Posts Tagged ‘comics’
Is it the Word of God that has come unto Jesse Custer, or is he merely possessed by the spirit of the ‘90s? Preacher, AMC’s new readymade blockbuster series — it’s got the nerd pedigree, the nonsensically titled Chris Hardwick postgame show Talking Preacher, a superstar co-creator in the form of Seth Rogen, the whole nine — is based on the comic book series of the same name by writer Garth Ennis and artist Steve Dillon (and, though he’s not credited, tone-setting cover artist Glenn Fabry), which ran for 75 issues or so during the pre-millennium tension of the last five years of the 20th century. This was perhaps the last era during which taboo-busting for taboo-busting’s sake could get a comic over with an audience; a quick visit to the Preacher wikipedia page reveals more inbreeding, cannibalism, anal rape, and Kurt Cobain references than you can shake a crucifix at.
And judging from the pilot episode, the TV show is just as indebted to the signature filmmaker of the era, Quentin Tarantino, as were the “cutting edge” mature-readers-only comic books of the day. There’s a redneck-laden setting, a madcap vampire, a soundtrack full of hipster-revered square singers, a series of self-aware title cards (OUTER SPACE / AFRICA / TEXAS / ETC.), and mutilation galore. If you mashed up Natural Born Killers, the “bring out the gimp” sequence from Pulp Fiction, and the “Stuck in the Middle With You” scene from Reservoir Dogs, then sprinkled in some post-9/11 elements like the Budd segment of Kill Bill Vol. 2, the Death Proof half of Grindhouse, and the cartoonish graphic design of Scott Pilgrim (itself a comic-book adaptation) and Zombieland (starring Natural Born Killers leading man Woody Harrelson in what I insist to this day is a reprisal of his role from that Tarantino-story-credited film), you’ve got pretty much the whole show nailed down. To paraphrase a conversation I had about the show with critic Eric Thurm, you’re a Bill Hicks monologue away from reliving the second half of the Clinton administration.
So is the bloody thing any goddamn good?
I’m reviewing Preacher for the New York Observer, how about that? I started with last weekend’s pilot, which was audacious and entertaining but at times worryingly glib.
I’ll be reading Hottest Chick in the Game, me and Andrew White’s comic about Drake and friends, at the HiFi Bar in NYC at 8pm tonight as part of Zachary Lipez & Michael Tedder’s Words and Guitars reading series. A whole bunch of other luminaries will be reading too, so heed the words of the man himself and come thru!
The HiFi Bar is located at 169 Avenue A between East 10th & 11th in Manhattan. I hope to see you there!
“I wouldn’t be interested in the work of an artist if they didn’t suffer from debilitating anxiety,” Daniel Clowes says. “It’s part of the process.”
Mirror Mirror 2
featuring new comics and drawings by
Lala Albert / Clive Barker / Heather Benjamin / Sean Christensen / Nicole Claveloux / Sean T. Collins / Al Columbia / Dame Darcy / Noel Freibert / Renee French / Meaghan Garvey / Julia Gfrörer / Simon Hanselmann / Hellen Jo / Hadrianus Junius / Aidan Koch / Laura Lannes / Céline Loup / Uno Moralez / Mou / Chloe Piene / Josh Simmons / Carol Swain
horror / pornography / the Gothic / the abject
edited by Sean T. Collins & Julia Gfrörer
published by 2dcloud
Q1 2017 | advance copies Fall 2016
“For darkness restores what light cannot repair”
teaser image by Clive Barker
Mirror Mirror 1 | available now for preorder
VICE: If I didn’t know any better I’d read this book as a warning to kids about the dangers of online. Not that it’s preachy, but the constant connectedness goes hand-in-hand with surveillance, and with the spread of destructive ideas.
Brian Chippendale: People are definitely reading a heavy warning about online activity in the book, and I think that’s one regret I have. I love the Internet. [Laughs] I’ve gotten so much practical use out of it: Selling prints, booking tours, saying hey to old friends—all that. But I do feel that even though I have an overt need for and warmth toward some social media, there is an undercurrent of energy on there that corrodes the soul.
