Kristy Valenti Archives - Robot 6 @ Comic Book Resources

Previews: What Looks Good for August

It’s time once again for our monthly trip through Previews looking for cool, new comics.

Wait a minute … “monthly”?

It’s true that we haven’t taken a What Looks Good tour in a few months, but the feature is back with an all-new approach that we hope will be more varied and useful than the old format. Instead of Michael and Graeme just commenting on everything that catches our attention in the catalog, we’ve invited Chrises Mautner and Arrant to join us in each picking the five new comics we’re most looking forward to. What we’ll end up with is a Top 20 (or so; there may be some overlap) of the best new comics coming out each month.

As usual, please feel free to play along in the comments. Tell us what we missed that you’re looking forward to or – if you’re a comics creator – mention your own stuff.

Love and Rockets: New Stories, Number 5

Chris Mautner

1) Love and Rockets New Stories #5 by Gilbert and Jaime Hernandez (Fantagraphics) — How do you possibly top the triumphant storytelling feat that was “The Love Bunglers”? I dunno, but Jaime Hernandez is certainly going to give it the old college try, this time shifting the focus onto the vivacious “Frogmouth” character. Gilbert, meanwhile, brings back some of his classic Palomar characters, so yeah, this is pretty much a “must own” for me.

2) Skippy Vol. 1: Complete Dailies 1925-1927 by Percy Crosby (IDW) — Percy Crosby’s Skippy might well be the great forgotten comic strip of the 20th century. Extremely popular in its day, and a huge influence on such luminaries as Charles Schulz, the strip has largely been forgotten and the name conjures up little more than images of peanut butter. IDW’s effort to reacquaint folks with this strip might change that — the few snippets I’ve read suggest this is real lost gem.

3) The Voyeurs by Gabrielle Bell (Uncivilized Books) — Tom Kaczynski’s small-press publishing company drops its first major, “big book” release with this memoir from the always-excellent Gabrielle Bell. Collecting work from her series Lucky (and, I think, some of her recent minis), the book chronicles a turbulent five year period as she travels around the world. Should be great.

4) Godzilla: The Half Century War by James Stokoe (IDW) — I usually stay as far away from licensed books as possible, but there is one simple reason I’m including this comic in my top five: James Stokoe. Stokoe’s Orc Stain has quickly become one of my favorite serialized comics, and his obsession with detailing every inch of the page combined with his ability to incorporate significant manga storytelling tropes in his work convince me he can do a solid job chronicling the adventures of the big green lizard that spits radioactive fire.

5) Barbara by Osamu Tezuka (Digital Manga) — Speaking of manga, here’s one of the more noteworthy Kickstarter projects of recent years: Digital Manga’s attempt to bring the master’s saga of a famous author and the homeless, beautiful woman he takes in and assumes to be his literal muse. This is well regarded in many Tezuka fan circles as one of the cartoonist’s better adult stories, and I’m glad to see Digital willing to take a chance on bringing more Tezuka to the West. I’ll definitely be buying this. I should also note that Vertical will also be offering some Tezuka this month, namely a new edition of Adolph (originally published by Viz in the ’90s), here titled Message to Adolph but well worth checking out regardless of the title.

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Quote of the day | Tom Neely: “I’m not marketing my semi-pornographic book to teenage girls.”

[KRISTY] VALENTI: I think there is a wolf cycle going on right now in indy comics; there was that werewolf anthology they put out at CCS.

[TOM] NEELY: I haven’t seen it.

VALENTI: I don’t know if it was the whole vampire-werewolf-zombie cycle or —

NEELY: I have no idea. I have specifically avoided reading most comics while working on The Wolf. Except for a few exceptions from friends, but I didn’t want to be influenced by anything contemporary or any external ideas. But I was very conscious of Twilight and all that stuff happening around me. And my mom was always like, “Oh, I think your book is gonna do really well, because everybody’s into werewolves and scary stuff.” And I’m like, “Mom …” And she’s like, “You should market this to the Twilight…” And I was like, “I’m not marketing my semi-pornographic book to teenage girls.”

[Valenti laughs.] That will get me arrested [chuckles].

It’s just a coincidence. It wasn’t any specific attempt to tap into that market, I was just off doing my own werewolf thing in my cave. And apparently there’s other stuff going on too — I didn’t even realize Jason did a werewolf story until somebody told me that the other day. So I haven’t really kept up with anybody [chuckles]. That’s what’s nice about finishing it, is now I’m getting to read all these books that I’ve avoided for the last five years. And someone else brought up that there’s a lot more sex in indy comics right now too. And I was unaware of that as well. Maybe there’s just something in the collective unconscious that’s leading us down that path. But it wasn’t any conscious attempt at being a part of that. I’m largely unaware; I guess there is a lot of it.

Cartoonist and painter Tom Neely on pop culture and alternative comics’ mutual season of the wolf, in conversation with The Comics Journal‘s Kristy Valenti. He’s right — altcomix really are having a bit of a sexy time right now, and horror has gone hand in hand with that, for whatever reason. It’s interesting to think that even some of the artists responsible for this don’t realize it until they emerge from the trees enough to get a good look at the forest.

Valenti’s life- and career-spanning interview with Neely is a must-read, and not just because of insights like these into Neely’s wordless psycho-sexual-surreal-semiautobiographical graphic novel The Wolf, one of the year’s best comics. It paints a compelling portrait of how a restless and idiosyncratic artist can maintain a balance between pursuing his vision and the need to work with others — peers, publishers, day-job providers — to do so. His revelations about his failure to come to terms with Top Shelf for publishing his breakout book The Blot, the pros and cons of working as an animator for Disney, and his interaction with the alternative-comics scenes in Los Angeles and Portland all make for reading that’s both depressing and instructive. Check it out.


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