Fantagraphics Books President and Co-Publisher Gary Groth announced today at Comic-Con International that the Seattle-based publisher has entered into an agreement to publish The Complete ZAP Comix in Fall of 2012.
ZAP remains the best-known and most influential underground comic of all-time, and in many ways is Ground Zero for the entire field of underground, alternative, literary and art comics that exists today. Created by Robert Crumb, it was one of the defining events in the counterculture of the 1960s and singlehandedly launched the “underground comix” era.
“ZAP took comics from children to adults, crushing The Comics Code Authority in the process,” proclaimed ZAP artist Victor Moscoso.
The Complete ZAP Comix will be published as a two-volume, slipcased hardcover set, printed slightly larger than the original comics, and shot from the original negatives to the comic books, ensuring the finest reproduction ever seen of the material. It will also include the rarely-seen ZAM, a one-shot mini-comic/jam spinoff of ZAP from 1974, as well as other supplementary features, interviews with the artists, and other surprises.
“ZAP may be the most significant series in the history of American comics,” said Fantagraphics President and Co-Publisher Gary Groth. “Its cultural preeminence is the result of artistic merit, not collectibility or economics and that sets it apart from most comics series that have achieved this level of public awareness or notoriety. The artists that Crumb invited into ZAP each proved to be a stylistic virtuoso with a unique point of view and an uncompromising vision. ZAP was the vanguard of a movement that segued into the alternative comics of the ’80s and the graphic novels of the ’00s. We couldn’t be prouder to collect this landmark series in its entirety in a beautifully packaged two-volume set.”
Originally printed by Beat writer Charles Plymell in an edition of around 3,500 copies, ZAP #1 was the first title published by the late Don Donahue under the Apex Novelties imprint, and was infamously sold on the streets of Haight-Ashbury out of a baby stroller pushed by Crumb’s ex-wife, Dana. Over time, the series’ 16 issues have sold millions of copies.
Although R. Crumb had initially created ZAP as a showcase for his own work, the success of the first issue led him to open up the pages of subsequent issues to several other artists. He invited his peers S. Clay Wilson, Robert Williams, “Spain” Rodriguez, Gilbert Shelton, Victor Moscoso and Rick Griffin to join him, effectively creating an artists’ collective that has remained mostly constant in the subsequent decades; when Rick Griffin died in 1991, the artist Paul Mavrides was invited to join the group.
“Fantagraphics’ The Complete ZAP Comix, as designed by Victor Moscoso, will be a classy item for the bookshelves of underground comics fans — those who can afford it, that is,” said ZAP artist Gilbert Shelton. “I imagine most of the original readers wish they still had their copy of the first edition of ZAP #1, which sells for over ten thousand dollars now, if in perfect condition. But part of the secret of the success of underground comix was that they were cheaply produced and turned yellow and fell apart quickly, and also that they were borrowed and never returned by one’s friends, thereby forcing you to buy another copy. This will not happen with the new collected edition, which will be produced under the most rigorous of quality control.”
“Much as the effect EC’s MAD had on the mid-20th Century, ZAP was equally influential and disruptive to cultural mores at the end of the 20th Century, but without the hindrance of the old comic book code that cramped graphic novel expression for 40 years,” said ZAP artist Robert Williams. “I’m very pleased that Fantagraphics will release this long-awaited compendium of ZAP Comix.”
“When Robert Crumb started ZAP in 1968, no one had any idea that it would still be alive 45 years later,” Shelton added. “This exercise in anarchy — there were never any rules, restrictions, or editorial policy — is still the flagship of the underground comics movement. I tried, and failed, to get my fellow ZAPsters to correct their spelling errors, but they would not be subjected to such editorial tyranny. I also wanted to let other artists into the group, but it was decided to restrict the number of contributors to seven. So be it. Spell free or die, I now say.”
Fantagraphics will be publishing the The Complete ZAP Comix in Fall of 2012.
The Complete ZAP Comix By: R. Crumb, S. Clay Wilson, Robert Williams, Spain Rodriguez, Gilbert Shelton, Victor Moscoso, Rick Griffin, & Paul Mavrides Release Date: Fall 2012 Page Count: 800 PP Black & White • Two-Volume, Slipcased Hardcover Set
"Andrew Edlin Gallery is pleased to present Zap: Masters of Psychedelic Art, 1965-74, curated by Gary Panter and Chris Byrne. The exhibition will include works by the seven artists from the original Zap lineup: Robert Crumb, Victor Moscoso, Rick Griffin, S. Clay Wilson, Gilbert Shelton, Spain Rodriguez and Robert Williams. The focus of the show is the early days of Zap, when these artists begat their visionary deconstruction of the comic book with remarkable innovations in storytelling and drawing. An accompanying catalogue is being published by the gallery."
