|New Comics Day 11/12/08|
|Written by Mike Baehr | Filed under new releases, New Comics Day||11 Nov 2008 11:47 PM|
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You may experience a sense of déja vu, or perhaps more appropriately déja ne vu pas, at your local comic shops this week, as once again no new Fantagraphics releases are scheduled to arrive. What does next week hold? Stay tuned to Flog to find out.
The stupidest, ugliest, stubbliest girl in grade number two is back and so are the zits, boogers, guts, tumors, and turds in her third collection of riotously hilarious, eye-poppingly offensive four-panel gag strips. Co-starring the usual cast of Blecky's weirdo friends and enemies, plus jelly clones, morbidly obese Jesus, the Blumpkins, slug nuts, aliens, talking belches, the beloved New Character Parade and oh so much more. Over 100 pages of ridiculous absurdity, over-the-top grossouts, and scathing satire as only Johnny Ryan can deliver.
The Comics Journal #294
Art speaks louder than words when the Journal interviews two cartoonists who have had success with “silence.” Norwegian Jason, who populates comics, such as Hey, Wait…, The Left Bank Gang and I Killed Adolf Hitler with deadpan anthropomorphic animals, muses on the thin line between tragedy and laughter and why B-movie creations continue to resonate with the 21st century public. Lio comic-strip cartoonist Mark Tatulli talks to the Journal about bringing kids and ghouls together on the Funny Pages in Lio, one of the most innovative and entertaining comics strips in recent decades. And a color comics gallery goes back to the early days of one of the world’s longest-running comic strips: Billy DeBeck’s Snuffy Smith precursor, Take Barney Google, F’rinstance, spanning 1919 to 1921.
To start things off, Rocky manages to wheedle himself a free trip to New York as a reporter covering a gaming convention; a glutton for punishment, he looks up the girl he knocked up in Rocky Vol. 1 and gets a BIG suprise! Rocky Vol. 2: Strictly Business is Fritz The Cat meets Jane Austen!?! Basically, it's the pottymouthed animal-headed Seinfeld-esque comic strip we've all come to love. Wont you join us for more?
From our friends at Drawn & Quarterly we now have a supply of the newest volume of Chris Ware's Acme Novelty Library in stock and available to add to your order at the price of $15.95.
Thanks to some inventory reshuffling we now have several formerly out-of-stock books back in our warehouse and available to order! Quantities are very limited — in some cases, literally a handful — so get your order in quick before they're gone again! The list:
• The Comic Strip Art of Lyonel Feininger
If you follow us on Flickr, you saw this preview of the upcoming new Zippy the Pinhead book Welcome to Dingburg pop up a few days ago. If you don't... here it is! Click this link if the embedded slideshow doesn't appear above, and/or to open it in a new window. (And don't forget to join us and Bill Griffith at the book launch party/exhibit opening at our bookstore on Saturday night!)
LOONEY TUNES MEETS LUIS BUÑUEL IN THIS GRAPHIC NOVEL DEBUT
Petey and Pussy, John Kerschbaum’s new graphic novel, reads very much like a Loony Tunes cartoon — if all of the anthropomorphic animals were kvetching, balding, foul-mouthed misanthropes. Each character is articulate (and, in fact, can speak directly to humans, well enough to order a beer) but still recognizably have the traits associated with their respective species: Pete, the dog, is happy-go-lucky; Pussy, the cat, is self-centered; and Bernie, the bird, is high-strung and constantly a-twitter. Together, they are the pets of a sweet old lady whose obliviousness to the lunacy unfolding around her is second only to her own hygienic repugnance. The Sisyphean struggles of the characters is brought to the fore — the cat is compelled to try and catch the mouse, the bird struggles to escape his cage — as the trio engage in slapstick adventures that are simultaneously given an edge and made hilarious by a twisted combination of mundane realism and insouciant gross-out humor.
Kerschbaum cheerfully includes all the blood and guts that are left out of the cartoons, and lovingly renders his motley crew in a densely textured urban setting. And like the animated cartoons it echoes in an oddly surreal way, when the mayhem dies down, the characters come to the realization that their identities’ are defined by the way they relate to the others, and that one’s opponent might be one’s truest friend when both face a true threat.
A family is seduced by a mysterious creature's siren song that can be heard emanating from the lagoon after dark in talented young cartoonist Lilli Carré’s first long-form work, and how each member reacts to the song in The Lagoon is the crux of the story. For the wise — or pixilated — Grandpa, the song reminds him that, in the time he has left, he must pause to respect, appreciate, and fear nature. The song hints at something that Zoey, the daughter, is too young to fully grasp. And the song lures the sexually frustrated mother, and eventually, her husband, into danger... Carré experimented with nib pens and brushes while drawing this black-and-white graphic novel, giving the art a different feel from her previous, Eisner-and-Harvey-Award-nominated story, Tales of Woodsman Pete. The Lagoon was influenced by the films Creature from the Black Lagoon and Night of the Hunter, but reads more like the gothic, family narratives of Flannery O’Connor or Carson McCullers. Rhythms — Grandpa’s taps, the ticking of a metronome — are punctuated by silences that pace this “sound”-driven story. Older teen and adult readers are invited to imagine the enigmatic creature’s haunting, ever-shifting tune as it reverberates through weedy waters, eventually escaping the lagoon to creep into windows at night.