|Written by Eric Reynolds | Filed under Steve Ditko||19 Apr 2010 7:48 PM|
The Creeper No. 2 by Steve Ditko, 1968, DC Comics.
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Category >> Steve Ditko
Online Commentary & Diversions:
• Review: "Strange and Stranger: The World of Steve Ditko by Blake Bell... [is] fantastic! ... It’s part biography, part art book - an amazing recap of Steve Ditko’s entire career in comics, from the early days with Charlton to the present. ... It’s also one of the best designed books I’ve read recently, including lots of rare pencil pages, out-of-print rarities, and full color scans on virtually every page. There’s a lot more to Steve Ditko than just Doctor Strange and Spider-Man." – Marc Sobel, Comic Book Galaxy
• Review: "Vitally, Anderson draws an earthy King, one who likes soul food and soulful women, but who is also capable of inspiring and challenging oratory, theological radicalism and courageous leadership, even when faced with fists, firebombs, and F.B.I. persecution. Anderson reminds one of U.S. poet Walt Whitman: He keeps publishing the same book, in different editions. But what a book!" – George Elliott Clarke, The Halifax Herald
• Review: "This is a very strange comic... You Are There works best as an absurdist critique of society and politics. ... The absurdity of Forest's script is brought to amazing life... It's a tremendous work of art, heightening the weirdness of the narrative very well. ... I would recommend You Are There because it's a thoughtful look at the pressure of conformity and what drives a man mad. ... Tardi is fantastic and makes the book even wackier, which isn't a bad thing." – Greg Burgas, Comic Book Resources
• Review: "It is hard to convey how much of the joy of Unlovable comes not only from the wandering plotline (if there is any in this book) but also from the accompanying visuals. Tammy's attentions, interests and emotions are all scattered. The author's style of drawing lends to the feeling of chaos and scatteredness; the reader senses it in the erratic lines and messy fonts of various sizes. An erratic view of an erratic time of life." – Julia Eussen, AnnArbor.com
• Review: "Johnny Ryan’s Prison Pit is something I keep coming back to — and not just because it’s the only comic book I’ve ever seen that can actively liven up a party. It’s a hilarious, visceral and quick read... for really dumb fun, this is pretty much unbeatable. I’ve considered that maybe the fun isn’t as dumb — that maybe Cannibal Fuckface’s journey through the wastes of the prison pit are a Bunyan-style metaphor for, I don’t know, man coming to terms with the restrictions of modern life, but then I remember it’s a comic that features the term 'burnt jizz,' and I stop thinking and laugh." – David Uzumeri, Robot 6
• Review: "I'd ignored Hal Foster's knights-and-adventure strip until Fantagraphics remastered, recolored and repackaged the first two years of [Prince] Valiant (1937-38) into one of the loveliest reprint volumes of 2009. I became a Foster fan immediately, and bought Brian Kane's Definitive Prince Valiant Companion to learn more about Foster and the other talents (John Cullen Murphy, Gary Gianni and Mark Schultz) who'd worked on the comic during its 70+ years." – Craig Fischer, Thought Balloonists; the remainder of Fischer's take on the Companion is mixed-to-unfavorable, but we still recommend checking it out for his insights and some additional commentary he brings to the table
Online Commentary & Diversions:
• List: For Library Journal, Tom Batten recommends a handful of recent "Classic Graphic Novels," including The Left Bank Gang by Jason: "Supporting his highly imaginative and quirky storytelling, Jason's deceptively simple cartooning carries a great deal of intensity in each line."
• Review: "Winning a coveted Jury prize at the 2010 Angouleme festival, Dungeon Quest succeeds on so many levels: the art and character design are superb, the dialogue is acerbic yet measured, the page construction has a flow to it that verges on perfection, the meter of the storytelling is spot-on, and, most importantly, it’s actually really funny. ... As the first volume in a series projected to last for a good few books yet, readers are advised to party-up with the cast of Dungeon Quest immediately." – Martin Steenton, Avoid the Future
• Review: "The series only lasted four issues, but it is among the high points of 1960s comics, and this handsome collection is one of the most welcome reprint volumes of the last few years. ... Blazing Combat showed comics readers the gritty downside of war..." – Robert Martin, The Comics Journal
• Review: "...[S]ome books just leave a reviewer pointing and jabbering, unable to coherently explain what he's just been through or to find any words that will adequately explain what he has seen. The Squirrel Machine is a book of [this] kind... Reading The Squirrel Machine is very much like watching some German Expressionist movie: it's a series of alternately wondrous and appalling scenes, clearly connected by some kind of logic, the true meaning of which resolutely remains beyond the knowledge of the viewer." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent.
