The Carnival of Souls Christmas Spectacular

* It’s the most wonderful time of the year: Tom Spurgeon has begun his annual series of lengthy holiday interviews with comics luminaries, with Alison Bechdel kicking things off. I’ll probably get less enjoyment out of these this year than previously because I just haven’t read as many comics this year as I used to do, but I’m telling you, curling up with my in-laws’ dogs and sinking into the couch with the Comics Reporter Holiday Interview series on my laptop is one of life’s great pleasures.

* Liv Siddall’s essay on Chris Ware and Tavi Gevinson’s interview with Ware himself, both for Rookie, are both very good, but more importantly they both come with the most life-affirming comments sections you’ve ever seen on anything involving comics. Just a slew of kids saying “Wow, this sounds great, I’ve gotta check it out, thanks.” Gevinson uses her power to rep hard for the High Alt comics makers, and she does it well, and I’m glad.

* You can look at this lengthy post by Grant Morrison on the history of his feud with Alan Moore and think “good for him, sticking up for himself” or “yikes for him, living in this headspace.” A bad thing to do would be to troll the detractors or supporters of the writer of your choice with it — even at their crankiest and crank-iest, these guys have earned better than that.

* Big comics interviews I’m saving for later: Tim Hodler talks to Tom Kaczynski, Alex Dueben talks to Charles Burns, Tim Hodler and Dan Nadel and Frank Santoro talk to Jaime Hernandez and Gilbert Hernandez.

* Speaking of Frank the Tank, he’s an Eisner judge this year, so I think it’s safe to say the days of Jaime shutouts are over.

* Christopher Tolkien’s disgust for Lord of the Rings licensed products, including the movies, is a depressing fact of life for those of us who’ve enjoyed both his father’s life work (which also became his own) and the work derived from it.

* The television critic Alan Sepinwall recently self-published a book called The Revolution Was Televised, outlining the New Golden Age of TV Drama with a chapter apiece on twelve landmark shows: Oz, The Sopranos, Deadwood, The Wire, Buffy the Vampire Slayer, 24, Battlestar Galactica, Lost, The Shield, Mad Men, Breaking Bad, and Friday Night Lights. I’ve been reading Sepinwall on and off for years and years now — he more or less invented weekly reviewing and he’s a central figure in the TV-critic back-and-forth I follow on twitter and in the field’s seemingly countless podcasts and such — so there’s something of a local-boy-makes-good element to the book getting a rave review from Michiko Kakutani in the New York Times before she put it on her top 10 list for the year. Anyway, here Sepinwall talks about the books to one of my favorite TV critics, Willa Paskin.

* It’s the end of the year so it’s best-of time. BuzzFeed Music, Alyssa Rosenberg, Matt Zoller Seitz, and Jamieson Cox should get you started.

* Lots and lots of people wrote lots and lots of words attacking or defending Homeland season two, but my podcasting pal Stefan Sasse bucked the trend and took some shots at Homeland season one instead.

* I quite liked Jessica Hopper’s interview with Grimes, who made one of the year’s best records and who emerges here as a forcefully thoughtful presence.

* The oral history trend has clearly reached its baroque period, where instead of culture-defining/altering movements or mega-masterpieces, they’re now about the “Blackwater” episode of Game of Thrones or Interpol’s first album. That’s a wonderful use of the form if you ask me.

* How embarrassing was Richard Cohen’s column decrying the physical fitness of Daniel Craig’s James Bond as some sort of affront to the masculinity of book-readin’ types like Richard Cohen? I’ve had a coworker walk in on me while I was using the restroom in the altogether and I still found this thing more mortifying.

* If you were wondering when the next time Michael DeForge would level up was gonna be, you’ve got your answer: “First Year Healthy.”


