This is a scan of the cover painting by Steven Martinez for Gilbert Hernandez's March 2011 original graphic novel Love from the Shadows (part of the "Fritz films" series), before being formatted for the cover, having the title treatment applied, etc. (If you saw a different version of the cover on The Comics Reporter yesterday, that was the preliminary version. The final cover design is still in the works.)
And hey, here's some further Pulp Fiction trivia from Kim: "Did you know Sid Haig was offered the role of Marsellus Wallace and passed on it? Did you know Steve Buscemi was offered the role of 'Is there a sign outside that says dead nigger storage' Jimmie (ultimately played by Tarantino himself) and had to pass on it because of scheduling conflicts?" No, I did not know that.
• Review: "This week I read Unexplored Worlds, the second collection of pre-Spider-Man comics drawn by Steve Ditko. This handsomely designed volume mainly collects work Ditko did for Charlton, a mix of sci-fi, western and post-code horror stories. Ditko is in fine form here...; he seems more sure of himself here, full of verve, dramatic angles and odd hand gestures. In some stories, you can see the groundwork being laid down for what was to come in a few years — there’s a sequence where a guy travels to another dimension where you can see the beginnings of Dr. Strange." – Chris Mautner, Robot 6
• Review: "Each story is weird and wonderful in its own way, even when the writers and artists aren’t as skilled as others. Even better is a 32-page cover gallery in the middle, printed on glossy paper, each suitable for framing. I could stare at such covers all day. [Four Color Fear is an] excellent book..., expertly designed and popping with flaws-and-all color. At more than 300 pages..., [its] heft is welcome. For serious comics scholars or just those seeking a nostalgic kick, [it comes] highly recommended as [a] strong year’s-best contender..." – Rod Lott, Bookgasm
• Interview: At The Faster Times, Ryan Joe goes behind the scenes of Four Color Fear with the book's co-editor Greg Sadowski: "The quality of the writing was [the] number one [consideration] — each story had to be a compelling read. The art came second, though I think every story we chose has interesting art."
• Review: "Consider this a warning. If you fail to immediately purchase a copy of Destroy All Movies a swarm of post-apocalyptic punk rock bikers will kick your door down and ram their fists down your throat. [...] This is an exhaustive reference work that is every bit as brash and entertaining as its subject matter. It's well written, exhaustively researched and laid out in a gorgeous, colorful package that'll make it a coffee table discussion piece in geek homes around the globe." – Todd Brown, Twitch
• Interview: Joe Gross of the Austin American-Statesman, who says "Packed with stills from movies both cult and mainstream, filled with reviews of 1,100 films, and featuring interviews with crucial actors and directors, Destroy All Movies is everything one could hope for from a project this esoteric," talks to the book's editors, Zack Carlson and Bryan Connolly, who says: "It's not like a Leonard Maltin guide where you can just go down to the store and be like, 'Oh, I want this movie.' You're gonna really have to fight to find a lot of the stuff in there. Like some of it isn't even available in this country."
• Review: "I just sat down and re-read thru the new Love and Rockets issue. Shame on you, True Believer, if you haven’t already dog-eared this one. Please, please order this one today and thank me for urging you to do so. ... Jaime Hernandez has outdone himself. I mean, I’m a cynical super fan at times who often believes he’s 'seen it all' and then something like L ‘n R New Stories #3 comes out and just slays me." – Frank Santoro (who goes on to examine Jaime's panel layouts and compare L&R to Rocky and Bullwinkle), Comics Comics
• Interview: At The Daily Cross Hatch, Brian Heater's chat with Jaime Hernandez continues: "Maggie’s just got so much more going on than the other characters, for me. I like doing the other characters, but I’ll always go back to Maggie and the joy of creating her life. There’s just something about the character that I enjoy playing with and finding out where she’s going and who she is."
• Review: Did you think Sean T. Collins was going to omit Birdland in his "Love and Rocktober" series at Attentiondeficitdisorderly? "Doing a straight-up porn comic that borrows the Palomar-verse characters Fritz and Petra gives Beto the freedom to be as silly and utopian as he wants, something he couldn’t get away with in the naturalist, politically aware world of Palomar and Love and Rockets proper."
