"Bagge discusses how he came to define his libertarian political worldview at a young age, and laments his frustration at being an artist who's political views are frequently mischaracterized as 'right wing' by other artists, simply for failing to be in lock-step with the rest of the predominantly progressive-left art world. He also discusses a recent Reason assignment which took him within the walls of a women's prison, and how the experience led him to question his own preconceived notions about the drug war and involuntary incarceration for drug users. His funny, outrageous and often introspective anthology of Reason cartoon journalism, Everybody is Stupid Except Me (And Other Astute Observations) is available from Fantagraphics."
Above, the triumphant moment of Roberto Clemente's 3000th career base hit, which took place 39 years ago today, as depicted in 21: The Story of Roberto Clemente by Wilfred Santiago. Celebrate the milestone anniversary by curling up with a copy of the book! (Thanks to the ever-vigilant Janice for catching the anniversary!)
The comics community continues to come together to aid the family of late Sparkplug Comics publisher Dylan Williams, with a new round of benefit auctions featuring artwork donated by its creators organized by Floating World's Jason Leivian and Profanity Hill's (and Fantagraphics') Jason T. Miles. The marquee item of the moment is Daniel Clowes's cover sketches for the hardcover edition of Ice Haven, and more wonderful contributions from Fantagraphics artists follow below. Click each image to be taken directly to the eBay auction, and see additional contributions at The Divine Invasion blog.
• Review: "Sala creates stories in which brightly colored, cartoony art and characters who speak in casual idiom tell of events that aren’t so much humorous or casual as provocative and scary. In [The Hidden], he combines motifs of a postapocalyptic landscape, wanderers, some vampiric businessmen, and, ultimately, Dr. Frankenstein. The stew works perfectly: readers have no chance to engage in incredulity... Characters are introduced at a steady but manageable pace, and it is only at story’s end that the opening pages become horrifyingly clear. Sala works with a full palette of beautiful, gemlike hues held in generous panels. Even the monsters have individuated faces, which only ramps up the horror." – Francisca Goldsmith, School Library Journal
• Interview:Comic Book Resources' Shaun Manning talks to Richard Sala about The Hidden: "It's a story about consequences. It's about what happens when you set wheels in motion that maybe you can't control, that in fact spin completely out of control. What do you do? Do you take responsibility for what comes next or, or do you run away and distance yourself from what you've caused and try to pretend it doesn't matter. And it's about what happens when you finally realize that it's up to you to stop what you started. Is that vague enough?! It's not exactly a 'high concept' description, I'm afraid."
• Review: "A dark horse contender for comics creator of the year can be found in the unlikely personage of the late artist Alex Toth... Setting the Standard aims at... a conceptually sound and compelling [goal]: the publication of Toth's work between 1952 and 1954 for the long-defunct comics publisher Standard... The work is in a variety of sturdy, popular genres. The presentation of the comics themselves proves crisp and strong. The manner in which the increasingly valuable Sadowski and his publisher chose to present the supporting material is even better." – Tom Spurgeon, The Comics Reporter
• Review: "I think the most important thing you need to know about [Mark Twain's Autobiography 1910-2010] is that it made me laugh out loud not once, but close to a dozen times. At one point, during an exchange with a famous cartoon strip writer, I think I laughed for a solid minute. It might have been longer, except the neighbors threatened to shoot me. And if they'd done me in, I'd never have gotten a chance to review this and tell you that this is one of the best books -- if not *the* best book -- I've read all year." – Rob McMonigal, Panel Patter
• Interview:Comic Book Resources' Alex Dueben chats with Gahan Wilson about Nuts: "On the whole, [the comic] was mostly autobiographical. It just rolled out and it was and continues to be very satisfying to me. It helped me see kids better, too. They're just wonderful. The creativity of children is kind of frightening. They all do these drawings which are just gorgeous and profound, and they'll do poetry. They're brilliant.... I think they're very encouraging because they give you a peek at what we could be if we grew up right. I think there's hope for us all, and kids are evidence of that."
• Interview: At The Comics Journal it's a Mome dude tête-à-tête as Frank Santoro quizzes Jesse Moynihan: "I did some color guides with Photoshop for a piece called Simon Magus (MOME 22). That was helpful but not usually how I do things. Since I’m using a medium that can build layers, it’s not difficult to go back in and edit the color scheme to an extent. For the most part I trust that my eye can decide what needs to happen on the fly."
