• List:Library Journal's Martha Cornog names You'll Never Know, Book 1: A Good and Decent Man by C. Tyler as one of "12 Graphic Novels for Father's Day": "A newly single parent trying to understand her middle-aged self, Carol Tyler sets out to find the real human being and the real soldier behind her World War II veteran dad's familiar and taciturn persona. Her colorful, historically detailed art re-creates the wartime period expressively, and this first in a trilogy inspires curiosity and empathy for those who serve but don't talk about it much. Everything is connected, and the past is never just the past."
• Review: "Jack Cole... was undeniably a master of his craft, with deft, lovely lines and a witty sensibility. This new book, Classic Pin-Up Art of Jack Cole, from Fantagraphics focuses mostly on the titillating and gracefully naughty one-panel comics done for the Humorama publishing concern. ... This is the best sort of cheesecake. The historical text piece puts these works and the career of Mr. Cole into context, and creates a fascinating, entertaining, and timeless volume. ...I'm betting you'll read it again and again. Author rating: 9/10" – Jeremy Nisen, Under the Radar
• Review: "Jack Cole is known for creating Plastic Man, the superhero whose limbs can stretch. But the artist also drew cartoons capable of making readers’ other parts stretch, and the proof is in the prurient pudding of Classic Pin-Up Art of Jack Cole, newly available in paperback from Fantagraphics Books. The 100 pages’ worth of cartoons of comely, curvy cuties come culled from low-rent men’s digest magazines of the 1940s and 1950s — now-forgotten rags with happy-go-lucky names like Romp, Joker and Laugh Riot. But Cole’s contributions are visually indelible." – Rod Lott, Bookgasm
• Review: "With Woodring’s skill, I never found myself confused [by Weathercraft], at least, more than you’re supposed to be. I’ve never read a statement by Woodring saying this, but I always got the impression he wanted you to work for the meaning behind his stories. Even if it’s not the case, I highly enjoy the process. In one graphic novel, I got what I think may have been a love story, a treatise on spiritual enlightenment and sometimes just a whole lot of fun." – Joe Keatinge, Neon Monster
• Analysis: "[Weathercraft], which centres on the evolutionary and spiritual journey of Manhog, is breathtakingly original, and looking at it just brings home to me how timid many of us in this business are. ... These works, Weathercraft and Rupert [the Bear], should be poles apart, and yet they have much in common; both are brilliant ideas, both are brilliantly drawn, both 'exist' in fully imagined worlds, worlds familiar enough to be like the world we know, but different enough from the world we know for magic to happen. It may be a fanciful notion on my part, but I can see much more craft in these two magical comic creations than chaotic meanderings, and I'm relieved." – Rod McKie
• Review: "And as with other works like Shadowland and Boulevard of Broken Dreams, it’s nearly impossible not to be sucked in [by The Search for Smilin' Ed], as Deitch digs deeper and deeper into his own seedy universe. It’s also impossible not to pull the old volumes off the shelf for another exploratory re-read. I wouldn’t be entirely surprised to discover even more sprawling themes amongst the seemingly dissonant puzzle pieces, the pursuit of which will be a downright blast." – Brian Heater, The Daily Cross Hatch
• Review: "Over the last few decades, Jim Woodring has been drawing a series of wordless, blissfully cruel slapstick fables, set in a world of grotesque entities and psychedelic minarets: half unshakable nightmare, half Chuck Jones cartoon filtered through the Bhagavad Gita. Weathercraft... flows so smoothly and delightfully from each image to the next that it’s easy to ignore that it has its own idea of sense, which may not jibe with anybody else’s." – Douglas Wolk, The New York Times
• Review: "For those who find the work involving enough, Weathercraft will resonate with them on some emotional level — there's moments that unnerve, moments that touch — and while it is an immersive experience, the comic, especially in its hardcover form, operates most like a testimony of events. It's a comic, through and through, but it hews closer to a religious tome than it does a Love & Rockets installment." – Tucker Stone, comiXology
