• List: In light of the impending end of the anthology, Robot 6's Chris Mautner names "The six best stories in Mome" (to date... there's one issue yet to go)
• Review: "Hernandez of Love and Rockets continues his obsessive study of faux Z-movies featuring L&R character Fritz, a lisping, freakishly large-chested post-ingenue. This latest offering [Love from the Shadows] is imaginatively staged, beautifully drawn and deftly dialogued, with odd discordant undertones and psychosexual notes that include incest and insanity." – Richard Pachter, The Miami Herald
• Review: "More stoner/fantasy silliness from Daly. There seems to be more of a focus on plot and creating lengthy action sequences than in previous. The jokes don’t seem as frequent, or at least are more subtle this time around. [...] Dungeon Quest Book Two is still a fun romp, especially if you’re at all familiar with the fantasy genre or role-playing games in particular." – Chris Mautner, Robot 6
• Review: "Crane's drawings are clear, simple, rounded. They combine perfectly with the primary colors used in printing newspapers. His characters were drawn more cartoonish than realistic, with free and lightweight lines, without much concern for details. In layout, Crane was able to explore the space of the entire page of the Captain Easy strip, alternating horizontal and vertical panels to get a more dynamic effect. The author also used horizontal panels to show beautiful panoramic images of fights and persecution." – Gustavo Guimaraes, Ambrosia (translated from Portuguese)
• Interview: At The Rumpus, Ted Wilson has a fun chat with Jim Woodring: "People sometimes avoid me but not because I am or am not a garbageman. I really have no idea what you are asking. Do people avoid garbagemen? Not in my experience. In fact I learned that some women simply cannot resist a man in any kind of a uniform. I’m not kidding."
• Interview:Paul Gravett presents a transcription of the Comica-sponsored conversation between Dave McKean and Lorenzo Mattotti which took place in London last month: "I had read Piersanti’s novels, When he was buying a portfolio of mine, we were introduced. A French publisher wanted a short comic for an anthology about religion, so I asked Claudio because I knew he was interested in philosophy and spiritual problems. He had the idea of a man who finds he has stigmata wounds on his hands and doesn’t know what to do." (via The Comics Reporter)
• Interview: At The Comics Journal, Ken Parille talks to Ivan Brunetti about teaching comics: "To me, art is not about talent, it’s about hard work. It’s about developing one’s intelligence, thoughtfulness, and sensitivity. To some degree, the potential for these things seems to vary, implying they are perhaps innate, but I think anything can be nurtured (or neglected). Something might not come easy, but it can be learned. It’s matter of will, desire, determination, and hard work."
• Feature: At the Drawing Words & Writing Pictures blog, Best American Comics series co-editor Matt Madden spotlights Alexey Sokolin's "Life, Interwoven" from the Abstract Comics anthology as a 2010 Notable Comic: "The comic is made entirely of hatching lines, scribbles, swooping lines, and, way down beneath it all, hints of representative imagery. It almost looks like what began as a conventional comic mutated as the marks and lines broke free of the images. It’s also interesting the way the comic can read either as a six page comic, a series of six drawings (a sextich?), or six iterations of the same page being increasingly overwhelmed with line."
• Review: "...Freeway is often stunning. Kalesniko spent 10 years on the book, and the time and care is evident in the structural complexity. [...] One of the unique properties of comics — utilized well by artists like Chris Ware and Richard McGuire — is the ability to connect disparate pieces of information using the page like a chart. Kalesniko doesn’t draw any arrows or experiment with layouts, but he does convey the impression of a man dealing with his daily frustrations by letting every sight, sound, and sensation send him on a trip through his own head. And in Freeway, Alex Kalienka’s head is as vivid as the book’s depiction of key Los Angeles landmarks. Kalesniko renders both the exterior and interior spaces with a mix of loving care and impassioned disgust." – Noel Murray, The A.V. Club
• Review: "This mesmeric saga [Freeway] is deliciously multi-layered: blending compelling narrative with tantalising tidbits and secret snippets from the golden age of animation with rosy reveries of the meta-fictional post-war LA and the sheer tension of a paranoid thriller. Kalesniko opens Alex mind and soul to us but there’s no easy ride. Like Christopher Nolan’s Memento, there’s a brilliant tale here but you’re expected to pay attention and work for it. Illustrated with stunning virtuosity in captivating black line, Alex’s frustration, anger, despair, reminiscences and imaginings from idle ponderings to over-the-top near hallucinations are chillingly captured and shared in this wonderful book..." – Win Wiacek, Now Read This!