• Interview (Audio): On the latest episode of the Panel Borders podcast, Alex Fitch talks to David B. about his new book Black Paths (audio in multiple formats at the link)
• Interview (Video): At SPX, Paul Hornschemeier sat down for an on-camera chat with Joe Mochove and Rusty Rowley. "We discuss all of the important topics of the day: Earnest Borgnine, mobility scooters, terrorism, and delicious orange juice," says Paul at his blog. (What is it with the Borgnine?)
As this fourth volume begins, Prince Valiant, haunted by the lovely Aleta, seeks Merlin’s wise counsel. This brief episode segues into one of Hal Foster’s patented epics, “The Long Voyage to Thule,” which ran for seven straight months and featured Valiant’s return to his birthplace and reunion with his father. Of course, Foster’s astonishingly detailed and evocative depictions of Val’s home- land contribute greatly to this sprawling epic.
After a series of shorter adventures including “The Seductress,” “The Call of the Sea,” and “The Jealous Cripple,” Val finally decides he can stand it no more and sets out to find his long-lost love. Long-time fans know that his quest will eventually be successful, but Foster throws so many obstacles in the way of true love that the saga “The Winning of Aleta” would end up stretching a full year and a half, well into the next volume.
This volume also features the debut of Foster’s charming "The Mediæval Castle" strip, and an introductory essay by Foster scholar Brian M. Kane.
With stunning art reproduced directly from pristine printer’s proofs, Fantagraphics has introduced a new generation to Foster’s masterpiece, while providing long-time fans with the ultimate, definitive version of the strip.
In this thematically and narratively linked series of one-page stories originally published in the National Lampoon’s “Funny Pages” section throughout the 1970s, the master of the macabre eschewed his usual ghouls, vampires, and end-of-the-world scenarios for a wry, pointed look at growing up normal in the real, yet endlessly weird world.
Watch as our stoic, hunting-cap-wearing protagonist (known only as “The Kid”) copes with illness, disappointment, strange old relatives, the disappointment of Christmas, life-threatening escapades, death, school, the awfulness of camp, and much more — all delineated in Wilson’s roly-poly, sensual, delicately hatched line.
“Nuts” was (partly) collected in a now long-out-of-print volume back in 1979. This new hardcover edition reprints every single “Nuts” story from the Lampoon, rescuing over two dozen pages from oblivion.
If you don’t remember what it was like being a child, this book will bring it all back… for good or for ill!
"Gahan Wilson’s Nuts is the best, most clear-eyed explanation of and memoir about childhood I’ve ever read. Small, cramped, perfect drawings that show children as they are — explorers without a map or a book of instructions in the land of mad giants." —Neil Gaiman
Sergio Leone’s retooling of classic westerns for his “spaghetti westerns”… Stieg Larsson’s striking take on the serial killer/mystery thriller in The Girl With the Dragon Tattoo… And for that matter ABBA’s fiendishly catchy appropriation of American pop music. Sometimes it takes Europeans to make gold of tuckered-out American tropes.
Add to those instances of inspired global cross-pollination the Spanish cartoonist Martí’s eye-popping The Cabbie, which spins off Martin Scorsese’s sordid urban-justice drama Taxi Driver with a graphic style that unapologetically appropriates and even refines the brutal slabs of black, squashed perspectives, and grotesque approach to human physiognomy (and its ability to withstand punishment) that define Chester Gould’s Dick Tracy.
And as Art Spiegelman (who was the first to publish Martí’s work in English, in RAW magazine) notes in his introduction, while “Gould’s graphic black and white precision and his diagrammatic clarity live on in Martí’s work,” he points out that “more interestingly, perhaps, so does Gould’s depravity.” Indeed, if anything, The Cabbie is even more savage than the legendarily brutal Dick Tracy, with its pimps, whores, petty thieves, corrupt businessmen, all swirling around the ingenuously violent “Cabbie” whose self-administered “upstanding citizen” status entitles him — in his view — to even more shocking acts of violence — especially on his quest for the stolen coffin of his father, which he’s told includes his entire inheritance!
Exclusive Special Offer: When ordering The Cabbie , you can add Calvario Hills #1, Martí's Ignatz Series comic with a new Cabbie story and more, to your order for just $3.98 — that's 1/2 price! Make your selection when you place your order for The Cabbie.
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