• Cartoon Utopia drawings by Ron Regé Jr. (still raising cash to aid in the completion of the book)
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Category >> Lorenzo Mattotti
• Cartoon Utopia drawings by Ron Regé Jr. (still raising cash to aid in the completion of the book)
• Convention sketches inspired by song lyrics is a pretty great idea, and an Atlanta comic fan named Erich collects them and posts them on his blog. Above: Lisa Leavenworth + Mudhoney by Peter Bagge (hat tip: CBR)
• Steve Brodner draws and comments on last week's GOP debate, 9/11 cash-ins and this hilarious one on the fate of Anthony Weiner's House seat
Lots and lots of images to share, and lots and lots of overflow spilling over into links:
• We linked to this a while back in Daily OCD, but the interview with Lilli Carré at art:21 includes the first glimpse of her sketchbook I've ever seen (along with other art) and daaaang; Lilli also drew Groo the Wanderer for Matthew J. Brady 's theme sketchbook (there's a good one by Jeremy Tinder too) AND did this illustraton for The New York Times AND this amazing letterpress print
• Writer Dan Sinker shares the evolution of Paul Hornschemeier's cover illustration for The F***ing Epic Twitter Quest of @MayorEmanuel — via Paul's blog, where Paul also shares a website header illustration and accompanying interview; also, about umpteen new entries on his daily sketch blog The Daily Forlorn
• Lorenzo Mattotti previews 3 upcoming publishing projects: a graphic adaptation of Mark Twain's The Adventures of Huckleberry Finn and a collection of Venice landscapes; and a collaboration with Art Spiegelman for an upcoming September 11-themed collection from Casterman
• Sergio Ponchione teases his Prof. Hackensack strip and illustrations in the new Linus as well as some recent illustrations of classical composers
• Speaking of Laura Park, Derek Van Gieson did this little jam strip with her on a recent visit to Chicago, where they and others also took part in a little Trubble Club action; more from Derek at his These Days I Remain blog
• Stephen DeStefano illustrated this poster for a new Washington, DC staging of Lithuanian Sweetheart, a play written by his Lucky in Love collaborator George Chieffet; also, an album cover illustration, Popeye playing hockey, Popeye playing soccer
• Louis C.K. fan art on Josh Simmons & Wendy Chin's Quackers blog (I'm not sure who did it — I'm guessing Wendy... and if you don't watch Louie you should) — meanwhile Josh has a couple new doodles on his The Furry Trap blog
• Frank Santoro is selling his sketches of "black & white boom" cover art, along with the original comics, to help keep him in cash while he works on his new comic — there's a new mythology piece on his Tumblr too
This interview was conducted by Fantagraphics' Eric Buckler. Thanks to Eric and Lorenzo! (Ed. note: Hi Lorenzo! We miss you in North America! xo janice)
Mattotti has now collaborated on the book The Raven with Lou Reed, a project where he re-interpreted the works of Edgar Allen Poe and Lou Reed into creatures and situations in painting and illustration. Mattotti creates images from these stories that help to unlock any hidden power the pieces may have, as well as perfectly stating the obvious elements.
This interview was conducted at 3:00 am between Seattle, WA and Paris, France.
Eric Buckler: How did the Raven project come together?
Lorenzo Mattotti: I was contacted by Lou Reed's agency to ask me if I was interested in a collaboration. I didn't understand very well initially what he wanted. He wanted to make an illustrated book involving The Raven. At the beginning, I understood that he wanted to make a graphic novel, but when I read the text, I understood this was impossible. [laughter] So, he informed me that he would like me to make a book inspired by the show he made with Robert Wilson. But really, I still didn't understand it that much, so we decided to meet each other. I went to New York and we met, and I wanted to know how free I could be to make the book. Did he want classic illustration or could I be free to make my own interpretation? Lou wanted me to make my own interpretation, hearing the music. The style could be different according to the atmosphere and the music, in a very free way. I showed him one of my sketchbooks. Normally, it is very free, my personal work. So, I started to do many sketches in black and white, and I sent them to him by mail. He wanted to see everything. He told me what he preferred, and what he didn't really like, and we decided what to make in color. There were different techniques: there was pencil, brush, crayon, and ink.