• Plug: "Freeway by Mark Kalesniko (published by @fantagraphics) is one of the best graphic novels I've read this year." – Ted Adams (founder/CEO, IDW Publishing)
• Plug:Grovel previews Freeway: "This 400-page epic looks set to be a stunning piece of work, as Kalesniko squeezes a lifetime of events into the mental wanderings of a single car journey."
• Review: "Dungeon Quest is unlike anything I have ever seen in the comic world. The closest comparison is some old comic strips in Dungeon Magazine from the mid-eighties but Dungeon Questtakes the level of insanity in those strips and adds +100 in delirium bonuses. If you know a manic dice roller, go out and purchase them both editions without thought. They will love you forever. [...] The story sounds a little like Bilbo Baggins' quest, right? Well, take Bilbo and drag him through a funhouse filled with drag queens and stand-up comedians from the eighties and you might end up with Dungeon Quest. The filth that spews from this book will make you blanch and make you laugh your lungs up." – Martin John, The Outhouse
• Review: "In short, The Arctic Marauder is pure fun, silly and dark camp. It’s a beautiful book, with an appealing cover and a sturdy hardcover binding. Tardi’s narrative voice keeps the proceedings puckishly light and pleasant, while the plot itself explores oceanic depths and throws out characters rife with madness and egocentrism. There aren’t many books quite like it; comics readers are better off for having Tardi available here in the States." – Michael C. Lorah, Newsarama
• Review: "The fun of getting caught up in a story that’s convoluted for its own sake, or the dazzle of pictures that preen the skill and effort that went into crafting them — they’re the hallmarks of a book that one reads to relax. Books that require an effort are ultimately more satisfying, but the smaller satisfactions are occasionally what one needs. The Arctic Marauder is fun, and it was nice to sit down with it after a long day." – Robert Stanley Martin, Pol Culture
• Review: "Screenwriter and novelist Claudio Piersanti's dark tale of a man driven to the depths of despair is beautifully captured in Mattotti's astonishing art [in Stigmata]. No artist is better suited to capturing all the intense violence, anger and despair this character suffers through." – John Anderson, The Beguiling blog
• Review: "Daddy's Girl is a comic book with a difference. Debbie Drechser uses mostly black and white illustrations to openly deal with the dark subject of abuse. [...] This is simply put, a masterpiece. The deeply disturbing subject matter of sexual abuse is brought to life with a startling brutality. It's impossible not to be impacted by the experiences within the pages. [...] It's a memorable, moving, bold, and — at times — emotionally challenging read that definitely rates a 5/5 from me." – Charlene Martel, The Literary Word
• Review: "Because Theroux knew Gorey personally — and remains a fervent fan — The Strange Case [of Edward Gorey] jumps from memories of the man to a more generalized biography, in between astute analyses of what makes Gorey books like The Hapless Child and The Gashlycrumb Tinies so haunting. The Strange Case isn’t organized like a conventional bio or critique; it’s more rambling and personal, working carefully past the psychic blockades of a man who once explained away the darkness of his work with the non-committal comment, 'I don’t know any children.'" – Noel Murray, The A.V. Club
• Review: "Rendered in an incomprehensibly lovely panorama of glowing artPrince Valiant is a non-stop rollercoaster of stirring action, exotic adventure and grand romance; blending realistic fantasy with sardonic wit and broad humour with unbelievably dark violence... Beautiful, captivating and utterly awe-inspiring the strip is a World Classic of storytelling and something no fan can afford to miss." – Win Wiacek, Now Read This!
