What I Read in 2018

In years past, I’ve regularly done “Faves of 20xx” lists of various things–comics, art supplies, documentaries, etc.–that I’ve enjoyed during the year. This year, though, I managed to keep a list of all the comics and comics-related books I read throughout the year and so instead of a Faves list, I’m just going to do a quick blurb about each of these items instead. Here goes–in roughly the order I read them (other than series I read more than one volume of–those are grouped together):

 Moomin: The Complete Tove Jansson Comic Strip – by Jove Jansson 

I’ve been reading through this tremendous volume on and off since I received it for Christmas a while back and I completed it at the beginning of 2018. For many years, the Moomin newspaper comic strip was a work shrouded in mystery and rumor, chunks of which were passed around in photocopied form from cartoonist to cartoonist. This complete collection from Drawn & Quarterly is a blessing–every strip published, including the end of the series that was taken over largely by Lars Jansson. There’s not much I can say about this strip that’s not already been said other than that it should be required reading for anyone interested in comics. Jansson’s designs for the various characters populating Moominvalley are amazing and unlike pretty much anything else that’s ever graced the interior of a newspaper. What’s most striking about this strip is that it exists at all; it seems to break every conventional rule of newspaper strip cartooning: the stories are often bizarre, the politics and messages of the stories are brazenly anti-authoritarian, even her drawing breaks the “rules” of cartooning–employing in-story elements as panel borders and the like. 


 Les royaumes du nord,  Vols 1 & 2 – by Stéphane Melchior and Clément Oubrerie (French)


I bought the first volume of this in French a while back but since then there’s been an English translation of the series. Just because I’m an obsessive book nerd and I want to have a matching set, though, I’ve been soldiering on with the French versions, one of which I read at the beginning of the year and the other of which I completed in the fall. This is, obviously, an adaptation of the first book of Philip Pullman’s His Dark Materials series. It’s been years since I read the source material, but from what I recall this seems to be a fairly straightforward adaptation. The thing I like most about this particular adaptation is its drawing style: Oubrerie’s lose, almost impressionistic drawing style works so well with the steampunk-ish Victorian mise-en-scène from the original book. It’s refreshing to see this style of artwork employed for an adaptation like this rather than the usual North American standard neo-realistic “sword and sorcery” style that seems to be the inexplicable default for pretty much every comics adaptation of SF or fantasy work. 


Calamity Jane: The Calamitous Life of Martha Jane Cannary, 1852–1903 – by Christian Perrissin and Matthieu Blanchin

This is a solid comics biography that’s only slightly marred by some not-great translation problems. First off: the art is really pretty. It’s lose and animated–and the only color is a subtle sepia wash. The overall look evokes old sepia toned photographs–which I’m sure is exactly the point. The translation here, though, is a bit buggy–not the actual word choices themselves, but the fact that what must have been large chunks of French text are often replaced with much shorter lines of English text, leaving balloons with huge awkward swaths of empty space.   


Corto Maltese, Under the Sign of Capricorn – by Hugo Pratt

I’ve always loved Pratt’s drawing (I saw a stunning exhibit of it in Lyon not too long ago in fact) but I’ve not actually read any of it until this year. This is the inaugural volume of the recent Corto collection from IDW which wisely starts somewhat mid-stream with this storyline from a now-fairly well developed Pratt. Most of the key characters are in place here and Pratt’s mature, distinctive drawing style is on display. Story-wise, this stuff is all great fun. Corto himself is sort of a nautical Han Solo with bell-bottoms: a chaotic good adventurer and ladies’ man with a heart of gold. Aside from the inexplicably clunky cover design (drop shadow? seriously?) this is a beautiful volume and the reproduction of Pratt’s stunning linework is a thing to behold. 


The Art of Charlie Chan Hock Chye – by Sunny Liew

It’s impressive enough to produce just a really good comic, but here Sunny Liew has managed not just to produce a great comic but has done something almost wholly new with the medium. This is a biography of a completely fictional cartoonist, the eponymous Charlie Chan Hock Chye, whose invented personal history is used by Liew to document and comment on the history of Malaysia and Singapore. In doing so, he shows us “Hock Chye’s” work throughout his life and to do so Liew impressively mimics an array of period-appropriate cartooning styles that are instantly recognizable to anyone with a knowledge of the medium–from classic newspaper strips to Frank Miller’s Dark Knight Returns. While there are points where this conceit strains under it’s self-imposed demands–like a Pogo-esque newspaper comic that, though beautifully drawn, is weighed down awkwardly by its required political allegories–this book is an epic achievement and well deserves all the accolades it’s received. 


The New Mutants: Bill Sienkiewicz Marvel Artist Select Series – By Chris Claremont and Bill Sienkiewicz

I was lucky enough to have picked up a copy of this at San Diego a few years back, but only this year got around to sitting down and reading it. I hadn’t read most of this stuff since it came out, and some of the later issues I’d not read at all. Rather than repeat myself, if you want to know my thoughts on this you can read this big blog post I did about it here.


The Castafiore Emerald – by Hergé

Continuing on with my re-read of the Tintin series in sequence, I tackled The Castafiore Emerald early this year. This has always been my favorite Tintin book and this read didn’t change my opinion. It is, though, quite obviously a book that assumes you’ve read a lot of Tintin; the whole story is basically a farcical send-up of the usual Tintin tropes that’ve been established in the previous books in the series–and in some cases, maybe not that farcical, as with Tintin’s championing of the Gypsies in the book. This latter bit seemed to me like a deliberate statement from the author in response to some of Tintin’s more controversial storylines in the past.  


Spy Seal #1 – by Rich Tommaso

This is obviously just the first issue of a multi-part series, but I really enjoyed the opening chapter of the story-to-come. Spy Seal is a stylistic mashup: “funny animal” characters, an overtly Hergé-esque ligne claire drawing style, and mid-sixties Cold War British spy thriller. I’ll most certainly pick up the collected edition of the full story. (In fact, the only real misgiving I have about Spy Seal is why it was presented as individual issues in the first place–an odd choice for the audience this type of comic is likely to draw.)  


Valerian: The Complete Collection Vol. 2 – by Pierre Christin and Jean-Claude Mézières

While the Valerian movie was apparently a huge flop, we should all be thankful that it prompted the release of this new collection of English translations of the source material. I read and enjoyed the first volume last year, but these are the first stories where the Valerian formula is really in place and where drawing-wise the characters have settled into their final designs. You also now start to get some overt political and societal commentary as well. This’d be a good volume to pick up if you’ve never read any Valerian before.