What do you mean by “corrodes the soul”?
I think it’s the feeling that you’re not alone anymore. That should be a positive thing, right? But I think aloneness is important. It’s very important to get lost in your own head, not just get lost in the hive mind. As an artist, I need to venture inside to get at deeper meaning. Maybe new muscles for that are forming in younger people, new ways to go deep. I don’t necessarily think we are going to lose a generation to the internet. It’s an amazing tool. Pizza delivery drones, on the other hand? I’ll definitely be throwing rocks at them… and ordering pizzas.
Given the cover of Romantic Story this is a weird thing to say, but this seems less sexually explicit than your past books.
Heather: I don’t think that’s weird at all! I view this work as way less sexually explicit, too—which is funny, because there are still gaping vaginas everywhere. I guess I’m just desensitized to that. But there’s not really any penetration or actual sexual acts going on, which is unlike my older work. It has to do with what I was saying before, actually, how my work tends to mirror what’s going on in my personal life. Honestly, at the time when I was making work like Sad Sex, I was mirroring exactly what I was feeling, what I was going through in my life: dealing with different partners, different people, trust tissues, the different dynamics of being single and feeling very alone and isolated and messy regardless of whether I was getting some or not. It’s hard to put it into words; I guess that’s why I don’t too often, and why I was making work about it instead. It sounds dumb to me when I try to explain it, but when I was making work that included fucking, it’s because in my life I was dealing with emotions and complications as a result of fucking.
Now I’m making less explicit, less fully pornographic work, because it’s not the dynamics of fucking that I’m grappling with on a daily basis. I’m less interested in how other people made me feel as a result of being involved with them—unlike in Sad Sex, when I was using text in some pieces, like “you make me feel special” or “I masturbate thinking about your boyfriend,” making really blatant statements about how relations between myself and various people affected my self-perception and my experience. I’m now more interested in my own singular experiences with, and within, myself, not those that are explicitly being generated by other people in the present. It’s more introspective and nostalgic, and less about depicting something generating panic and emotion in the moment. This obviously still has a lot to do with sexuality and physicality, but less to do with sexual acts, unless they’re being performed on oneself, or are being looked back on in reflection and anxiety.
1. Hellboy: Seed of Destruction
2. Hellboy: Wake the Devil
3. Hellboy: The Chained Coffin and Others
4. Hellboy: The Right Hand of Doom
5. Hellboy: Conqueror Worm
6. BPRD: Hollow Earth & Other Stories
7. Hellboy: Weird Tales Vol. 1
8. BPRD: The Soul of Venice & Other Stories
9. Hellboy: Weird Tales Vol. 2
10. BPRD: Plague of Frogs
11. BPRD: The Dead
12. Hellboy: Strange Places
13. BPRD: The Black Flame
14. BPRD: The Universal Machine
15. Hellboy: The Troll Witch and Others
16. BPRD: Garden of Souls
17. BPRD: Killing Ground
18. Lobster Johnson: The Iron Prometheus
19. Hellboy: Darkness Calls
20. Abe Sapien: The Drowning
21. BPRD: 1946
22. BPRD: The Warning
23. BPRD: The Black Goddess
24. Hellboy: The Wild Hunt
25. Witchfinder: In the Service of Angels
26. BPRD: War on Frogs
27. Hellboy: The Crooked Man and Others
28. BPRD: 1947
29. BPRD: King of Fear
30. BPRD: Hell on Earth: New World
31. Hellboy: The Bride of Hell and Others
[31.5 Hellboy: House of the Living Dead]
32. BPRD: Being Human
33. Witchfinder: Lost and Gone Forever
34. BPRD: Hell on Earth: Gods and Monsters
