• Review: "[Pim & Francie]'s spine calls its contents 'artifacts and bone fragments,' as if they're what's left for a forensic scientist to identify after a brutal murderer has had his way with them; Columbia obsessively returns to images of 'bloody bloody killers.' ... Many of the pieces are just one or two drawings, as if they've been reduced to the moment when an idyllic piece of entertainment goes hideously awry. But they're also showcases for Columbia's self-frustrating mastery: his absolute command of the idiom of lush, old-fashioned cartooning, and the unshakable eeriness of his visions of horror." – Publishers Weekly
• Review: "With [Pim & Francie], Al Columbia has created not only one of the more unsettling works of horror in the medium of comics, but it also happens to be one of the greatest myth-making objects... Whether Columbia planned more complete stories for any of the efforts collected here is an interesting question, but for my money he has instead come up with dozens of nightmarish scenarios that have a greater cumulative effect by skipping set-ups or endings. The ending, one suspects, is always going to be a variation of horrific death and dismemberment." – Christopher Allen, Comic Book Galaxy
I knew I was getting off too easy! Nick Gazin is trying to kill me. There are also some negative reviews of our books at the links below, but I won't say any more about those:
• Review: "Fantagraphics has come to my foreign comic book rescue and published hardcovered English translations of West Coast Blues, which was good, and [You Are There], which is great. ... Tardi has nice skinny lines and large fields of black. His architecture and cars and landscapes are amazing. Just the idea of Arthur There running up and down the walls and living in this skinny little house are neat ideas. This book talks a lot about what it’s like when you spend your life alone and how nuts a slutty crazy girl can make you. ... Summing up: If you hate everything that isn’t old timey and French and love sluts who are nuts then get this book fast." – Nick Gazin, Vice
• Review: "[Portable Grindhouse] presents the most beautiful and lurid VHS boxes ever produced. ... Someone was inevitably going to make this book and Jacques Boyreau made something special that a lot of people are going to love owning. The design is beautiful, the art is reproduced perfectly, and the paper stock feels especially good. It even comes packed in a slipcase that looks like a VHS sleeve spattered in blood. A well-designed book showing off these funny and beautiful examples of a dead medium would be enough, but the introductary essay is a revelatory piece on the importance of VHS and the role it played in cinematic history." – Nick Gazin, Vice (same link as above)
• Review: "[Strange Suspense: The Steve Ditko Archives Vol. 1] is chock-full of intense faces and monsters and colors. Strong blacks, horror comics, mean revenge, strange surgery, and stuff. It’s all horror comics from before Frederic Wertham illegalized good-time comic books. The cover is really thick and the hardcover is hard as hell." – Nick Gazin, Vice (same link as above)
• Review: "This series is awesome, perfect, and essential. I’ll die with my collection of [The Complete Crumb Comics] on my shelf unless there’s a fire or America slips into a Mad Max-style society. ... These should sit on your shelf next to the complete Shakespeare, your Bible, and the complete Sherlock Holmes." – Nick Gazin, Vice (same link as above)
• Review: "...[The Troublemakers] is a sweet little book in which a bunch of grifters try to trick each other out of money. It seems to be about love and trust and whether anybody is dependable or if they’re all trying to survive. It’s pretty great." – Nick Gazin, Vice (same link as above)
• Review: "[Prison Pit Book 1] is great and an essential read since so few new good comics get made. ... If you love or hate Johnny R. you gotta get this shit. It is important. Buy buy buy." – Nick Gazin, Vice (new link!)
