Today's Online Commentary & Diversions:

• 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

• Interview: From the archives, The Comics Journal presents Gary Groth's great, historic 1993 interview with Jim Woodring

• 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."