• Plug: The fine folks at Librairie D&Q say "Now in store is this little jewel just published by Fantagraphics Books. On top of being a well-researched collection of underground mini-comix of the 1980's, this book compiles pages and pages of interviews and commentary on the creative, edgy, weird and free-spirited post-Crumb scene. While it may not necessarily represent the global landscape of underground comix in the 80's (one could argue it needs more wemin-ahtists, for example), Newave! is definitely a praise-worthy sampler of work most often hidden in the shadows of the underground comix movement of the late 1960s and early 1970s."
• Plugs: The latest Robot 6 "What Are You Reading?" roundup includes several Fantagraphics mentions, and guest contributor Ng Suat Tong on the black & white Prince Valiant Vol. 1: 1937-1938 from Libri Impressi, available in the U.S. exclusively from us: "The new Fantagraphics and Portugese books are the only way one should read Foster's masterwork."
• Analysis: At PopMatters, Oliver Ho compares and contrasts two stories from B. Krigstein Comics and Strange Suspense: The Steve Ditko Archives Vol. 1: "The strangeness comes not so much from the individual stories, but from the way each comic and artist appears to be a sort of mirror image of the other."
I might have to start posting these art-blog roundups on the weekends too... these Monday updates are outa control...
• Airbrushed Zippy the Pinhead art (artist unknown)! Posting this on Facebook, Bill Griffith says "This is the 2-page spread ad for the 'Zippy Movie' from Variety magazine, 3/29/90. The ad was taken out by the Aspen Film Society (at that time they were the producers of the movie) in hopes of attracting a studio/distributor. Are we in turnaround yet?" More about it (and the likewise never-to-be Zippy TV show series) here
• Check out all the artwork from the Covered art show here on the Secret Headquarters Flickr page — I'm pretty sure I haven't featured this Johnny Ryan piece on Flog before — and organizer/curator Robert Goodin has a report and photos from the opening on his blog
Neverending Online Commentary & Diversions:
• List: Only the Cinema's Ed Howard concludes counting down The Best Comics of the Decade: the top 20 includes "The Lute String" (available in Mome Vols. 9 & 10) by Jim Woodring at #16 ("It's moving, funny, and as with all of Woodring's work it demands a close reading"), Alias the Cat (originally The Stuff of Dreams) by Kim Deitch at #14 ("It's funny, goofy, exciting and far-ranging in its imaginative nonsense accumulations, and throughout it all Deitch's fond sense of nostalgia for a world that never quite was lends emotional heft to the story's elaborate twists and turns"), Dash Shaw's Bottomless Belly Button and Mome stories (collected in The Unclothed Man in the 35th Century A.D.) at #13 ("Dash Shaw is an utterly brilliant young cartoonist who has, in a few short years, advanced from the academic experiments of his earlier work... into a formalist genius whose skills encompass both a natural gift for color and a feel for subtle, indirect characterization"), Safe Area Gorazde by Joe Sacco at #7 ("Joe Sacco is a unique figure in modern comics: there is no one else who combines sheer cartooning chops with a newspaper reporter's sensibility and instincts in quite the same way. ... Safe Area Gorazde [is] an especially powerful document of the effects of war"), the comics of Kevin Huizenga at #4 ("Kevin Huizenga is the best young artist in comics. It's as simple as that. With his recent Fantagraphics series Ganges (part of the Ignatz line of high-quality pamphlets) Huizenga has matured into one of comics' finest formalists"), Jimbo in Purgatory by Gary Panter at #2 ("The denseness of Panter's references and cross-references makes the experience of reading this book a truly overwhelming experience; every line, every image, spirals into multiple other references and ideas, pulling in the whole wide expanse of world culture as a stomping ground for Jimbo's wanderings through the Purgatory of modern existence towards enlightenment"), and the Love and Rockets Vol. II work of Jaime Hernandez (as collected in Ghost of Hoppers and The Education of Hopey Glass) in the #1 slot ("There is no greater all-around artist in modern comics than Jaime Hernandez, and his recent work builds on his past successes so that his oeuvre as a whole is shaping up to be one of literature's best sustained stories about aging and the shifting of relationships over the course of a life").
• Review: "The best argument that the underground tradition is still alive is Hotwire Comics, edited by Glen Head (one of the most underrated cartoonists around, incidentally). Hotwire Comics is a visual assault, abrasive, confrontational, willing to poke and prod the audience: a real live wire that can shock. Everything a good underground comic book should be." – Jeet Heer, Comics Comics
• Review: "Strange Suspense is a handsome book generally, with a fun front cover and a nice, sturdy, feel. As far as my eye can tell the work is reproduced well; admittedly, I have one of the worst eyes in comics for that sort of thing. It's nice to have a bunch of comics from this time period, particularly the grittier pre-Code or Fear of Code-Like Crackdown work. There are some truly repulsive pieces of throwaway pulp in this book's pages, and Ditko was more than up to the task of illustrating them." – Tom Spurgeon, The Comics Reporter
• Review: "Mother, Come Home is a subtle, dark story about death and madness and fantasy, tied together by symbols and the voice of an older Thomas looking back on his childhood. It's not bleak, though; Thomas survives his traumatic childhood, and perhaps Hornschmeier's lesson is that we all can, if we try — if we step outside our rituals and fantasies and reach out to each other, we can make it through." – Andrew Wheeler, The Antick Musings of G.B.H. Hornswoggler, Gent. (via ¡Journalista!)