Buckler: Do you have any personal connection with Edgar Allen Poe's work? Is it important to you?
Mattotti: I like his work very much. When I was young, it was strange, because I started to read Edgar Allen Poe done by a very good comics artist, Dino Battaglia. He made a version of a little novel by Edgar Allen Poe in a wonderful way with very evocative drawings. So, then I started to read the stories. I think Edgar Allen Poe is really inside my imaginary world because he has influenced so many other writers and so many other artists. I think he is now part of our collective imagination, really inside my idea of terror. The mystery, you know, the darker, the obsession of the head, of the brain. When I knew that he (Reed) wanted to make a book about Edgar Allen Poe, for me it was really natural. I did Jekyll and Hyde, and for me to go inside the obsession, you know to take the dark side of ourselves, for me, it is pretty much my work. And the idea that I could work with Edgar Allen Poe and Lou Reed pushed me to go really in a very straight way to not be afraid to make very strong images. I was justified. So it was really natural and it was really a pleasure to have the possibility to make these kind of images. It's a part of my work.
Buckler: What about the music of Lou Reed? What kind of a connection do you have to his music?
Mattotti: I knew the music of Lou Reed at the beginning of the '70s. I wasn't really impressed by his way of singing, to use the voice like an actor. Sometimes it was strange the way he changed his voice, sometimes he spoke, sometimes he sang. It was the way he interpreted the words, the expression of his voice. I remember there was a very good record, No Prisoners, I think, a live performance where there was really an atmosphere of the cabaret. I remember that I was thinking of a way to draw in this kind of voice. I was always interested by the music in the way that I draw. Really, I remember that I was thinking what kind of sign could be the voice of Lou Reed: very dry, and black & white with strange variations. I think that it is kind of my thinking with the voice of Robert Wyatt.
Buckler: Who was that?
Mattotti: Robert Wyatt, Soft Machine -- you know, an English group from the '70s?
Buckler: Oh, OK, Soft Machine.
Mattotti: Yes, the drummer of Soft Machine. Also, he has a strange way of singing. So for me it was very good to know that Lou Reed wanted to work with me.
Buckler: You illustrate in different styles throughout the book. Can you talk about how you decided on these different styles?
Mattotti: I found it more and more interesting to make books where I can put inside different ways I interpret images. The idea that the book would be not so monolithic; only one style, only one direction, really intrigued me. I normally use different ways to draw so I can make the same object represent different emotions. I wanted the freedom to interpret it in the same book, to put different emotion in different ways. Always the idea develops not in a closed way, but the book is like a laboratory, a development of different ways to interpret the text. I have always been interested in this. I can interpret one page one way, but I say, “Oh, maybe it is possible in another way, look at this.” I want to give to the reader the possibility to open their imagination, give them inspiration to think about a different way. Always the images must be strong, not a sketch.
Buckler: Right, they must be complete pieces.
Buckler: The book is full of creatures. Can you talk about where some of these come from, how you craft those creatures?
Mattotti: Creatures are always our insides. Its part of a long work that I have always done in my sketchbooks. I think in 30 years, I'll continue to make drawings like that in my sketchbook. They are always drawings about my insides, so they are metaphor, they are symbols, symbols of our natural inside. So, I don't think they are different creatures from us, they are not animals, they are us. They are our brains, they are our ideas. The drawing gives us the possibility to change the form to make signs that interpret the reality. They are the concretization of our imagination. So, maybe sometimes they explain much better than a realistic image would. So, the creature from inside you. You may think that they are creatures of another world but they are creatures of our world; the spider, the monster, the stranger, the character. The distortion is the distortion of our brain.
Buckler: So, you lent the creature inside of yourself to this work to help translate it?
Mattotti: To what?
Buckler: You said that the creatures were a concretization of the creature inside of you?
Mattotti: They are a concretization of ideas, of sensations, of emotions. I don't have an animal in my brain, I have emotion, contradiction, tension, pieces of sensation and emotion. And when I draw, my creatures are the concretization of emotions. I do not know before I draw what will happen on the paper, they go out in a very natural way. They are the symbol of sensations that I have inside.
