• Review: "Gottfredson is in much stronger form here [in Walt Disney's Mickey Mouse Vol. 2: Trapped on Treasure Island] than in the first volume, drawing upon the early Mickey cartoons for ideas — mad scientists, treasure hunts, mail pilots — but then expanding and developing them in a way those early Disney shorts were incapable of doing. Over time, Mickey’s personality becomes more refined as well; scrappier, tougher and more determined to seek justice (or an adventure) regardless of the odds. Again, part of the enjoyment for me with this series is the rich amount of historical material editors Gary Groth and David Gerstein are able to provide. From foreign material to biographies of various ancillary contributors, supplemental art, character histories and more, this series is rich with detail, both in the strip itself and in the editorial handling of the material, that puts other reprint projects to shame." – Chris Mautner, Robot 6
• Review: "What is good about Love and Rockets: New Stories [#1], however, is that it throws readers and fans a curve. Just what are Los Bros. going to do now? By going back to their early styles, in essence, they’ve allowed themselves a re-launch or at least a chance to throw many surprises at our expectations. Whatever they choose to do, it’ll still be the most interesting comics coming from America’s most literate, experimental, and adventurous comic book creators." – Leroy Douresseaux, I Reads You
• Plug: "In these days of precious art comics and highfalutin graphic novels, it’s often forgotten that comic strips evolved for one (now quaint) reason: to sell newspapers. Cartoonists were commercial artists, not auteurs. [In Drawing Power: A Compendium of Cartoon Advertising] you’ll find Peter Arno, the sophisticated New Yorker cartoonist, endorsing Rheingold Extra Dry Beer; Mickey Mouse and pals flogging just about everything under the sun except, maybe, mousetraps; and Krazy Kat selling Gulfsteel Nails. They are all Joe Camel’s ancestors." – Dana Jennings, The New York Times
• Interview: At Our Town Downtown, Cullen Gallagher, who says "...Everything Is an Afterthought: The Life and Writings of Paul Nelson [is] a deeply moving biography that captures not only Nelson’s tragedy, but also celebrates the ardor and artistry of his life and work," talks to the book's author/editor, Kevin Avery: "In the mid-to-late ’70s, rock music was still being discovered. There were no hard and fast rules, so in a way criticism was an act of discovery for these writers and they were just expressing what they liked. Paul was able to do that in a way that was not only personal, but also he would draw from film, books and his knowledge of folk music. You also got the feeling that he was a mysterious character. There would be hints dropped that there was an unhappy guy behind all these reviews. His writing was beautiful. This was music criticism that could be read as literature."
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