Hicksville – by Dylan Horrocks

I’d somehow managed to make it to 2018 without reading this classic GN of the late 90’s. While there are a few parts of Hicksville that stand out a bit as being overly-of their time, most notably the plot elements that are obvious allusions to 90’s Image Comics, I thoroughly enjoyed this book. It’s as heartfelt a love letter to comics as I can imagine. In fact, it’s a bit of a mystery to me why Hicksville (and Box Office Poison for that matter) isn’t talked about and held in the same popular high esteem as the other big “canonical” late 90’s GNs: Jimmy Corrigan and Blankets.


Buddy Does Seattle and Buddy Does Jersey – by Peter Bagge

Hate is a seminal comic in my development as a cartoonist. It’s one of the first comics I read as an adult–after having moved away from comics for a while–that made a huge impression on me and I re-read it every few years. While Hate often discussed for its humor or its being emblematic of a particular time period (90’s “grunge”-era) what makes this work so rich and enduring for me is the characters and how well they’re written, especially as they grow and develop in the latter half of the series. I know it’ll probably never happen, but I’d sure love to see a Complete Eightball-style Hate collection. Hate has never been collected in its original trim size and with the latter half of the series in color, as it was originally printed–and certainly never with the original covers, ads, letters, etc. 


Conan le Cimmérien: La Reine de la côte noire – by Jean-David Morvan and Pierre Alary (French)

Pierre Alary is just about at the top of my list of French cartoonists whose work remains criminally untranslated into English… and sadly, owing to copyright laws (Conan is in the public domain in France, but not in the U.S.) this will join the ranks of Alary books we’ll probably never get an English translation of. Alary really gets a chance to show off here, staging some epic battles with lots of gore, lots of combatants, etc. And really, the art here is the appeal for me. Story-wise it’s, ya’ know, a Conan story–so pretty straightforward stuff. I think Dark Horse, who currently has the Conan license in the U.S., recently did an adaptation of this same Howard story. It’d be interesting to compare the two versions against the original at some point. 


Flight 714 – by Hergé

This is the first book in my long Tintin “reread” that’s not actually a reread: I’ve never read the final few Tintin books before now. Unfortunately Flight 714 I found to be a radical drop in quality from Hergé’s previous book–and personal fave–The Castafiore Emerald. The plot of 714 is… well, odd. About half-way through the book the protagonist basically winds up losing all narrative agency, then at the end there’s a pretty egregious deus ex machina incursion/explanation. Add to this some noticeably off-model drawings of the characters and atypical staging (what’s with all the weird, tight panels of characters’ faces?) and Flight 714 is a bit of a disappointment. On the bright side, though: Bob de Moor’s design for the plane, the Carreidas 160, is fantastic. 


Machine Man 1-4 – by Barry Windsor-Smith, Herb Trimpe, and Tom DeFalco

This Marvel mini-series from the 80s had been on my reread list forever and I never acted on partially because I was afraid that the series–which I loved as a child–would have aged really poorly. Did it? Well, the “futuristic” jargon is pretty painful to get through and the plot is decent but not spectacular. You know what didn’t age poorly, though? Barry Windsor-Smith’s completely mind-blowing artwork–including and especially his coloring. I’d love to see an in-depth article written about this book–specifically on how and to what extent Trimpe’s input was actually followed by BWS, and also about the technical aspects of BWS’s coloring. 


Petey & Pussy: Puppy Love by John Kerschbaum

John Kerschbaum is hands-down one of the funniest cartoonists working today–and he’s got great cartooning chops to boot. This second Petey & Pussy collection continues on in the vein of the fist one from 2008: the same hilarious animals-with-human-heads main characters as well as the horrific pet bird and the equally horrific old lady that owns them all. Humor is a neglected genre in contemporary comics and even in that limited sphere Kerschbaum doesn’t seem to get the attention he deserves. If you like stuff by Peter Bagge, Kate Beaton, Michael Kupperman, etc. pick this up for sure. 


Les beaux étes, Cap au Sud (Vol 1) and La Calanque (Vol 2) – by Zidrou and Jordi Lafebre (French)

Alas, yet another series that I started in French only to have an English translation appear shortly thereafter. Anyway… First off: Jordi Lafebre is one of the flat-out best cartoonists putting out work these days. I’d have bought these books if they were written in ancient Sumerian. That said, I definitely enjoyed the first volume of this series a lot more story-wise. Cap au sud begins with a family heading out of town on vacation. By about half-way through the book, though, I was tiring a bit of this seemingly-perfect family doing delightfully charming things… which is exactly the point in the story where a complete bombshell drops that affects everything going forward and colors everything you’ve just read. The second volume, though, doesn’t have any such conflict in the narrative and reads more as just a series of happy anecdotes. It’s all, though, just amazing to look at. 


Why Comics? From Underground to Everywhere – by Hilary Chute

Hillary Chute is generally a very astute writer-about and thinker-about comics… which is why I was surprised by my disappointment with this book. It’s not that the writing itself isn’t good (it is, especially the section on comics and illness, for example) but there’s a vast mismatch between what the book purports to do (examine the medium of comics and what it’s well-suited to narrative-wise) and what the book actually is, which is a thorough and insightful examination of a small slice of late-90s/early 2000’s Spiegelman-adjacent creators and books. There’s no mention, for example, of Raina Telgemeier… or of manga at all. If there’s any strain of comics that’s “everywhere” it’s those.  


Sabrina – by Nick Drnaso

I was initially tempted to say that I don’t understand what the big deal is about this book (and it is a big deal–Man Booker nomination, tons of Best Of lists, etc.)… but I’d speculate that I know exactly why this book has gotten the accolades it has–particularly the accolades from the (prose) literary fiction crowd: it’s a story steeped in gravitas, told ploddingly, and drawn in a deliberately dry “Chris Ware meets an airline safety card” diagramatic style that eschews most of comics’ goofier aesthetic trappings.  A lot of people with very good taste in comics loved this book; it just wasn’t for me. (It’s also, curiously, a book about a woman who’s horrifically murdered which gives little attention to the actual murdered woman and instead centers on two dudes and how that affects them. I guess “Women in Refrigerators” isn’t just for the capes and tights crowd any more!)


The Invisibles Vol I – by Grant Morrison and various artists

This is another reread project of mine: in 2018 I started rereading Grant Morrison’s Invisibles from the beginning. I was less familiar with the initial volume than the second, which is the series that hooked me back when they were first coming out. The first volume is a bit haphazard, but in a sort of fun Grant Morrison “everything including the kitchen sink” way. I did, though really struggle with the rotating casts of artists which makes things even more scattershot visually issue-to-issue. (And no, this isn’t part of Morrison’s “master plan” to reinforce the subjective nature of reality or whatever; they just couldn’t keep a steady artist on the damn book.) Oddly, I think the best issue of this first series is the one-off “lower decks” issue, #12, drawn by Steve Parkhouse.  I’m looking forward to getting through the second volume in 2019.


