We're on our way to the Alternative Press Expo this weekend in San Francisco and we decided at the last minute to bring display-only copies of a few of our upcoming releases with us for lucky fans to peruse:
Unfortunately they won't be for sale at the show (and they're not available for pre-order here on our site just yet) but at least they'll be there for the looking!
We are sorry to announce that several experts have confirmed that what we thought was a sketchbook of early versions of several years' worth of Krazy Kat strips created by George Herriman — and had planned to publish as such — is almost certainly the work of a very intense (perhaps contemporary with Herriman?) fan who diligently, even maniacally, copied each new strip into his sketchbook over a period of three years.
The telltale signs of this became apparent only when we had a chance to take a closer look at high-resolution scans made as part of the pre-press process, signs which made evident some flaws and quirks in the drawings that rendered its authenticity highly dubious.
I want to emphasize that the owner of the sketchbook was quite convinced as to the authenticity of this object, and the late thumbs-down from the experts came as a rude shock to him as well. No deceit was intended on anyone's part: Our delight at what we thought we'd found overruled the skepticism we should've wielded at an earlier date.
We will be sending refunds to the handful of Herriman fans who'd pre-ordered and prepaid this book, and we apologize to anyone who got their hopes up. At least we figured it out before actually going to press on the thing.
This, the penultimate KRAZY + IGNATZ Sundays volume (covering 1919-1921), will be available in February 2011. We should be able to wrap up the series with the 1922-1924 volume by the end of that year, leaving us free to focus on... the dailies!
• Review: "This debut graphic novel [The Sanctuary] ambitiously imagines the purposes of prehistoric art within the context of an imagined precivilization. Most strikingly, his tale is expressed entirely through the actions of his characters — their dialogue is written in an invented, phonetic language. [...] Neal’s dark pen work suggests texture, detail, and light effectively, and shoulders the burden of his almost-wordless storytelling. Despite some occasionally unclear moments, the broad sweep of the book’s action and ideas unmistakably raises thoughtful questions, marking Neal as an artist to watch." – Publishers Weekly
• Review: "A Drunken Dream is America's long overdue introduction to Moto Hagio, in a volume worthy of the honor. [...] Hardbound with gold foil on the cover, A Drunken Dream seems part textbook, and part holy book. [...] It's a demanding read, but one in which your enjoyment will be proportionate to your emotional investment. [...] It's hard to imagine a better release for a manga, or a more deserving artist than Hagio. [...] Very recommended. Grade: A" – Thomas Zoth, Mania
• Interview: At Robot 6, Sean T. Collins talks to Mome editor Eric Reynolds on the occasion of the anthology's 5th anniversary and 20th issue: "There were always anthologies, even when the periodical market was thriving, but I think they’re even more valuable now. There are just not enough publishers to support all the good cartoonists out there. I am constantly having to reject some pretty good work because we just have a ceiling of how many books we can publish a year. It’s my least favorite part of the job. Mome is at least a small way to help offset that reality."
• Coming Attractions: At The Forbidden Planet International Blog Log, Wim Lockefeer picks up on our scheduled June 2011 release of Murder by High Tide: Gil Jordan, Private Eye by Maurice Tillieux, saying "Gil Jourdan is one of the most essential BD series ever produced," and that the volume will be "the perfect book to get acquainted with this graphic genius, whose stories, in terms of timing and speed, every aspiring comics writer should read and study."
(1) Here is the cover to our Summer 2011 Tardi release, his latest adaptation of a Manchette novel (in fact his latest graphic novel, period, it's just being released now in France), La Position du tireur couché. (The original prose novel was released in the U.S. as The Prone Gunman, which while out of print is still available on Amazon.) Our title is Like a Sniper Lining Up His Shot. Dig ace designer Adam Grano's brilliant incorporation of that logo into the "inside page as cover" design we've been using for Tardi.
(2) Meanwhile, Random House has announced the April 2011 release, under their NYRB Classics imprint, of another Manchette classic, Fatale. Fatale was actually almost the first Tardi/Manchette collaboration, as Tardi began an adaptation of it way back in the mid-1970s and then abandoned it in favor of drawing an original Manchette story titled Griffu instead. An English language version of Griffu was published in Pictopia back in the 1990s, and a few pages of the aborted Fatale adaptation can be seen in various Tardi collections... but anyway, the original prose novel will soon be available in English for fans of French noir.
Following the collection What I Did (Nov./Dec.) and the new album Isle of 100,000 Graves (next Spring), Jason is working on a new as-yet untitled collection of short stories à la Low Moon, and here's the first page of one of the stories (before translation and color). Head to Jason's Cats Without Dogs blog to see a larger version and some brief notes from Jason.
