BEST BETS: "Jessica Jones," "Big Trouble/Escape from New York" & More October 2016 Highlights
Previously on Lost: Dash Shaw, author of Body World and Bottomless Bellybutton, and Jesse Moynihan, storyboard artist for Adventure Time and author of Forming, teamed up a couple years ago to create an innovatively formatted fold-out comic for an issue of the literary magazine The Believer. Titled “Spiritual Dad,” the strip told a multi-generational story of fathers, sons and significant others struggling to find their destinies via various chemical and/or mystical means … leading one of them to a dreamlike vision of a plane crash, an island, a mysterious bald man on a vision quest, and other events that years later would become the subject matter of a little cultural phenomenon called Lost.
Flash forward to today, when cartoonist and commentator Frank Santoro hid the never-before-digitized comic, hatch-style, at the bottom of his long and compelling interview with Moynihan for The Comics Journal. Read the whole thing and marvel at the dense meta-magic performed by Shaw and Moynihan as they weave Lost into the tapestry of their own tale. Just be sure to dig into that interview, and Moynihan’s gorgeously colored Forming art, as you scroll down toward the comic itself.
There is nothing he will not joke about and sometimes this is his only way of coping. When our baby was stillborn last October and I was lying in the hospital bed, he said he hoped our next baby wouldn’t be such a fucking wimp. It sounds horrible but at the time I needed to hear something like that a lot more than I needed the greeting cards people kept sending that said our baby was a fucking angel looking down on us. I think he has trouble getting close to people because of this kind of thing, but I’m a bit like that too so I found it reassuring. Of course he did cry too but only for a bit.
— Author and craft artist Jenny Ryan on her husband Johnny Ryan, as quoted in Jesse Pearson’s incredible interview with Mr. Ryan for The Comics Journal. In the course of the wide-ranging and often hilarious interview, Ryan also reveals (I think; I certainly had never heard it before) that his father was an abusive alcoholic.
I’ve spent years enjoying Ryan’s scabrously offensive humor comics like Angry Youth Comix and Blecky Yuckerella, as well as his extravagantly vicious action comic Prison Pit, and I’ve often wondered where his search-and-destroy ethos originated. My wife and I have also suffered three miscarriages, and maybe it’s bizarre to say this, but Ryan’s comics involving the gory slaughter of crying babies are one of the few works of art that really spoke to me about how this experience felt. Thanks to Pearson and Ryan’s jawdroppingly candid conversation, I finally feel like I understand both of these things, at least a little.
Welcome to Food or Comics?, where every week we talk about what comics we’d buy at our local comic shop based on certain spending limits — $15 and $30 — as well as what we’d get if we had extra money or a gift card to spend on a “Splurge” item.
Let’s give all credit to IDW for their sense of timing. I’m so psyched up in advance of this Saturday’s return of Doctor Who to my television screen that this Wednesday’s release of Doctor Who Annual 2011 (IDW, $7.99) seems like the ideal way to prepare myself. If I had $15, I’d happily spend more than half of it on that particular anthology. The rest would go towards closing out the current incarnation of the DCU, as I’d be grabbing both Action Comics #904 and Batman: Gates of Gotham #5 (Both DC, $2.99).
I’ll admit it, it’s a bit of a shock to see a Brian Ralph comic that isn’t about some deceptively adorable character adventuring their way through an impeccably rendered rubble-strewn environment. Then again, is surviving the San Diego Comic-Con really all that different? The Daybreak cartoonist and alumnus of the influential Fort Thunder collective is chronicling his experience at Comic-Con International 2011 in diary comics form for The Comics Journal all week long. Day one’s a doozy, a journey from misery to triumph and back to misery in the space of a few panels. Look out for the cameo appearance from Drawn and Quarterly’s staff supercouple Peggy Burns and Tom Devlin, who emerge as a sort of obscenity-spewing Statler & Waldorf.
But the main impediment to Dave Sim’s literary reputation is Dave Sim himself. His regressive social and political views and obnoxious rhetoric have created a public persona that’s eclipsed his artistic achievement in the comics world much more completely than it would have in the larger, less insular artistic world — where, for example, plenty of people call John Updike a chauvinist but not even his bitterest detractors question his mastery as a prose stylist, where Karlheinz Stockhausen’s ill-advised statement about 9/11 being a work of art didn’t get him ejected from the first rank of postwar composers, and artists like Wagner and Pound are still secure in their respective pantheons despite having endorsed ideas that are, to put it charitably, pretty well discredited.
But Sim’s controversial ideas are not peripheral to his work; he ultimately makes them its central message and purpose. Wagner never actually wrote any operas about the villainy of the Jews, nor Pound cantos praising the wise and just rule of Franco, but Sim incorporated his screeds about women and the tenets of his one-man religion into the text of his novel, so that even a reader determined to ignore all the apocryphal gossipy bullshit accumulated around the artist and concentrate on the work itself is finally forced to confront the fact that the man has some bizarre ideas and an abrasive way of expressing them.
