• 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."
• List:The Hooded Utilitarian, nearing the top of their results in their International Best Comics Poll, reveals George Herriman's Krazy Kat at #2, with a brief essay by Jeet Heer
• Review: "...The Comics Journal #301... is crammed with fantastic content. The volume's texture, heft, and text make it the readers' equivalent of a dense slab of chocolate cake.... In short, Gary Groth and his editorial team have produced a stellar contribution to comics history and scholarship. It is a feast for comics aficionados and neophytes alike. " – Casey Burchby, SF Weekly
• Plug: "I second Tom Spurgeon’s recommendation of Bill Mauldin’s Willie and Joe Back Home. I was amazed by how brutally frank the comics are, and how affecting. I actually prefer it to his WWII work — it’s even more impassioned, and the cartooning loosens enough to show off a really expressive, cutting line." – Dan Nadel, The Comics Journal
• Plug: "Alex Chun has a new volume available from Fantagraphics Books in his series which profiles the 'few dollars a drawing' gag writers who sold work to the Humorama line of digest publications during the 1950s and into the early 1970s. As I have been writing on the lesser known artists who contributed, with the scant information available...I eagerly await the book!" – Jim Linderman, Dull Tool Dim Bulb
• Analysis: At Entrecomics, Alberto Garcia examines the Steve Ditko influence/homages in some of Gilbert Hernandez's early work — even if you don't read Spanish, the images will have you going "ah-haaaa..."
• Lore:Kim Deitch's "Mad About Music: My Life in Records" column returns over at TCJ.com, with more on Elvis Presley and the early days of rock 'n' roll
Trying to keep up with Online Commentary & Diversions while also at Comic-Con may be foolhardy, but I'll be giving it a go:
• Plug: "Reviewers will compare [Everything Is an Afterthought] to Lester Bangs’s Psychotic Reactions and Carburetor Dung, but Avery’s palpable esteem for his subject elevates the book above anthology to research-rooted valentine; indeed, the book is partly a biography of a Minnesota-grown rock journalist whose lean style recalls the film noir he adored." – Heather McCormack, Library Journal
• Interview: At Comicdom, Thomas Papadimitropoulos talks to Michael Kupperman (interview in English follows introduction in Greek): "Despite having some enchanted associations, I still very much feel I'm an outsider, and I need very much to prove myself every day. This is one of the simplest rules of life - creativity is at it's strongest when it comes from necessity. I sincerely hope that at some point in the future I will be more successful and then I will not be as funny. That's how it works."
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