Buckler: Can you take us through creating one of your images? What your process is?
Mattotti: There is always a different creative process. It depends very much on the work. In this case, I read the text of Lou Reed [Edgar Allen Poe], and sometimes I was impressed by some images. But it was more natural when I put on the music. So, I put on the music and I read some of the text, then I started to draw. The music gave me much more of the images, the atmosphere and tone of my images. Much of my work is influenced by music, so for many other images I let myself go on the melody and the atmosphere of the music. In my history, the music gave me some ideas and perspective for some of the work. It is not always like this, sometimes I must make an illustration and I try to make the composition in a very logical way, much more like a project, I have to make sketches and little by little I change. I do that when I have to make posters, or covers for magazines. When I make a comic it is between that. In a way it is a project, a very rational project, logic project, in another way you must make it possible for the drawing to develop the sense. So it is between the two.
Buckler: Could you talk further about how music relates to your art?
Mattotti: I could give you an example?
Mattotti: Fire is completely influenced by the music of Peter Gabriel and Brian Eno. I remember the first images of Fire were done hearing the music of Peter Gabriel. Always, my books have a sort of soundtrack that I use to concentrate with. The book Carnival, for me it was about the possibility to try to relate the place between music and images.
Buckler: Do you listen to music while you make art?
Mattotti: Yeah, yeah, all the time.
Buckler: You originally went to school to be an architect, correct?
Mattotti: Yeah, but I never wanted to be an architect. I really went into architecture because I couldn't go to fine art school. So, I decided to go into architecture school. There were good subjects. In a strange way I learned many things that I couldn't learn in a fine art school.
Buckler: Did you learn things in architecture school that you have been able to use in your career as a cartoonist and an artist?
Mattotti: I think architecture gave me the notion of space, the structure of the images. The idea of the project. Also, it gave me other influences in how to approach a subject. Not only in an artistic way, but about the historic way, also the logical side of the subject. In a way, it is more scientific. I learned how to be more scientific in the way I work.
Buckler: Can you talk about the difference between creating these kind of illustrations for The Raven and creating comics?
Mattotti: It is a big difference. This kind of book is a sort of a mosaic. I started with some images from one side and another side and little by little the world of this book started to exist. In the comics, I am obliged to start the development of the characters. The structure of the pages are completely different. You must think about the tolerance of the style. If you change the style, it must be justified around the subject of the story. Maybe it is more complicated to make the comics, for me it is more complicated. There must be a tension inside that is done with the images and the text. Here in a book like The Raven, or other books, I am more free, less obligations. In a way I can go on the extreme side, the free way. The relation of the text and the pages is completely different. It is a sort of complimentary thing, you must open the structure of the text that you read, you put a way to interpret it. I don't think it is easier. I think it is more simple than comics. Comics are more complicated I think.
Buckler: Do you believe that this project can be interpreted any further, into another form?
Mattotti: Maybe, yes. It could be interesting. Lou Reed, once in an interview, said that this text could be a ballet. He is always interested to reinterpret this text in a different way with different artists. Maybe it could be a dance, or an animation. I don't know. I remember one idea that could be beautiful: if there is a reading with the music and a projection of the images. Could be interesting to make something with animation or something strange in the theater. I don't know in the future what Mr. Lou Reed will do, he has so many projects -- me, too. It's like a mine, it's a big concentration of images. It's a pity the book is not published with the CD inside. It could be a beautiful addition if people could hear the music and look at the images and read the text.
Buckler: I am sure you get asked this a lot, but I wanted to concentrate on your art. Who are some graphic artists who have influenced you?
Mattotti: There are so many, but I always say that for me one of the big masters is Alberto Breccia, the Argentine master. He opened so many doors, he opened the possibilities in comics, possibilities for the expressionists to be abstract. The explosion of sensation. There are so many other masters. I think about [Dino] Battaglia in Italy. There are many painters; Francis Bacon, Caravaggio. I love Alfred Kubin and Odilon Redon. For me this book is really in the tradition of the symbolic illustrator, like Alfred Kubin or Odilon Redon.
