• Review: "Originally appearing from 1958 to 1960, these insouciant, stylish, and thrilling dramas should appeal to readers of all ages. If they don't hook a whole new batch of bande dessinée fans, France needs to take back the Statue of Liberty in a huff.... Both stories zip by with nary a dull patch. Confections lacking in gravitas, they nevertheless own the supreme virtues of lightness and panache. Tillieux's art is always easy on the eye.... If Spielberg is looking for a second franchise after Tintin, he couldn't go wrong with Gil Jordan." – Paul Di Filippo, The Barnes & Noble Review
• Review: "Thanks to well known translator Matt Thorn, this volume is a very smooth read. I don’t often comment on such things, but Thorn took great care in interpreting and presenting this book, and it pays off in a very pleasing flow of text. The art is also quite lovely, very simplistic, and flows well from panel to panel. The color pages in the beginning have a beautiful, water color look to them. Fantagraphics has put out a gorgeous hardcover book with Wandering Son." – Kristin Bomba, ComicAttack.net
• Review: "Fantagraphics’ The Pin-Up Art of Humorama collects hundreds of racy cartoons from the once-ubiquitous tasteless humor mag.... The Fantagraphics edition, edited by Alex Chun and Jacob Covey, 'remasters' these toons with a two-color treatment that really captures the graphic feel of the mouldering pulps that still grace the ends of yard-sale tables in cities across America. It must be said that none of these are very funny, but they’re often quite beautiful and nostalgic." – Cory Doctorow, Boing Boing
• Review: "Every once in a while, a book comes along that is simply spectacular. This collection of [Mickey Mouse] comic strips by Floyd Gottfredson is a perfect example of how to present, analyze and reconstruct subject matter that is viewed differently today. The series editors (David Gerstein and Gary Groth) pull no punches in discussing why Mickey was carrying a gun or the use of slang that is noticeably offensive by today's standards. This is a wonderful vehicle for presenting historically accurate art. Other companies should take notice.... This is a stunning work. The historical presentation is flawless, as is the artwork." – George Taylor, Imaginerding
• Review: "[In Celluloid], McKean is attempting to subvert hardened notions of both comics and pornography. It's a book that gets the blood racing just as it raises questions that just won't go away about the nature of art, porn, and the male gaze.... By painting an erotic sequence with a surrealist's brush, McKean reveals the raw sexual current that underscores all pornography." – Peter Bebergal, Bookslut
• Review: "An unapologetically hard-core hardcover, Celluloid follows a young woman’s sexual epiphany... and feels almost like a silent, erotic Alice’s Adventures in Wonderland, with the White Rabbit and the rabbit-hole replaced by an ancient movie camera and a doorway to…somewhere else. By itself, typically, McKean’s technical mastery (beginning with pen and ink and finishing with photography) steals the breath away; ditto his visual motifs — involving fruit, say, or eyes. A bravura performance, Celluloid (which ends, by the way, with signal wit) constitutes an astounding fusion of the Dionysiac and the Apolline, in Nietzschean terms, and less invites reading than demands rereading." – Bryan A. Hollerbach, PLAYBACK:stl
• Review: "In the oneiric power of his work as a writer/artist, Jim Woodring enjoys few rivals in contemporary comics... Within the first ten pages of Congress of the Animals, calamity literally descends on poor Frank in the form of a wood-boxed croquet set. In the next ten, our bucktoothed, bobtail boyo suffers both a labor dispute and a credit crisis, and thereafter, in the U.S. in 2011, it should come as no surprise that things fast go from bad to worse; just for starters, Frank has to enter the working world. Ameliorating all of his tribulations, at least from readers’ vantage, are his creator’s nonpareil pen and undulant line — a quivery visual seduction courtesy of Higgins. Moreover, by the finale, Frank’s [spoiler redacted – Ed.] — so the little guy ain’t doin’ too bad, y’know?" – Bryan A. Hollerbach, PLAYBACK:stl
• Review: "LikeWeathercraft, this new work [Congress of the Animals] is completely silent, showcasing Woodring's amazing talent to convey a story without a word, with seemingly little effort. It's just an eye-popping visual feast of amazing illustrations in this crazy world where Woodring can put whatever he wants on the page, to a stunning end result." – Dave Ferraro, Comics-and-More (via the SPX Tumblr)
• Review: "How wrong I was to underestimate the powerful storytelling medium of the emerging graphic novel platform, especially when masterfully rendered by an author and artist as remarkably talented as Santiago. I expected an exciting visual presentation, and was not disappointed, as Santiago’s heavy-lined, representational graphic style was, in turn whimsical, arresting, quirky, and most of all, emotional. But I wasn’t prepared for the wonderfully passionate portrayal of the human side of Clemente’s legendary journey from Puerto Rico into baseball immortality.... Captivating, revealing, and dramatic, 21 accomplished through art, creative use of informed imagination, and pure passion, far more than I thought possible from a graphic novel. I believe I now have a more complete picture of Roberto Clemente, but not of his statistics, or even his style of play, or of his place in baseball history. I have a truer sense of his heart." – Mark W. Schraf, Spitball
Gracie: Charlie Brown! He's the one who thinks, "Life is going bad... I'm an awful person... Nothing good ever happens to me..." Dad: Would you be friends with him? Gracie: I would. I love him. My love for him goes to the ceiling of a skyscraper. But nothing good ever happens to him ever. Once he won a race -- that's probably the only thing he's ever won. And the prize was 5 free haircuts... Dad: Ha! Gracie: He's only got a twist of hair in front. And he's like, "Five free hair cuts? I don't have much hair to cut! And even if I did... my dad is a barber!" Dad: Poor Charlie Brown. Gracie: Yeah, nothing good ever happens to him. He's always getting teased for his perfectly round head.
