Waid Assembles Big Stories for "All-New All-Different Avengers"
In the spirit of the Halloween season, Fantagraphics has compiled a weeklong sale on more than 25 of its horror titles discounted from 25 percent to 30 percent.
As with all of the Fantagraphics holdings, it’s an eclectic mix with a variety of gems for folks to consider. Consider the Jacob Covey-curated Beasts! Book 1, with work from more than 80 artists. As ROBOT 6’s Michael May noted in his 2010 review, “He [Covey] didn’t edit the book; he curated it like a museum exhibition. The book’s Introduction further reinforces that notion. It reads like a program, with a definition of cryptozoology and notes about the artists, the creatures they selected, and the approach the curator took in putting the collection together. It also shares interesting facts, points out easily missed elements of the book’s design, and even suggests the best way for ‘the enthusiastic reader’ to experience what’s to come. In other words, it’s not only a program; it’s a tour guide.”
Hopefully, if you’ve been reading Robot 6 for any substantial amount of time, you’re familiar with the work of Jason. In this email interview, we discuss his latest work released from Fantagraphics, Werewolves of Montpellier (a book aptly summed up by the publisher as “a lycanthropic thriller, a romantic comedy, and an existential drama — basically, your typical Jason book”), as well as some ideas shared in his blog, cats without dogs. My thanks to Jason for the interview (and for reminding me why I love Hal Hartley films) and to Robot 6’s Sean T. Collins as well as Fantagraphics Jacq Cohen for helping to make this interview feasible.
Tim O’Shea: Cinema clearly informs your work, does your appreciation of film date back to your childhood-or when and how did it begin?
Jason: I read comics as a kid, and books like the Hardy Boys, but I think what made the biggest impression on me were movies. In the 70s there was just one Norwegian channel and every Monday night they showed a feature film. I would watch every one of those. And I still remember a lot of them, sometimes better than some movie I saw last year.
O’Shea: In the comments section of your blog, you wrote: ” I like movies, non-musicals, where the characters do a dance or sing a song. Like Rio Bravo, Buffalo 66, Bande à part or Simple Men. It’s something that doesn’t work in comics.” If you don’t think it works in comics, I’m curious why did you have Audrey sing Moon River (a scene that I thought worked, by the way)?
Jason: It’s just four panels of her singing, and I guess it sort of works. But take the dance sequence in Simple Men (Hal Hartley’s 1992 film) as an example. I don’t think that could be recreated in a comic. You don’t get into the music and start tapping your feet like you would in a movie.