• Review: "This book in particular reprints a run where Mickey Mouse enters Pluto in a dog race and ends up getting mixed up with a banker who wants to foreclose on a friendly old couple, snooty society types, high-stakes gamblers and the mob. The mob, people. It's really great stuff, with a ton of adventure and action balanced out with the humor I was expecting, which really holds up even here in the next century, right down to the fun Vaudeville-style wordplay. I would've devoured this thing if I was a kid, and while it's ostensibly a teaser for the bigger reprint volumes -- which, at $30 for 300 pages are looking like an even better deal than I thought -- it's awesome for all ages." – Chris Sims, Comics Alliance
• Review: "Joe Daly's comics are an unequivocal delight. The second volume of his role playing/video game send-up and tribute, Dungeon Quest, is a visual feast from beginning to end. Of course, this feast may be mere junk food, but his sheer commitment to the adventurous reality that his characters encounter makes the reader care about the most ridiculous of scenarios.... While there are a number of alt-comics fantasy series being published these days (with Trondheim & Sfar's Dungeon the best), Daly's fusion of underground comics sensibilities with the blunt directness of the video game playing experience is unique and leaves the reader wanting more." – Rob Clough, High-Low
• Interview: At Under the Radar, Jeremy Nisen talks to Eye of the Majestic Creature creator Leslie Stein: "Right now I pretty much write out the comic like a movie script and then just attack the page. As I go along I change some of the dialogue or add different sequences I've thought of to enhance the story, like if there's something I draw in a background on a whim, I might like it and incorporate it into the story. This way it's exciting as I go along, and not just laborious drawing. As for the concept, it just pops into the old bean. Magic!"
• Plug: In a pre-TCAF Q&A at the National Post, comic artist Niki Smith talks about her most-anticipated comic of the year: "Wandering Son is debuting at TCAF (from Fantagraphics) and I absolutely cannot wait to add it to my collection and push it on everyone I know. It’s a wonderful story of gender and sexuality and growing up."
Eye of the Majestic Creature is a collection of semi-autobiographical and fantasy-based comics that combine dry humor, psychedelia, and emotion to show the viewpoint of one person’s world internally and externally. The story follows a young girl, Larrybear, and her talking acoustic guitar Marshmallow on their adventures through the countryside, Chicago, San Francisco and New York. While Larrybear struggles to connect with strangers, her friends, and her family to various degrees of success, her growing population of anthropomorphic friends have adventures of their own.
Larrybear is in a constant struggle between the desire to connect with those around her and to be left to her own devices. You get a glimpse of her past life when she visits her home town of Chicago, trying to relate to old friends who have not matured since high school, as well as her family (which includes her Hippopotamus father and his harem of ex-wives, two brothers, and Salsa-dancing mom). In the present, she moves to New York to find work for a time, resulting in many hilarious and drunken adventures with her new coworkers at a cell phone decorating shop, and her old friend Boris, who shares with her his P.G. Wodehouse books, as well as his “Incredible Hulk” weed. Drawn in shades of gray using the near-deceased practice of stippling, Stein’s imagery draws you into her world for a complete and engrossing experience.
Praise for Leslie Stein:
“Leslie Stein’s comics inhabit a charming and semi-autobiographical (in the most ‘semi’ sense of the word) yet surreal, insular world where her best friend and closest confidant is an acoustic guitar. What’s not to relate to?” — Peter Bagge
“Early in the 20th Century, a beautiful cartoonist, Marcel Duchamp, pretended to be a marginally attractive woman and spent considerable time watching dust accumulate. Early in the 21st Century a beautiful cartoonist, Leslie Stein, pretended to be a funky dweeb and spent considerable time counting sand. Catch my drift?” — Gary Panter
• Review/Interview:ESPN.com's Jim Caple looks at 21: The Story of Roberto Clemente — "Santiago has a stunning, cinematic style, and 21 is filled with gorgeous illustrations that capture the power and grace of Clemente as no standard book of black and white type ever has or could. […] By appealing to all ages, 21 is a wonderful way to introduce younger readers to one of baseball's most important players and a great way to introduce older readers to the story-telling power and sophistication of graphic novels." — and talks to its creator, Wilfred Santiago: "Clemente's appeal is exactly what you see in 21. He had many sides but the story of a young person from a humble background going against the odds, overcoming obstacles and challenges, the struggles, anger, injustice, the loneliness, while not losing himself in the process, was compelling. On top of it, he did not conform to being an average athlete or human being but excelling as both. And he did it during one of the most volatile times in America. This is a story that spoke to me, and I couldn't pass. I also got to dip into baseball; it was a great experience dissecting the sport."