• Review: "It’s better to experience Woodring’s work than to try and understand it. Weathercraft focuses on Frank’s frequent nemesis Manhog — a representative of humanity at its morally weakest — as he goes through multiple stages of degradation on his way to almost achieving a higher consciousness. The humanoid mongrel Frank hangs around the edges of the story with his loyal pets, but Weathercraft is mainly about how Manhog — and by extension the reader — sees how sick, freaky, and beautiful the world can be… [Grade] A-" – The A.V. Club
• Review: "Megan Kelso is best known for elegant, small-scale comics... with a historical or memoiristic bent. So it’s surprising and wonderful that Artichoke Tales, her first novel-length work, is the sort of world-building fantasy story that comes with a family tree and a map on its endpapers. ... Kelso’s ligne claire artwork is consistently sweet and airy, depicting blobby, dot-eyed characters whose body language says as much as their words. The approach provides a likable surface for a story with much darker and stickier depths, about a land whose cultural heritage is rotting away in the aftermath of a civil war." – Douglas Wolk, The New York Times
• Review: "South African comic book writer/artist Joe Daly’s Dungeon Quest: Book One takes a hilariously askew look at the madness of fantasy quest games. ...[R]eaders with a high tolerance for absurdity and a healthy sense of humor about the subject matter will probably love what's on offer here." – Matt Staggs, Suvudu
• Review: "Watching [Wally] and his equally gangly, geometric cohorts stretch and sprint and smash their way across Hensley's brighly colored backgrounds and block-lettered sound effects is like reading your favorite poem — or even... Wally Gropius itself — as translated into a language with a totally different alphabet. ... And wonder of wonders, the book finds its own way to be really funny amid all these highfalutin hijinks..." – Sean T. Collins, Attentiondeficitdisorderly
• Review: "[Wally Gropius] has quickly become one of my favorite graphic novels. ... The comic is too odd to be described as 'commentary.' It seems far more synthetic than parodic: it blends recognizable influences into something truly new... The plot of Wally Gropius has been described as surreal or random, but it’s coherent and far more complex than I first thought... The book is an encyclopedia of cartoony facial expressions and bodily gestures, and should be studied at the CCS as such. WG radiates a real sense of joy, of 'cartooning unfettered.' ... Hensley is one of the best, and most idiosyncratic, writers of text in comics." – Ken Parille, Blog Flume
• Review: "[Daniel] Clowes isn’t as zany as he used to be, so there’s a void to be filled here, and Wally Gropius does that ably: The hardcover collects Hensley’s Gropius stories from the anthology seriesMome (with a little extra material thrown in), and his immaculate, vaguely ’50s style owes as much to Mort Walker, Archie Comics, and other vintage teen-humor strips as it does to Clowes. ... [Grade] B" – The A.V. Club
• Review: "...Captain Easy follows a mysterious agent-for-hire as he travels exotic lands, battling bad guys. ...Crane’s art is stunning, combining simple cartoony figures with richly detailed backgrounds in clever, colorful layouts. It isn’t even necessary to read the dialogue or captions to follow the action; just scan Crane’s dynamic lines, which make every panel look like a unique work of pop art… [Grade] A-" – The A.V. Club
• Review: "I was pretty excited when I found out that Fantagraphics was publishing an anthology of The Best American Comics Criticism. ... Editor Ben Schwartz did a great job selecting pieces that comprise a vibrant narrative of the industry. From graphic novels with literary aspirations to comics about capes, the breadth of content in here is really fantastic. ... But of all the essays in the book, only one is written by a woman. That’s a big let down." – Erin Polgreen, Attackerman
• Plug: "Drew Friedman is the master American caricaturist of our time. Not only are his portraits of the famous so realistic, they induce double takes, but he also captures truths about personality and draws out (pun intended) the funny in everyone." – Michael Simmons, LA Weekly
• Plug:G4 drops a nice mention of "the ongoing and lovingly assembled Complete Peanuts series" in their review of the Snoopy Flying Ace game for Xbox 360
• Interview:Comics Comics' Nicole Rudick sat Al Columbia down for his most candid and revealing interview ever: "So, yeah, I can still draw Pim and Francie. They’re a lot of fun to draw. Almost too much fun. You start to get intoxicated working on them. It’s like, 'This is too much fun. This shouldn’t be allowed. This shouldn’t be legal.' I always put it aside because it just gets me too . . . they’re very intense and fun and maybe fun upsets me."