35. Hellboy: The Storm and the Fury
36. Abe Sapien: The Devil Does Not Jest
37. BPRD: Hell on Earth: Russia
38. Lobster Johnson: The Burning Hand
39. BPRD: Hell on Earth: The Devil’s Engine & The Long Death
40. BPRD: Hell on Earth: The Pickens County Horror & Others
41. BPRD: Hell on Earth: The Return of the Master
42. BPRD: 1948
[42.5 Hellboy: The Midnight Circus]
43. BPRD: Vampire
44. BPRD: Hell on Earth: A Cold Day in Hell
45. Abe Sapien: Dark and Terrible & The New Race of Man
46. Lobster Johnson: Satan Smells a Rat
47. BPRD: Hell on Earth: Lake of Fire
48. Hellboy in Hell: The Descent
49. Sledgehammer 44
50. Abe Sapien: The Shape of Things to Come
51. BPRD: Hell on Earth: The Reign of the Black Flame
52. Lobster Johnson: Get the Lobster
53. Abe Sapien: Sacred Places
54. BPRD: Hell on Earth: The Devil’s Wings
55: Witchfinder: The Mysteries of Unland
56. Abe Sapien: A Darkness So Great
57. Hellboy and the BPRD: 1952
58. BPRD: Hell on Earth: Flesh and Stone
59. Frankenstein Underground
60. BPRD: Hell on Earth: Metamorphosis (due in January)
61. Hellboy in Mexico (due in April)
62. Abe Sapien: The Secret Fire (due in June)
63. Hellboy and the BPRD: 1953 (due in August)
As I’ve explained when I’ve done this in the past, I left out the humor collection Hellboy Junior and the superhero-crossover collection Hellboy: Masks and Monsters because they’re not in continuity; arguably neither are the two Hellboy: Weird Tales volumes but they’re at least in the spirit of the thing. I listed the original graphic novel hardcovers Hellboy: House of the Living Deadand Hellboy: The Midnight Circus as .5s rather than factoring them into the list proper primarily out of pique that they hadn’t been released in paperback yet, though that is now forthcoming with Hellboy in Mexico next April. I used the regular-edition trade paperbacks rather than the larger omnibus-style collections, though I refrained from noting the individual volume numbers within each series just for the sake of my sanity.
Enjoy, and many thanks to Mike Mignola, John Arcudi, Guy Davis et al for this marvelous story!
How high can highlights take you? How much strength does a show require for its strong points to overpower its weak spots? How does the whole become more than the sum of even its most important parts? Jessica Jones, the hotly anticipated second series in Marvel & Netflix’s partnership, tells the story of a private eye, so perhaps it’s appropriate that it’s got me searching for answers myself. Its pilot episode, “AKA Ladies Night,” contains some of the most powerful moments and challenging themes in the entire Marvel oeuvre. I’m just not sure that’s enough to declare the case for its quality closed.
I’m covering Jessica Jones for Decider! I’ll be posting a review a day every day till I get through the whole season. First up: My somewhat skeptical take on the pilot.
I’m the guest on this week’s episode of Chase Thomas’s Cut to the Chase podcast on writers and critics! Chase and I discuss my origin story as a writer, Game of Thrones, Lost, The Affair, Empire, True Detective, Gotham, Daredevil, cartoons, comics, and much more. I hope you enjoy!
Come see me and Julia Gfrörer at SPX in Bethesda this weekend! We will be at table M1 selling copies of our new minicomics The Deep Ones and Hiders, never before available as such, and we look like this. Julia is also selling prints and her usual assortment of excellent comics, some of them also written by me. (Unfortunately my remaining run of Flash Forward by me and Jonny Negron didn’t make the trip, but they’re still around!)
This is the cover for a minicomic edition of Hiders by me and Julia Gfrörer, previously available only in Study Group 3D, which we’ll be selling at SPX this weekend.
This is the cover illustration for a print version of The Deep Ones by me and Julia Gfrörer, which we’ll be selling at SPX next week.