–Tim Kreider, in his must-read introduction to a longer essay on Dave Sim’s seminal (in more ways than one) independent comic Cerebus from The Comics Journal #301. (I made this exact point, complete with the Wagner example, a few years back.) It’s one thing to be an artist with odious ideas unrelated or tangential to your art; it’s quite another to make them your art’s main attraction. Kudos to Kreider for drawing the distinction so clearly.
Welcome to another edition of What Are You Reading? This week our special guest is Robert Stanley Martin.
Robert writes for his blog Pol Culture, and is a contributing writer to The Hooded Utilitarian. He is a past contributor to The Comics Journal, and his essays on R. Crumb’s The Book of Genesis Illustrated and Eddie Campbell’s Alec: The Years Have Pants are featured in the soon-to-be-released The Comics Journal #301.
To see what Robert and the Robot 6 crew have been reading, click on through …
“It wasn’t possible for a man like Stan Lee to come up with new things — or old things for that matter. Stan Lee wasn’t a guy that read or that told stories. Stan Lee was a guy that knew where the papers were or who was coming to visit that day. Stan Lee is essentially an office worker, OK? I’m essentially something else: I’m a storyteller.”
“On The Fantastic Four, I’d tell him what I was going to do, what the story was going to be, and I’d bring it in — that’s all.”
“I created Spider-Man. We decided to give it to Steve Ditko. I drew the first Spider-Man cover. I created the character. I created the costume. I created all those books, but I couldn’t do them all.”
If you listen closely, you can still hear comics’ collective jaw dropping upon reading the above quotes, and many more like them besides, from Jack Kirby’s bombshell 1990 interview in The Comics Journal, conducted by editor and publisher Gary Groth. And now that the Journal has posted the interview online in its entirety, jaws will likely drop all over again.
It’s a fascinating document. Here you have the King of Comics himself, angry and exhausted from years of feuding with Marvel over credit and access to his original art, feeling personally slighted by the company’s other guiding light and figurehead Stan Lee, lashing out with the kind of bombast usually reserved for his spectacularly cosmic comics. In the course of recounting his career (with a little help from his wife Roz), Kirby basically takes sole credit for the creation of the entire Marvel Universe, from the Fantastic Four to Thor to the Hulk to the Avengers to even Spider-Man, relegating Lee to the role of an office boy and credit thief whose only contribution to most of the comics for which the pair shared billing was slapping his name on them and collecting checks.
Kirby’s boldest claims here have proven tough for even his most ardent defenders to swallow — and indeed he goes much further here in asserting sole authorship of the Lee/Kirby co-creations than he ever had in the past — but what his recollections may lack in historical accuracy they gain in evincing the passion he still felt for the work, the degree to which Marvel and Lee’s treatment of him hurt, and, as always, the astonishing imaginative power with which he infused every character he touched. Read the whole thing.
Part one-crazy-night comedy of errors, part Curb Your Enthusiasm-style comedy of discomfort, part heartwarming second-chance romance, part cartooning master class, Daniel Clowes’s new book Mister Wonderful packs a lot of delights in between its long covers. The book began life as a weekly strip in The New York Times Magazine‘s “Funny Pages” section before Clowes reformatted, edited, and expanded it for its new incarnation from his frequent publisher Pantheon. Now the misadventures of Marshall, a middle-aged divorcé with a penchant for second-guessing pretty much every word out of his own mouth, and his fateful blind date can sit comfortably on your bookshelf instead of lying in your recycling bin after the weekend’s over. And the added bonus to any new Clowes comic, of course, is new Clowes interviews.
Over on the CBR mothership, Clowes spoke with Alex Dueben, who elicited from the cartoonist a provocative take on the much-lamented demise of the alternative comic-book series (a la Clowes’s own Eightball):
The Comics Journal, a venerable, influential and controversial mainstay of comics journalism that had developed an air of the walking wounded in recent years, has radically revamped and relaunched its online presence. Its new editors are Dan Nadel and Tim Hodler, best known as the minds behind Comics Comics magazine and, in Nadel’s case, the art-comics publisher PictureBox Inc.
The print version of the Journal will continue to be helmed by founding editor and Fantagraphics co-publisher Gary Groth, acting in a more hands-on capacity as of the forthcoming Issue #301 than he has in years, by the sound of it. Kristy Valenti serves as editorial coordinator. Contributors to the new TCJ.com include Frank Santoro, Jeet Heer, Joe “Jog” McCulloch, Ken Parille, Ryan Holmberg, Rob Clough, Richard Gehr, R.C. Harvey, R. Fiore, Vanessa Davis, Bob Levin, Patrick Rosenkranz, Nicole Rudick, Dash Shaw, Jason T. Miles, Andrew Leland, Naomi Fry, Jesse Pearson, Tom De Haven, Shaenon Garrity, Matt Seneca, Tucker Stone and Hillary Chute. On a Robot 6-related note, my colleague Chris Mautner and I will also be contributing.