• Interview:The Comics Reporter's Tom Spurgeon talks with Stan Sakai: "Usagi was first published 27 years ago, and that time I just concentrated on the next story. It was around maybe... I would say with book four, The Dragon Bellow Conspiracy. That was the first major storyline. It took maybe 10 issues or something, I'm not exactly sure. Maybe eight issues.... Before then, I was thinking, 'Usagi's going to be canceled any month.' [laughter] 'I can't spend too much time devoting myself to a long storyline.' But once I did that and got over that hurdle, that's when I realized that hey, this could go on for a long time."
• List:The Hooded Utilitarian begins revealing the top 10 results in their International Best Comics Poll, with Walt Kelly's Pogo coming in at #8
• Plug: "A trip to the comics shop yesterday netted me a copy of Drew Weing’s Set to Sea. It’s pure indulgence, because I have already read the story online, but Fantagraphics’ small, almost jewel-like presentation is really beautiful. Weing tells his story one panel at a time, and each panel could be framed as a work of art in itself, so having it in a book, without the clutter of the web, is a worthy investment." – Brigid Alverson, Robot 6
• Scene:Comic Book Resources' Marlan Harris gives a recap of our 35th Anniversary panel at Comic-Con — unfortunately it contains several factual errors, some of which I have endeavored to correct in the comments thread
Special double-sized FINAL issue! After 6 years and over 2500 pages of comics, MOME heads into the sunset with an all-star, jam-packed farewell bonanza. Several past MOME favorites return for the swan song, including Kurt Wolfgang, Tom Kaczynski, Joe Kimball, Eleanor Davis, Anders Nilsen, Tim Hensley, Paul Hornschemeier, Gabrielle Bell, and Zak Sally (those covers!). Meanwhile, several newcomers get in just under the wire: Jesse Moynihan, Malachi Ward, James Romberger, Nick Drnaso, Joseph Lambert, Nick Thorburn, Victor Kerlow, and Ignatz Award-winners Jim Rugg and Chuck Forsman! Recent MOME favorites also return, such as Sergio Ponchione, Steven Weissman, Sara Edward-Corbett, Laura Park, Josh Simmons (plus collaborators The Partridge in the Pear Tree and Wendy Chin), Derek Van Gieson (with collaborator Michael Jada), Tim Lane, Nate Neal, Lilli Carré, T. Edward Bak, Dash Shaw, Ted Stearn and Noah Van Sciver. Over 30 artists in all, including a surprise contributor we don't want to give away!
Download and read a 29-page PDF excerpt (13 MB) with a sample page from nearly every artist and story (barring some surprises).
I had a great time at OCX last weekend. I'm too caught up in catching up to write any kind of report, except to say that the convention is tiny and splendidly run, Norwegians are all wonderful people, the weather was exactly like Seattle except the days were longer (the shots outside Jason's gallery opening were at something like nine o'clock at night as I recall) and any cartoonist who gets invited by OCX, go, just go!
All photos by Lynn Emmert except as noted.
Jason had a small art show opening during the convention, featuring priceless original art elegantly hung from a clothesline, a little selection of cool new paintings (zombies, Hitler, the usual) on corrugated cardboard featuring several of his characters, and Jason animations.
Outside the Jason opening. From left to right, Steffen Kverneland, the back of Dash Shaw's head, me, unknown, Lars Fiske, Jason. Fiske and Kverneland are the co-creators of the great graphic novel/biography Olaf G., about which you will be hearing much more soon.