• Review: "These superb oversized... hardback collections are the ideal way of discovering or rediscovering Segar’s magical tales. [...] There is more than one Popeye. If your first thought on hearing the name is an unintelligible, indomitable white-clad sailor always fighting a great big beardy-bloke and mainlining tinned spinach, that’s okay: the animated features have a brilliance and energy of their own... But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure… [D]on’t you think it’s about time you sampled the original and very best?" – Win Wiacek, Now Read This!
• Interview: At Newsarama, Zack Smith talks to Hans Rickheit about Ectopiary ("one of those webcomics that has everyone talking"), future plans and coelocanths: "The story divides into three parts which do not resemble each other. I wanted to draw an exotic science fiction, although the first hundred pages will contain very little in that vein. These stories aren't written; they simply occur to me. I prefer it that way. Good science fiction writers write about strange and inexplicable things. My job is make the strange things they write about."
Due to our hectic release schedule and the geographic vagaries of distribution, our comic shop arrivals are a bit of a jumble lately. Our first two titles here may have been available at some shops last week — see last week's post for additional blurbs — and are on the official shipping list for this week; the titles listed thereafter are not on the list yet but may ship to some shops this week. We apologize for any confusion and as always entreat you to contact your local shop to confirm availability. (Ordering in advance is always a good idea, too.) Previews and more info about each book, as always, at the links below:
64-page black & white 9" x 11.75" hardcover • $16.99 ISBN: 978-1-60699-435-1
"One of the most interesting looking releases of the week, this is Fantagraphics’ representation of Adele Blanc-Sec creator Jacques Tardi’s 1972 Jules Verne-esque, Edwardian era 'icepunk' adventure." – J. Caleb Mozzocco, Newsarama
"Another gorgeous book, this time from Fantagraphics' continued and sustained exploration into Jacques Tardi's album-making career." – Tom Spurgeon, The Comics Reporter
"I found myself enjoying Tardi’s Adventures of Adele Blanc Sec earlier this year, and Chris [Mautner]’s review has tipped me in favor of picking up this latest translation of his work." – Graeme McMillan, Robot 6
"This blog is steadily turning into one comic shop employee quietly humping the leg of Seattle-based publisher Fantagraphics but they are excelling themselves lately, and their line of Jacques Tardi translations is one of their greatest efforts to date. Le Démon Des Glaces or The Arctic Marauder is a 1972 satirical, Jules Verne-esque steampunk tale about a ship in the Arctic Ocean discovering an abandoned vessel. [...] Expect mad scientists, monsters from the deep, futuristic machinery in an 1899 futuristic way, and the most purple of purple prose." – Gosh! Comics
"This is a gorgeous, simply breath-taking example of Tardi's early work. This retro-sci-fi tale involves the mystery of a ship stuck on top of an iceberg. How'd it get there? The answer involves monsters of the deep, mysterious futuristic machines and mad scientists." – Benn Ray (Atomic Books), Largehearted Boy
136-page black & white 6" x 8.25" softcover • $12.99 ISBN: 978-1-60699-436-8
"Joe Daly's wildly odd series of archly-told adventure comics continues. What a great initial run of books we've seen from South Africa's Daly, and this one may feature his most potent cartooning yet." – Tom Spurgeon, The Comics Reporter
"Dungeon Quest Volume 2 by Joe Daly is out, giving you another installment of nerdy stories inspired by role-playing games..." – Gosh! Comics
200-page two-color 6.25" x 8" hardcover • $22.99 ISBN: 978-1-56097-892-3
"I’m not much of a sports fan, but there was a lot more to Clemente than baseball, and Wilfred Santiago’s biography has a real richness to it, bringing in Clemente’s background and upbringing and wrapping it all together in deceptively simple, almost primitive looking art." – Brigid Alverson, Robot 6
344-page black & white 8.5" x 7" hardcover • $28.99 ISBN: 978-1-60699-438-2