• Review: "While there was clearly a lot on his mind, Trondheim is still first and foremost a gag man. He imbues every page with his dry wit, creating an authorial voice that allows him to get away with all sorts of slapstick and nonsense (without seeming too silly), while also allowing him to write about personal and serious matters (without seeming too ponderous). In later years, Trondheim would return to autobio comics as a way to revive his interest in drawing, but he’s truly at the height of his powers in Approximate Continuum Comics." – Rob Clough, The Comics Journal
• Plugs: At Comic Book Resources, Alex Dueben's report from last weekend's MoCCA Festival includes praise for Peter Bagge & Gilbert Hernandez's Yeah! ("The book isn’t on sale yet, but this should be in demand by anyone who like all-ages comics and those who, when they read that it features a section penciled by Gilbert and inked by Jaime, know they need to own it") and Leslie Stein's Eye of the Majestic Creature ("charming and fabulous") as well as mentions of some of our other debuts
Leslie Stein hardly needs an introduction… because it’s late and I’m tired and I have to get up at 4am tomorrow. So, I’m going to make this short.
Stein’s work appeals to me because it contains pseudo-biography, anthropomorphic silliness and impeccable craftsmanship into one delightful package. Her work is traditional yet fresh, drawing from comic strip history’s rich library of gestures, expressions and fantastical characters while presenting innovative ideas in composition and texture.
I like it a lot.
Thank you. Good night.
IAN BURNS: You grew up in Evanston, Illinois. Could you describe the town and what it was like for you growing up there?
LESLIE STEIN: Evanston is a large suburb of Chicago. It’s a college town that Northwestern University is in. It’s a nice suburb. I lived on the southern side near Rogers Park so I was really close to the city, so as I grew older I could go into the city easily and explore and go to punk rock shows when I was a teenager. Stuff like that.
BURNS: Where did you go to high school?
STEIN: I went to Evanston Township High School. It’s the public school there.
BURNS: You did not enjoy high school very much.
STEIN: (Laughs) Right. I was an odd duck there. I was like a punk rocker and most of the other people who went to school there didn’t look that kindly upon that. So I didn’t have many friends, and I mostly made friends from other schools when I went to shows in the city. I couldn’t wait to get out of high school, so I actually took double classes my senior year and graduated early.
BURNS: So what year would that have been when you were kind of getting into the punk scene?
BURNS: So it would have been well on the wane of the big time punk scene, but you got in with a fairly big punk community?
STEIN: At the time all the kids went to the Fireside Bowl in Chicago. So I went there to shows every weekend. And yeah, it wasn’t as cool as it was, but it was what we had at the time.
BURNS: You were drawing at a fairly early age.
STEIN: I started when I was two. The story my mom likes to tell, that I came home from a pre-kindergarten kind of class, preschool, and I guess I got in the car and I told her, “Mommy, I’m an artist!” I guess someone at school must have told me I was an artist because of the way I was drawing so intently. So yeah I was really focused on drawing for my whole childhood.
BURNS: Were your parents encouraging?
STEIN: They were neither discouraging nor encouraging. They bought me art supplies and they let me draw, which is what most kids do, but I definitely wasn’t encouraged to pursue it seriously.
BURNS: As you grew up did you pursue any academic training in the arts?
STEIN: No, I attempted… I was so unhappy at my high school that I attempted to go to an arts high school, I applied. And I went through the whole process of applying for the school, and I got in. What they told me upon accepting me was that I couldn’t draw what they considered the cartoons I had shown them to get in. That was stuff I had to do on the side and I would have to do “real” art there. Because I thought my cartoons were real art, I didn’t understand what they were talking about, and I didn’t like being talked to like that ’cause I was already a little rebel. So I decided not to go to school there. I really blocked out most of high school. If I see people on the train from high school… they remember me and I have no idea who they are.