• Review: "Every issue of Love and Rockets is a winner and I am never bored by anything the Hernandez Brothers do. The comics have been so consistently good since the first one came out in 1981 that there's almost no point in reviewing [New Stories #2] other than to say, 'Hey, it came out so go to the store and you can buy it now.'" – Nick Gazin, Vice (same link as above)
• Review: "Tardi is a legend of European comics and it's wonderful to have hardbound English translations of his work. [West Coast Blues] is full of beautiful drawings of Paris, people, cars, fights, and rural life. The story deals with the human condition and what it means to be a man and civilization versus nature while the main character hides from hit men in the mountains. This book feels... like an updated Tintin..." – Nick Gazin, Vice (same link as above)
• Review: "Back in the Golden Age of comics there were few comic auteurs but Fletcher Hanks was one of the few. ... The stories [in You Shall Die by Your Own Evil Creation!] are weird and grim. The art is unprofessional and beautiful." – Nick Gazin, Vice (same link as above)
• Review: "Peanuts was an amazing comic. Charles Schulz was an amazing artist. Fantagraphics' Complete Peanuts series are great and [1973-1974] is the best one yet. The humor is unparalleled and the stories are great. ... Charles Schulz was a sad and funny guy and this book features him at his saddest and funniest. If you bought some of the earlier volumes in this series and then forgot about it, then it's time to catch up." – Nick Gazin, Vice (same link as above)
Online Commentary & Diversions, now with more Tonya Harding than ever:
• Review: "Occasionally, there are works of art or literature that defy simple classification. The brain breaks upon them like waves and they give up different secrets with each tide but never all the secrets and never all at once. These creations challenge as much as they entertain and ask for obsession as toll on the road to understanding. The Squirrel Machine by Hans Rickheit is just such an enigma. ... Surreal, gorgeous, and both satisfying and confounding, The Squirrel Machine is a hypnotic, occasionally repulsive, always entertaining, and wildly creative graphic novel. It does not invite rereading so much as demands it, and each encounter reveals new and different details and interpretations. This book is a wonderful mystery, a basket of questions, a wealth of enigmas, and it looks utterly arresting every step of the way." – Christian Zabriskie, Graphic Novel Reporter
• Opinion: At Comics Comics, Dash Shaw has an interesting proposal for colleges that teach comics: "Instead of hiring teachers based on their achievements (and many of the current teachers are geniuses, no doubt about it), hire people who previously worked for many years in a now-defunct house style. Someone who drew Archie for years and is now selling their originals at Comic Con? Hire them."
• Review: "It’s probably not fair to expect Hernandez to issue another creative virtuoso like Palomar, but in the pages of Luba, he comes closer than might be expected. ... Although Luba doesn’t hit as hard as Palomar, it remains a compelling portrait of family in all its messy glory. Alternately sexy and vulgar, beautiful and mean, optimistic and intolerant, Luba and her family encompass all the ugliness and amazement that comes with being part of the human entity." – Michael C. Lorah, Newsarama
• Profile: "Cartoonist Bill Mauldin was a genius at bringing the experiences of World War II home to the moms and dads, kids, wives or girlfriends of the GIs on the front lines in a very human way. ... To my knowledge, none of our wars since has produced a chronicler anywhere near the greatness of Mauldin." – Wesley G. Hughes, San Bernadino County Sun (via Newsarama)
• Video: A massive Peanuts ice sculpture depicting A Charlie Brown Christmas is being constructed in Nashville; The Daily Cartoonist has the PR and a promo video featuring members of the Schulz family
• Industry: Our own Eric Reynolds takes part in a roundtable on the topic of "Comics in the Age of Digital Piracy" at Graphic Novel Reporter
Holy smokes, there's no shortage of Online Commentary & Diversions today:
• Review: "...Prison Pit... is nothing less than a continuous, no-holds barred, violent assault on the eyes. It is literally one god damned, bloody fight scene after another... The book's genius lies in Ryan's sheer nerve and imagination in setting up these battles; he constantly ups the ante in the most bizarre and inventive ways possible. ... Ryan's love of body functions goes into full gonzo mode here. ...you've got a book where body horror extends far beyond the repulsive into the truly sublime and inspired. ... Despite the gore, or perhaps, because of it, Prison Pit is a fantastic, accomplished work." – Chris Mautner, Robot 6
• Review: "Page after page [of The Squirrel Machine] features one of the brothers traversing through some odd, off-kilter landscape, either out in the woods, or, more often, in their home. Between the floorboards and walls seem to exist an endless array of paths and rooms, each cluttered with an endless array of junk, machines and the occasional disturbing, inexplicable oddity. The end result resembles more of an old-style adventure video game than a comic. It's Myst, directed by David Cronenberg." – Chris Mautner, Robot 6 (same link as above)