"How dark could Peanuts get during the Peanut President's administration? 'Very, very dark,' Al Roker writes the introduction to this volume. Have I mentioned how much I love the indexes to the Fantagraphics editions? It's useful to know that a Zamboni appears twice in this volume." – Douglas Wolk, Comics Alliance
192-page black & white 6.25" x 10" hardcover • $28.99 ISBN: 978-1-60699-417-7
"CONFLICT OF INTEREST RESERVOIR: If you didn’t locate Jacques Tardi’s The Arctic Marauder or Joe Daly’s Dungeon Quest Vol. 2 last week, they’re both probably still worth looking at. Supposedly some stores are getting Wilfred Santiago’s Roberto Clemente book (21: The Story of Roberto Clemente) too, along with a best-of Thomas Ott collection (R.I.P.: Best of 1985-2004) and the ’79-’80 Peanuts book. Build a wall." – Joe McCulloch, The Comics Journal
Diamond Comics Distributors has confirmed with us that the following 4 books are shipping this week, though only one is included on their official weekly shipping list. Therefore, most of these will likely be reappearing with additional comics-blogger blurbs in next week's New Comics Day post. Be extra-sure to contact your local shop to confirm availability. Previews and more info about each book, as always, at the links below:
136-page black & white 6" x 8.25" softcover • $12.99 ISBN: 978-1-60699-436-8
"Joe Daly's D&D/stoner/sword-and-sorcery semi-parody epic continues. Opening caption: 'In their ongoing mystical quest to find the missing parts of the Atlantean resonator guitar our heroes find themselves wandering through the primeval gloom of Fireburg Forest in an attempt to find the prophet and poet, Bromedes, and return his borrowed penis sheath...' That about sums up the aesthetic here." – Douglas Wolk, Comics Alliance
176-page black & white 9" x 12" softcover • $24.99 ISBN: 978-1-60699-364-4
"The next-to-last volume of Fantagraphics' reprint of all of George Herriman's miraculous 'Krazy Kat' Sunday strips. I could go on about this stuff all day, so I won't start, except to say: not for fast quaffing, for slow sipping." – Douglas Wolk, Comics Alliance
"Hey, it's a book featuring page after page of the best comic ever. Krazy Kat is so good that if you don't get it, it's better for you in the long run that you do whatever is necessary to change yourself until you do get it." – Tom Spurgeon, The Comics Reporter
"Fantagraphics are still enthusiastically plowing on with their plan to collect every Krazy Kat Sunday page ever, which is about as ambitious a plan as they come. A Kind, Benevolent and Amiable Brick is the penultimate volume of the series, collecting over 150 pieces published between 1919 and 1921. As usual, they’re housed in a handsome package designed by the esteemed Mr. Chris Ware so they’ll match the others on your shelf, or near enough, providing he isn’t pulling a wacky Acme Novelty Library design on us." – Gosh! Comics
"CONFLICT OF INTEREST RESERVOIR: And speaking of commonalities with Spawn and Youngblood, Krazy & Ignatz 1919-1921: A Kind, Benevolent and Amiable Brick offers 176 pages of blood-drenched chrome and muscle carnage as you like it..." – Joe McCulloch, The Comics Journal
112-page full-color 7" x 9" softcover • $14.99 ISBN: 978-1-60699-394-1
"From Fantagraphics you can get the latest instalment in their acclaimed comics anthology Mome, now in its sixth (!) year. There’s stuff from Sara Edward-Corbett, Steven Weissman (Chewing Gum in Church), Sergio Ponchione (Grotesque), Nate Neal, Dash Shaw (Bottomless Belly Button), Jon Adams, Tom Kaczynski, T. Edward Bak, Derek Van Gieson, Kurt Wolfgang, Lilli Carré (The Lagoon), Nicolas Mahler (Van Helsing’s Night Off) and Josh Simmons, whose biography goes 'Simmons draws comics about happy bunnies, cirkus folks, and violent sex. He is a nice young man.'" – Gosh! Comics
On all of them:
"If I had $15: It’s a toss-up between the latest volume of Mome [and] the second volume of Joe Daly’s great stoners-meet-D&D fantasy Dungeon Quest... Splurge: Two big books out this week from Fantagraphics, both must-buys, at least for me. The first is Krazy & Ignatz 1919-1921 which collects more wonderful Herriman goodness. The second is The Arctic Maurader, the latest release in Fanta’s ongoing Jacques Tardi library. This one is particularly interesting as it’s a) a parody/homage of sorts to the classic Jules Verne/H.G. Wells/19th-century pulp stories; and b) done in a scratchboard-style motif designed to emulate woodcuts that apparently all but drove the artist around the bend. Since I’m splurging, I’ll get them both." – Chris Mautner, Robot 6