* Jonny Negron has — ha, like I even need to say anything at this point. Like I don’t put Jonny Negron art in every linkblogging post I do. It occurs to me that what Jonny does is invest “cool” imagery with the sense of mysterious and sinister don’t-try-this-at-home-kids intimidation it held for me as a kid. As alluring as these people are I’d be afraid to walk into a room where they were hanging out. For what it’s worth I think his last couple months of work are much more strongly erotic than anything he’s done in a while, but that could just be me. And look at the skintone on this one! LOOK AT IT





* Big new Gilbert Hernandez books coming in the new year: Julio’s Day! Marble Season! A now-completed collection of work he serialized during Love & Rockets‘ second volume and a pseudoautobiography, these could send him in the direction of critical and audience reappraisal that the outré sex and violence of his recent comics have denied him.


* I’m super-excited to purchase Magical Neon Sexuality by Kevin Fanning, though I’m waiting until I’m flush with Christmas cash. Fanning is the genius, the literal genius, behind The Cold Inclusive, which is sort of like magic realism only it’s sex with celebrities instead of angel wings and shit and which is one of my favorite things I ever saw on the Internet. I gather this book is in that vein. I realized today that Fanning’s stories are a big unconscious influence on me in that Drake comic I did with Andrew White and two or three other things I’m working on now.

* Kevin Mutch has begun serializing a slightly recolored version of his Xeric-winning graphic novel Fantastic Life online. I liked that book a lot — it’s kind of like a lo-fi X’d Out.

* Has everyone noticed Andy Burkholder has revived q v i e t, his marvelous wordless expressionistic sex comic? And that he’s doing a new thing called entphs?

* Eleanor Davis made a comic about her friends skinning a fox and it’s brutal and beautiful. Go through the last month or so of her blog, because Davis is on fire right now the way, say, Gabrielle Bell was two summers ago.

* So too in his way is Mr. Freibert.

* Sally Madden’s book about working at Philadelphia’s gross, awesome medical-oddity showcase the Mutter Museum, Gray Is Not a Color, has maybe the best cover of the year. Herb Alpert’s throne of skulls grows taller by the day, I’m told.

* New Cindy & Biscuit by my man Dan White! Some publisher with a solid and adventurous kids’ comics program should snap this up, for real.

* Not for kids: Patrick Hambrecht and Dame Darcy review Heather Benjamin’s Sad Sex for the Comics Journal.

* This comic by Benjamin’s fellow Collective Stench member Tom Toye seems to vibrate off the page.

* Jesus Christ, Renee French.

* Wow, Chris Day.

* If you didn’t like the liberties Peter Jackson took with The Hobbit, then man oh man are you going to have complaints about Josh Simmons’s commissioned portrait of the Witch-King of the Nazgul.

* Guy Davis fanart for Johnny Ryan’s Prison Pit? Sure, I’ll eat it.

* Zak Smith asks and answers the question: “Why is this picture so good?” (It’s by Adrian Smith.)

* Uno Moralez’s first image/gif gallery in a long time is also the scariest one in a much longer time.



* I don’t know of any rationale for keeping a nonviolent offender who’s not a risk to himself or others in literally torturous solitary confinement like the Obama administration did to the Army’s Wikileaks whistleblower Pfc. Bradley Manning, I just don’t. Who does?

* This Glenn Greenwald piece on the horror of Newtown as reflected in the drone and bombing deaths of Pakistani and Yemeni children at American hands (or Palestinians at Israeli hands, and let me warn you the photo that leads that link is enormously upsetting) is literally the most important thing to think about in the world right now. It is so vital for us to see that all lives are of equal value, and to understand that the mass death of children caused by the American military/intelligence apparatus abroad is just as devastating and horrifying to their loved ones, and to the conscience of the universe, as the mass death of children caused by maniacs here at home. Once you make this connection you can never unmake it, which is why it’s so important to make it. This has in one way or another been the topic of almost everything I’ve written this year. It’s never far from my mind, ever.

* Fittingly finally, David Chase explains the end of The Sopranos. None of the above?