• Review: "Angry Beavers creator Schauer displays a knowledge and fondness for the old-school culture of monster movies, and the art [in Rip M.D.] has a nice balance between the macabre and the absurd." – Publishers Weekly (link is temporary)
• Review: "...[I]t’s the combination of form and content, style and substance that makes Poison River – the graphic novel-length 'origin of Luba' story that comprises [Beyond Palomar]’s first two-thirds – one of the most singular, potent, unforgettable comics ever made by anyone, ever. ...[I]n a way, [Love and Rockets X] feels like a riff on the same ideas that drive Poison River, simply filtered through the American/urban/musical milieu normally occupied by Jaime. [...] There aren’t very many comics this affecting, that much I can tell you. You can probably count them on two hands with fingers to spare. I would say I envy the people who still get to read this for the first time, but I just re-read it, and here I sit, knocked on my ass." – Sean T. Collins, Attentiondeficitdisorderly
• Review: "I enjoyed Tardi’s art, which made me feel as though I was visiting 1911 Paris. [...] The stories are dense and packed with outrageous events, providing a sense of adventure. The recaps, as characters explain what’s going on to each other, were both a help... and a satire, reinforcing just how much Tardi is playing with the conventions of the genre and layering event upon event, a kitchen-sink approach to plotting that keeps the reader interested in a world that seems so sedate but where anything can happen. [... The Extraordinary Adventures of Adele Blanc-Sec Vol. 1] is fun, but with the knowing remove of self-awareness and satire." – Johanna Draper Carlson, Comics Worth Reading
• Review: "Some of the conversations are amusing and the awkward silences of real life relationships are nicely portrayed by silent panels and the characters body language. The eight panel grids are the same on every page but that's not a bad thing. [Werewolves of Montpellier] is not the kind of tale that calls for spectacular graphics." – Eamonn Murphy, SF Crowsnest
• Review: "Set to Sea by Drew Weing... is about 150 pages long, but only has one illustration per page. It is always a good illustration, and this story of a would-be writer who’s shanghaied into being a pirate is great fun. Weing’s art is cartoony, but that helps lessen the violence of ship to ship battles with boarding parties hacking at each other with cutlasses. Weing is a young cartoonist to watch." – Mike Rhode, Washington City Paper
• Review: "...[T]he most recent installment in the annual [Love and Rockets] series features a couple of moments that are as technically brilliant and as profoundly moving as anything the series has seen in the past. It’s not easy to get to that level of emotion without collapsing under the weight of your own portentousness, but the Hernandez brothers have managed it." – Bob Temuka, The Tearoom of Despair [Spoiler warning!]
• Review: "As soon as I finished reading the new Love and Rockets, I could only think about how much I want to read further. Definitely it will be some time before the next issue and possibly when it is released I'll admit that it is worth waiting every day, but fortunately for the moment I can always go back to previous work by the brothers Hernandez, and read their latest project again and again." – Aristedes Kotsis, Comicdom (translated from Greek)
• Review: "I know I just got finished explaining that biology is destiny in the Palomar stories. But what struck me upon rereading the material collected in this volume, dominated by the titular story of a serial killer’s stay in the town, is the power of ideas. Not emotional or sexual drives, even, like the web of lust and unrequited love surround Luba’s mother Maria in the suite of stories that forms the second half of the collection, but actual honest-to-god ideas. [...] If Heartbreak Soup showed us Gilbert the literary comics stylist, Human Diastrophism shows us Gilbert the mindfucker — the Gilbert who’s still with us today." – Sean T. Collins, Attentiondeficitdisorderly (a continuation of the "Love and Rocktober" series)
• Interview (audio): Guest co-host Dan Zettwoch gets in on the Carol Tyler interview action in the new episode of The Comix Claptrap podcast — two of my faves together!
• Commentary: "'Frank in the Ruse Garden,' like all the Frank stories, like most of Jim Woodring’s work, is one hundred percent unadulterated Uncanny. Like Jim Woodring saw fever dreams we’d forgotten ages ago, and put them down on paper to remind us. [...] The Unifactor is an animistic world of spirits and strange forces. Time and again, Frank comes in contact with numinous wonders, and fail to rise to the occasion. Frank comes upon a field of floating souls, and grabs one to use as a flying horse. Frank dives into a well ringed with eyes, and emerges mutated and warped. Frank wanders into the House of the Dead wearing a party hat, and it’s, like, awkward." – Wesley Osam, Super Doomed Planet
• Plug: "How could it be Halloween without some horror comics? I’ve been enjoying Four Color Fear, ed. Greg Sadowski, an anthology of ‘50s horror comics from publishers other than EC. I’m only a couple of stories in and, while none have actually scared me, the oversized, full-color book looks to be a wonderful primer on horror-comics history." – guest columnist Sam Costello, Robot 6
Another two-day Online Commentary & Diversions (running a little off schedule, sorry):