BURNS: Did you move to Brooklyn before you attended college?
STEIN: No, actually I went to school… I got accepted to the San Francisco Art Institute, and I went there for a year and a half; my major was interdisciplinary, so I figured I could get away with doing whatever I wanted to do. I took painting classes, drawing classes and print making classes, but what I ended up doing, I was just trying to draw comics, that’s what I wanted to do, because it was a conceptual art school, people really looked down upon that. I actually had someone in a critique ask me why I was even going to school there. (Burns laughs) So I transferred to the cartooning department at SVA as a sophomore, and that’s when I moved to Brooklyn.
BURNS: Ok. And that’s where you were the only girl in your department, correct?
STEIN: (Laughs) Right, right. Actually, when I first started as a sophomore there were two other women in the department and they both dropped out by the end of the year, so for the last two years I was the only woman in the department.
BURNS: You’ve got to tell the story about the Wolverine bust. I made a special note about that.
STEIN: (Laughs) So… (Laughter) I was thinking, I don’t know why I was thinking this, but I was thinking, “I’m gonna go and I’m going to find all these kindred spirits doing really really interesting comic work,” but it turned out that most of everyone in the department was drawing superhero comics. I don’t know why I didn’t assume that would be the case. So a lot of times I’d be sitting in class, and I’d be sitting behind a guy who I noticed would be drawing Wolverine over and over and over again. (Burns laughs) In different… He would draw him like a character study: From the side, claws out; from the front, claws in; from the side, claws out. Now, it wasn’t the same guy, but during one class, I actually was, I guess, forced to critique a bust of Wolverine.
BURNS: So he was a popular character at that school.
STEIN: (Laughs) Yeah, everyone liked Wolverine! I guess he’s probably one of the most popular superheroes, but yeah people REALLY loved drawing Wolverine. So yeah the bust was a full bust of Wolverine, and it was really quite impressive, it was a very nice piece of sculpture. It was, you know, him looking very muscular with his arms out to his sides and his claws out. But it was cut off right mid thigh, and the funniest thing about it was that he had the hugest package I’ve ever seen on a bust (Laughter), and the whole time, you know we’re trying to critique this, and I’m sitting there with my hands over my face just laughing so hard. And I think I actually raised my hand and said it was a beautiful piece of art.
We're thrilled to present the Fantagraphics guide to the 2011 MoCCA Fest, happening this weekend Saturday, April 9th and Sunday, April 10th at the Lexington Avenue Armory in New York City! Print this out and use it as your shopping checklist and your weekend schedule!
First off, take a look at all the amazing new releases that we will be debuting at the show! Many of these books won't be in stores for several more months, and copies are limited, so make our table your first stop, or risk missing out!
Secondly, check out our jam-packed schedule of awesome authors who will be signing at the Fantagraphics table over the weekend. Not only will they be signing our books, but several of them will be bringing previews of works-in-progress!
another update: Tim Kreider will be joining us on Saturday afternoon at 2:30 pm before his panel at 4:30 pm!
All this and more awaits you at the Fantagraphics booth, located at #J1, J2, K1, K2.
And finally, get a gander at all these great panels! If you haven't already heard from The Daily Cross Hatch, they've added a second room this year, and they'll be doing more one-on-one conversations like the ones with Gahan Wilson and Peter Bagge listed below! You won't want to miss it!