Cartoon County: My Father and His Friends in the Golden Age of Make-Believe – by Cullen Murphy

This was a surprise stand-out for me in 2018–easily my favorite book about comics of the year. It’s neither analytical nor rigorously historical, but rather, a charming and heartfelt reminiscence about growing up the child of a working cartoonist in postwar Fairfield County, Connecticut, when it was an affordable suburb of NYC and home to a surprising number of professional cartoonists. A must read for fans of mid-century cartooning and commercial illustration.


  Judge Dredd: Cursed Earth,  Vols I and II – by Pat Mills, Mike McMahon, and Brian Bolland

Having grown up in the U.S., I read Judge Dredd via the Eagle reprints, which differ from their original permutations on two important ways: they were in color, and they were completely out of continuity. So, this is one of the first times I’ve read any Dredd extended story arc (the other being Apocalypse War by my favorite Dredd artist, the late Carlos Ezquerra). I generally enjoyed the story–it’s a solid post-apocalyptic road journey done in typical Dredd tongue-in-cheek style–but I have to admit, I often found myself flipping forward in anticipation of the next Bolland-drawn segment. Perhaps someday I’ll gain an appreciation for McMahon’s style. 


Arzach/Le garage hermitique – by Moebius (French) 

This is a big, high-end French language edition of what–along with The Incal–are arguably considered Moebius’s most important works. I love the ongoing Dark Horse Moebius Library, but it’s a mystery to me why these two works remain out of print in English (given that it’s Moebius, some licensing thing is to blame, most likely).  My rudimentary French was not up to the task of tackling the back-matter, which is unfortunate since there’s a ton of interesting-looking material there including in-depth analysis of Moebius’s coloring and his use of photo reference. 


Shiver – by Junji Ito

Like any collection of short stories, Shiver had some hits and misses for me. There were several here that I’d rank among the best/most horrifying Junji Ito stories I’ve read (“Hanging Blimp,” “Honored Ancestors,” “Greased”) and some that seemed somewhat rote, like “Marionette Mansion” and the two stories featuring the fashion model character. The commentary by Ito is sparse–usually just a page after each story, but interesting.




On the Influence of Steve Ditko

Steve Ditko, the cartoonist best known popularly for his role in the creation of Spider-Man and Dr. Strange for Marvel Comics, died last June at the age of ninety.  His death occasioned obituaries in several high-profile publications such as this one in the New York Times, which among other things reflects on Ditko’s historical importance and creative legacy. A large part of any artist’s legacy is their effect on the art and artists that follow them–their influence–and indeed the headline from that NY Times obituary refers to Ditko as the, “Influential Comic Book Artist.”

But here’s a curious thing: the word “influence” or “influential” appear five times in that article, but in every instance other than its use as a general accolade in the headline, they all refer to people who Ditko was influenced by–Ayn Rand, Mort Meskin–not anyone being influenced by Ditko.

Compare this, for example, to the NY Times obituary of Ditko’s contemporary, Jack Kirby, who died in 1994. In just the first few paragraphs there are specific mentions of things Kirby influenced–how superhero comics post-Kirby are different than superhero comics pre-Kirby. Indeed, Kirby’s aesthetic influence on superhero comics is as ubiquitous as it is self-evident. Grab any modern superhero comic off the rack at your local comics shop and you’re looking at something that’s been shaped by Kirby’s influence. 

A casual flip through a few issues of a contemporary superhero comic, though, is unlikely to yield any sign of Ditko’s visual style. Why is this? I think, because despite the tremendous regard in which Ditko is held by most comics people (myself included) his stylistic influence–such as it is–falls outside the genre in which Ditko’s best-known work falls. If you want to see Steve Ditko’s stylistic influence on comics you need to look not at superhero comics, but at indie comics–specifically indie comics of the late 1990s. 

Of all the articles written about Ditko on the occasion of his death, only one that I read (and I read a ton of them!) addresses this: Jeet Heer’s article in The New Republic.  

As an artist, his lasting influence was among cartoonists working in the tradition of alternative comics and graphic novels: Jaime Hernandez, Gilbert Hernandez, Ben Katchor, Charles Burns and Daniel Clowes.

You will certainly find plenty of Ditko homages in superhero comics–a “Ditkoesque” Dr. Strange background, a new Spider-Man costume design that calls back to Ditko’s original–but Ditko’s aesthetic sense will be largely absent. Some of that is based on history: Marvel’s early “house style” was basically a reflection of Marvel’s policy of having every artist draw as much like Kirby as possible… except for Ditko. Ditko was allowed to be Ditko, and no one was told to emulate Ditko’s style.

A lot of it, though, is that Ditko’s style is just too weird 1. His “heroic” figures are gangly and stiff and even the most mundane sequences in his stories have an air of surreality about them.  It’s a wonder he was as successful a superhero artist as he was. It’s not surprising that following generations of superhero artists weren’t looking to Ditko for their stylistic vocabulary 2. But it’s equally unsurprising that the artists who drove the 1990’s “alternative comics” movement–people like Charles Burns, Dan Clowes, and  Gilbert Hernandez–were doing exactly that; Ditko was the “alternative” cartoonist of early Marvel. 

Ditko takes heat for supposedly not being able to draw “pretty girls,” but in fact most of his characters–men and women alike–are weird-looking. Any closely-examined Ditko crowd scene is a grotesquery. You can see Ditko’s bizarre character design showing through in early Clowes in particular. 


And Ditko’s general world of men in stiff suits, Ronsir Zyl glasses, and porkpie hats (a look already well out of date by the time Ditko first started at Marvel) is right at home in the “Manly World of LLoyd Llewellyn.” 

Ditko’s earlier horror work is, well… horrific, and a pretty obvious influence on Charles Burns–not only Ditko’s drawing style, but his particular vision of horror juxtaposed with a placid, bland Americana aesthetic, something Burns would riff on explicitly in works like Big Baby.


I’d even speculate Dan Clowes’s particularly distinctive way of drawing hands is influenced by Ditko’s well-known and distinctive style of posing his characters’ hands.

I’m citing Clowes and Burns because I know their work the best, but I’m sure a Love and Rockets fan could give you some solid examples from the work of the Hernandez Brothers as well–particularly Gilbert. 

I’ve often wondered if Ditko was even aware of 90s alternative comics and his influence on them. Fans of Ditko’s superhero work were notorious for tracking him down at his New York studio and bugging him (Ditko’s desire not to be constantly badgered by fanboys apparently making him an “eccentric loner”) but I doubt Charles Burns ever banged on his door.  Most influential artists working in the superhero genre are influential largely within that genre. I can’t think of another example like Ditko–an artist whose work in that genre proved so influential in another genre that’s not just outside it, but in some ways a reaction against it. 

But, you don’t have to take my word for it! In closing, here’s a great, rejected Dan Clowes two-page appreciation of Ditko that surfaced shortly after Ditko’s death. And, hey, it looks like Clowes did track Ditko down and bug him. 