Buckler: Who are some cartoonists who have influenced you?
Mattotti: When I was younger I read all kinds of cartoonists, I was always influenced by the story of the cartoon. In Europe we have different tradition in comics: such good creators like Hugo Pratt, but I also like American comics like Walt Kelly and Dick Tracy [Chester Gould], [George] Herriman. I really fell in love with [Lyonel] Feininger, I use many ideas of Feininger. I grew up with comics history. Jose Muñoz, I am good friends with Jose Muñoz, so he influenced me. The relation with life and work. Also, Art Spiegelman influenced me. Robert Crumb, who opened the door for independent comics. There are so many. I grew up with comics. It was the '60s and '70s. For me comics was like film or literature.
Buckler: Are there any other projects you have in the works that you wanted to talk about?
Mattotti: Now I am working in animation, experimental for television. I will be working in one of my first books Huckleberry Finn Adventures by Mark Twain. We are putting color to it right now with computers, it will be put out in France. I will maybe put out new pages or a new version of Chimera. I want to continue some of my old comics projects, black and white. I had stopped for a while.
Buckler: Is there anything we didn't cover, anything you would like to add?
Mattotti: This book, The Raven, is really a collaboration with Lou Reed, because he wanted to give me ideas, to control and be part of the project. He really wanted to work on this project. The melody of the images was done together.
Apologies for the long delay since the last roundup. I enjoy bringing you these posts but lately it's been hard to squeeze them in. I may need to figure out a new approach or something. Anyway, on with the show:
• Hey, a new comic from Jonathan Bennett! Spin commissioned a 2-page strip from Jonathan as part of their commemoration of the 20th anniversary of Nirvana's Nevermind and posted it on Facebook (Via Spurge)
• Nate Neal has a new website you should bookmark/subscribe to, with lots & lots of updates, including comics in the video "Comix-O-Matic" format, sneak peeks of a new book he's working on and a whole mess more
• Dave Cooper shares this rough preliminary sketch and a whole mess of reference photos (and behind-the-scenes shenanigans) for a new painting he's working on
And more Things to See since the last update:
Today's Online Commentary & Diversions:
• Review: "As with Chun's earlier volumes in the series, it is fantastic to see this work brought back. The original digests were pervasive and invasive...they once arrived by the pallet to newsstands all over the country, but because of their risque and sexist slant, they've been Orwelled right out of our world. It is nice to see them presented here as the art they were. Other than their super-busty raunch (and the occasional spanking) the girly gags of Humorama have aged well because they were hidden for some fifty years. They are also harmless, sometimes woman-friendly and FUNNY." – Jim Linderman, Vintage Sleaze
• Review: "Isle of 100,000 Graves represents his first true collaboration, with writer Fabien Vehlmann providing a template that is a remarkable complement to Jason’s deadpan style.... At a crisp 57 pages, Vehlmann and Jason cram a surprising amount of plot and character development into this graphic novella, yet the book has a pleasantly unhurried pace and plenty of room for gags.... The secret hero of this book’s success is the colorist Hubert, who brings a vivid richness to the book that gives it a quality not unlike that of Carl Barks’ work.... The result is pure storytelling pleasure, a kind of narrative eye-candy that is doubly attractive for its sense of restraint and Vehlmann’s deadpan story beats." – Rob Clough, The Comics Journal
• Review: "I never thought I could look at Poe in a way that was fresh. Poe has been done a thousand times and, while it’s always fun to watch someone else do their thing with Poe’s work, it tends to all go pretty much the same. [The Raven] is different, though. This is scaling back layers of dead flesh — Poe’s, Reed’s and Mattotti’s — and then grafting all of the raw, naked skin together to make a creature that is both disturbing and beautiful.... Knowing that this work came from a musical, I thought perhaps I might be missing a large piece of it, experiencing it through only one sense. I was wrong, however — Mattotti’s art combined with the inherent lyrical quality of the writing to make a more beautiful song than anyone could sing." – Lyndsey Holder, Innsmouth Free Press
• Review: "Fenwick's use of fonts is fascinating, as he seems obsessed with their aesthetic and decorative qualities as a way of eliciting a certain kind of reaction.... Fenwick slips between the absurd, the thoughtful, the existential and the sublime from page to page, keeping the reader off-balance but engaged.... Mascots flips from image to image with a dream logic that's sometimes whimsical, sometimes creepy, sometimes weird and always vivid. It's that vividness that gives the book its energy and an almost hallucinatory quality. Readers should not expect a coherent narrative but rather simply enjoy the ride." – Rob Clough, High-Low
• Review: "Josh Simmons picked an interesting way to write a graphic novel... Jessica seems to be a child in an abusive situation but either she’s found how to stay sane within her own imaginary world with a host of friends or she’s found a way to fight back. I’m not sure if her courage is a shield or a weapon. [Jessica Farm is a]n interesting life project and I think, well worth a read." – Terry Grignon, Golbing
• Quote of the Week: At The Comics Journal, R. Fiore's review of Luc Besson's film adaptation of Tardi's The Extraordinary Adventures of Adèle Blanc-Sec contains this bon mot: "My rule of thumb is that making a movie out of a comic strip is like making a love song out of a blowjob: You may well make a perfectly decent love song out of it, but it will lack the characteristics one values in the original experience."