• Review: "Hollywood is probably the most likely to misrepresent any culture, but their casting of punks as Neolithic, abusive, drug addicts with candy-colored hair and an inexplicable amount of chains is far too amusing to turn away from. [Destroy All Movies!!!] editors Zack Carlson and Bryan Connolly seem to have noticed this trend, and their commentary about each of these films borders on hilarious at several points. [...] In the end, you get both a compendium of thoughtful ruminations on punk culture and a hilarious collection of movie missteps..." – Thorin Klosowski, Denver Westword
• Review: "[Jason] is without immediate peer, and perhaps the closest I can get to him is Jim Jarmusch, the indie film director... Werewolves of Montpellier is less about the grand sweep of its pseudo-horror set-up (which is utterly demolished by a delicious final page denouement), and more about its mundane aspects, which resonate further than the book's forty-odd pages. ★★★★ [out of 5]" – Michael Leader, Den of Geek
• Review: "...Blake Bell has crafted an excellent look at one of comics' most underappreciated creators: compelling, well paced and entertaining. [...] Bell kept Fire & Water moving at an excellent pace, never dwelling too long on any details but giving us Everett's life in relation to his comic career. And that's the key: Bell is a comic fan and knows his audience is as well so that's the focus. [...] While the tale of Everett's life held my attention the art is the real star. Covering everything from early doodles to his last published page we get to see thirty plus years of material. [...] The fit and finish for Fire & Water is exceptional. A heavy matt paper is used that really shows off the material and gives it an almost period feel. The size is perfect for admiring the art and is easy to read; a new perfect package. I can't get enough of the dust jacket image and its design is stunning: a real eye catcher. At $40 it's a great value." – Scott VanderPloeg, Comic Book Daily
• Review: Sean T. Collins's "Love and Rocktober" review series at Attentiondeficitdisorderly moves on to Gilbert Hernandez's oeuvre, starting with Heartbreak Soup: "Whether in terms of family, sexuality, physicality, or deformity, biology is destiny for the people of Palomar... And although biology is obviously among Beto's primary concerns, destiny is the operative word. I don't think the Palomarians have the ability to escape the way the Locas do. Not all of them need to escape, mind you — there's a lot of really warm and adorable and hilarious and awesome stuff going down in Palomar — but whatever walks alongside them in their lives is gonna walk alongside them till the very end."
• List: At Robot 6, guest contributor Van Jensen names Josh Simmons's House as one of his "six favorite horror comics & movies" (and, by reduction, one of his three favorite horror comics): "Simmons uses no words through the entire story, but his real accomplishment is utilizing the design of the pages to deliver an increasingly claustrophobic, disorienting and terrifying story."
• Plug: At Robot 6, Sean T. Collins highlights our duo of creepy all-ages releases, David B.'s The Littlest Pirate King and Stéphane Blanquet's Toys in the Basement
• Interview:The Daily Cross Hatch's Brian Heater concludes his 3-part chat with Drew Weing: "What’s funny is, I’ve got Google Alerts for my name, so if somebody says it on the Internet, I show up like Beetlejuice. I click on it, like, 'ooh, this guy just dissed me.'" [Hi, Drew.]
• Review: "...[T]he third annual volume proves to be the best yet, combining eccentric drama, bright fantasy, captivating whimsy and appalling human frailty into a package of stunning graphic intensity. [...] Stark, challenging, charming and irresistibly seductive, Love and Rockets: New Stories is a grown up comics fan’s dream come true and remains as valid and groundbreaking as its earlier incarnations — the cutting edge of American graphic narrative." – Win Wiacek, Now Read This!
• Review: "What to say that others haven’t? I’m not steeped enough in Jaime’s work to say that his contribution to this volume [of Love and Rockets: New Stories] was his best ever, but it was very, very strong work, and the reveal at the end so surprised me that I immediately reread the story. [...] I’ve been enjoying the way that Gilbert’s stories and stories-within-stories have interacted, though without being entirely sure why. This volume also led me to wonder to what degree the brothers are aware of what the other is up to, since the stories seemed to strangely reflect each other in ways that previous volumes haven’t." – Brendan Wright, The Wright Opinion
• Commentary: Chris Limb of Catmachine pens a heartfelt ode to las locas: "My old friends are two women who live in a Latina neighborhood in California; I've known them since we were all teenagers. Their names are Maggie Chascarillo and Hopey Glass."
• Plug: At Techland, Douglas Wolk spotlights Jason in a slideshow of "70 Years of Frankenstein Comics": "The brief, wordless 2004 graphic novel You Can't Get There from Here, by the Norwegian cartoonist Jason, concerns a love triangle involving Frankenstein (the Doctor), the Monster, and the beehive-hairdo'ed Bride. It's since been collected in Jason's anthology Almost Silent."
• Commentary: At Comics Comics, Joe McCulloch discusses panel layouts and other matters pertaining to the work of Carol Swain
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
Remember a month ago today when we were touting the availability of the 1987 first hardcover edition of Love and Rockets Book 3 (Las Mujeres Perdidas, as it was known for subsequent editions)? Turns out, these copies have an original signature plate signed by Gilbert & Jaime Hernandez! They're still offered at a deeply discounted price — just try and resist!