And there appears to be a new (I think) installment of "Crumb on Others" where the man holds forth his candid opinions on various prominent figures in comics and popular culture, from his underground contemporaries to Charles Schulz, from Walt Disney to Walt Kelly, from The Beatles to Bettie Page. Must read!
• Review: "After far too long a hiatus the new incarnation of The Comics Journal is available and as inspired as ever. The Journal is the paramount English-language publication dedicated to the Art of graphic narrative, covering comics, cartooning and related fields domestic and global; interviewing creators, disseminating the facts and even advertising the best and most challenging product. They’ve done it competently, passionately and proudly for decades. You won’t always agree with the opinions expressed — editorial or from the many and various insiders and cognoscenti who have been featured — but you’d be an idiot to ignore or dismiss them if you care at all about the industry or the medium.... This is a superb uber-magazine for comics lovers: it won’t ever tell you where and when to buy but it will certainly make you wonder why you do or don’t." – Win Wiacek, Now Read This!
• Plug: "...I heartily recommend Dave McKean’s new 'erotic graphic novel' Celluloid. Mixing paint, photography, ink, and charcoal — and eschewing dialogue altogether — McKean creates a comic book version of one of Radley Metzger’s erotic art films, in which lustful impulses lead otherwise civilized people on a dark, surreal journey." – Noel Murray, in a thought-provoking essay on erotica in comics and beyond at The A.V. Club
• Review: "Popular culture historian Rick Marschall and biographer/researcher Warren Bernard have compiled here [in Drawing Power] a captivating potted history of the rise of the art of commercial cartooning in an increasingly advertising-aware America (…and make a strong argument that one could not have thrived without the other) whilst providing a glorious panoply of staggeringly evocative, nostalgic and enduring picture-poems which shaped the habits of a nation.... Stuffed with astounding images, fascinating lost ephemera and mouth-watering photos of toys and trinkets no fan could resist, this colossal collection is a beautiful piece of cartoon Americana that will delight and tantalise all who read it… and the best is yet to come." – Win Wiacek, Now Read This!
• Interview: Writer Peter Bebergal talks with Jim Woodring at his Too Much to Dream website: "It’s ridiculous to sit in meditation and try to stop thoughts from arising (chitta vritti narodaha) and then get up, sit at the drawing board and try to whip the mind up to think as wildly as possible. It’s downright crazy to try to subdue the ego for an hour and then inflame it for the working day and then try to subdue it again at the end of the day."
• Review: "...Shimura Takako tells this story in such a gentle, unobtrusive way, one might believe that this story flows naturally – as if it simply spun itself from nature and is the way it is supposed to be. I think Matt Thorn’s tidy translation, which goes down the mental gullet with such smoothness, is a big reason for how readable this is. Wandering Son is not flashy or aggressive, nor does it pander or try to be hip and stylish. Takako draws the reader in so quietly that some may be surprised to find themselves on a journey of discovery and exploration with these characters. It’s like seeing preadolescence for the first time or seeing it again through fresh eyes and a new perspective.... If only more comic books were so evocative and so clear in their storytelling like Wandering Son, an ideal comic book. Ages 8 to 80 will like Wandering Son. [Grade] A" – Leroy Douresseaux, I Reads You
• Review: "Of the three books collected in this volume [What I Did], Hey, Wait... is a really evocative portrait of how childhood experiences can affect one throughout his entire life, and The Iron Wagon (which adapts an early-twentieth-century Norwegian novel) is a pretty good murder mystery that makes good use of Jason's deadpan style, but it's the middle entry, Sshhhh!, that really sticks with me, immediately jumping to the top of my favorites among the cartoonist's works.... It's sad, wonderful, exhilarating work, a great example of how amazing Jason is at what he does, and how nobody else can do it like him." – Matthew J. Brady, Warren Peace Sings the Blues
• Review: "The plot often takes a sharp turn towards the absurd and downright crazy, but eventually the story always comes back to our heroine. Adele Blanc-Sec takes no crap... It’s really nice to see such a strong female character at the centre of all this mayhem, and her character really pulls the book together.... Tardi’s artwork is great to look at; his panels are vibrant and full of life. In his hands Paris 1911 is a busy metropolitan city still hanging on to its 18th century spirit and facade.... The first volume ofThe Extraordinary Adventures of Adele Blanc-Sec left me with more questions than answers, and volume 2’s release date of November seems all to far away! I look forward to reading more of Adele Blanc-Sec’s adventures." – Will Pond, Good Comic Books
• Review: "Glenn Ganges — the protagonist of the first volume of the series Ganges — is a dreamer, an eccentric, a loving husband, but first and foremost a restless man. Meaningless details do not give rest to him, he makes a mountain out of a molehill, and his fantasies replace the reality. Five stories under one cover are the five pieces of a day in the life of Ganges.... I’d like to meet this Ganges." – Ray Garraty, Endless Falls Up
This interview was conducted by Fantagraphics intern Rolando A. López. Thanks to Rolando and Jaime! And,Esperanza will be in stores this week! -- janice
In his 1989 The Comics Journal interview (#126), Jaime Hernandez said: “I hope [Love and Rockets is] still fresh 20-50 years from now. I hope it doesn’t lose anything in the long run. Even if I’m writing about contemporary things . . . I hope people can look back at it as a piece of history instead of a gimmick.”