• Review: "[The Complete Peanuts 1979-1980] is... a genius volume... Some of the pieces here – especially the longer storylines – are absolute classics. [...] Plus, there’s just the sheer kookiness of some of Schulz’s pop-cultural references and inventions, which continues to astound here... Schulz is at the height of his powers as a cartoonist here, as well. [...] Such graphic flair! Such economy of line! A Peanuts nut couldn’t ask for more, really." – Naomi Fry, The Comics Journal
• Review: "Littered with violence, inappropriate sexual innuendos, misguided bravado and infused with hilarity, Dungeon Quest (of which two 136 page volumes are available) promises a uniquely entertaining graphic novel experience." – Rick Klaw, The SF Site: Nexus Graphica
• Profile: Anthony Mostrom of the Los Angeles Times gives a brief history of E.C. Segar and the creation of Popeye: "Segar had no idea just how fat his checks would become after the invention of Popeye. Indeed, he flirted with the idea of dropping the character after the 'Dice Island' story ended. Who would have guessed that a character so grotesque of face would be so instantly loved, his fame so long-lived that he would become part of a Google logo 80 years later?" (Via Newsarama)
This interview was conducted over email by Fantagraphics' Eric Buckler. Thanks to Eric and Joe!
Cartoonist Joe Daly grew up in apartheid South Africa. His perspective on storytelling and illustration have a deeply infused characterization and a mythical slapstick. The comics reflect a bizarre and amazing facet of imagination that is at once familiar as it is far flung and not of this planet. His characters in Dungeon Quest are on a mission to find the Atlantean Resonator Guitar, and will go through everything from beating the shit out of some homophobic goons to returning a magic penis sheath to a large breasted demigod. The crew will be suited up with new armor, weapons, and will have loads of new mind altering opportunities in the all new Dungeon Quest Book 2. Daly is the creator of Scrublands and The Red Monkey Double Happiness Book.
ERIC BUCKLER: Would you talk about how you pace your storytelling?
JOE DALY: Comics can be a very efficient form for story telling, so it's very easy and natural for a comic narrative to progress very quickly. I think a cartoonist is usually trying to counteract that natural tendency by trying to slow things down. You're always moving away from the last plot point and towards the next one, and so I try to be aware of what's needed in order to heighten the moment of arriving at that plot point. It often requires adding more panels, slowing down the action, and letting the dialogue ramble to build tension as one is moving into "the big moment." Very seldom do I encounter a situation where I find I need to eliminate panels. That said, it becomes a fine line between building tension and padding, so the idea is to let the plot point dictate how much tension is required to precede it, and then add no more or no less panels than is required. As a reader you have to arrive at a plot point organically, in a way that you're a little unaware that you've even hit a plot point. I know as a reader I don't like to feel rushed or shunted along from plot point to plot point, as if one were on a conveyor belt. One of my main criticisms of my Red Monkey stories, is that they tend to be plot dominant, and the reader is moved from point to point too quickly. A story shouldn't be all about plot, the reader needs breathing space, unfocused space, where they can engage in the story in a non-rational kind of way. Of course, some readers favor structure and plot heavy stories, and some don't: they'll prefer the rambling, looser approach. I think each story should inform the pace that's required to tell the story, and since I've found myself doing these strange action adventure stories (with quite a lot of dialogue) I've found it's natural to keep "medium pace," somewhere between Chris Ware's work (extreme patience) and an in your face superhero action comics (extreme immediacy).