A look at the new site reveals a multifaceted approach, with reviews, columns, interviews, lengthy features and essays (the current lead feature is a look at the legacy of, and turmoil surrounding, Frank Frazetta by writer Bob Levin), an events calendar, selected highlights from the magazine’s archives, and more. The biggest news, perhaps, is that Hodler and Nadel plan to have literally the entire 300-issue Comics Journal archive scanned and posted online by the end of this year and made available in its entirety to the print magazine’s subscribers. Click here for Hodler and Nadel’s welcome letter, in which they explain some of the changes and reveal a bit of what’s ahead. (And click here for their farewell letter to Comics Comics.)
Broadway | A fourth actor was injured Monday night during a performance of Spider-Man: Turn Off the Dark, the $65-million musical that’s been plagued by delays and technical mishaps. Aerialist Christopher Tierney, who serves as a stunt double for Spider-Man and the villains Meeks and Kraven, fell about 30 feet when the cable to his harness snapped during the closing minutes of the show. Some equipment reportedly dropped into the audience as well. The performance was put on hold and then canceled as an ambulance arrived at the Foxwoods Theatre to take Tierney to Bellevue Hospital. Tierney is in stable condition, but no further information has been released. [BroadwayWorld, The Associated Press, CNN]
Publishing | Fantagraphics has laid off Dirk Deppey,The Comics Journal‘s online editor, former managing editor, and longtime writer of the Journalista! blog. His final day is Wednesday: “No regrets: The last ten years have kicked ass. I’ve done great things and meet interesting people, and was paid it. How great is that?” [Twitter]
“I had an anus-clenching moment when I read Ken [Parille]’s parodic ‘Where are your standards?’ paragraph without knowing it was parody and thought, ‘My God, [Parille and Comics Journal contributor Noah Berlatsky are] both idiots!’ You can imagine my relief when Ken revealed that it was a joke! I thought I’d created some sort of critical purgatory that I would wander around in forever in an intellectual torpor, and the only way out would be to extinguish the site. My only solace was that I might bump into Harold Bloom and we’d sit down and commiserate.”
—Comics Journal editor and Fantagraphics co-publisher Gary Groth, expressing his dismay that he can no longer tell actual posts on the Journal’s website from parodies thereof.
One of the biggest pieces of news coming out of this year’s Comic-Con was the announcement by Fantagraphics that they would start reprinting Floyd Gottfredson’s seminal Mickey Mouse comic strips.
But that book is at least a year away. What ever shall we read in the months between now and then? Thankfully, Gary Groth, Kim Thompson and company have the answer, via their lengthy fall/winter catalog, which I’ve taken the liberty of breaking down into bite-sized chunks for the hoi-polloi to peruse. No doubt some of these titles you’re probably well aware of and already expecting. But hopefully there’s one or two surprises in the list.
Welcome once again to What Are You Reading? Our guest this week is Van Jensen, writer of Pinocchio, Vampire Slayer and Pinocchio, Vampire Slayer and the Great Puppet Theater. To see what Van and the rest of the Robot 6 crew are reading, click below.
Welcome to another edition of What Are You Reading. Our guest this week is none other than acclaimed cartoonist and co-founder of the Center for Cartoon Studies, James Sturm. Sturm, the author of such books as The Revival and The Golem’s Mighty Swing, has a new book coming out next month from Drawn & Quarterly entitled Market Day, and you definitely want to check it out, it’s a lulu.
In the meantime though, let’s simply check out what Sturm and the rest of the R6 crew is currently reading.
I haven’t done this in awhile, so let’s highlight some of the more interesting posts from the past week or so — or at least what was intersting to me:
• The folks at the Hooded Utilitarian recently wrapped up a lengthy roundtable discussion on Dan Clowes’ Ghost World.
• Tom Spurgeon continues his great holiday interview series with notable critics about the great comics of the closing decade. In backwards order: Kristy Valenti on Little Nemo: So Many Splendid Sundays; Bart Beaty on Persepolis; Frank Santoro on Multiforce and our own Sean Collins on Blankets.
• Tucker Stone examines the brouhaha surrounding the announcement of Marvel’s Girl’s Comics series and wonders what lies behind it: “When the Big Two companies make a fuss about something, and that fuss can in any way be perceived as a movement towards correcting a problem, the initial responses are certain to contain a healthy slice of contempt.”