1. Kirby would eventually develop a fairly idiosyncratic style as well–to the point that DC had other artists redraw some of his characters to make them less Kirby-esque–but this was later in is career. 

2. The one big exception that comes to mind here is Michel Fife; however he’s an odd case of a superhero artist who operates largely outside of the “Big Two” publishers–and it’s telling that what work he has done for mainstream superhero comics publishers has been largely writing rather than drawing. 


My Next Book: Four Fisted Tales: Animals in Combat

Book Announcement 

With the cat now officially out of the bag, here’s the full scoop on my next comics project: It’s called Four Fisted Tales: Animals in Combat and it’s forthcoming (probably in two-ish years or so) from Dead Reckoning, the new graphic novel imprint of  The Naval Institute Press. Here’s a description of the book, straight out of my pitch/proposal:

From hauling munitions to finding mines, and even being captured by the enemy and traded in a PoW exchange, animals have fought—and often died—alongside their human counterparts in virtually every military conflict in recorded history. There are plenty of graphic novels telling the stories of the men and women who’ve fought in the trenches, jungles, and deserts of the world’s battlefields; Four Fisted Tales: Animals in Combat tells the stories of the animals who fought alongside them.

The comics/publishing news site ICv2 did a short write-up about two of Dead Reckoning’s recent acquisitions, including Four Fisted Tales. You can read it here.

The book comprises fifteen short stories about various animals used in combat–dogs, a bear, dolphins, rats, and more. In this respect, it’s a bit of a flashback for me to my very first book, Farewell, Georgia, which was also a collection of short stories. Four Fisted Tales a return to an earlier form visually as well; it’ll be done not in full color, but in the “line art plus spot color” style that I’ve used previously in books like Amelia Earhart: This Broad Ocean and Midnight Sun. Here’re some completed sample pages:

Drawing Digitally 

I don’t like the guy’s face in the inset panel of that second page and I’ll probably redraw it… but that gives you a general idea of what the look of the book will be.

It’s also going to be the first book I’ve done fully digitally. If you follow me on Twitter, you’ve probably surmised that it’s drawn in Clip Studio Paint, as that’s my preferred drawing software. I’d love be able to use CSP for the entire process, but I’ll have to do the spot color in Photoshop since CSP doesn’t have a true CMYK mode that’s viable for professional offset printing purposes. That’s unfortunate because I much prefer working in CSP generally, and also because I like the Frenden charcoal and conté brushes in CSP (you can see them used in some of the olive tone in the sample pages) to the stock Photoshop equivalents. Oh well… 

Just for fun, here’s an in-progress page from the story about military dolphins. And, yes, that is a hallway from the lab in The Shape of Water in the first panel there. 

As you can see, my in-progress pages are about halfway between being thumbnails and finished pencils. That, combined with the fact that I’m writing the stories as I go, is contributing to these taking a while to knock out, but I’ve done three of the longer stories already and moving from this state to finished inks/tones will be relatively quick.

For what it’s worth, I’m still trying to work intermittently on In the Weeds, but I’m treating Four Fisted Tales as my “day job” and In the Weeds as a weekend project.  If deadlines start getting tight though, I’ll put In the Weeds completely on hiatus until Four Fisted Tales is complete.


 A final note: it’s easy to get the idea–especially with the ubiquity of social media–that everyone but you is an instant success. And, yeah, there are some people who wind up with fame and fortune right out of the gate. But the more common story is that of repeated rejection, perseverance, then gradual movement toward success. I recently saw a talk by cartoonist Dav Pilkey in which he discussed exactly this–noting that his first book proposal was rejected twenty-three times before being finally accepted by a publisher. 

As you can see from this Tweet of mine, the seeds of Four Fisted Tales were in place as far back as five years ago:

In between then and now it’d been filed away in my “idea file” and but I’d been collecting and bookmarking stories about animals in combat. I’d come pretty close to trying to do the book as a Kickstarter project. I’d pitched it to a publisher as an anthology book but didn’t move forward because I couldn’t secure enough money to pay contributors a good page rate. I’m pretty sure I’d sent it to at least an agent or two somewhere in between as well. And, of course, I’d started work on an entirely different book, In the Weeds, and had fully scripted that book and roughed about two-thirds of it. 

BUT when I saw a Publishers Weekly article about a new comics imprint specializing in military and historical subjects, I tracked down the editor’s email and contacted him–then dusted off all those Four Fisted Tales bookmarks, did some sample pages, put together and proposal, eventually wound up here with In the Weeds well on its way to being my next major comic. Don’t give up, folks!


Exhibition Round-Up: Hugo Pratt in Lyon and Peyo in Paris

I was recently had the good fortune to be able to vacation in France while the big Hugo Pratt exhibition was going on in Lyon. I also saw (but nearly didn’t–more on that later) a Peyo show in Paris. By way of making sure I don’t come across as a complete comics-obsessive, I just want to point out that I was in France for five nights and did tons of stuff totally unrelated to comics.. but if you’re here reading this, it’s for the comics stuff.  So here goes: 

Wandering around Paris

My first encounter with the “ninth art,” happened almost literally the moment I got off the plane. Here’s one of the parking deck signs at the Charles de Gaulle airport:
I spent all but one day of my visit in Paris and even while just sight-seeing I spotted some interesting comics-related stuff. For example, here’s a newsstand-like thing I encountered just outside Île de la Cité. On sale were tons of children’s books and comics. I meant to go back and buy this French-language Astro Boy book but I forgot. I was surprised to find tons of 90’s Marvel reprints in the racks. They’re in French (obviously), about the trim size of a U.S. comic book, but maybe three times as long. 
Naturally, while in Paris I visited some of the city’s great comics shops. This was my first visit to Aaapoum Bapoum, a shop in the Latin Quarter. Most of this shop’s inventory is used BD, which is something I’ve not seen in many other shops. It’s organized by title rather than author, which made it a bit daunting for someone like me who has particular favorite French cartoonists, but who’s without encyclopedic knowledge of the many, many titles published. It’s a fantastic shop, though. I could have spent hours digging through their stock of used BD.  

Aaapoum Bapoum

I then wandered over to the Marais to visit my absolute favorite comics shop in Paris, Librairie Les Super Héros. Despite the misleading name, this place has the most amazing selection of new French comics around. Fortunately(?) I didn’t have a whole lot of money to blow on books, so I was able to escape from here having bought only four or five. If you ever find yourself in Paris and you have time for one comics shop only, this is the one I’d recommend for current books.

Les Super Héros – Note the Jacques Tardi character on the storefront. 