• Interview:The Daily Cross Hatch's Brian Heater concludes his conversation with Gene Deitch: "I hate the term '2D.' That’s bullshit. They put us in that category. They say they’re making 3D. They’re not 3D. What Pixar does is not 3D because it’s shaded. The screen is flat. It’s a flat picture. It’s just an illusion."
• Profile: Taylor Dungjen of University of Cincinnati student newspaper The News Record profiles U of C faculty member C. Tyler: "You might say Tyler is a proud American. You might even call her a patriot. She says she is a liberal hippie chick who supports American troops."
This interview was conducted via telephone and transcribed by Comics Journal editorial intern Ian Burns and proofread by TCJ's Kristy Valenti and myself. Thanks to all! –Ed.
IAN BURNS: One of the new features [in The Search for Smilin’ Ed] is this huge fold-out here, and I was wondering, now that there’s over one hundred characters in your own personal universe, does having it that large affect how you create new stories at all?
KIM DEITCH: Well, it certainly gives me a lot of advantage in terms of I’ve got all these characters and I can use them in stories, but I’ll tell you, bein’ a character of mine isn’t all that great [Burns laughs]. If I haven’t got a good idea for ‘em, forget about it. A character’s only as good as he is contributing to the storyline that I want to tell. The only one that’s really lasted all this time is Waldo, and even him I’ll lay him off for years at a time if I don’t feel I’ve got a good story.
That’s why I think those stories are pretty good is because I never tried to force one. I never got up in the morning and go [adopts southern drawl]: “Hmm, I’m gonna make me a Waldo story!” [Burns laughs]. I don’t do that: to me, the play’s the thing, and it’s got to be a good yarn.
BURNS: In the middle of creating a story, do you think: “I could see the story from a different angle.” In the TCJ #296 interview, Gary [Groth] cited the Rashômon Effect.
DEITCH: God knows that’s a gimmick that’s gotten plenty of mileage.
I will say this: in “The Sunshine Girl,” the long story in Deitch's Pictorama, that character Eleanor — I got to like her so much that I’d say the story I’m working on now was suggested by the fact that by the time I was nearing the end of that story, I got to like that character so much I hated to give her up. But ironically, now that I’m doing the story she doesn’t really have that much to do with it [Burns laughs]. At the beginning, discovering this manuscript, and then there’s an epilogue at the end and this woman occasionally mentions her by name as she’s describing something she did, so....Well, you just have to see where things go, you know? I had it in my mind that I’d like to do another story with her and maybe I will but, oddly, I didn’t really do that at all. I just used it as a jumping-off point for another story with a new character.
BURNS: Great. Back on the fold-out: Did you go through any in-depth laying-out process for all these characters, or...?
DEITCH: When I submitted the idea to Kim that we do The Search for Smilin’ Ed, the reason I did it is I figured this one I’m working on now is going to take me so long, I’d like to have something come out in the meantime, so people don’t forget about me. But, he said, “OK, I think this will make a good book, but you know what, I’d like to have an article in there talking about ‘The Kim Deitch Universe.’”
Now, I didn’t make that term up. But you know the Marvel Universe: it just means the interconnectedness of all my characters. And when he said that, I immediately, feeling cocky [Burns laughs], said: “Well, hell, if you guys are going to have an article about The Kim Deitch Universe, the least I can do is draw it!” [Burns laughs.]
