|Weekend Webcomics for 10/29/10: DeStefano & Weissman|
|Written by Mike Baehr | Filed under webcomics, Steven Weissman, Stephen DeStefano||29 Oct 2010 12:23 PM|
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Category >> Stephen DeStefano
Today's Online Commentary & Diversions:
• Review: "...[From Shadow to Light: The Life and Art of Mort Meskin] is extremely informative and truly wonderful... Evocatively written by creative/art director, designer, educator and biographical author Steven Brower, with dozens of first hand accounts from family, friends and contemporaries; the sad, unjust life of this major figure of popular art is fully explored and gloriously justified by every miraculous page of his work reproduced herein. [...] Brilliant, captivating, utterly unforgettable and unknown, Meskin’s enforced anonymity is finally coming to an end and this magical chronicle is hopefully only the first step in rediscovering this major talent." – Win Wiacek, Now Read This!
• Review: "[Mort] Meskin... deserves to be treasured by all comic fans and studied by all artists of the medium. Now, at last, he gets some of the attention he is due in From Shadow to Light: The Life & Art of Mort Meskin by Steven Brower. [...] On display in this book are amazing examples of comic art. [...] The biographical portion of the book is enlivened by vivid detail from many personal recounts by artists and friends Meskin worked with and his own sons... Overall... this book is an incredible testament to an incredible talent and hopefully it will encourage more comic fans to learn about Meskin and seek out some of his work." – Rich Clabaugh, The Christian Science Monitor
• Review: "Four Color Fear is a lovingly accumulated and organized collection of... stories starring ghosts, ghouls, zombies, demons, and monsters of all stripes. [...] Four Color Fear offers some nice bonus features too, which elevate it from being a simple compilation of reprinted stories. [...] In case I haven’t made this clear yet: this book is tremendous. [...] For fans of the genre, [editor Greg] Sadowski has performed a valuable service — rescuing these stories from obscurity and reminding us that, yes, EC was one of the important publishers of its era — only one of many. [Rating] 9/10" – David Maine, PopMatters
• Review: "One of the consolations of being obscure is the knowledge that you'll never have to wake up in a world where Drew Friedman has caricatured you. Friedman's pen is relentless and his eye is merciless: every foible, every wrinkle or blush or spot is seen clearly and depicted precisely. ...[T]here hasn't been a book like Too Soon? before, and it's been needed. So the answer to the question's title is: no, not at all. If anything, it's long overdue." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent.
• Reviews: The new episode of Easy Rider, the radio show for "rock, punk rock, country, power pop, garage and comics" from Radio PFM out of Arras in northern France, features Lucky in Love Book 1 by George Chieffet & Stephen DeStefano, Locas by Jaime Hernandez, and Everybody Is Stupid Except for Me by Peter Bagge among their Comics of the Week
• Review: "Love and Rocktober" continues at Attentiondeficitdisorderly as Sean T. Collins looks at Jaime's Perla La Loca: "So what conclusions are we to draw from all this? It's taken me a while, but I've come to the conclusion that drawing a conclusion is the wrong thing to do. There's not some message being sent here about, I dunno, punk or fluid sexuality or sex work, which are sort of the common threads of the two big stories here... The message, I think, is simply to be found in the fact that there are two big, separate Maggie and Hopey stories here. They're not symbols, they're people."
• Plug: "Weeks like this are rare for fans of legendary manga... Fantagraphics comes out with A Drunken Dream and Other Stories and finally puts an end to the *absolute nonsense* that was the lack of translated work by Moto Hagio. [...] Support the translation of quality art-manga!" – 211 Bernard (Librairie Drawn & Quarterly)
• Interview: Jesse Tangen-Mills conducts the first of two interviews with Johnny Ryan at The Comics Journal: "At first my Mom thought this would be a nice hobby for me. She never liked the idea or thought I could make a living out of it. Now, she seems to appreciate it a bit more. I do send her my books because she asks for them. I don’t think I would otherwise."
