Online Commentary & Diversions returns after a slow news day yesterday:
• Review: "Hensley’s clean art, drawn in a 1960s cartoon style (and complete with bright color pallete) is a bizarre mish-mash of the best in ‘60s teen book cartooning with the absurdity of an episode of The Monkees and the severity of indy comics. ...Hensley’s biting humor [is] either as spontaneous on the final page…or so well timed and planned that you don’t see it coming. In all honesty, I had trouble figuring Wally [Gropius] out — I expected a nostalgic pastiche with an edge, but what I got was an unpredictable and sometimes unsettling reading experience, literally not knowing what to expect from page to page. And that’s where Hensley excels, with a narrative sleight of hand, his seemingly innocent characters hiding more base and sinister motivations, using classic cartooning techniques to conceal a darker underbelly." – Christopher Irving, Graphic NYC
• Review: "...[W]hat really defines Billy Hazelnuts [and the Crazy Bird] is a genuine sense of excitement on the part of the author, as though, like the daughters he’ll eventually read the book to, Millionaire seems eager to discover what sort of adventures await his hero on the next page. ... Billy Hazelnuts is dark and weird and funny and strangely warm — it’s a book you wish you could have discovered at a much younger age. Thankfully, it’s pretty fun as an adult, too." – Brian Heater, The Daily Cross Hatch
• Plugs: "This gorgeous softcover collection of Dame Darcy's Meat Cake comic series is a thick slice of delicious Victorian romantic, horror, humor with just a hint of Southern gothic. ... So beautifully drawn and entertaining, Werewolves of Montpellier should make members of Team Jacob consider changing their name to Team Jason." – Benn Ray (Atomic Books), Largehearted Boy
• Interview: At The Comics Journal, Marc Librescu continues his talk with Gahan Wilson: "A lot of the reasons that [today’s] horror movies are so not entertaining or not much fun, and leave you with a very yuck taste, is that they’re brutal. And I think they’re brutal because the people who are making them are brutalized, basically, putting it right smack down there on the table. And they’re kind of a little fuggy, and that’s not good for an artist."
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