, Dos Passos, Ring Lardner, etc. Yet it’s also eerily relevant to our own time with its study of the role of business, crime, morality, and love in our lives.
Download and read a 24-page PDF excerpt (186 KB) including the first two chapters.
"Monte Schulz's The Big Town exposes decadence, wealth and consumption in Jazz Age America as spiritual myopia — where desperate, haunting characters hinge their lives on impossible dreams. This lyrical, gripping novel is as close to 1920s America as it gets, and penned with such frightening realism that the chaos of a bygone era erupts from its pages." – Simon Van Booy, award-winning author of Everything Beautiful Began After
"Bold and stirring, The Big Town is a big walk through the dark side of Jazz Age America, a place where temptation and violence were only a breath away. A finely-textured tale of moral ambiguity told with gripping realism that richly evokes the sights and sounds of an era defined by gangsters and Gatsby." — Persia Walker, author of Black Orchid Blues
Together, Joe Simon and Jack Kirby created such classic two-fisted comic series as Captain America, Boys' Ranch, The Newsboy Legion, and The Boy Commandos. But few people realize that one of their greatest successes — from 1947, when they singlehandedly created the genre, to the end of the 1950s — was... romance comics!
In such best-selling titles as Young Love and Real Western Romances, Simon and Kirby delighted a generation of girls and women (and probably a fair number of boys and men as well) with hundreds of charming and endlessly inventive stories of love and heartbreak.
And now, for the first time since their original publication in the 1940s and 1950s, 21 of these classics have been meticulously restored and are printed herein — in full, glorious color. So get out your handkerchiefs and enjoy the trials, tribulations, tragedies and triumphs of Suzi, Marjorie, Annaliese, Toni, Kathy, Sari... and 15 other star-crossed young lovers from half a century ago.
“I can express something [with animals] that is different from what I put into my work about humans... I can put more nonsense, more satire and fantasy into the animals...” — R. Crumb
Created by an adolescent R. Crumb in the late 1950s, Fritz the Cat rose to fame — along with his creator — during the underground comix revolution of the 1960s, and remains Crumb’s most well-known character and an internationally recognized icon of 1960s culture.
Fritz is a feline, freewheeling chiseler who allowed Crumb to express some of his most acidic commentary on American culture. Tragicomedy, farce and satire all rolled into one, The Life and Death of Fritz the Cat chronicles the very best of Fritz's adventures from his early days as an idealistic college student to his ultimate fate as a jaded, burned-out superstar, including Crumb’s infamous send-off of the character in the wake of Ralph Bakshi’s animated feature film, an experience and project that completely dissatisfied Crumb.
Finally collected in a single volume, these Fritz stories are a funny, insightful, authentic record of a tumultuous period in American life, with humor and compassion by the most well-respected cartoonist of all time.
• Review: "This collection of strips [The Frank Book] doesn’t have much of a thread running through it, apart from the characters and their surroundings. Like classic cartoons and newspaper strips, they are there to have situations inflicted upon them. In his afterword, Woodring suggests that each strip is intended to be a mystery but that one concept runs through each one, like a sort of moral or statement. Finding these can, at times, be challenging, but this obscurity and strangeness is a large part of what gives the book it’s charm." – Grovel
• Review:Novi Magazine's Jona gives a spoiler-filled and tipsy run-through of The Left Bank Gang by Jason: "This book is basically the original Midnight in Paris. It features Ernest Hemingway, F. Scott Fitzgerald, Ezra Pound, and James Joyce living in France, but as cartoonists (instead of writers) in the mid 1920’s. It’s presented in Jason’s signature 'animal people' style, with consistent 3x3 conventional grids, and an immaculate sense of pacing. In short, the whole thing reeks of Jason, and I love it. I mean, seriously. All literature has been replaced with comics in this universe. What’s not to love?"
• Commentary: At Robot 6, J. Caleb Mozzocco examines the racial depictions in Walt Disney's Donald Duck: Lost in the Andes by Carl Barks: "Because so many of Barks’ stories dealt with the Ducks visiting exotic lands, because the stories in this collection were produced between 1948 and 1949 and because Disney doesn’t exactly have the most sterling reputation when it comes to representing diverse nationalities or ethnicities, I was sort of concerned about what the lily-white ducks would be faced with when they journeyed to South America or Africa. Or, more precisely, how Barks would present what they would be faced with."
• Commentary: At The Webcomic Overlook, Larry Cruz looks at Hal Foster's Prince Valiant for his "Know Thy History" column: " Foster was a fantastic all-around artist. His strip boasted some great looking architecture, meticulously detailed clothing, and epic clashes. He had a keen eye for adding shadows to heighten drama. Hal Foster is said to have put 50 to 60 hours working on a single strip, and it shows." (via Robot 6)
This long out-of-print first volume of the multiple Harvey and Eisner award- winning Complete Crumb Comics series has been one of our most demanded reprints. Now, this landmark volume of Robert Crumb’s formative years not only returns, but also boasts a major discovery not included in prior editions: a never-before-published, 60 page “home-made” Arcade comic from 1962.
Growing up, Robert and his brother Charles often created their own comic books. These “home-made” editions were usually produced in editions of one. As such, many have been lost to time or private collections. What hasn’t comprises much of the first two volumes of The Complete Crumb series. Their creation continued throughout the 1950s and into the early ’60s and eventually the content of Crumb’s work gradually matured from the light-hearted, funny animal antics of earlier years to stories that flashed signals of what we now recognize as “true Crumb.”
This previously undiscovered Arcade “issue,” from May, 1962, shows many flashes of where Crumb was heading (whereas Charles had all but abandoned drawing comics by the ’60s). The 17-page strip “Jim” is the most emotionally-charged work of Crumb’s young life to that point, a gentle and psychologically astute look at a boy who needs a mother, and also brimming with signs of his increasing frustration with Catholicism. It also features the first quintessential “Crumb girl,” Mabel.
This volume also includes several early Fritz the Cat stories (a.k.a. “Animal Town Comics”), and the classic “Treasure Island Days” (as seen in the Crumb film) and is rounded out with other strips, diary entries and sketches that will be a treasure trove for Crumb fans, all defining work from Crumb’s formative years as a cartoonist, spanning the years 1958-1962 (when Crumb was ages 15-19) and featuring material from other “home-made” comics of the era. This is Ground Zero for a man who may well be the greatest cartoonist who ever lived.
Download and read a PDF excerpt (10 MB) with 9 pages of previously unpublished material.
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