BUCKLER: Why black and white? Did you consider using color on this comic?
DALY: My first two books were already in color, and I wanted to try something different. I'd discovered while working on the Red Monkey stories, which were in color, that coloring the work took me almost as much time as writing and drawing the work, and so given that I'm currently unable to employ a colorist on my books I decided to eliminate this time consuming process altogether. I was also interested in shifting from a clear line art style to a high contrast black and white art style, simply to broaden my abilities as a drawer and inker, and that's the process I'm engaged in at the moment. I think black and white, whether it's in photography, or in film, or in comics can be very elegant and complete. When "completeness" can be achieved in black and white, it's all the more impressive and satisfying to me, because of the purity and simplicity of black and white. I think perhaps black and white also engages the reader's own imagination more than color, in that they are filling in the white spaces with their own projected colors. When one leaves things out, one creates suggestions. Also, working in black and white helps to keep the cost of the book down.
BUCKLER: Can you talk about lexicons you draw when creating dialogue in Dungeon Quest?
DALY: For Dungeon Quest I was trying to evoke the kind of language that me and my video gaming friends would use when playing video games when we were 10-14 year olds. It as a strange mixture of general profanity, South African school-boy slang, American slang we'd learned from TV and movies, technical jargon and the pseudo-poetic language of high fantasy/adventure which would be used in the actual game. Saved games could be titled things like "got to get splendid key from orange dude," "kief!," "totally fucked," "dawn light factory skyline," "given frayed rope to little whore," "in lonely place," "got to open fucking bay doors," stuff like that. It became a kind of esoteric lexicon. I don't apply this lexicon directly to the writing in Dungeon Quest. I'm drawing from it, allowing it to inform my dialogue. It's a flavor.
Millennium Boy, Steve, Lash Penis, and Nerdgirl continue on their twin mystical quests to find the missing parts of the Atlantean Resonator Guitar, as well as to locate the prophet and poet Bromedes and return his borrowed penis sheath, in this second hilarious, violent, and rip-roaringly entertaining installment of Joe (The Red Monkey Double Happiness Book) Daly's role-playing-game-inspired graphic novel series.
Fortified and empowered with a brand new collection of weapons and resources (including the magical Egyptian Book of Thoth, the Iron Crocodile badge, and the rectally transported Gliding Charger of the Eel), the valorous quartet must contend with river trolls, a leaf monster, glo-babies, and copious amounts of killer weed and serious blow.
Will they succeed in one or more of their noble quests? Or are the dice of fate loaded in their disfavor? You'll have to read Dungeon Quest Book Two to find out!
• List: Matthew J. Brady posts his picks for the best comics of 2010 on his Warren Peace Sings the Blues blog (where there are links to his past reviews), including:
"25. Temperance... is a confounding work, and a fascinating one, with some excellently moody art. I still don't know if I really understand it, but it's a strange, unforgettable book."
"23.Set to Sea... is lovely to look at, full of beautiful seascapes and cartoony movement. It may be a small and quick read, but it doesn't seem that way in subsequent memory."
"18. Wally Gropius... is a deeply weird comic, but one that is not easily forgettable, starting with an off-kilter take on old teen comics and throwing in a sort of dada energy, social commentary that isn't always easy to decipher, some startling sex and violence, and an angry attitude toward the idly manipulative rich and their disdain for the rest of humanity. It's also really funny, and what seems like random incidents eventually cohere into an actual story, but the crazy contortions of the characters, the financial imagery and sound effects, and the bizarre dialogue and actions from the characters are what will haunt the mind for some time to come."
"10. It Was the War of the Trenches... is one of the most incredible books of the year, an ugly, grimy, angry look at the devastation of war on everything it touches, an endless cascade of horrors that are all the more effective due to their reality. This is arresting work, something everyone should read, lest we forget how easy it is to get caught up in the killing once again."