On my way back out of the Marais I walked by a watch shop that had this great display of Tintin watches. Some day I’m gonna buy some of these beautiful Tintin figurines… but that day will have to be the day I win the lottery because they’re crazy expensive. 
Side note: I’d heard that La planète dessin is an excellent shop as well, but it wasn’t open the day that I was in its neighborhood. I did, though, later just happen by a regular book store that had this great monochromatic window display of kids’ books:   
They (I can’t remember the name of the place or even where it was now!) had a great comics section and I bought one of those big broadsheet Jacques Tardi Nestor Burma comics there. It’s worth noting that even “regular” book stores in Paris usually have great comics sections–and new comics releases are just displayed among the new release prose books. Here’s my haul–from various days in the city and from various shops: Next: To Lyon for the Pratt exhibit!


Come See Me at Wizard World Winston-Salem 8/3 – 8/5

That’s right: I’m making a rare when-I-don’t-have-a-new-book-out appearance at a con. What can I say? It’s in my hometown. You can find me in Artists Alley at the space shown on the map below. More info at the Wizard World site. I’ll have my usual fare: Oyster War, various minis, a smattering of original art. Look for the big Oyster War banner and my con-fave Peanuts tablecloth! I’ll be cosplaying as a middle-aged cartoonist who wants you to buy some stuff. 


Nearly Ten Thoughts on the Bill Sienkiewicz New Mutants Run

Or, more acurately: the Chris Claremont, Bill Sienkiewicz, Glynis Wein/Oliver, Tom Orzechowski (and L. Louis Buhalis & Joe Rosen) New Mutants run.

I recently re-read this run (issues #18 – #31) in the form of this very beautiful IDW reprint edition that I got at SDCC a few years ago. Here’re a few thoughts on the series (and note that the cruddy pictures here are from scans of the individual issues, not the gorgeous IDW edition–no way am I gonna slap that thing on my scanner and crack its spine!):

It’s all about the art – There’s a reason that people refer to this as the “Bill Sienkiewicz New Mutants run.” The artwork here is what makes this series notable; it’s why we’re still talking about it now. His cubist-Neal Adams-inked-by-Ralph Steadman style of art was unlike pretty much anything that came before it and is still a high-water mark for superhero comics. That’s not to say that there’s anything wrong with Claremont’s writing here. It’s solid 80s-era Claremont. That said, there really isn’t a standout story along the lines of Dark Phoenix or  Days of Future Past that came out of this run. The closest would probably be the initial big story arc, the Demon Bear Saga or the Legion story, but even those aren’t really in the same league as Claremont’s X-Men work. In fact, it’s the less expansive stories–usually single issues–that are the most solid story-wise in this run: the slumber party issue, for example, is maybe my favorite single issue of the whole run. And the tail end of the series–a long arc that combines a super-powered gladiator ring, The Beyonder (ugh), and a Magneto plot that never really goes anywhere–would frankly be a real chore without Sienkiewicz’s artwork.

Everyone hated the art!!! – It’s conventional wisdom that people at the time reacted poorly to Sienkiewicz’s artwork, but I’m not sure how true that really is. After my re-read I dug through my original single issues of the series, looking for nasty letters in the letters column and couldn’t find much. The first issue with letters responding to Sienkiewicz’s debut issue is #23 and all three letters printed there that mention the art praise it in no uncertain terms. An issue or two later, I found a single example of someone complaining about the art:

That’s not to say that people weren’t complaining about it (I can certainly see why the book’s own letter column wouldn’t be the venue where these complaints would surface) and there’s of course the story relayed in Sean Howe’s excellent Marvel Comics The Untold Story about a letter sent to Jim Shooter (in orange crayon, no less) that read, “GET RID OF HIM JIMMY BEFORE HE RUINS EVERYTHING.” And when I mentioned this on Twitter I got this response with a hilarious anecdote:



I am curious though about how much of the “everyone hated it” bit is genuine and how much is myth-making in hindsight. 

Cringey stuff – There’s definitely some stuff here that reads a lot differently 2018 than it likely did in the mid-80s, most notably the two characters in the Demon Bear story who get “transformed” into Native Americans. There are a few other instances as well. None are Ebony-level weapons grade cringe, but definitely things that stood out to me on this re-read: Legion is supposedly autistic, but it’s pretty clear Claremont didn’t really have much of a handle on what autism actually is. And speaking of Legion, the character in the Legion arc who’s from the mid-east is referred to throughout just as, “the Arab”and he is–of course–a terrorist. A lot of Cloak’s “urban”dialog is ready-made for a translation from Barbara Billingsly. That said, none of this stuff mars the work in a way that makes it inapproachable (looking at you, turn-of-the century American newspaper comics!), but it’s something that’ll likely stick out to you if you read the series. 

Only Sienkiewicz could draw these characters – There are several characters that are introduced in this run that just can’t be drawn by any other artist and look right. The main one is of course Warlock. The others that come to mind are Legion (no one else can seem to figure out what to do with that haircut) and Strong Guy (who usually looks like a different character when drawn by anyone else). I think in all of these cases, the difference is that Sienkiewicz’s drawings are drawings. Full stop. Not drawings of things. If you try to render a character like Warlock as if he’s something other than a drawing on a sheet of paper–as if he’s got some 3-D referent in the real world–it’s just not going to look like Warlock. 

Circles = magic – It’s funny how things you read when you’re young just sort of embed themselves into your psyche, even to the point that you forget about where they came from. I realized while re-reading this that I most certainly got my own penchant for using circles to depict magic directly from Sienkiewicz. Here’s a panel from Oyster War and one from New Mutants

Craftint! – In the Legion story arc, Sienkiewicz cleverly uses an even then nearly-forgotten drawing tool, Craftint Doubletone drawing board, to differentiate the real world (drawn normally) and the world of Legion’s psyche (drawn on Craftint board).  You can learn more about this Craftint stuff here if you really want to, but in short: it’s a type of board that produces two different crosshatch patterns when brushed with different types of solutions.

Doubletone examples SCREENER

Comics fans probably know it best from Roy Crane’s Wash Tubbs comic:

Here it is in action in New Mutants #27:

Maybe someone dumped a pile of the stuff at the Marvel offices or something? David Mazzucchelli was doing some experimenting with Craftint board at around this same time. 

References! – People make a lot of hay about the 80s references in this run, particularly Sunspot’s idolization of Tom Selleck. See here, from the slumber party issue–with, obviously, a few other pop culture luminaries of the period:

My favorite pop culture reference in the series, though, is not from the 80s, but from the 60s:

This is, of course, a reference to the Star Trek TOS, episode, The Menagerie.

So. Many. Words – Taking potshots at Claremont’s excessive verbiage is maybe only a slight rung above Vince Colletta-bashing, but man there’re a lot of words in New Mutants. Especially in the later issues it’s really out of hand. Reading the end of this run I kept thinking back to an old Rachel and Miles Explain the X-Men podcast where they refer to Tom Orzechowski as Chris Claremont’s “enabler.” Look at this stuff. There’s probably some really pretty Sienkiewicz art under all that rambling. 