• Review: "Perhaps what makes West Coast Blues so captivating is how well it highlights the similarities between film and comics, while simultaneously showcasing its own unique ability as a graphic novel to capture the noir aesthetic through word and image. ... Not unlike many noir films, West Coast Blues is replete with car chases, hit-men, drinking, guns, and the occasional salacious scene. All of this is set in Tardi’s straightforward drawing style which is a good fit for the almost matter-of-fact, unsentimental manner in which violence, sex, and life in general are met with during the course of the book." – Sara Cole, PopMatters
• Review: "Most comic strips today, especially those that are humor strips, often avoid topical subjects. Schulz embraced the topics of the era. They may date the strip, but it never leaves them outdated. ... Schulz was also not afraid to carry on-going storylines for several days or in some cases, even a couple of weeks. ... [The Complete Peanuts 1973-1974 ] also features all the favorite subjects like Linus’ annual wait for the Great Pumpkin, Charlie Brown’s trip to Summer camp, and Sally’s letters to Santa Claus. This is why Peanuts is the greatest strip ever!" – Tim Janson, Newsarama
• Review: "Jason seems to delight in building firm plots, only to swiftly tug them out of sync. The resulting offbeat dynamic is punctuated with deadpan verbal, narrative and graphic punch lines, which pin the stories down at the same time that they suggest grander meanings. 'Where am I?' asks a prisoner. 'I think I'll do some gardening,' says a murdered man. 'Which way?' a son asks his father in 'You Are Here' — the heartrending emotional core of the collection [Low Moon] — as they search for his mother on a barren planet. Each line and frame could mean nothing or could mean everything in this quiet, gripping book." – Becky Ferreira, The L Magazine
• Interview: Jason speaks frankly about Low Moon with Becky Ferreira of The L Magazine (different link than above): "Low Moon, the story, wasn't long enough for a book of its own, so I had to include some other stories to fill it out. They were just ideas for shorter stories I had lying around. There wasn't meant to be any thematic unity. Death, I guess, is a repeating theme. People die a lot."
• Interview: Tommy Hill of the Columbia Daily Spectator talks to The Comics Journal assistant editor Kristy Valenti about comics criticism and The Importance of Comics: "I teach my interns that nobody cares about them and their feelings and their dog when they were 8; while their experience and perspective is valuable, it’s just a jumping off point to get at bigger things."
• Plug: "You Are There...: More beautiful Jacques Tardi, a seminal work in comics for adults in the French-language market and a first-paragraph mention work for both Tardi and writer Jean-Claude Forest." – Tom Spurgeon, The Comics Reporter
• Plug: "[You Are There] is a strange, wordy, spicy satire, seeing a man struggle to live on the walls surrounding land stolen from him; maybe it's best to see for yourself." - Joe McCulloch, Jog - The Blog (read the rest of his blurb for some interesting background info on the book)
In a testament to the strip's artistic durability and lasting influence, The Complete Peanuts continued its domination of the Best Domestic Reprint Project category at the Harvey Awards, with the 1967-1968 and 1969-1970 volumes taking home the series's 4th award in 5 years this past weekend at the ceremony at Baltimore Comic-Con. It is our continuing honor to be able to bring these books to you. The Beat has the full list of winners.
Late nite link blogging for your Online Commentary & Diversions:
• Review: "You wanna talk about a gateway comic? How 'bout handing this sucker [Ganges #3] to anyone who's ever had trouble falling asleep? The whole thing is dedicated to nothing more or less than reproducing the mental and physical sensations of insomnia. Ironically it's Huizenga's most action-driven comic this side of Fight or Run or the video-game bits in Ganges #2. ... Combine it with one of the most effective uses yet of the Ignatz series' two-tone color palette--here a cool small-hours blue--and the experience is almost tactile, as though you're physically tunneling through the mysteries of your own mind." – Sean T. Collins [ed. note: I swear I'll have the issue up for presale on the website next week]
• Review: "No one is safe in Al Columbia’s world. Not the kittens (they get decapitated) nor the children (they get baked into pies) nor the bunnies (they carry scythes). Correspondingly, no one is innocent. Grandmothers are evil, grandfathers are greedy, and trees grow baby heads instead of apples and oranges. What a wonderful world it is. That’s not an entirely ironic evaluation of Pim & Francie, a collection of sketches, strips, stills and other valuable ephemera from the mind of Columbia (creator of the 1990s cult classic Biologic Show). The twisted narratives and characters are presented so deftly — with such humor and visual panache — that their wrongness becomes right; and thus is the singular charm of Al Columbia." – Molly Young, We Love You So