• Interview: The second interview with Johnny Ryan at The Comics Journal, conducted by Ian Burns, was originally meant for this blog, but deemed Too Good for Flog: "...I felt, by doing research, I’m completely undermining the work. It goes back to my whole thing about seeing like a teenager’s action comic. Teenagers don’t think about, 'Well, I need to take an anatomy course,' [Burns laughs] 'before I draw my mutant planet war.' They just fuckin’ just go and just jump into it. So I had that same vibe."
Today's (and yesterday's — sorry for the interruption) Online Commentary & Diversions:
• Review: "Yes, [Special Exits] is a heartbreaking — even harrowing — tale, one made all the more moving and immediate by the creator’s nuanced gift for capturing the essence of her parents on the page. But it’s also a tale told with consummate skill, filled with mordant humor and real compassion, an almost embarrassing amount of candor, and a deep abiding love and respect for its subjects. [...] Ultimately, it’s these simple and true moments of mundane magic which marks Special Exits as more than just one of the best books released this year. It is, without a doubt, also one of the most significant contributions to the comics medium this side of the millennium, a modern masterpiece which celebrates the human condition." – Bill Baker, ForeWord Reviews
• Review: "Ultimately, ...the book churns itself into a seething sludge of psychic toxicity that’s less a shockfest and more a satire of existence itself. Mercilessly graphic and superbly unspooled, Prison Pit funnels the fantastic, violent notebook sketches of the middle-school miscreant into a funny, pulsing, disgustingly purgative eruption. [Grade] A-" – The A.V. Club
• Review: "There have been plenty of comic-book memoirs, but few with the complex structure of You’ll Never Know, which seems at times to be rambling from topic to topic with no clear direction, until it unexpectedly circles back to an earlier point and makes the purpose of one tiny anecdote clear. Because this is still a work-in-progress — and an idiosyncratic one at that — it’s too early to tag it as a masterpiece. But damned if it isn’t well on its way. [Grade] A-" – The A.V. Club
• Review: "With each passing year, Bill Griffith’s venerable comic strip Zippy the Pinhead gets weirder, moving away from direct social commentary and toward a more abstract expression of Griffith’s worldview. The latest Zippy collection, Ding Dong Daddy from Dingburg, is dominated by a long tour through a town run by pinheads — an absurdist spin on consumer utopia that rivals Superman comics’ Bizarro World for its down-is-up jargon and attitudes. The joke? That this is more or less the America of the early 21st century... [Grade] B" – The A.V. Club
• Review: "The Hernandez Brothers have... been on a constant incline. They never treaded water or plateau'd. In fact this issue, the third issue of the third volume [of Love and Rockets], is one of the very best things they've ever done. [...] This is a perfect volume by guys who've been getting perfecter all the time. [...] At their worst the Hernandez Brothers make work that's merely good and entertaining. At their best they make this." – Nick Gazin, Vice
• Review: "Adele Blanc-Sec is a sort of actiony, science fictiony comic for people who aren't retarded. It's like a Europeaner Hellboy or Indiana Jones. [...] This isn't my absolute favorite Tardi book — there's slightly too much dialogue and slightly too many characters with mustaches to keep up with — but it's still a fucking masterpiece. Everything he draws and the moods he conveys are worth the price of admission alone." – Nick Gazin, Vice
• Review: "In [Mome] Vol. 19, [editor Eric] Reynolds shifted gears and used fewer but longer entries to put together perhaps the single best issue of the entire series (only Vol. 12 surpasses it in my estimation). Beyond its quality, Mome Vol. 19 also seems to be the issue that best reflects Reynolds’ taste as an editor. Reynolds has always been more on the underground side of the fence than in the literary fiction camp when it comes to comics. This issue’s mix of the transgressively funny, pulpish noir, surrealism, scatology and innovation was sequenced in such a way that every transition from story to story was nearly seamless. More importantly, the stories frequently complemented each other in a way that acted as a form of editorial storytelling on its own. [...] Secrets and mysteries are at the core of every story in this volume, and Reynolds expertly put together this jigsaw puzzle of styles and visual approaches to create a coherent, deeply affecting book. It’s certainly on my short list of best comics of the year." – Rob Clough, The Comics Journal
• Review: "Mome... is where the smart kids with the sharpest pencils, shiniest pens, biggest brushes and best software go to play before they blow your minds in great big award-winning graphic novels. It is intense, sometimes hard to read and crafted to the highest production standards. Considered by most to be the successor to Art Spiegelman’s Raw, it doesn’t come out nearly often enough. [...] This volume is perfect for newcomers to jump aboard... Whether you’re new to comics, currently searching beyond the mainstream or just want something fresh; these strips and this publication will always offer a decidedly different read. You may not like all of it but Mome will always have something you can’t help but respond to. Why haven’t you tried it yet?" – Win Wiacek, Now Read This!