Readers have followed the lives of Maggie, Hopey, and the gang for almost 30 years now, and Love and Rockets is still going strong. Today, Jaime Hernandez is one of the most revered names in the world of comic books and beyond; cartoonists Alison Bechdel, Zak Sally, Simpsons creator Matt Groening, filmmaker Darren Aronofsky and writer Junot Díaz have all cited his influence. Hernandez’s work, simply put, is part of the comics canon.
Esperanza, the fifth volume in the Complete Love and Rockets, collects the stories from Love and Rockets Vol. II. Here, readers see Maggie struggle with the ghosts of her past, find Hopey settling down, and meet some new faces, which cause trouble in the already troublesome lives of the Locas. In this Q&A, Jaime Hernandez talks about growing along with his characters, his storytelling techniques and his elusive muse.
Rolando A. López: Esperanza, Hopey’s full first name, means “Hope” in Spanish. Why did you choose this as the collection’s title?
Jaime Hernandez: Actually, Kim Thompson came up with it. I couldn’t think of a better title so I happily agreed to it.
López: It seems to me these stories would be really rewarding to someone who’s read the Locas saga since it began. How do you take into account readers who have been following the series when you’re crafting your comics? Conversely, what storytelling techniques do you use to help acclimate new readers to new Locas stories?
Hernandez: I try to tell these stories in a way that a new reader can jump in and not feel overwhelmed and intimidated by the continuity that has built up for 30 years. It’s not always easy. [As for the fans,] I can only hope they’ll stay with me even if we’ve been at it this long.
López: Elliptical storytelling — how did you develop it and why did you develop it and what does it allow you to do?
Hernandez: It happened naturally. The storytelling was more of a learning process for me than the art was in the early L&Rs. I was trying whatever worked. Soon I started to visualize the story like a movie, with cinematic jump cuts and things like that, and came to realize I could cut a lot of corners and fit in more story. That also taught me how to let the character’s body language and expressions tell the story instead of letting the words do it. Finally, it taught me that leaving out actual “story” involves the reader more by letting them fill it in themselves.
López: How do you structure your stories?
Hernandez: It’s different most of the time. If the characters write the story, which they most often do, it’s sort of waiting to see what will turn out. If an idea writes the story, it’s more tightly structured: making sure there’s a beginning, middle and end.
López: You have a very intuitive approach to storytelling — you listen for your muse and almost “transcribe” what she says. Do you ever have “fights” with your muse?
Hernandez: Every time. That way it will flow naturally but still connect with the reader. Muse doesn’t always translate on its own.
López: How do you calibrate your artistic process?
Hernandez: I trust my instincts. I have to.
López: How did this process play out in the writing of the first half of the book (the “Maggie” stories)?
Hernandez: I don’t remember. It was quite a few years ago. The usual, I suppose. If I’m doing Maggie, she’s always gonna tell me where to go. Yeesh! Listen to me! “And then a UFO came down and ...”
López: One new character is Vivian, a femme fatale: she destroys everything she touches, and in turn, everyone that touches her either lives to regret it, or dies. How did you come to create her?
Hernandez: I wanted to create a character with no boundaries: someone who basically has nothing to lose. A character like that is the funnest and easiest to write because they can be put into any situation and it works. Making her very sexy only lets her character get deeper into trouble.
López: Why did you decide to put her in Maggie’s life?
Hernandez: It wasn’t planned, but I discovered they worked really well together because Maggie is the opposite of Viv. With Maggie’s nagging conscience, I can only take her so far. Dragging her into Viv’s world gives her (and me) a lot more to work with.
López: Sometimes I think of Vivian as being a darker counterpart to Penny Century; they’re both desirable and somewhat volatile. Is this an apt comparison?
Hernandez: In a way, but I understand Viv’s demons more than I do Penny’s and hopefully that makes them feel a little different from each other. I know why Viv is crazy but I don’t know why Penny is crazy and I prefer it that way. Both give me a lot to work with in different ways.