This week's comic shop shipment is slated to include the following new titles. Read on to see what comics-blog commentators and web-savvy comic shops are saying about them (more to be added as they appear), check out our previews at the links, and contact your local shop to confirm availability.
96-page full-color 8.5" x 11.25" hardcover • $18.99
64-page full-color 8.5" x 11.25" hardcover • $16.95
"Fantagraphics is bringing some acclaimed Post-Herge all-ages comics to American audiences, and this week sees two of them coming to stores that people should be watching for: Gil Jordan, Private Eye: Murder by High Tide by M. Tillieux, a funny fast-paced detective story, and Sibyl Anne vs. Ratticus by R. Macherot, featuring a mouse in a story that's described as a Pixar version of Wind in the Willows." – Dave Ferraro, Comics-and-More
"Fantagraphics also presently has an initiative to translate post-Tintin Franco-Belgian comics for English-speaking audiences, so they're releasing Maurice Tillieux's crime cartoon Gil Jordan, Private Detective: Murder by High Tide." – Cyriaque Lamar, io9
"I love learning about classic Eurocomics, so my next purchase would be one of two new books from Fantagraphics: either Gil Jordan: Murder by High Tide ($18.99) or Sibyl-Anne Vs. Ratticus ($16.99). I know nothing about either book or the creators (M. Tillieux and R. Macherot, respectively) and am eager to be schooled." – Chris Mautner, Robot 6
166-page full-color 9" x 9" hardcover • $22.99
"...Lou Reed (of all people) releases his interpretation of Edgar Allan Poe's The Raven with Italian cartoonist Lorenzo Mattotti." – Cyriaque Lamar, io9
"There’s a interesting looking collaboration between Lou Reed and Mattotti on Poe’s The Raven..." – Chris Mautner, Robot 6
At The Comics Journal it's Joe McCulloch's...
"CONFLICT OF INTEREST RESERVOIR: Europeans draw the comics. The Raven sees Lorenzo Mattotti interpret Lou Reed’s channeling of Poe; $22.99. Gil Jordan, Private Detective: Murder by High Tide collects a pair of classic Belgian albums by Maurice Tillieux; $18.99. And Sibyl-Anne Vs. Ratticus similarly presents work by Raymond Macherot; $16.99."
We'll be catching up on the past week's Online Commentary & Diversions over the next several days.