Corner boxes – And, finally: even the corner boxes are awesome. I miss corner boxes. 


Mike Mignola Exhibit at Society of Illustrators… and Some Other Comics-Centric Stuff in NYC


So, I recently had the good fortune to find myself in New York… and by “good fortune,” I mean: I set some travel alerts on Hopper and wound up getting a ridiculously low price on a one day to-and-from flight to NYC. While there, I checked out a few things likely of interest to comics folk, culminating with the the exhibit, The Art of Mike Mignola: Hellboy and Other Curious Objects, on display at the Society of Illustrators.

I started my visit, though, with a stop at Kinokuniya, the great Japanese book store off Bryant Park in Manhattan. This is a three-story book store that’s full of amazing stuff. The bottom floor is mostly Japanese stationary, toys, and tchotchkes; the ground floor is all Japanese language prose books; and the glorious top floor is all manga and art books–some in English, some in Japanese. In order to get to the top floor, though, you have to walk past a display of whatever these horrifying things are <shudder>.

Once there, you’ll be amongst the most manga you’ll likely ever see in one place. The shelving is divided into two sections: Japanese language manga, and translated stuff. They also have a selection of American comics that’s as good as most small book stores, as well as a ton of art/coffee table books.

I could easily have spent a mint in this place, but fortunately(?) I didn’t have that option. I did, though, buy this neat little Taschen book that’s an alphabetical run-down of important figures in manga:

Since I was already in Foreign Language Bookstore Mode, I next hit Albertine, the French-language bookstore that’s located in the French consulate building off Central Park. In what’s maybe a positive sign of the increasing amount of French-language comics being translated into English these days, I didn’t find much of interest to buy here. I wound up purchasing only this French edition of a Jiro Taniguchi book, one of many of his works that are as-of-yet unavailable in English:

On my way out of the city, though, I visited my main comics-related NYC objective: The Art of Mike Mignola: Hellboy and Other Curious Objects, the big show of original Mike Mignola originals up at the Society of Illustrators.

Before I begin gushing about the show, let me get the one negative thing I have to say out of the way: this show was in a terrible space. The Society of illustrators has three floors dedicated to gallery space (and a fourth floor that’s a restaurant with art displayed on the walls). The lower two of these three floors are fantastic gallery spaces–big, open, white walls, well-lit. The Mignola show was not on these floors. This third floor–where the show was–is basically a long, narrow hallway with poor lighting, no windows, and bright red walls. There was a huge exhibit of March originals (a pretty spectacular thing to see in and of itself) that had just opened on the first two floors and I’d guess that maybe the Mignola show was originally down there, but then got bumped up to the third floor? Whatever the case, I’m not gonna complain about getting to see a ton of Mignola originals, but it was an odd, cramped space. Maybe they just need a bigger building? Real estate in Manhattan is pretty cheap, right? 

Anyway, before I do a big image dump of original Mignola art, a few quick observations:

  • Mignola’s most recent work has been paintings and the ones on display here were gorgeous. I hope these wind up being published in something sometime soon. 
  • There’re almost no corrections on Mignola’s originals and–more stunningly–the white detailing isn’t done with opaque white; he’s inked around(!) even the smallest parts he wants to remain white.
  • I noticed that he uses a really washy, gray-ish ink that I immediately pegged for Higgins Black Magic (the “black” should be in quotes). He verified via Twitter that this is correct. 
  • There was a ton of stuff from The Amazing Screw-On Head on display. I think he’s cited this as one of his favorite things he’s done, so that makes sense. 


Addendum: In the gallery/restaurant on the fourth floor, there was a display of art by Argentinian cartoonist Ricardo “Liniers” Siri, including a some art from his comic strip, Macanudo.  Not too long after I got back from the show, I noticed the strip had been picked up by King Features for syndication in US newspapers. See here

Bonus: There’s an original Ian Falconer portrait of Olivia the pig at the top of the stairs.


Character Design: High Eyeline is Now a Thing

Or, more to the point: high eyeline is now A Thing in character design and we olds need to just get used to it.

The Natural Proportions of the Head

If you look at a human head, you’ll see the eyeline is halfway down the head–exactly in the center between the top of the head and the bottom of the chin. Indeed, if you look up tutorials on drawing the head, often this is the very first proportional relationship they mention: “The eyes are halfway down the head.” You can see that shown here in these heads from (I believe) Burne Hogarth’s book, Drawing the Human Head.

Interestingly, though, a very very common proportional mistake that you see people make–especially beginners, students, etc.–is placing the eyeline far too high. Or, put another way: making the face way too big relative to the overall size of the head. This is such a common error that Betty Edwards devotes a section of her text Drawing on the Right Side of the Brain to the phenomenon under the heading, “The mystery of the chopped-off skull.” Here’s a student example from the text (L) and a version that she’s corrected (R).

As many people have pointed out, it’s a tendency that makes a lot of sense. Humans naturally ascribe a lot of importance to the face–it’s how we identify people, how we know what they’re thinking, etc.–so we tend to make it bigger in our drawings than it actually is. There’s a similar tendency (for similar reasons, one assumes) to diminish the area of the head behind the facial features as well. Edwards demonstrates these errors and corrects them here:

High Eyeline as a Deliberate Choice

If you look at the Edwards examples above, they clearly look “wrong.” That is: the artist was attempting to capture the naturalistic proportions of the human head but failed to do so because they placed the eyeline too high (or, again, put another way: they made the face proportionally too large relative to the overall size of the head). Indeed when I, as a teacher, would see student work that looked like this I would talk to the student about the basic proportions of the head, placing the eyeline half-way down, making sure to place the ear correctly and have sufficient mass behind it, etc. 

Several years ago, however, I began seeing a lot of student-drawn characters with high eyeline placement that was clearly not the result of mistake but part of the the overall character design idiom the student was interested in. If you look around at character designs in current North American cartooning you can see examples of this by highly accomplished artists. These aren’t errors; the eyeline is placed high deliberately. For example, here’s a character from Britt Sabo’s webcomic All Night:

Obviously the artist here is a highly accomplished cartoonist. These design choices are deliberate. Here’s another example (I can’t remember where I found this. My apologies to the artist):

Again, the proportions of the head here are deliberate design choices.

These examples of course may look odd to you if you’re mostly accustomed to the neo-realistic character designs of a lot of North American superhero books. Here, for example, is an Olivier Coipel drawing of Spider-Man. Note the placement of the eyeline and the generally naturalistic proportions of the head:

Even with superhero books, though, if you look a little bit out on the fringes you start to see some high eyeline creeping in. Here’s a panel from Javier Pulido’s run on She-Hulk:

It’s not radical in this case, but it’s there. Maybe not incidentally, but there was a very vocal subset of fans who absolutely hated Pulido’s art on this series. (I vehemently disagree. It’s amazing stuff.) 