• Review: "...[T]he stories [in Maggie the Mechanic], of course, suck you in, because they're absurd and funny and warm, and even though they're the kind of stories where it's not a question of whether the good guys will win, only when they will, they're well told and well plotted, and I was sad when they ended. Apparently they're meant to be the sci-fi version of magical realism, which is neat, but the dinosaurs and aliens and rocket ships were far less interesting than seeing the girls get drunk and run around, or even just try to decide what to wear. I guess Jaime came to the same conclusion, because it seems he started phasing out the sci-fi stuff shortly after the issues in this volume." – Oriana Leckert, Chicago Center for Literature and Photography
• Interview:Ain't It Cool News's Mark L. Miller (a.k.a. "Ambush Bug"), who says "I love me some Prison Pit. If you havn’t checked out this amazingly graphic comic book series, you don’t know what kick-ass really is yet," met up with Johnny Ryan at Comic-Con to talk about the series: "...I do have certain ideas that I want to hit, but I also like to be a little spontaneous too, so I’m never really sure what I’m going to come up with. Sometimes I’ll even have an idea and then when I get to the point of using the idea, I’m like 'this idea isn’t fucked up enough. I’ve got to fuck it up a bit more.' (laughs) 'I’ve got to increase the fucked uppedness about it.' So six books seems to be the goal, but depending on how I feel at that point I might continue."
• Review: "...[T]he [Comics] Journal returns in a new bricklike bookshelf format (seriously, this thing has like 600 pages!), anchored by a massive Robert Crumb interview, and a whole freakin’ lot of really strong criticism. I most especially liked the Cerebus retrospective by Tim Krieder.... Great great great read!" – Brian Hibbs, The Savage Critics
• Review: "The artists that create worlds that start with the alphabet — these are the ones who have been getting in my head lately, motivating me to sort through my response to their art and settle my own ideas on alphabets. Mascots by Ray Fenwick is a great place to start. The book announces itself boldly — it is small, but its hot pink cloth cover is difficult to ignore. The title breaks across a few lines, so it is less a word than a jumble of letters — a mascot for the word 'Mascot,' so to speak. The book is appropriately titled: from the very beginning, everything announces itself as something else – forms are always changing, names are invented 'mercifully' (to use one of the narrators’ parlance) for things that are unnamable, faces that smile when the book is held in one direction are revealed as faces that frown when the book is flipped. The book conveys a sense of being stuck just outside of where everything makes sense and fits together." – Jordan Hurder, Chance Press
• Opinion: I don't think Jon Carroll of the San Francisco Chronicle knew about our upcoming series of Pogo collections when he wrote his reminiscences about the strip — "Pogo had it all: love, fear, friendship, ambivalence, pails of water, morality, plus a love of high-flown language and, not incidentally, wonderful draftsmanship" — and bemoaned the scarcity and high prices of past collections (via The Daily Cartoonist)
Our warehouse manager Nico dug up this video of Will Elder's son-in-law Gary VandenBergh speaking on the phone with Grateful Dead frontman and delicious-ice-cream inspiration Jerry Garcia about Garcia's love for Elder's EC Comics and post-MAD work. It seems a good bet that part of this interview will find its way into VandenBergh's in-progress documentary about Elder.
• Review: "Since... humor has emerged as such a tremendous, even defining part of Sala's appeal, I must confess that on a first reading, I was a little put-off to find it reduced to such a dim flicker. But on a second reading, with the understanding that he was exploring grimmer and more downbeat territory, other strengths grew more apparent — dreadful scenes of apocalypse, vistas of desolation, one truly appalling horror flashback set-piece, violence that feels more brutal than delirious, and tension between characters rooted more in how they treat each other than in their comical quirks. ...[O]ne of the great pleasures of reading a Sala comic for me is to let him lead me down the uniquely crooked lanes of his imagination. So buy The Hidden, and enjoy the journey. Highly recommended!" – Curt Purcell, The Groovy Age of Horror
• Plug: "For the last six years, Mome has kind of been to comics what CMJ used to be for music: Open it up, and readers were bound to discover something new and enticing. Sadly, the comics quarterly ends its run this month with Vol. 22, a massive, all-star issue featuring Pop Candy faves like Dash Shaw, Lilli Carre, Anders Nilsen, Paul Hornschemeier, Gabrielle Bell, Jim Rugg and Zak Sally. Even if you're new to the mag, this would be the one issue to purchase." – Whitney Matheson, USA Today Pop Candy
• Profile: The Sydney Morning Herald's Megan Johnston talks to Jim Woodring in anticipation of his appearance at the city's GRAPHIC Festival this weekend: "One thing Woodring does fear, however, is that people will find him 'disappointingly normal' compared with his work. 'All I can say is they should be grateful that they’re seeing me when I’m being that way,' he says."
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