"7. A Drunken Dream and Other Stories [...] From the beautiful artistic filigrees that fill panels throughout, to the firm grasp of character and complex emotional examinations, every page of this book is an essential bit of reading for manga fans."
"3. Love and Rockets: New Stories #3... is an amazing example of how great these creators are, and the way comics can be used for maximum effectiveness to tell emotional, realistic, beautifully real stories."
• Interview: Sean O'Toole of South African culture mag Mahala talks to Joe Daly: "Whatever other influences effect my comics worldview, I always end up coming back to Tintin. It’s an impeccable foundation text in terms of characters, story telling and artwork. I also appreciate the fact that it’s written and drawn by one person, George Remi aka Hergé (although I know he had studio assistance later in the series). It’s a complete creation, in that way, there’s a deep level of cohesion between the drawing and the narrative."
• Interview: At Comicdom, Thomas Papadimitropoulos talks to Jim Woodring (interview in English follows introduction in Greek): "I write all my stories out in words, describing the action. After a lot of rejecting of alternatives I end up with something that feels meaningful to me, even if I don't know why. In fact I prefer it if I don't know why. If I can tell there is some significant meaning respiring in the depths of the proposed action, I don't worry about what that meaning might be; I draw the story up and allow the meaning to occur to me and to readers whenever the time is right." (via The Comics Reporter)
• Review: "Anyone who ever got into fantasy role-playing games during their early adolescence no doubt remembers how those early forays into heroic adventuring could be fraught with profane characters, ludicrous moments during breaks from the quest at hand, and the strange, often puerile creations of a hormonally charged dungeon master. All of those elements fuel the entertaining world that Daly drops readers into with [Dungeon Quest Book 2]... There are encounters with monsters, violent battles, magical items to be gathered, eerie dungeons, and so on, but we are also treated to a hilarious bit where the characters get zooted on weed and cocaine while spouting drug-appropriate dialogue. With a visual style that’s a gene-splicing of Charles Burns’s Lynchian creepiness with an 'underground' sensibility, this quirky work is every bit as entertaining as it sounds, spouting anarchic humor in every direction." – Publishers Weekly
• Interview:The Comics Reporter's Tom Spurgeon talks to Alexander Theroux about the new edition of his book The Strange Case of Edward Gorey: "Gary [Groth] asked me to expand on the paperback. I didn't know I was going to add to that. I originally typed that manuscript. I got the paperback on-line, and started to see where I would expand it. That's why it's occasionally repetitious. If there was a paragraph on what Gorey collected, I would build on that for the hardcover. So we never really foresaw that it was going to be a much longer book. But once I got the bit between my teeth in looking at him, I had remembered a lot of things and interviewed a lot of people... it just builds. Since the hardcover has come out, I had about 20 new thoughts about him. Recollections, new things, that come every day."
• Interview: At Words Without Borders, the Amazon-supported Online Magazine for International Literature, Dot Lin talks to our own beloved Co-Publisher Kim Thompson about our line of Franco-Belgian all-ages comics: "I don't know how they'll be greeted by American audiences, but I'm in a position now where I can force them down people's throats. The fact that I seem to have succeeded with Tardi where everyone else failed has made me a bit cocky, I'm afraid."
• Interview:The Comics Journal presents the second part of Ian Burns's Q&A with Shaun Partridge, writer of the Josh Simmons-drawn Mome serial "The White Rhinoceros": "Me and Josh, we always know something is good when we feel we didn’t do it. When I do a painting, if I look at the painting and go, 'That’s a cool painting! Oh! I did that! How weird.' That’s when I know it’s good and that’s why I think we know The White Rhino is really good. I’m connected to it in a way. I am. I wrote it; Josh is illustrating it. But we stand back from it and we’re like, 'Wow, this is really far out and fun.' And we just laugh."