It’s not as if no artist has ever fooled around with where to put the eyeline. It’s pretty common in cartoonier, more abstracted designs and of course in things like caricature. Here’re examples by Bruce Timm and Tom Richmond:

In both of these cases, the eyeline has been placed high in order to emphasize the mass of the chin/jaw. And, obviously, both cases are far less naturalistic than something like the Coipel drawing.

This kind of manipulation of eyeline placement has been around forever, but what I was curious about was the seemingly more recent integration of the high eyeline into otherwise more naturalistic character designs. Where was this coming from style-wise?

Origins of the Modern High Eyeline Design?

So, this is purely speculation, but I’ve got two candidates for the possible origins of the high eyeline style that seems to be gaining some traction among newer/younger cartoonists.

First: North American animation–specifically North American film animation of from 1999/2000. To give credit where it’s due, irascible animator John Kricfalusi seems to have been first to spot the “’99 eyeline.” Mid-way through this post on drawing women’s hair, he delves into “short foreheads and carved off craniums,” citing designs from The Iron Giant and The Road to El Dorado

I’d throw another 1999 film into the mix as well–one that was far more widely seen than either of those two (at the time anyway), Tarzan.

Also, though: manga.  You can see the high eyeline in evidence in some popular manga of around the same period. Someone far more knowledgeable about Manga than I will probably be able to cite an earlier origin point, but the artist who comes immediately to mind for me is Kaoru Mori–and specifically her series Emma from 2002. Do I even need to draw the parallel lines on this one?

You can see this design choice still in her most recent work A Bride’s Story (an absolutely amazing series, by the way. Highly recommended!). If anything, it’s become even more pronounced here with the face expanding horizontally as well:

I recently reread the first volume of Planetes and noted that Makoto Yukimura’s characters also have the high eyeline thing:

So, maybe this was part of some overall trend going on in manga at the time… and the animation stuff in North America was just a case of “parallel evolution.” Who knows?

So What of It?

If you think about it, diminishing the areas above and behind the face makes a lot of sense. We cartoonists are always on about “simplification and abstraction” and making every line convey information, right? Well, those non-face areas are pretty much dead weight when it comes to actually conveying information about the character. We include those areas in our characters so they look “right,” but what looks “right” to us is in a large part a function of what we’re exposed to–and how well the artist integrates things like exaggeration and playing with proportions into the overall character designs.

There are for sure examples I’ve seen where losing mass above and behind the face just looks weird. For example, this panel in Providence definitely stood out enough to me that I stopped reading and took note of it:

But when integrated into a character as a part of a well thought-through character design, it works beautifully. Here’s an example by the great Naoki Urasawa:

And if this looks “weird” to you… well, like I said, you may just have to get used to it!  


Recent Reads – February 2018

Here are a few quick thoughts on some comics I’ve recently read:

Neonomicon by Alan Moore and  Jacen Burrows

If you read this blog and/or follow me on Twitter, you know I’m a big fan of the recent series Providence by this same team. Providence is the last of three works by them that focus on things H.P. Lovecraft-related, with Neonomicon being the second and The Courtyard (also included in this collection, but inexplicably not really noted as such anywhere in the trade dress) the first. Given how much I enjoyed Providence, I was really looking forward to Neonomicon. Unfortunately, though, Neonomicon (and The Courtyard for that matter) are far lesser works than Providence. They’re both slight works that function mostly as gross-out cop stories layered over some Lovecraft pastiche. If anything, reading these has further cemented my belief that one major flaw of Providence is that it’s not a stand-alone work–the characters from these early stories appear toward the end of Providence and are a bit baffling if you’ve not read the earlier stuff. Also: Neonomicon is hard to get through because of Moore’s (by now expected) inclusion of rape. While I’d argue that the one instance of sexual violence in Providence ties in with the narrative and character in a way that serves some overall purpose, the rape element here is portrayed gratuitously and is just kinda gross. 


Real Friends by Shannon Hale and LeUyen Pham

I’d been looking forward to reading this book for a lot of reasons: a) Scholastic was seriously hyping it at the most recent school book fair, b) LeUyen Pham is one of the absolute best cartoonist/illustrators working in kids lit today, c) ditto Shannon Hale but for writing, and d) my daughter read it and said it was good. Well, it is good–really good. What I wasn’t expecting, though, was for it to be so gut-wrenchingly, trenchantly brutal in its depiction of how cruel children can be to one another. If I had to compare it to another book, it reminds me a bit of the prose novel Cat’s Eye by Margaret Atwood. Well, it’s for sure not that bleak, but it pulls surprisingly few punches–and it’s apparently autobiographical. Pham’s cartooning, as usual, is spectacular, particularly her ability to draw children–their expressions, gestures, even clothes. 


The Little Red Wolf by Amélie Fléchais

This is isn’t a comic–although Amélie Fléchais does comics as well–but, rather, a picture book. I noticed this book last year when I saw a review of it on an Italian-language comics review site and had intended to eventually buy a French edition.  I never did and luckily there’s now an English translation. When I initially started reading, though, and realized that the story was a riff on Little Red Riding Hood but with a wolf as the main character I immediately became dubious. I truly loathe most of those swapped protagonist-type premises. (“It’s Moby Dick, but from the whale’s point of view!” Ugh.) Thankfully, that’s not what’s going on here at all. Without giving any plot away, I’ll just say that–somewhat like True Friends–this (children’s) book addresses some pretty heavy emotional topics in a surprisingly engaging way that doesn’t shy away from the darker/scarier side of things. I’m not sure what to make of the fact that of the three books on this list so far, the two that are ostensibly for children are the ones exploring difficult emotions and scary situations in a way that’s not shallow or gratuitous.  

Oh, I should also probably mention that the artwork here is just gobsmackingly gorgeous


Diana’s Electric Tongue by Carolyn Nowak

This book–which won an Ignatz award last year–packs a ton of thematic punch for its size–meaning both its relatively small trim size and its modest page count. Diana’s Electric Tongue employs SF for what it’s best at: taking a futuristic concept (in this case, companion and/or lover androids as high-end consumer goods) and using it to explore a down-to-earth topic (loss, separation, failed relationships). This makes the story sound heavier than it is, though. In other hands this could have been a depressing slog, but Nowak’s often hilariously true-to-life dialog and her beautiful cartooning (check out the colors as well as several great isometric cut-away panels of house interiors) keep things chipper enough that when there is an emotional punch (that ending!) it hits hard, as it needs to.  