Online Commentary & Diversions have seen their shadow:
• List: Our pal Bully the Little Stuffed Bull has started his annual Fun Fifty countdown. In the first installment, coming in at #46, Blazing Combat: "War, huh! What is it good for? Absolutely nothin'... aside from bringing us this gorgeous archive edition of a classic comic every war comics fan oughta have in their library."
• Review: "Back in the days of Factsheet Five, I used to order tons of minicomix. Most were mediocre, but a few were terrifically good and that made it worth the risk to send in the fifty cents or so that they cost. ... Fantagraphics just released a massively thick (900 pages!) anthology of minicomix called Newave! The Underground Mini Comix of the 1980s , and it's a treat." – Mark Frauenfelder, Boing Boing
• Review: "In Strange Suspense, Ditko already shines as a masterful designer of sinister mansions, ornate gateways and demonic doors and furnishings... And finally, there’s no mistaking those trademark Ditko faces, leering with evil or sweating and wide-eyed with terror, often lit or looking up from below. ... It is a pleasure to follow Ditko’s youthful artistic progression and there is a noticeable refining and streamlining of his drawing, going for greater clarity and impact. ... These morality fables are seldom subtle or surprising... but it’s Ditko’s artistry that elevates these mostly standard comic book nasties. ...[T]he $39.99 ticket is good value, and this is a weighty, hard-packed, deluxe package..." – Paul Gravett
• Review: "Successful art engenders powerful emotion in its observers. How do I know that Al Columbia's Pim & Francie is an amazing work of art? Because it seriously made me feel ill. Uncomfortable. It made me question my sense of aesthetics; played havoc with my expectations. It's unquestionably an amazing book. ... Rating: 8/10" – Jeremy Nisen, Under the Radar
• Commentary: At The Daily Cross Hatch, Box Brown reproduces the epochal letters page from Ivan Brunetti's Schizo #2 (reprinted in Misery Loves Comedy) as part of a new column on cartoonists' letters to cartoonists
Brief Online Commentary & Diversions:
• List: Publishers Weekly names It Was the War of the Trenches by Jacques Tardi, Weathercraft by Jim Woodring, and Nancy is Happy: Complete Dailies 1942-1945 by Ernie Bushmiller to be among "The Big Graphic Novels of 2010"
Today's Online Commentary & Diversions:
• List: At his blog Supervillain, Sean Witzke posts a massive Comics of the Decade roundup which includes Ganges by Kevin Huizenga ("The third one fucking rules"), I Killed Adolf Hitler ("I read this sitting in the train station in Philadelphia that they shot part of 12 Monkeys in, laughing very loudly") and The Last Musketeer ("Pompous blowhard saves the universe from Ming the Merciless by stabbing and chivalry. Stabbing and chivalry solve everything.") by Jason, and Prison Pit: Book 1 by Johnny Ryan ("Book of ‘09... If the point of comics is fucked up shit happening, this is the best fucking comic ever made.") (via Robot 6)
• Review: "Family histories isn’t a series of isolated events, in Tyler’s mind, but fluid — and sometimes jarring — tapestries of facts, memories, half-truths, and emotional resonances. Her father clearly doesn’t see things that way, and this first part of You’ll Never Know shows a potential rift in how father and daughter understand their lives, and how they think a war should be remembered. I can’t wait to read how this fracture develops, deepens, and perhaps closes up." – Walter Biggins, Quiet Bubble
• Review: "There's much to like here. I sort of assumed MOME would be more like Raw, in terms of pushing the envelope and extreme artiness and so on, but it's much more readable than that. ... Anthologies are always uneven, but this contains fewer stinkers than most, clearly a testament to Fantagraphics's editorial eye." – Hillary Brown, Shazhmmm...
• Review: "Few artistic creations merit the adjective 'lurid.' Strange Suspense leers confidently from the shadows of that small crowd. ... If the infected, deformed teens of Black Hole inspired the reader to linger on each page of that magnificent book, Strange Suspense is worth a look. And for the Ditko-curious, this isn't a bad place to start." – The Typing Monkey
• Review: "The Squirrel Mother is a compilation of stories created by Megan Kelso between 2000 and 2005, that Fantagraphics Books, faithful to its tradition, made a beautiful object, which delights the eye before the mind." – Pedro Cleto (translated from Portuguese)
• Interview: The latest episode of The Comix Claptrap podcast features a chat with Johnny Ryan "about his newest book, Prison Pit, Book 1, his comics process, and rate who is the best fighter in comics."