• Review: "Emotionally uncompromising and graphically challenging, You’ll Never Know v.2: Collateral Damage stands out as one of the best comics of the year. Tyler reaches deep into herself, showing the unending dominoes of influence that compose a family. Do yourself a favor and check it out." – Michael C. Lorah, Newsarama
• Review: "But as powerful as this strain of valorization has been, there have been powerful statements of dissent along the way. The Americanization of Emily, for example, or Catch-22. Lucky in Love: Book 1 (by George Cheiffet, with art by Stephen DeStefano) follows their path, though it takes a much more personal, less grandiose tone than those two examples. It’s drawn in a style reminiscent of Disney WWII propaganda cartoons, though DeStefano arranges the backgrounds and perspectives with far greater sophistication." – Joshua Malbin
• Review: "Ryan takes puerile humor to unimagined heights (or depths)... Prison Pit Book Two isn't as much about punchlines and shock tactics. Here, the humor comes via ridiculously long and surreal battles between intergalactic monsters (think bizarre mutations and mass bloodshed). It's sort of a spoof on sci-fi comics, He-Man cartoons, and the over the top male bravado of WWE Wrestling...Prison Pit contains Ryan's signature WTF flourishes, like ass licking creatures, thorny alien vaginas, ghetto slang and Nazi insignia emblazoned 'death hösen' trousers. See you on the playground." – Wilfred Brandt, TwoThousand
• Review: "But the way you're just dropped into Maggie & Hopey, Already In Progress, is pretty much why I continue to recommend this volume [Maggie the Mechanic], rather than its relatively sci-fi-free successors, as the place to start if you're interested in Jaime's work. I understand why that doesn't work for everyone — and it's true, the earliest comics are relatively talky and old-fashioned-looking as befits their influences. But if you start late in the game, you're not just missing dinosaurs and rocketships and robots and superheroes and such — you're missing what really feels like a couple years in the life. Even by page one, we've already missed so much!" – Sean T. Collins, Attentiondeficitdisorderly
• Interview:The Daily Cross Hatch's Brian Heater talked to Drew Weing at SPX. Part 1 gets into the creation of Set to Sea: "The intention was to draw a panel every day and post it. It was supposed to be fun, quick side project, 'it’s the end of the day. I just draw this one, quick, small panel.' And every day it got more and more detailed and complex. By panel two it was too complex to knock off in an hour or two."
• Plug: "Four-Color Fear: Forgotten Horror Comics of the 1950s... [is a] collection of pre-Code, non-EC horror comics that are every bit as good as the famed EC comics themselves. Here in all its shocking, creepy and gory glory you can see work from Jack Cole, Reed Crandall, Frank Frazetta, Al Williamson, Basil Wolverton, Wally Wood, and more! This one is a must!" – Benn Ray (Atomic Books), Largehearted Boy
• Coming Attractions:Bleeding Cool 's Rich Johnston continues noticing our 2011 Eurocomics reprints, now reporting on our June edition of R. Macherot's Sibyl-Anne Vs. Ratticus: "Am I the only one that’s seeing a bit of a trend? The trade dress appears similar… is Fantagraphics on a major spreee to translate and publish as many quality French comics as they can? [Yes. – Ed.] In a new imprint or line perhaps? [I'm not sure whether we're considering this a "line" or not, but it's not an imprint. – Ed.]"
Online Commentary & Diversions, back from a short vacation:
• Review: "In the first volume of Tyler's planned trilogy of graphic memoirs [You'll Never Know], she dug into the eruptive, violent memories of her father's WWII experiences while simultaneously dealing with a husband who decided to go find himself and leave her with a daughter to raise. This second volume is no less rich and overwhelming. [...] While the language of Chicago-raised and Cincinnati-based Tyler has a winningly self-deprecating Midwestern spareness to it, her art is a lavishly prepared kaleidoscope of watercolors and finely etched drawings, all composed to look like the greatest family photo album of all time. The story's honest self-revelations and humane evocations of family dramas are tremendously moving." – Publishers Weekly (Starred Review)
• Review: "Friedman's hyper-realistic pen-and-ink and water-color portraits of show business and political luminaries have made their way into the likes of Entertainment Weekly, The New Yorker and Rolling Stone over the years, and a stunning new collection has just been published by Fantagraphics Books — Too Soon?: Famous/Infamous Faces 1995-2010. [...] To say that Friedman's drawings are unsentimental or unsparing is just to scratch the surface. Known for depicting every last liver spot, burst capillary and wrinkle, his work is truly a Warts and All procedure. [...] You might say the super-realistic portraits are loving ones, but only in the sense that you love your own family members, whose soft spots and selfishness one is forced to forgive. Drew Friedman's heart is as big as his capacious eye for the telling detail. Seek him out or forever hold your peace." – David Weiss, Life Goes Strong