• Review: "Jacques Tardi's masterful It Was the War of the Trenches was originally published in Europe in 1993, and thanks to Fantagraphics it has finally made it to the U.S. It was worth the wait. [...] I was nauseated. I was horrified. I was transfixed. Everyone should read this book and relearn the lesson that war is not diplomacy by other means, but the most hellish, useless and destructive tool at our disposal, and should be found somewhere past the last resort." – Andrew A. Smith, Scripps Howard News Service
• Review: "An effective biography and a great showcase of classic comics artwork, [Fire and Water: Bill Everett, the Sub-Mariner and the Birth of Marvel Comics] provides an intriguing look into the life of a man who played an important role in the shaping of the creative side of the comics industry. [...] Abetted by plentiful examples of Everett’s illustrative prowess (both at his peak and when in the depths of addiction), it’s a valuable tool for anybody interested in the history of the medium or the men behind their favorite stories and characters. And it’s fortunate that men like Blake Bell and publishers like Fantagraphics are committed to telling these stories so that we don’t lose sight of our roots." – Michael C. Lorah, Newsarama
• Review: "Do you ever stop to think that David Lynch's work doesn't make sense? No, not in that way — I don't mean in terms of story logic, I mean in terms of his aesthetic/generic approach. [...] Something about what Lynch does, the confidence with which he does it, makes it feel seamless, like 'of course' rather than 'what the?'. Looking at the cover for The Girl from H.O.P.P.E.R.S., I realized the same is true of Jaime Hernandez's comics. [...] He created his own kind of story." – Sean T. Collins, Attentiondeficitdisorderly
• Review: "To call it 'comic book as nightmare' would certainly sound too glib by half and too cliche by whole orders of magnitude, and yet nothing else provides so apt a model for the kind of experience Columbia has crafted here. [...] In short, Pim & Francie is a monumental achievement. Columbia's brilliance is on full display... to some of the most truly dreadful effect I've ever experienced." – Curt Purcell, The Groovy Age of Horror (via Sean T. Collins)
• Plug: "Stephen DeStefano and George Chieffet's new book Lucky in Love was recently released by Fantagraphics Books and I just received a copy courtesy of the artist so I want to plug one of my favorite artists working in comics and animation. As always Stephen's art is amazing. Pick up a copy today!" – Kevin Langley, Cartoons, Model Sheets, & Stuff
• Plug: "I escaped LA for a week and spent time relaxing in Seattle with some of my favorite people. On the way to the airport, we made a spontaneous stop at Fantagraphics Books, a place I never heard of before. They describe themselves as a publisher of 'comics for thinking readers – readers who like to put their minds to work, who have a sophisticated understanding of art and culture, and appreciate personal expression unfettered by uncritical use of cliché.' So, if you’re looking to read bland, mainstream superhero comics, you won’t find them there. [...] If you ever find yourself in Seattle, you won’t regret stopping at the store. A bonus is the record store that shares the same space with the bookstore." – What's Good With It
• Profile: "Jason is a Norwegian graphic novelist/comic book artist who makes the finest short stories. [...] It’s beautiful to see how Jason has refined everything; stripping away anything that could be considered filigree, cutting out any words that don’t need saying. He has mastered the barely story, telling imperceptible narratives vaguely inferred, and a crispness of drawing that ignores unnecessary fill. All that remains is a wry sociopathy you can’t help but fall in love with. Jason is the best thing I’ve come across in the last couple of years." – Gregory Povey, Mount Analogue
• Interview: Comics Comics' Dan Nadel, who says "As a [Mort] Meskin admirer (I put a Golden Lad story in Art in Time) I am thrilled to have a beautifully made book that showcases his thoughtful, vividly executed and highly influential work," talks to the author of that book, From Shadow to Light, Steven Brower: "There were two things that drew me to his story. The first was the mystery of why someone who began so strong, influencing his peers, faded so quickly from view. The second attraction: his personal story. Mort was someone who suffered greatly at times emotionally and overcame his struggles. I felt there was a larger story to tell than just someone who was a very good artist."