• List:PLAYBACK:stl's Steve Higgins puts What I Did by Jason on his Top Graphic Novels of 2010: "In my recent review of What I Did, I stated, 'Each story on its own is unquestionably superb, and readers will delight in the moods Jason evokes and the artistic techniques he employs. Together the stories in What I Did are sterling examples of Jason’s fantastic skill as both an illustrator and a storyteller that are well worth the purchase in spite of their vast differences in tone, style, and content.' And it’s still true."
"Love and Rockets: New Stories #3 — [...] While shocking scenes gave Gilbert's stories of cultural and commercial exploitation a fresh horror, the emotional aftershocks of Jamie's stories of personal loneliness, loss and violation haunted me all summer." – Suzette Chan
"The second hardcover volume in Linda Medley's Castle Waiting series is a fantasyish, girl power fairy tale — and so much more." – Rebecca Buchanan
• Review: "Each change, each mutation is the beginning of a thought without a defined path that will take the reader into the recesses of his mind. It can be simple aesthetic sensory enjoyment, perhaps of ravishing beauty, perhaps creepy horror; it can be a profound reflection on the significance of humanity or a simple gag in the purest tradition of slapstick. Either option is good: the silent Frank stories are surely a shock that spins the reader's neurons at high speed, a total reset of the system of established reality that leaves the mind in a renewed state of equilibrium. A masterpiece..." – Álvaro Pons, El País (translated from Spanish)
• Review: "[King of the] Flies is essentially about moments, one strange moment after the other. It brings to mind David Lynch but it should also bring to mind Alfred Hitchcock. Rigorously planned out ahead of time, his best work retains the freshness and kinetic energy of so many strange moments perfectly timed. Undoubtedly, Flies will be more than a string of moments and will have an ending as poetic as its best scenes." – Henry Chamberlain, Geekweek
• Review: "Prince Valiant comics are constantly being reissued around the world, but this collection began in 2009, published by Fantagraphics, is special for its concern with restoring Foster's work with the utmost fidelity. The original art was respected and carefully reconstructed from the original proofs and other sources of high quality. The publication in color, in hardcover and on luxurious opaque paper is just right. It is a definitive edition and a fitting tribute to the art of Hal Foster." – Gustavo Guimaraes, Ambrosia (translated from Portuguese)
• Review: "Jason’s tales of the distracted and listless existences of dog-faced Europeans are so consistently excellent that it’s almost predictable, but while [Werewolves of Montpellier] has his usual skilled construction and subdued colour palette, there’s also some rather good characterisation." – Grant Buist, The Name of This Cartoon Is Brunswick
• Review: "These strips can be a comfort, an amusement, can provide a moment to stop and think. Here [in The Complete Peanuts 1950-1952] you see Charlie Brown before his shirt gets the zig-zaggy stripe; how Linus was introduced as a baby as was Schroeder. You see the small common things that set the groundwork for what would become a life’s work." – Jenny Spadafora, 12frogs
• Profile: Sean O'Toole of Johannesburg's The Times tracks down Joe Daly: "I'm partly curious to see if he looks like his character Steve, described by Millennium Boy as an 'old orangutan mama.' The thin, bearded, slightly awkward man I meet in Observatory isn't apish, nor does he wear a bathrobe à la Jeff Lebowski. He also doesn't have lactating boobs, which Steve briefly grew in a strip appearing in Scrublands, Daly's first US book from 2006." (The Comics Reporter has additional commentary on the article.)
• Profile:Mania's Niko Silvester puts Moto Hagio in the "Creator Spotlight" with a brief overview of her career
• Interview (Audio): Get ready for an epic Inkstuds interview as Al Columbia joins host Robin McConnell for a 2-hour chat
• Plug: "If you’ve not been checking out Fantagraphics’ Complete Peanuts series, I would highly recommend that you start doing so! They are archiving Peanuts every story that Shulz ever wrote, in gorgeous hardcover collections, that contain one to two years of the strip, starting from 1950. It’s one of the best archive projects out there, and I can’t recommend collecting them highly enough!" – Edward Kaye, Hypergeek