• Review: "Fantagraphics Books, which has previously done such an amazing job of collecting other classic comic strips like Prince Valiant and Peanuts , once again hits it out of the park with this collection [Walt Disney's Mickey Mouse Vol. 1].... From the beautifully reproduced strips to the densely packed ancillary features, this must be the book that editors David Gerstein and Fantagraphics’ co-founder Gary Groth wanted for years for their own libraries. Their enthusiasm shows in the wonderfully designed package. This book is highly recommended for any Disney fan and fans of America's rich comic strip history." – Rich Clabaugh, Christian Science Monitor
• Review: "Murder by High Tide introduces Maurice Tillieux’s private detective Gil Jordan to America, collecting two 1950s stories from an acclaimed series that has never before been translated into English. Tillieux isn’t quite Hergé, but he’s adept at writing and drawing suspenseful detective stories with brief flurries of action. ...Tillieux’s plotting and deft hand at action, figures, and environments make Murder by High Tide a thrilling read." – Garrett Martin, Paste
• Review: "...Fantagraphics is always a good place to start if you’re worried about trying something new. The venerable comics publisher is a stamp of quality, a guarantee that the vetting process has been serious and that, at very least, the book you hold in your hands will have been beautifully printed. Wandering Son [Vol.] 1 bears all that out.... It’s a lovely, tactile-y rich object, but it’s also a sweet book in terms of content. ...[T]he characters are pleasant to spend time with, the art is emotive and expressive (embarrassment comes up a lot), and there is a gentleness to the whole project that is welcome." – Hillary Brown, Paste
• Review: "...Shimura Takako's Wandering Son, with its direct treatment of transgenderism, feels simultaneously natural and singular in the world of manga.... The true distinction of Wandering Son is not its subject matter so much as Shimura Takako's quiet and sensitive handling of it. Fifth grade is a difficult time and age for any author to handle well, and throwing transgenderism into the mix merely adds to the challenge. By keeping the story's focus on the intensely personal thoughts, experiences, and emotions of the characters, Shimura avoids both heavy-handed preachiness and overly melodramatic scenes, keeping the tone of the story sympathetic and realistic and — most importantly — a story." – Caleb Dunaway, Otaku USA
• Review: "...Fantagraphics' edition is beautifully presented as a full-sized hardcover with excellent print and paper quality. The volume is just as lovely to behold as it is to read.... Instead of following a strictly linear narrative, Wandering Son provides a somewhat fragmented view. To me, it seems more like a collection of memories, glimpses of important and influential moments in the characters' lives. Though told chronologically, the story has an impressionistic quality to it. Wandering Son is lovely and quiet with tremendous emotional depth.... I was very pleased with the first volume of Wandering Son and greatly look forward to the release of the second volume." – Ash Brown, Experiments in Manga
• Review: "Brought straight to your chamber door from the ever-awesome Fantagraphics, we finally have The Raven graphic novel. Personally commissioned by Reed, legendary illustrator Lorenzo Mattotti (Dr. Jekyll and Mr. Hyde, Stigmata) has sketched some remarkably vivid scenes for what amounts to the definitive bard of Baltimore project from New York City’s own poet laureate.... Hardcovered, with a jacket by Grammy-nominated designer Jesse LeDoux, the whole presentation is indeed first-class." – Logan K. Young, Paste
• Review: "...Taking Punk to the Masses: From Nowhere to Nevermind... is a dense tome... packed with beautiful photos of EMP’s vast collection of instruments, posters and flyers and assorted rock and punk memorabilia, with commentary and excerpts from the oral history project, featuring testimonials from people like Greg Ginn and J Mascis and Grant Hart and Novoselic, on facing pages. The effect is that of taking a guided tour through the museum, exhibit by exhibit, with headphones on.... There’s an awful lot to look at here, and the book stands up to repeated readings.... Taking Punk to the Masses is a definite keeper for anyone who loves the bands of the Pacific Northwest or the history of rock in America." – John G. Nettles, Flagpole
• Review: "Simply put, if you’ve enjoyed any of Alex Chun and Jacob Covey’s series of glamour-girl cartoon retrospectives they’ve assembled for Fantagraphics over the years, you’ll want — if not need — their latest, The Pin-Up Art of Humorama.... As with Chun and Covey’s previous collaborations, the captions to the cartoons rarely matter — sometimes, they don’t even match what’s depicted. All that matters is the art, full of lovely, curvy, super-sexy women whose bra sizes run deep into the alphabet. It may not come in a brown paper wrapper, but yeah, this book’s hot. It spills over with an abundance of retro tease to please." — Rod Lott, Bookgasm
• Reviews: At his High-Low blog, Rob Clough looks at several of our translated volumes of the work of Jacques Tardi: "Tardi is an interesting figure because he felt comfortable writing mainstream material like detective stories, mysteries, fantasy and even science-fiction (though usually of a period nature; The Arctic Marauder, for example is a steampunk book) as well as more experimental and mature fare. No matter what the subject, his books always have a density and meatiness to them that rewards multiple readings. I'll briefly examine each book roughly in order of narrative complexity."