Having said this, then I’m going, “Oh my God what have I said? How the hell am I gonna draw that?” [Laughter.] But, in a way that worked out, because I even spun off my own uncertainty: I was proud of the thing I worked up, it’s almost like a story but it isn’t a story. It leads you into it. Along the way I got the high concept: “let’s have it all happening inside my head.”
BURNS: Right, that’s what I was just going to say: it’s all centered around that image.
DEITCH: Yeah, and once that happened, then I really started catching fire. I did several elaborate sketches of it, and it wasn’t exactly pure fun, but it was happening. I knew I was onto something good and it came out pretty good, I think. It was hell: I had two computers cave in under me because that was a huge file. I had to get Paul Baresh to cut it in half. If you look at the Universe ones that they printed separately, you look really careful in the middle you can see where there’s a slight differentiation, ‘cause we were doing it in two hunks. Pretty much the biggest file I ever worked on. “Sex, Drugs, and Rock ’n’ roll” for Kramers [Ergot]; those were bigger, but they didn’t give me the trouble that this one did. “Kim Deitch Universe” was really blood, sweat and tears. But not the concept, so much, once I got going on that.
But the real bitch was colorin’ it, which usually is sort of fun for me. But I never had such a big busy thing. Like I said, first I started on my wife’s computer and it crashed, and then I went over to the other computer...it was giving me all kinds of trouble till I cut it in half.
Kelso will be making a rare return to New York since moving back to her hometown of Seattle, WA a few years ago. She will give a multimedia talk called "Big and Small": How do you construct a story that includes the big wide world, history, culture, sweeping events like war and political change, but that also includes personal, intimate character-driven things like friendship, family relationships, love, sex, babies and dying? How do you meld the two together into a believable whole? How do you humanize important historical players, kings, queens and presidents, and also show how the personal lives of ordinary people are affected by grand events that take place outside their doors? This are the essential questions that Kelso asked herself throughout the creation of Artichoke Tales, and she answers them through examples of her own work, as well as other artists who are engaged with similar issues, from Joe Sacco to Lynda Barry.
Meanwhile, underground comix and New York legend Deitch will present a visual tour through his "universe," which features a a sprawling, multi-generational cast of characters both fictional and real, spanning comics and animation history of the 1920’s and 30’s through the present day, with a particular focus on his latest epic, The Search for Smilin' Ed. Deitch will explicate his incredibly intricate yet organic page and panel constructions, which he employs with unparalleled excellence in the creation of structurally complex narratives concerning equally complex characters.
These lively talks will be followed by a question and answer session with the audience and book signing.
WHO: Megan Kelso and Kim Deitch WHAT: Multimedia talk and book signing WHERE: The Strand Bookstore, 12th & Broadway, New York, NY WHEN: Thursday, June 24, 7PM
ARTICHOKE TALES is the long-awaited graphic novel from Megan Kelso, a six-years-in-the-making family saga spanning three generations and an entire continent. This coming-of-age story is about a young girl named Brigitte whose family is caught between the two warring sides of a civil war, taking place in a world that echoes our own, but whose people have artichoke leaves instead of hair. Influenced in equal parts by Little House on the Prairie, The Thorn Birds, Dharma Bums, and Cold Mountain, Kelso weaves a moving story about family amidst war. Kelso’s visual storytelling, uniquely combining delicate linework with rhythmic, musical page compositions, creates a dramatic tension between intimate, ruminative character studies and the unflinching depiction of the consequences of war and carnage, lending cohesion and resonance to a generational epic. This is Kelso’s first new work in four years; the widespread critical reception of her previous work, THE SQUIRREL MOTHER, makes Artichoke Tales one of the most eagerly anticipated graphic novels of 2010.