• List: Adam McGovern of ComicCritique.Com declares Miss Lasko-Gross to be Writer/Artist of the Year ("Vividly imaginative in tricky layouts, intricate patterns and hallucinatory neverlands yet starkly perceptive of everyday details and personality, immune to art-star mythology while stockpiling stuff of legend, Lasko-Gross is capable of anything — but can’t help doing right") and her A Mess of Everything the #3 Graphic Novel of the Year ("Lasko-Gross creates the least wholesome and most healthy youth memoirs you’re likely to read. Tales of adolescent insight, creativity, trauma and folly for those who like to learn their lessons with minds of their own"); Gilbert Shelton's "Last Gig in Shnagrlig" from Mome Vols. 13-15 to be Strip of the Year ("With a style that seems strung from spider-webs, popping veins, worried brow-wrinkles and tangled vines and an eye for absurd posturing, both undiminished by five decades and whatever art-supplies he’s been sniffing, Shelton’s dystopian vaudeville is a vision you can never predict of species-wide misbehavior which remains, alas, just like you remembered it"); and Lilli Carré's "The Carnival" from Mome Vol. 14 to be Short Story of the Year ("A bittersweet, tragicfunny story of the luminous, enchanting worlds just beyond the outskirts of nowhere")
• Review: "I spent most of this week reading the new, paperback edition of Blazing Combat ... [T]he artistry on display is so mind-boggling, particularly in the case of Crandall, Heath and Severin, that it seems churlish of me to not recommend this book simply because of a few overly and obviously ironic twists. The creators clearly had a real love for this kind of material, so much so that [I] wish things had tipped slightly in their favor a bit more, and that the market had made at least a little more room for war comics when as the silver age gave way to the bronze." – Chris Mautner, Robot 6
• Review: "...I love the art, with great layouts, nice thick lines, and coloring that's somehow both rich and muted. Even when I don't like the characters or find their actions believable I still love the way everything looks. And the elliptical structure was a smart choice because it adds at least a little bit of mystery; instead of just reading to see what happens next you keep going to better understand what's already happened. I don't know if the stories were published individually anywhere, but Hallorave is basically the first book of King of the Flies, with two more on the way. I'm interested to see how closely they intersect with each other." – Garrett Martin, Shazhmmm...
• Review: "Based on a crime novel by Jean-Patrick Manchette, West Coast Blues is an existential comic by master cartoonist Jacques Tardi. It's colorless crime as only the French can do it, with despicable characters waxing philosophical on film and high-risk sex even while on the run from clumsy assassins. ... Plenty of crime stories revolve around the bizarre preoccupations of its characters and just as many are centered around the plight of the common man thrust into extraordinary circumstances. But Tardi really brings it home, offering a messed up story about messed up people who do some truly messed up things. While only 80 pages, it's a robust read. ... As compelling as this short yarn is in terms of the writing, the real draw here is Tardi. ... His style is comparable to Herge's, if not quite as clean. His characters are expressive and his architecture's pretty damn impressive. ... Big ups to Fantagraphics and editor/translator Kim Thompson for assembling a really lovely English language edition of this book." – Paul Montgomery, iFanboy
• Commentary: "You would think I'd have more to say about teaching 'Human Diastrophism,' one of my favorite comics in the classroom, but this was my fourth pass at the story and most of the classroom surprises have been played out. The greatest remaining challenge is just the problem of extracting one storyline from Gilbert Hernandez's long-running Palomar setting and fitting it into a single week of class discussion." – Marc Singer, I Am NOT the Beastmaster
• Interview:In this video, Vito Delsante talks to Jaime Hernandez at Jaime's appearance at Jim Hanley's Universe in NYC last Friday, April 9 (via ¡Journalista!)
• Interview: "'Digital vs. paper? That’s a totally bogus debate,' [Peter] Bagge told Wired.com in an e-mail interview. 'There will always be both. Whichever one you want, you got it!'" Well that solves that!
One of my favorite books I've received lately is this handsome, considered little tome from Spain's Blur Ediciones, Rotulando in Spanish • Lettering en Español, collecting something that on the face of it might sound a bit loopy: lettering by the cartoonist Nono Kadáver created for the Spanish editions of work by American greats R. Crumb, Daniel Clowes, Joe Sacco, Johnny Ryan, Peter Bagge and Gilbert Shelton.
Nono worked throughout most of the 1990s at Barcelona's Ediciones La Cúpula, one of Spain's leading comics publishers, and was one of the last of an era when book production was done largely by hand, not computers. Nowadays, most publishers get fonts created for an artist, but thru the 1990s, Nono spent many of his days mimic-ing the lettering styles of Bagge, Crumb, etc. the old fashioned way, with a pen and paper (and maybe a lightbox). He was a real master at trying to maintain the integrity of the original artwork, putting his ego aside in an effort to seamlessly blend the Spanish text into the artist's page compositions as unnoticeably as possible. Kind of like the old saw that the best movie soundtrack is the one you don't notice, Nono's work could probably make you forget that Daniel Clowes wasn't Spanish when you're reading Bola Ocho.
I am a lettering nerd and it makes me a bit sad that hand-lettering like this is becoming a dying craft, because it can make or break a translated foreign book and typeset fonts are rarely as effective. Kadáver likens his work to a forger in the excellent introductory text:
"I feel a great admiration and respect for counterfeiters... I think that even falsifying, we leave our mark... What you have to do is forget your personal style and adapt to the artist's. This is accomplished by reading a lot, dissecting his work, and learning from it; in the end the only thing that matters is as close a possible resemblance to the author's style."
The 15th issue of Mome is now available for pre-order. This issue boasts one new beginning (T. Edward Bak's "Wild Man"), two conclusions (Gilbert Shelton's "Last Gig in Shnagrlig" and Tim Hensley's "Wally Gropius"), new work from Dash Shaw, Andrice Arp (who also provides the cover), Sara Edward-Corbett, Conor O'Keefe, Noah Van Sciver, Robert Goodin, and Paul Hornschemeier, PLUS a bound-in minicomic by Spanish master Max! This book is scheduled to be in stock and ready to ship in June and in stores approximately 4 weeks later (subject to change).
On our product detail page we've got a free PDF preview with pages from almost every contributor, plus the full table of contents so you can see exactly what's in the issue. Photo and video previews are still forthcoming -- watch this space.