Gus Tome 4: Happy Clem by Christophe Blain

Admittedly, I’m coming at this one having missed the previous volume (I read the collected, translated volumes one and two from First Second, but got a hold of volume four, not volume three, next) but Happy Clem seems quite different tone-wise than the first two volumes. That’s not necessarily a bad thing, just different. Happy Clem is less madcap and less goofy than the first two volumes–and, as hinted at by the title, it focuses almost entirely on Clem, not Gus. Clem’s settled down into domesticity in San Francisco running a hardware store… but as you can guess, this state of calm doesn’t last long. I wasn’t sure what to make of the numerous “guest appearances” by figures from American Western films–people like DeForest Kelley, Sam Huston, Gene Wilder, etc.–that were rendered expertly but also somewhat distracting. (Total respect, though, for including the distinctive Star Trek site from Arena where Kirk fights The Gorn!) Speaking of expert rendering, this book is 100% worth buying just to look at the art. Every panel is a miniature masterpiece. If there was ever any doubt that Christophe Blain is the greatest living cartoonist working today, this book should settle it. A word of caution though: the French in this book was way beyond my meager skill level and you’ll likely struggle unless you’re a much more accomplished French reader. There’s tons of text in nearly every panel and the language is peppered with odd colloquial expressions (not to mention a lot of cussing) that took some digging for me to translate.  



My Faves of 2017

Here are some of my favorite things from the past year. As with all my previous year-end lists: (1) these are my personal favorite things, not “the best,” and (2) they’re things I enjoyed in 2017, not necessarily things that were new in 2017.

The Junji Ito episode of Manben [Japanese TV show, fansubbed – link]

Fansubs of seasons three and four of the Japanese TV manga documentary Manben have been slow in coming, but thankfully this season four episode which follows horror master Junji Ito jumped the gun and showed up in 2017. In addition to seeing Ito work on the as of yet untranslated story Layers of Fear, we also get to witness his elaborate and giant cat tree.


The Hergé Exposition at the Musées de la civilisation, Québec City [museum exhibit]

I’ve written a big post about this show, but in a nutshell: this was an amazing exhibition and getting to see it (especially given that I’m guessing this will be its only North American stop) was absolutely one of the highlights of my 2017.


Wacom MobileStudio Pro [drawing tablet/computer – link

I received one of these in 2017 on “extended loan” from a friend and was of course delighted to get to try out such a high-end piece of gear. I didn’t really get a chance to put it to the test, though, until year’s-end when we were doing holiday travelling and I took it along for work purposes. It can get hot with heavy use and the battery’s nothing to write home about, but the screen/stylus combo is amazing–far better than my studio Yiynovia–and having a machine with a full OS that runs “real” Clip Studio is a must-have for me. 


Nightlights by Lorena Alvarez [All-ages GN – link]

This all-ages GN from Nobrow is gobsmackingly gorgeous and has a great story as well: definitely kid-focused but not cloying–and even a little bit dark and scary in places. I loved it and so did my nine year-old daughter. 


The MNT [Patreon-based monthly comics newsletter – link]

The MNT is a new magazine of comics reviews/criticism that’s using Patreon as a publishing platform. The minimum pledge is a dollar a month and for that modest amount you get a really well put-together magazine featuring a ton of great writers. They cover a wide range of topics, including: mainstream Marvel/DC stuff, indie releases and indie cartoonists, industry/sales news, personal essays, even obituaries of prominent comics figures.  


Tristan & Yseult by Agnès Maupré and Singeon [French language GN – link]

I wrote an extensive review of this book just recently, so you can read more about it there if you’re interested. But, in short, this is a wonderful adaptation of the traditional tale of Tristan and Isolde, beautifully-drawn, and featuring some of the most interesting comics coloring I’ve seen of late. 


Pope Hats #5 by Ethan Rilly [comic book – link]

The fifth issue of Ethan Rilly’s (AKA Hartley Lin) Pope Hats wraps up the series’s one continuing story–the Frances/law firm bit–and wraps it up in a pretty satisfying way. Just as much a selling point, though, is Lin’s amazing artwork. Pretty much nobody in the indie crowd these days has the sheer drawing prowess–and in particular the brush inking chops–that this guy does. There’s a collection of the Frances storyline coming out in 2018, but I recommend getting the individual issues as there’s a ton of great non-Frances stuff in the earlier issues. 


Under the Hood [comics podcast – link]

Under the Hood is a new “minutiae podcast” about Alan Moore and Dave Gibbons’s Watchmen. The hosts, Hassan Otsmane-Elhaou and Kieran Shiach, are going through Watchmen and discussing one page per episode. There are few comics that have been as thoroughly planned and thought-through as Watchmen has and that could bear this kind of small-scale analysis. I’ve read Watchmen half a dozen times and there’re still things brought up in this podcast that I’ve not noticed before. 


Valerian and the City of a Thousand Planets [film – link]

Yeah, I know: everyone hated this movie. Maybe I’m just too much of a fan of the source material to evaluate it objectively, but I really enjoyed it. Yeah, the lead guy is kind of jerky and it’s over-long, but it’s also visually absolutely amazing. Just from a design standpoint it’s got more interesting stuff going on in the first ten minutes than any of those Marvel movies do in their entire run-times. Despite its flaws, Valerian is a rare big-budget genre movie that very obviously was made not via some corporate mandate, but because someone was actually passionate about making it–and you can tell. 


Providence by Alan Moore and Jacen Burrows – [comic book series – link]

Alan Moore and  Jacen Burrows’s Providence wrapped up this past year. Why this wasn’t a bigger deal is a mystery to me. In addition to likely being Moore’s comics industry swan song, Providence seems to me to be a good candidate for status as Moore’s late-era masterpiece.  Do yourself a favor and go read Craig Fischer’s excellent essay over at TCJ on the ending of Providence


Critical Chips 2 [magazine of comics criticism – link]

If anything, this second volume of Critical Chips is even better than the first volume, which I had on my 2016 faves list. I’m only about half-way through it, but I’d put it on my list solely for things like  Douglas Wolk’s essay on romance comics set at Woodstock and J.A. Micheline’s writing on Ghost in the Shell


David Mazzucchelli originals [photoset – link]

I’m not sure why this Flickr set of Mazzucchelli originals from a 2009 exhibition suddenly surfaced and started making the rounds in ’17, but I’m sure glad it did. I could stare at this stuff for hours. And it’s all high-res! Do yourself a favor and use Flickr’s handy “download the entire set” feature to get yourself a copy of this absolutely amazing stuff. 

Krazy: George Herriman, A Life in Black and White by Michael Tisserand [prose biography – link]

Comics has long-needed a thorough biography of one of its most important figures, George Herriman, and now we’ve finally got one. Michael Tisserand’s biography of the Krazy Kat artist is well-researched but never gets bogged down in minutiae–and, most important, it’s a blast to read. Now, when are we gonna get a Gooseberry Sprig collection?  

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