• Review/Profile: "Earlier this year, Fantagraphics gave readers the opportunity to encounter [Harvey] Kurtzman’s creative energy in complete form by reissuing a boxed collection of Humbug, his short-lived but monumental periodical that began publication in summer of 1957. It’s Humbug that functions as the spiritual father for magazines such as National Lampoon, Spy and The Onion, among many others, but there’s something invigorating about it because of its vantage point in the supposedly stodgy and bland 1950s. Coming out of that decade, Humbug really did break new ground." – John Mitchell, North Adams Transcript
• Review: "Even though Woodstock casts a large shadow on the cover of Fantagraphics’ The Complete Peanuts 1973-1974, it’s Peppermint Patty who should get star billing. Not to take anything away from Snoopy’s yellow-feathered avian sidekick – who does make several appearances through the hardcover tome – it’s just that Patty eventually gets the brunt of character development attention, while Woodstock exists as the perfect foil for Snoopy. ... Also of note is Schulz’s repeated use of standard gags (Lucy pulling the football from Charlie) along with a few new ones, including the consoling 'Poor, sweet baby.' Because of his tendency to keep running gags contained within a year’s span, it makes a trade collection work better than with most comic strips." – Christopher Irving, Graphic NYC
• Review: "What quickly becomes clear is that the graphic novel is a particularly apt form for inhabiting unconventional characters, and very few do this as well as The Squirrel Machine. Wielded skilfully, images are as expressive as words, and occasionally more so. Rickheit's drawings convey the boys' tortured feelings of persecution, elation and curiosity — as well as their uncouth creative urges — in a succinct and often gruesome way. Rickheit's frames vary from the cluttered to the stark, and his ability to pack detail into four square inches is rivalled only by his ingenious use of white space. ...The Squirrel Machine convinces anew that a picture is worth a thousand words." – Molly Young, Intelligent Life
• Interview: For Marvel.com, Sean T. Collins talks to Strange Tales contributor Tony Millionaire: "Just as you called, I was reading an old collection of THOR... It's funny: 'I say thee nay'? I didn't realize that was such a popular phrase."
• Review: "The graphic novel, it turns out, is a form especially well-suited to the noir genre. Maybe this isn’t surprising — comics have always run the gamut of moods from goofy to autobiographical to just plain smutty. But it still gives a shiver of pleasure to stumble upon a graphic novel that captures the hardboiled tone of classic noir as perfectly as West Coast Blues, Jacques Tardi’s adaptation of a 1976 crime novel by Jean-Patrick Manchette. ... The plot includes bursts of bruality, dark realizations, alluring women and grizzled observations from its antihero — all the best conventions of noir, in other words, preserved and reborn in a fresh new medium. File it next to Dashiell Hammett and Raymond Chandler." – Molly Young, We Love You So
• Review: "I had a significant crush on The Death Of Speedy Ortiz the summer I was 20 years old, reading and re-reading the serialized story with a passion I had never brought to a single comic story before then. ... I thought it was wonderful that summer I read it 10,000 times, and I remain convinced it's a special story every time I've picked it up since." – Tom Spurgeon, The Comics Reporter
• Review: "One of the many, many things I like about Kevin Huizenga's work is that a lot of his comics are about things that are not likely candidates for visual representation, and he manages to make them fascinating to look at anyway. Most of [Ganges #3] is about the process of perceiving one's own consciousness--the sort of hyperconsciousness of your own mind that happens when you're trying to get to sleep and can't--which is potentially the least interesting thing anybody could draw. And it looks fantastic..." – Douglas Wolk, The Savage Critics
• Review: "[Prince Valiant Vol. 1: 1937-1938] is gorgeous. ... [Hal] Foster is frequently cited as an influence on other great cartoonists, and part of it is his precise line and the way he builds a convincing world from authentic architecture, clothing and armaments. That's part of the appeal, but Foster also excels at staging. ... Unlike daily strip collections, the full, weekly Prince Valiant page ends up a brisk, headlong read... Prince Valiant is something I picked up expecting to admire. I had no idea I would love it. – Christopher Allen, Comic Book Galaxy
• Review: "Although far from all the artists represented in the new anthology From Wonderland with Love are so experimental with form and content that you must ask yourself if this can really still be termed comics, it is truly the cream of the crop who are assembled here. This collection offers a great perspective on how broad and versatile the talent pool is in Denmark." – Torben Rølmer Bille, Kulturkapellet (translated from Danish)
• Interview: At Largehearted Boy, author Jami Attenberg talks to Ellen Forney, saying "This mixture of openness and strength makes her work... extremely powerful and relatable, and probably very necessary for your bookshelf." From Ellen: "Sometimes I have to reflect and remind myself that I do have many more skills and more experience in my repertoire at this point, and to appreciate that the challenges don't freak me out so much. Still, some challenges are exhilarating and some are a pain in the ass."
• Commentary: At Comics Comics, Dash Shaw comments on and posts a transcript of a panel he was on at TCAF earlier this year