THE SEARCH FOR SMILIN' ED is the latest of Kim Deitch’s graphic novels to showcase his obsessive burrowing into the nooks and crannies of vintage American popular culture. A long-gone children’s show host propels Deitch into a pop-culture investigation.
Where Deitch's earlier books focused on the earliest days of the animation industry (in THE BOULEVARD OF BROKEN DREAMS), the history of comic strips (ALIAS THE CAT), and vintage movie serials (SHADOWLAND), THE SEARCH FOR SMILIN' ED explores the surreal landscape of children’s TV shows. Launched on his latest investigation by a remark from his brother about a shared childhood favorite (“Y’know, I heard that when Smilin’ Ed died... his body was never found!”), Deitch begins to uncover some mysterious things about the kiddie-show host and his malevolent sidekick, Froggy the Gremlin. Ranging across the entire twentieth century, replete with flashbacks and stories within stories, The Search for Smilin’ Ed! is a narrative whirligig that shows Deitch at his wildest and woolliest.
Originally created in 1997 and 1998 for the underground anthology Zero Zero, The Search for Smilin’ Ed is the latest of Kim Deitch’s graphic novels to showcase his obsessive burrowing into the nooks and crannies of vintage American popular culture.
Where Boulevard of Broken Dreams focused on the earliest days of the animation industry, Alias the Cat delved into the history of comic strips, and “Molly O’Dare” (collected in Shadowland) concerned vintage movie serials, The Search for Smilin’ Ed explores the wacky world of children’s TV shows.
Launched on his latest investigation by a remark from his brother about a shared childhood favorite (“Y’know, I heard that when Smilin’ Ed died... his body was NEVER found!”), Deitch begins to uncover some truly amazing things about the kiddie-show host and his malevolent sidekick, Froggy the Gremlin. Meanwhile, Deitch’s muse and nemesis Waldo the Cat abandons Deitch to hang out with some demon buddies, and soon both Waldo and Deitch are closing in on the mysteries of Smilin’ Ed and Froggy.
Ranging across the entire 20th century, replete with flashbacks, stories within stories, and guest appearances from other Deitch regulars, The Search for Smilin’ Ed is a narrative whirligig that shows Deitch at his wildest and woolliest. For those whose heads have started to spin at the complexity of Deitch's mythology, we've included a full-color two-way fold-out guide to "The Kim Deitch Universe," and Deitch scholar Bill Kartalopoulos offers a lengthy essay on the ins and outs of this ever-evolving, ever-expanding world where fantasy, reality, and satire combine, clash, and are sometimes downright indistinguishable.
Bonus! Deitch has also created a brand new story starring Waldo in his 21st century post-Alias the Cat state of domestic bliss, stumbling across an army of (French-) talking beavers. Of course, there’s a story behind that...
“Kim Deitch has created a private world as fully realized in its own way as Faulkner’s. He’s an American original, a spinner of yarns whose beautifully structured pages and intricate plots conjure up a haunting and haunted American past.” – Art Spiegelman
Three new compact softcovers wending their way into comic shops this week. Plentiful previews, bonus downloads, and more information about each book await you at the links below. Your local comic shop can divulge availability at their particular establishment if contacted in advance. Read on to see descriptions and comments from the comics bloggers:
"Definitive title notwithstanding, this 360-page Ben Schwartz-edited volume actually concerns itself with writing pertinent to (though not exclusively concerned with) the maturation and rise in public consciousness of North American ‘literary’ comics..." – Joe McCulloch, Comics Comics
"Disclaimer: I've got an essay in this Ben Schwartz-edited anthology, which features criticism as well as interviews and historical pieces." – Douglas Wolk, Comics Alliance
The Comics Reporter's Tom Spurgeon refers you to his interview with Ben Schwartz, which he prefaced by saying "It's the kind of volume that starts fights... — but that's okay and it's part of the fun. There's a lot of good work in the book and one or two absolutely inspired choices. Anyone with an interest in comics should at least give it a flip-through, and anyone with an interest in writing about the medium should use it as a springboard to discover a host of excellent new favorites."
