This is the teaser trailer for the pilot of Fallout, English producer/director Tupaq Felber's adaptation of Peter Bagge's Apocalypse Nerd which Felber's currently pitching to the BBC. It's officially described as "A new 6 episode comedy-drama, exploring the edges of genre and style with the unique voice that distinguishes the best of television today. Fallout is the story of Douglas and Gordon, two friends battling their quarter-life crisis, who come home from a weekend in the woods to find the world has come to an end. ... Weird, funny, heartwarming and then a bit more weird. Fallout is to Cult British TV what global annihilation is to human kind: the next big thing."
I'm sure I'm not alone in saying HOLY CRAP GIMME. I hope to hell the Beeb picks this up (and then promptly re-airs it on BBC America).
Wrapping up another week of Online Commentary & Diversions:
• Review: "Fantagraphics sets a high standard for quality in all of their products, and [Gahan Wilson: Fifty Years of Playboy Cartoons] does not disappoint. ... It's just amazing...this is a product with a real 'wow' factor. ... If you're an admirer of Wilson's work like I am then this will be a must-have, something you'll want to look at again and again." – Matt Staggs, Suvudu (Random House)
Via Eric; I don't know where he found it. It seems like it starts out half-assed, but I think that's "in character" as Enid. It gets pretty great when "Jaan Pehechaan Ho" kicks in, so stick with it. Thanks, Ms. Jewels! We look forward to your turn as Rebecca. Or how about a duo act? (YouTube link)
[EDIT: Hey, it's been pointed out to me that the original wording of my post suggesting the duo act could be seen as disparaging to this particular performer. That wasn't my intent at all! Looking back, it did read kinda harsh and lacked the positivity it should've had. My apologies to Ms. Jewels and anyone else I might've inadvertently insulted.]
The multiple Harvey and Eisner Award nominee returns for its fifth year. With this issue, the series has now featured over 2000 pages of comics in its four and half years of existence (2109, to be exact), which may be a record for an English-language alternative comics anthology. This issue's cover is by Nate Neal, who delivers "The Neurotic Nexus of Creation," a 15-page explication of the creative process. MOME 18 also includes the first new comic in several years by Dave Cooper, as well as the MOME debuts of Tim Lane, Ivan Brun, Joe Daly, and Jon Adams. Also returning are MOME stalwarts Lilli Carré, Ben Jones, Frank Santoro, Jon Vermilyea, Nicolas Mahler, Ted Stearn, Renée French, Conor O'Keefe, Derek Van Gieson, and T. Edward Bak.
Download an EXCLUSIVE 15-page PDF excerpt (5.9 MB) with a page from every artist in the issue.
World War I, that awful, gaping wound in the history of Europe, has long been an obsession of Jacques Tardi’s. (His very first — rejected — comics story dealt with the subject, as does his most recent work, the two-volume Putain de Guerre.) But It Was the War of the trenches is Tardi’s defining, masterful statement on the subject, a graphic novel that can stand shoulder to shoulder with Erich Maria Remarque’s All Quiet on the Western Front and Ernest Hemingway’s A Farewell to Arms.
Tardi is not interested in the national politics, the strategies, or the battles. Like Remarque, he focuses on the day to day of the grunts in the trenches, and, with icy, controlled fury and disgust, with sardonic yet deeply sympathetic narration, he brings that existence alive as no one has before or since. Yet he also delves deeply into the underlying causes of the war, the madness, the cynical political exploitation of patriotism. And in a final, heartbreaking coda, Tardi grimly itemizes the ghastly human cost of the war, and lays out the future 20th century conflicts, all of which seem to spring from this global burst of insanity.
Trenches features some of Tardi’s most stunning artwork. Rendered in an inhabitually lush illustrative style, inspired both by abundant photographic documentation and classic American war comics, augmented by a sophisticated, gorgeous use of Craftint tones, Trenches is somehow simultaneously atypical and a perfect encapsulation of Tardi’s mature style. It is the indisputable centerpiece of Tardi’s oeuvre.
It Was the War of the Trenches has been an object of fascination for North American publishers: RAW published a chapter in the early 1980s, and Drawn and Quarterly magazine serialized a few more in the 1990s. But only a small fraction of Trenches has ever been made available to the English speaking public (in now out of print publications); the Fantagraphics edition, the third in an ongoing collection of the works of this great master, finally remedies this situation.
“‘The war to end all wars’ has become a magisterial comic book to end all comic books. I seldom give blurbs, but this book is an essential classic. Among all of Jacques Tardi's towering achievements as a comics artist, nothing looms larger than this devastating crater of a work. It’s a compulsively readable wail of Existential despair, a kaleidoscope of war’s dehumanizing brutality and of Everyman’s suffering, as well as a deadpan masterpiece of the darkest black humor. The richly composed and obsessively researched drawings — perfectly poised between cartoon and illustration — march to the relentless beats of Tardi’s three horizontal panels per page to dig a hole deep inside your brain. This is one Hell of a book.” —Art Spiegelman
"Tardi’s depiction of the First World War is so impassioned and visceral that it can be compared to the work of the artists who actually served in the trenches." – Joe Sacco