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Buddy & Lisa — back to Seattle! In the first full-length Buddy story in ten years (and it's a doozy), just when things are starting to look idyllic for our heroes, a family crisis forces Lisa to re-unite with her Seattle-based parents and brings Buddy and their young son Harold along with her — and Buddy quickly learns why she's been avoiding them for 20-odd years! And Lisa has some other unwelcome surprises in her family tree as well...
Plus, Pete gets political in cartoons from El Rios, High Times and Seattle Weekly. And a couple of ads!
Publishers Weekly's Ada Price actually found some SFW pages from Dave McKean's new erotic graphic novel Celluloid to share on the PW website! The sample shows just one of the many diverse styles McKean employs throughout the book.
The Comics Reporter broke the news that the next volume of Mome, number 22, will be the last. CR's Tom Spurgeon commented and spoke to Mome editor Eric Reynolds about ending the long-running anthology; Rob Clough talked to Eric at TCJ.com; and Sean T. Collins comments at Robot 6. We thank the three of them and everyone else who has been a proponent of the series. I for one will miss the publication and abhor the vacuum its departure will leave, but look forward to Eric's future editorial efforts and future work from Mome's long list of contributors.
As we've been working on M. Tillieux's Murder by High Tide I've become gripped by Tillieux's cartooning, especially his panel composition and pitch-perfect, push-pull blend of "naturalist" and "cartoony" figure work. What follows are a series of panels from Catch as Catch Can (the second story featured in Murder by High Tide) that I've been particularly struck by. Note: these panels, in their finished form, will be colored and lettered.
This panel reminds me of Toth or Xaime, what with how the acting, lighting and composition leads the eye to read Gil Jordan's darkened face and arm as he slowly creeps the door open to… what???
That's Gil Jordan dashing into the shadows as he's hot on the heels of Joe The Syringe. This panel stopped me cold.
I love this panel. I half expect to see my reflection in the rearview mirror. I used to think panels like this didn't work… or that you had to be Xaime to make them work, but time and time again Tilleux subtly or overtly places the reader's sightline in such a way to immerse your eye into Gil Jordan's four color world.
What could've easily been a throwaway panel graciously offers Tillieux's masterful drawing as acting equals cartooning!
Bonus! Six panel action sequence from Catch as Catch Can. (Click to see bigger.)
Tillieux's best work stands tensely between Hergé's ligne claire and Franquin's reverent bounce. It's the hearing-the-ice-crack tension of Tillieux's ink that brings it for me as it flawlessly meets the gestalt of the mystery thriller genre. And if that weren't enough, Tillieux, like American film director Howard Hawks, is a master of characterization and letting the scene play out. As a fan of the comfortable character interaction of Hawks' Rio Bravo and Hatari, I could spend all day hanging out with Gil Jordan and his assistant, Crackerjack!
At last, a girl-centered comic book that actually appeals to girls (and even their parents)! Co-created by comics living legends Peter Bagge (Hate) and Gilbert Hernandez (Love and Rockets) on writer and artist duties respectively*, Yeah! is a unique masterpiece of all-ages fun. Originally published as a nine-issue comic book series from 1999-2000 by DC’s Wildstorm imprint, this all-ages gem (approved by the Comics Code Authority, no less!) is collected here for the very first time.
Krazy (vocals and guitars), Honey (drums) and WooWoo (keyboards) are the members of the pop band Yeah! They’ve achieved intergalactic superstardom on every planet but their own (Earth), where they live in anonymity and suffer indignities in their home of suburban New Jersey. The girls struggle with bad gigs (struggling to win $200 amateur-night contests despite playing to packed crowds of adoring fans on Uranus), aliens who have crushes on them, and rival boy band The Snobs.
* Fans of Peter Bagge's artwork, don't fret: he breaks out the ol' pencil for a 4-page backup story starring The Snobs (inked by Fantagraphics' own Eric Reynolds). And Love and Rockets fans take note: this comic features perhaps the longest-ever collaboration with Gilbert and his brother Jaime, who inks a whole chapter!
"Reading YEAH! is a bit like reading my life story, as told in an alternate universe. The story is about a kick-ass all-girl band that are truly like a family. They have gigs, adventures, boyfriends and pets, and a manager that is flawed but lovable. Not so dissimilar to the Go-Go's! Of course, YEAH! get to be HUGE rock stars on every other planet but Earth, which is something I dearly would have loved in my career!" — Jane Wiedlin
Download a 25-page PDF excerpt (1.9 MB) including an intro to the book by Peter Bagge and the entire first issue!
Johnny Ryan’s transgressive masterpiece Prison Pit has been the talk of altcomics circles since its debut in the summer of 2009. But before Prison Pit, Ryan garnered a considerable following via his one-man humor anthology (which doubled as a one-man War Against Political Correctness), Angry Youth Comix. Take a Joke collects many of the best stories from this inimitable series as well as many strips created for the wildly-popular Vice magazine, to which Ryan has contributed for years.
Unlike Ryan’s previous collections, which focused on very short stories, Take a Joke spotlights several of the artist’s longest humor pieces to date, notably: “Graveyard Goofs,” in which Ryan’s hapless antiheroes Sinus O’Gynus and Loady McGee exhume the corpse of the recently-deceased Santa Claus as part of a Top Secret experiment, fantasize an orgy with a collection of anthropomorphic condiment bottles (resulting in an unwanted pregnancy), and end up in Hell; “Boobs Pooter’s Jokepocalypse,” starring a coprophiliac version of Godzilla who destroys the world with hilarious jokes and crazy pranks; and “The World’s Funniest Joke,” a 24-page masterpiece that makes The Aristocrats look like a Nora Ephron film.
All this plus Cheesburg Chase, Omletta DuPont, "The Day The New Yorker Came to Town," and a handy index to help you find things like "ass angels," "s'mores crucifix" and "Yeti-tit earmuffs."
Download an EXCLUSIVE 14-page PDF excerpt (1.9 MB) including the Table of Contents.
One of the very first autobiographical graphic novels to come from France, Lewis Trondheim’s Approximate Continuum Comics set the standard for the honest, often hilarious chronicling of a cartoonist’s life. Trondheim’s typically graceful, confident cartooning shows him wrestling with his own demons (sometimes, in dream sequences, literally) and an often malevolent world, while trying to maintain his rising career as one of Europe’s most beloved cartoonists.
Approximate Continuum finally brings American readers the first portion of the “Trondheim autobio trilogy” that also comprises the Eisner-nominated “At Loose Ends” meditation serialized in Mome and the “Little Nothings” series of short slice-of-life stories.
This volume contains the first three chapters serialized in The Nimrod comic book (praised as "A rewarding, pleasurable and entertaining read from a fine talent... well worth the cover price" by The Comics Reporter), the last three (never-before-translated) chapters, and a hilarious “rebuttal” section in which Trondheim’s family and cartoonist friends (including Epileptic creator David B. and Trondheim’s mom) dispute (or ruefully agree with) Trondheim’s depictions.