Saturday, April 9th
11:30 am // Teaching Comics:Jessica Abel joins fellow panelists Bill Kartalopoulos and Tom Hart in a discussion from reading for content/visuals, to teaching how to “read” their visual rhetoric, to thinking about how to tell a story visually, what makes comics worth teaching? (Room A)
1:30 pm // Building a Book, From Start to Finish: Mark Newgarden moderates a panel with Stephen DeStefano (as well as Ben Katchor and Lauren Redniss), with an exploration of the blood, sweat, and tears that go into making a book. (Room A)
1:30 pm // Gahan Wilson: Playboy and Beyond: We explore the long, storied career of satirist Gahan Wilson. (Room B)
2:30 pm // Volunteer of the Year: Peter Kuper will present Al Jaffee with the Klein Award! (Room A)
2:30 pm // Dash Shaw and Brecht Evens in Conversation: Dash Shaw and Brecht Evens are among the most prodigious and prolific young artists working in comics today. Both began publishing ambitious work while still in school, and both have since gained notice for their lush, inventive, and thoughtful comics. (Room B)
4:30 pm // The State of Editorial Cartooning: Brian Heater presents a panel with Tim Kreider (along with Ruben Bolling and Ted Rall) on the trials and tribulations of creating political cartoons in 2011. (Room A)
5:30 pm // MoCCA Presents the Cross Hatch Carousel: Cartoonists and voice actors perform live comics readings, featuring our own Michael Kupperman and Ted Stearn, as well as Jeffrey Lewis, R. Sikoryak, Kate Beaton, Lisa Hanawalt, Julie Klausner, and more. (Room A)
Sunday, April 10th
12:30 pm // Almost True: Calvin Reid leads a discussion on where autobiography and fiction collide with Gabrielle Bell and Leslie Stein (and Joe Ollmann and Pascal Girard). (Room A)
1:30 pm // Peter Bagge: A History of Hate: Brian Heater spotlights Peter Bagge, in a one-on-one conversation with one of alternative comics’ most influential and enduring voices. (Room B)
1:30 pm // The Enterprising Will Eisner: Charles Brownstein leads a panel with Jules Feiffer, as well as Denis Kitchen and Paul Levitz. Come learn about who Will Eisner was as an entrepreneuring artist in a time when New York was the center of the commercial art universe, and how his art was shaped by that environment. (Room A)
3:30 pm // Ink Panthers Live: The popular podcast live, with special guests, like John Kerschbaum. (Room B)
Here comes another all-star issue of the always-awesome Smoke Signal from Desert Island! This one's a split issue with the Finnish comics newspaper Kuti so there's sure to be some great stuff to discover by the Finns. Above, the cover by Lilli Carré (the flip cover is by Aapo Rapi); inside you'll find stories and strips by Sami Aho, Gabrielle Bell, Marc Bell, Lilli, Michael DeForge, Roope Eronen, Glynnis Fawkes, Nathan Gelgud, Sam Henderson, Keith Jones, Paul Karasik, Ina Kallis, Tim Lane, Jarno Latva-Nikkola, Blaise Larmee, Mikko Luostarinen, David Mazzucchelli, Jesse McManus, Tommi Musturi, Jyrki Nissinen, Jaakko Pallasvuo, Ville Pirinen, Aapo Rapi, Ron Regé Jr., Anna Sailamaa, Kari Sihvohnen, Avi Spivak, Leslie Stein, Janne Tervamäki, Petteri Tikkanen, Jari Vaara, Amanda Vähämäki, and Mikko Väyrynen.
We'll be debuting the latest adventures of Buddy, Lisa, and Harold in Hate Annual #9, AND we'll have hot-off-the-presses copies of the teengirl-sensation Yeah! for Peter to sign for you. Plus, Desert Island will have a stunning seven-color screenprint designed by Peter that you won't want to miss!
And as a special bonus, Peter will be joined by one of our newest artists, Leslie Stein! Pete sez: “Leslie Stein’s comics inhabit a charming and semi-autobiographical (in the most ‘semi’ sense of the word) yet surreal, insular world where her best friend and closest confidant is an acoustic guitar. What’s not to relate to?”
Find out what Pete means with the release of Leslie's first-ever book, Eye of the Majestic Creature, and get your copy signed on Friday night!
The release party runs from 7:00 to 10:00 pm at Desert Island, located at 540 Metropolitan Ave in the lovely Williamsburg neighborhood of Brooklyn. See you there!
Here's a brief video profile from 2008 which introduces you to Eye of the Majestic Creature creator Leslie Stein. In it she discusses her creative processes and her comics inspirations, including Charles Burns and Peter Bagge (the latter of whom she'll be appearing with in NYC very soon — stay tuned for an announcement). It's part of a series of "video portraits" created by the website Etsy to spotlight artists who use the site to sell their wares — here's Leslie's page where you can buy her self-published comics and artwork.