• Plug: Library Journal's Martha Cornog spotlights Diane Noomin's Glitz-2-Go in the latest Graphic Novels Prepub Alert: "Retro-glamgirl DiDi Glitz, Noomin's signature character, originally appeared in the women's comics anthology Twisted Sisters and other collections. Hypno Magazine described her as a 'shamelessly campy, mai-tai-swilling swinger with a voracious appetite for polyester, poodles, and doomed relationships.' Also, 'hysterically funny.' This volume collects nearly 40 years of Noomin comics. Catch this transcript of a Noomin presentation about her work, with sample strips, some NSFW."
• Plug: I was very excited to present Leonard Maltin with a copy of Drew Friedman's brand new book at Comic-Con, and today Maltin writes on his Movie Crazy blog "Fantagraphics Books had just received its first copies of Drew Friedman’s latest opus, Even More Old Jewish Comedians, which in the 'real world' is still a pre-order item."
• Interview: Jaime Hernandez reveals what kind of music he listens to while he's working in a survey on the topic by the Village Voice's R.C. Baker: "When told that one artist interviewed didn't want a fondness for a particularly 'retarded' pop song revealed, he cracks up. 'They don't want you to know they have a heart,' he says. 'I was never afraid to show mine — I put it out there in the comic every time.'"
• Scene: From Whitney Matheson's rundown of "50 Things I Learned at Comic-Con" at USA Today Pop Candy: "23. Johnny Ryan aims to scare us all. One of the most frightening moments on the convention floor came when a bloody, shirtless man walked up to the Fantagraphics booth and started screaming. Turns out he was portraying a character in Ryan's Prison Pit."
Fantagraphics is puttin' the "comics" back in Comic-Con as we head to San Diego this week with a slew of scintillating signings, almost two-dozen dynamite debuts, and a collection of comics sure to please any comics fan... and fill those enormous free tote bags they give away at the door.
First up, DEBUTS!
• Love & Rockets New Stories 4 by Los Bros Hernandez
Next up, SIGNINGS!
Thursday, July 21st:
Friday, July 22nd:
12:00 - 1:00 PM Wilfred Santiago / Bill Schelly
1:00 - 2:00 PM Joyce Farmer / Frank Stack
2:00 - 4:00 PM Paul Hornschemeier / Johnny Ryan
3:00 - 4:00 PM Esther Pearl Watson
4:00 - 5:00 PM Mark Kalesniko
4:00 - 6:00 PM Gilbert Hernandez / Jaime Hernandez / Mario Hernandez
6:00 - 7:00 PM Robert Goodin / Jon Vermilyea / Malachi Ward
Sunday, July 24th:
All the action awaits you at our usual spot, Booth #1718!
And don't miss our amazing PANELS! I won't get into all the details, because Mike did so earlier here on the FLOG, so click on the date to see our previously posted full rundown on each panel!