• Review: "...Four Color Fear offers some of the finest pre-code comic book horror tales ever produced. Extensively researched, complete with story notes, editor Sadowski compiled a superior collection of non-EC tales, many of which rarely reprinted in color. A 30-page cover art section and a fascinating article by historian John Benson, who also supplied the book's intro, about the little remembered, but prolific Ruth Roche, round out this sensational historical tour of the Golden Age of Horror Comics. Highly recommended!" – Rick Klaw, The SF Site: Nexus Graphica
• Review: "The wait [for Love and Rockets: New Stories #3] has been long, no doubt, but I dare say that it was not only worthwhile, but it has proved an inspiration to continue to have faith in mankind, because with artists like these, it is worth living. For the third annual issue..., Beto gets really wild and Xaime creates a stunning tapestry of memories and narrative levels." – Mauricio Matamoros, Iconoctlán (translated from Spanish)
• Interview: As part of his ongoing "Love and Rocktoberfest," Sean T. Collins posts his 2007 Wizard interview with Gilbert & Jaime Hernandez at Attentiondeficitdisorderly: "I liked drawing rockets and robots, as well as girls. [Laughs] It really was no big game plan. It was almost like, 'Okay, I'll give you rockets and robots, but I'll show you how it's done. I'm gonna do it, and this is how it's supposed to be done!' I went in with that kind of attitude." (Jaime)
• Review: "Like much of Hernandez’s work, there’s light amongst all this darkness, particularly later in this section of Fritz’s story. But [High Soft Lisp] remains a bleak book, with Fritz’s own cheerful optimism one of the few beacons of hope amongst a cast of incidental characters whose main purpose seems only to exploit her. Hernandez rarely performs below his best and this is no exception..." – Andy Shaw, Grovel
• Review: "Vast swaths of Wally Gropius appear — at least to my eye — to be visual homages to images that Hensley particularly loves. (The alternative is that he lays his panels out in his static, staccato rhythm just for that feeling, which is close to the same impulse.) It's all very loud and manic and bright and bizarre, veering towards and away from coherence often within the same panel. [...] The end result has that go-go energy and restless heat of the authentic products of the era Hensley sets his story in..." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent.
• Interview:Illustration Friday talks to Jim Woodring: "Names and labels don’t matter much. Besides, there are things that cannot be said in words. So if you say them in pictures, are they not things being said? If I draw a hill that looks like a woman, it works differently that if i write 'there’s a hill that looks like a woman.' Also there are clues that one doesn’t want discovered too quickly, or not at all. Because one wants the emanations to proceed from an unknown source."
• Plug: "Nate Neal's first graphic novel [The Sanctuary] is dumbfoundingly ambitious: it takes as its subject nothing less than the invention of comics, in the sense of narrative-in-pictures, meaning that its cast is a bunch of cave-people. Cave-people who speak a cave-person language that Neal has invented himself (he offers the translation of a few key words on its jacket copy, but that's it). The working title of the book was a drawing of a bison. A man's reach should exceed his grasp, or what's a heaven for?" – Douglas Wolk, Comics Alliance
This afternoon Kim Thompson was showing off his newly-acquired import DVD copy of Estigmas, director Adan Aliaga's 2009 Spanish film adaptation of the graphic novel Stigmata by Lorenzo Mattotti and Claudio Piersanti, which we will be publishing in English in December. The trailer in Spanish is embedded above; watch it with English subtitles and get more information about the film at the SIFF website (the film screened here in Seattle at the SIFF Cinema last week).
As work progresses on our first volume of Ernie Bushmiller's NANCY (yes, it's late, we admit it), collecting 1942 through 1945, we belatedly realize that our source for most of the strips is missing the first year. Oops. So we are sending out the plea to NANCY collectors: If you have clippings for 1942's NANCY daily strips, we would love to hear from you. (For that matter, as we are missing a handful of strips from 1943-1945, and some of the ones we do have are a little rough around the edges in terms of repro quality, if you have ANY NANCY tearsheets from this period...)
Contact editor Kim Thompson at
(and yes, we are in contact with the Ohio State Library, but even they have significant holes in their NANCY run) — and be sure to pass on this plea to anyone else you think might have contacts, message boards, what have you. NANCY fans unite!
If we can't get our hands on the elusive 1942 we'll probably just switch the first volume to 1943 through 1946 (we do have all of 1946) and get back to 1942 in the future when we've had more time to dig, dig, dig for source material.
In other NANCY news, the much-anticipated HOW TO READ NANCY by Paul Karasik and Mark Newgarden has unfortunately been delayed 'til next Summer or Fall, as Paul and Mark have been vastly expanding the contents with additional images, additional interviews, additional research, and additional fact-checking. This will be a completely mind-blowing book when it is finished, so we ask that eager fans adopt a Bushmiller-like serenity and it'll be there before you can say "three rocks."