• Interview: Comic Book Resources' Kiel Phegley talks to Jean Schulz about the Peanuts 60th Anniversary: "I say I'm 'condemned' to keep learning more about the comic strip because I didn't take it seriously enough when Sparky was alive. That's sort of a joke, but it's true. You can go back over them again and again and look at them in different thematic settings."
Today's Online Commentary & Diversions:
• Review: "Emotionally uncompromising and graphically challenging, You’ll Never Know v.2: Collateral Damage stands out as one of the best comics of the year. Tyler reaches deep into herself, showing the unending dominoes of influence that compose a family. Do yourself a favor and check it out." – Michael C. Lorah, Newsarama
• Review: "But as powerful as this strain of valorization has been, there have been powerful statements of dissent along the way. The Americanization of Emily, for example, or Catch-22. Lucky in Love: Book 1 (by George Cheiffet, with art by Stephen DeStefano) follows their path, though it takes a much more personal, less grandiose tone than those two examples. It’s drawn in a style reminiscent of Disney WWII propaganda cartoons, though DeStefano arranges the backgrounds and perspectives with far greater sophistication." – Joshua Malbin
• Review: "Ryan takes puerile humor to unimagined heights (or depths)... Prison Pit Book Two isn't as much about punchlines and shock tactics. Here, the humor comes via ridiculously long and surreal battles between intergalactic monsters (think bizarre mutations and mass bloodshed). It's sort of a spoof on sci-fi comics, He-Man cartoons, and the over the top male bravado of WWE Wrestling...Prison Pit contains Ryan's signature WTF flourishes, like ass licking creatures, thorny alien vaginas, ghetto slang and Nazi insignia emblazoned 'death hösen' trousers. See you on the playground." – Wilfred Brandt, TwoThousand
• Review: "But the way you're just dropped into Maggie & Hopey, Already In Progress, is pretty much why I continue to recommend this volume [Maggie the Mechanic], rather than its relatively sci-fi-free successors, as the place to start if you're interested in Jaime's work. I understand why that doesn't work for everyone — and it's true, the earliest comics are relatively talky and old-fashioned-looking as befits their influences. But if you start late in the game, you're not just missing dinosaurs and rocketships and robots and superheroes and such — you're missing what really feels like a couple years in the life. Even by page one, we've already missed so much!" – Sean T. Collins, Attentiondeficitdisorderly
• Interview: The Daily Cross Hatch's Brian Heater talked to Drew Weing at SPX. Part 1 gets into the creation of Set to Sea: "The intention was to draw a panel every day and post it. It was supposed to be fun, quick side project, 'it’s the end of the day. I just draw this one, quick, small panel.' And every day it got more and more detailed and complex. By panel two it was too complex to knock off in an hour or two."
• Plug: "Four-Color Fear: Forgotten Horror Comics of the 1950s... [is a] collection of pre-Code, non-EC horror comics that are every bit as good as the famed EC comics themselves. Here in all its shocking, creepy and gory glory you can see work from Jack Cole, Reed Crandall, Frank Frazetta, Al Williamson, Basil Wolverton, Wally Wood, and more! This one is a must!" – Benn Ray (Atomic Books), Largehearted Boy
• Coming Attractions: Bleeding Cool 's Rich Johnston continues noticing our 2011 Eurocomics reprints, now reporting on our June edition of R. Macherot's Sibyl-Anne Vs. Ratticus: "Am I the only one that’s seeing a bit of a trend? The trade dress appears similar… is Fantagraphics on a major spreee to translate and publish as many quality French comics as they can? [Yes. – Ed.] In a new imprint or line perhaps? [I'm not sure whether we're considering this a "line" or not, but it's not an imprint. – Ed.]"