Thursday, July 21st:
Friday, July 22nd:
Saturday, July 23rd:
Sunday, July 24th:
Today's Online Commentary & Diversions:
• Review: "...[F]eisty art-comics publisher Fantagraphics, for its new multivolume hardcover series devoted to Gottfredson’s rarely seen comic-strip work [Walt Disney's Mickey Mouse ], has gone back to the beginning, lavishing upon the cartoonist’s marvelously fluid, thrillingly kinetic serial adventures the same loving attention the company has brought to its benchmark Complete Peanuts library. Given that Fantagraphics is an adult-oriented press, production and restoration values are superlative, as are the more than 60 pages of historical essays and archival features that accompany these peerless black-and-white strips.... Anyone who ventures into this gorgeous 288-page tome will come away with a fresh appreciation for just what made Mickey an all-American comic-strip hero." – Steve Smith, Time Out New York
• Review: "Fantagraphics fucking whip ass at knowing what a beautiful book is.... The Mickey Mouse in this collection is a dynamic teenager with a whole lot of strong feelings, and it's both awesome and foreign to see him get mad or feel suicidal.... Fantagraphics are masters at collecting and presenting old comics.... This volume not only presents comics that you probably haven't seen before, but it places them in the proper context with about eight[y] pages of supplementary writing, images, and in-depth explanations that could merit their own little volume." – Nick Gazin, Vice
• Interview: Gazin follows up his Vice review of Walt Disney's Mickey Mouse Vol. 1 with a brief chat with series co-editor David Gerstein: "Floyd's greatest achievement... was his portrayal of Mickey himself. Instead of seeing the Mouse as a kind of dull, smiley-faced everyman — the way a lot of people seem to envision him — Floyd portrayed Mickey as what he called 'a mouse against the world.' He was a stubbornly optimistic, imperfect but determined youth trying to prove himself in a competitive, scary, adventurous place. Floyd gave Mickey length and depth."
• Review: "It’s often argued that the key element to any successful manga is a relatable protagonist. Shimura has crafted hers so meticulously and is revealing their natures so carefully that it’s virtually impossible not to be deeply invested in them. In part, it’s the actual portrayal in this volume [of Wandering Son], but it’s also the tremendous potential they have. I want to see them age and mature, struggle and succeed, and find their ways to lives that give them happiness and peace. I don’t think there’s any more a reasonable person could ask of a story like this." – David Welsh, The Manga Curmudgeon
• Review: "...[Wandering Son] is an elegantly-crafted, character-driven story that lets us into its characters’ private worlds with both candor and delicacy. We are brought into their lives completely, and though we’re privy to their some of their most private thoughts and fears, there is never a sense that we’re observing them as 'subjects' or invading their privacy—something I often feel when experiencing 'issue'-focused fiction." – Melinda Beasi, Manga Bookshelf
• Review: "[Mattotti's] enigmatic, brooding scenes [in The Raven] harness the terror and beauty of the texts which span three centuries. They're uncompromising — and that's a quality that has always been applicable to the force that is Lou Reed." – Dean Mayo Davies, AnOther
• Review: "Drawing Power: A Compendium of Cartoon Advertising... is 124 pages of some of the best advertisements from the 1870s to the 1940s. Starring both cartoonists and cartoon characters, the book surveys an immense collection of cartoon advertising, focusing on the commercial roots of the comic strip and the fantastic artwork that came from cartoonists' freelance work in advertising. There are surprising and also familiar examples of products, ad campaigns, widely known catch-phrases, and cartoon figures.... Lovers of vintage advertisements and classic cartoons, you're in for a walk down memory lane..." – Nicole Torres, Print
• Review: "Love from the Shadows is somewhat inappropriately titled, as it sounds like a romance, but is really a sci-fi sex mash-up, with a big dash of David Lynch-ian 'what the fuck just happened here?' It’s definitely no chick flick, despite its strong female lead." – Rod Lott, Bookgasm
• Review: "Congress of the Animals... [is] Woodring’s second book-length Frank story. Not so overtly horrific as last year’s Weathercraft, but somehow more unsettling to me. Perhaps I’m just traumatized by the destruction of Frank’s house. Fantastic wordless storytelling, as always." – M. Ace, Irregular Orbit
• Plug: "You may think of Flannery O’Connor as a writer of the sorts of books that are all words, but in her younger days she yearned to be a cartoonist—and she wasn’t half bad. Fantagraphics will publish Flannery O’Connor: The Cartoons in December..." – Brigid Alverson, Robot 6
• Survey: At The Guardian, Emine Saner asks a handful of prominent cartoonists to name their favorite graphic novelist, gathering comments from Peter Kuper on Robert Crumb, Bryan Talbot and Martin Rowson on Joe Sacco, Posy Simmonds on Jacques Tardi (pictured), Ariel Schrag on Gabrielle Bell, and Lynda Barry on Chris Ware
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The Fantagraphics Bookstore & Gallery is located at 1201 S. Vale St., Seattle WA 98108. Tel: 206-658-0110.
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