Reverse angle: From left to right, the back of Jason's head, Fiske, Kverneland, Shaw, me. I don't know why the store sign in the background apparently says "Bugger." Which is almost as funny as the sign my wife and I saw on a Danish ferry once, since "Have a Good Trip" in Danish is "God Fart."
The banner-festooned entrance to the library, the upper floor of which is entirely taken up by the comics library,"Serieteket." Picturesque Scandinavian blonde woman on bicycle in foreground. (They're just everywhere.)
Me being interviewed on stage by journalist Erle Sřrheim. [Photo provided by OCX]
The Drinky Crow bar is open for business. Patrons include Dash Shaw and Dave Cooper to the left; the bartender was from Oregon, oddly enough.
Close-up of the counter, advertising "Beer -- wine -- sodas."
Tony Millionaire, me, and a couple of Finns, one bearing a Drinky Crow tote bag with the Scandinavian equivalent of DOOK DOOK DOOK.
Now the joint is hopping! I can't identify most of these people but the tall dude in the group on the left is dashing No Lo Comprendo Press publisher Espen Holtestaul (publisher of Olaf G., Daniel Clowes, Persepolis, and the Norwegian edition of Jimmy Corrigan, which deservedly won the "best Norwegian edition of a foreign comic" Sproing award the following day), and you can see Lars Fiske next to him.
Yes, let's visit that library! Kverneland and the blurry back of my head.
The "Serieteket" library. Please, lock me in here and throw away the key. [Photo provided by OCX]
Look at all those comics! And hey, there's our own MOME! "Gorilla" is the name of an anthology, by the way, not a thematic grouping (which if so would have had a lot of 1960s DC comics).
Dash Shaw art display at the convention, studied closely by female fans -- perhaps lured by the amazing glam photo of Dash that led off his introduction to convention-goers earlier that day, much to Dash's consternation.
The convention tent. It was lovely until the cold snap hit late in the afternoon. Eventually they had to bring the guy at the door a shawl and mittens. [Photo provided by OCX]
Actually, this picture is in perfect focus: It's Tony who's blurry.
The Fantagraphics panels: Dash Shaw, Dave Cooper, Dave Cooper's dad me, Jason, and Tony Millionaire. We all love Oslo and hope to come back soon!
Like the Patterson-Gimlin film, here is your blurry evidence of the Fantagraphics panel at this past weekend's Oslo Comics Expo, showing (left to right) Dash Shaw, Dave Cooper and Kim Thompson, uploaded by Twitter user @Iselin_Evensen. (Not pictured: fellow panelists Tony Millionaire and Jason.) You can tell from the refreshments on the table there (presumably served from the festival's on-site bar, The Drinky Crow) that this was a European festival. We're hoping to wangle a show report and some photos out of Kim for Flog, and we're keeping our eye on the OCX site for more photos & media, so stay tuned.
Some great news: Dash Shaw and his producing and creative partners for their in-development animated feature film The Ruined Cast have hit the fundraising goal they set for themselves on Kickstarter with several days remaining before the deadline! There's still time to contribute: "Exceeding our goal will allow us to go even deeper into the dark pre-production and production phases — create even more backgrounds, maybe even cast and record all of the dialogue for the film. We will put any funds raised to good and thrifty use." Plus you'll get in on the pledge incentives, which include postcards, prints, or being drawn into the movie.
• Interview: The L.A. Times Hero Complex blog's Noelene Clark talks to Carol Tyler about her L.A. Times Book Prize-nominated You'll Never Know, Book 2: Collateral Damage: "I had to read a lot of war books and Army accounts and talk to veterans and talk to Marines and everybody about what this thing is. Because it’s kind of aside from our culture. It’s not the dominant thing in our culture, so unless you know somebody in the Army that’s been there, it’s not something you’re going to come across. It’s a very nuanced, very difficult thing. It’s often stereotyped. So I was surprised to find the great humanity, the great story inside war service, whether you’re a World War II veteran or any other wars."
• Interview: At the L.A. Times Hero Complex blog, Noelene Clark also talks to Dash Shaw: "I started making comics really early. My dad had comics lying around the house. I’ve always made comics. I feel like I know a lot about comic history because it’s been my primary interest my whole life, from Marvel and superhero comics to Japanese comics to Franco-Belgian comics. I kind of have this psycho interest in comics from all over, so I feel very much like a cartooonist, and I feel really proud to be on the same shelf as all of that other stuff…."
• Laura Park has been busy drawing spot illos for an 826 Chicago project (like Joey & Johnny Ramone buying $20 worth of Brussels sprouts, above) and rescuing cats with fellow cartoonist Julia Wertz — it's all documented on her Flickr page