"...[N]othing but transcriptions of Twitter feeds, message boards and comics blogs, mostly dealing with Stephanie Brown and how messed up Identity Crisis was. Oh wait a minute, I’m thinking of The Worst American Comics Criticism, the volume of comics writing I’m editing, in my mind." – J. Caleb Mozzocco, Newsarama
136-page black & white 6" x 8.25" softcover • $12.99 ISBN: 978-1-60699-347-7
"...[T]he 136-page latest from the always-fun Joe Daly..., a hugely vulgar quest adventure imposing video game RPG tropes on the aggressive banality of suburban navigation..." – Joe McCulloch, Comics Comics
"Joe Daly's latest, an Angouleme Festival essential book this year in its French-language iteration, is so deeply weird it makes his oddball Hergé pastiche in his last work look like actual, straight-forward Hergé." – Tom Spurgeon, The Comics Reporter
"I’m not doing a very good job of describing it, I know, but that’s only because it’s so damn weird. Hopefully I’ll do a better job when I sit down to write a formal review. In the mean time, give it a flip-through tomorrow! It has a character named Lash Penis in it!" – J. Caleb Mozzocco, Newsarama
162-page black & white 6" x 8.75" softcover (with full-color foldout) • $16.99 ISBN: 978-1-60699-324-8
"Nice – a spankin’ new Fantagraphics collection of one of the major ’stray’ Kim Deitch works, a 1997-98 serial from the pages of the publisher’s old funnybook anthology series Zero Zero. Join your humble artist/narrator and Waldo the cat as they explore the demon-visited world of children’s programming..." – Joe McCulloch, Comics Comics
"A major collection from an A-List comics talent. This time out the great Kim Deitch examines the nature of entertainment through the ways audiences encounter, process and recall it. The joyful image-making couldn't be more entertaining to drink in." – Tom Spurgeon, The Comics Reporter
Mark your calendars! Desert Island in Brooklyn welcomes Kim Deitch for a signing and celebration of his new collection of The Search for Smilin' Ed! on Friday, May 14, 2010. Then, on Saturday, June 19, Jim Woodring will be in the house to meet fans and sign his new graphic novel Weathercraft. As usual with Desert Island, exclusive silkscreen show prints will be available at the events — that's a process picture of one of the screens for Kim's print above, and you can see the others on the Desert Island blog. We'll let you know more details as they become available, but in the meantime you can RSVP on Facebook for Kim here and for Jim here.
• Review: "...[The Search for Smilin' Ed] closely resembles a bad acid trip I had several years back while watching Howdy Doody, old Fleischer cartoons and listening to Art Bell on Coast to Coast AM..., and I mean that in the most complimentary way possible. But it comes together in a grand and epic fashion, telling a tale that showcases a vintage psychedelic style in terms of both narrative and art. ... The story is alternately hilarious and mildly disturbing in a Philip K. Dick sort of way. ... It’s a hilariously disturbed delight for the eyes and an enjoyable piece of work from a legend in the field." – Chad Derdowski, Mania
• Review: "It’s the experimentation of the work found within (and without) The Unclothed Man in the 35th Century AD, which excites me the most. This is the work of a young artist who is playing with arrangement of panel, with color and form, and coming up with his own thing. ... There's lots to appreciate in this collection of avant garde comics." – Christopher Irving, Graphic NYC
One of the highlights of The Search for Smilin' Ed (aside from the story and artwork, of course) is the full-color two-way foldout illustration of the Kim Deitch Universe, with an annotated guide in the back of the book. We thought it might be nice to give people an advance opportunity to explore this amazing illustration and familiarize themselves with Deitch's mind-bogglingly rich and complex world. Click the images above to open big honking JPGs in a new browser window (they're large files, so please be patient while they download). Here's what the foldout looks like in person:
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