It was funny: I haven’t talked to the real person that [Monroe] was based on in a long, long time, but then I saw he was on Facebook. I wrote to him and I asked him if he’d read the book, and he hadn’t, so I sent him a copy. He said he read five pages and couldn’t read any more because it was “too intense.” Then he kept saying he’s going to read it, but he can’t. But when he found out there was a movie, I sent him the trailer, and he was really excited. He showed the trailer to some friend at a bar—I don’t think he’d said that it was supposed to be based on him—and that person said, “Wow, that relationship is really screwed up. Why are you showing me this?” The guy said “What do you mean, ‘screwed up’? That’s a real man!” You know? “He’s a real man! He’s going for it!” You can see that that particular person, that character…I mean, if I treated him correctly, he’s not the type of person who’s able to reflect on any of that. Which contributes to Minnie’s loneliness. It takes her a while to realize that, because she’s thinking she’s in love with him. What do you do when you’re “raped,” in quotes, by someone who’s thoughtless and unaware? There’s no way to have a discussion about that with him because he’s not on the ball enough to even grasp the situation. I don’t know what people think. You could argue rape or not—I mean, I don’t fucking know. It’s a complicated situation.
For my A.V. Club debut, I interviewed Phoebe Gloeckner, my hero, about The Diary Of A Teenage Girl. I first interviewed Phoebe 12 years ago, and she’s been my hero ever since.
Have you ever thought about collecting all the Boy’s Club comics in a single book?
I’ve thought about it. I dunno. The problem with books is I usually end up getting not that great of a deal. If the right situation came along I’d do it, but it’s really not even… I mean, I guess it would be worth it, to have it be easier for fans. But I kind of like it not being easy for people to get. I dunno, it’s kind of funny to see it on eBay for $400 or something. My lady thinks that Pepe’s a self-portrait, in a way—she says I have Pepe’s eyes—so it’s kind of neat to see something that’s so personal to me on some level infiltrate this weird nether-region of the internet. I’ve made my mark on the internet, so I can relax. I’m retired now, living off all the shares and likes.
…nearly all of the “Mignolaverse” titles are shot through with a sense of tremendous loss, of mind-warping waste. The world Hellboy and his friends inhabit is a brutal one, rendered unspeakably ugly by a combination of venal people whose minds are too small for empathy and the unstoppable forces they therefore unleash.
Moreover, there’s a specific sense throughout the saga that the violence wielded by its protagonists is futile, even counterproductive. The most gung-ho member of the B.P.R.D., heavily scarred ex-Marine Captain Ben Daimio, secretly harbored an evil spirit that eventually took over and rampaged through the team’s headquarters. An attempt by the artificial man Roger the Homunculus to ape Daimio’s hard-charging attitude led directly to his own death. The depiction of violence as causing more problems than it solves is a self-critique that few superhero stories attempt, and even the ones that attempt it usually ultimately reject it.
Yet Hellboy and the B.P.R.D. soldier on, fighting a menace they are too weak, and too late, to stop. Their goal, to the extent that they have one, is simply to survive, and to preserve what little light and life they can — to write an epilogue for a story that has already ended.
What is it like for you to walk into that theater? It’s like being in your living room.
It’s overwhelming. I haven’t found a way to express the super bizarre surrealness of seeing my life on the stage and watching it play out multiple times. It’s a very strange ontological position to occupy. It both is and isn’t my life. I don’t really understand my relationship to the play. I’m still trying to figure that out.
The book received a lot of attention and acclaim as well, but with the musical, there are warm bodies on stage and in the audience. Does that make the enthusiastic reception of the show feel different?
That’s definitely part of it. The amazing risk involved in live theater? I could not bear that. You just count on so many people to get things right. You’re working with this giant team, from the prop manager to the actors, and they all go out on that tightrope every night together. That’s a very intense experience for the audience.
But also, a musical is something designed to have broad appeal. There’s a lot of money invested in this thing. It’s very difficult to get a show produced. What’s amazing to me is that this very weird, very particular, very risky story that’s not conventional Broadway fodder by any means has made it on Broadway! I feel like there’s always a trade-off between the size of your message and the size of your audience — they’re in inverse proportion. But in this case, there’s no skimping on the message. It’s not airbrushed in any way. It’s kind of just gritty and real. And it’s reaching these big Broadway audiences.
Did the sheer size of the collaborative effort involved seem a world away from sitting at your drawing table?
I was struck with that all along. Lisa [Kron, the writer/lyricist] and Jeanine [Tesori, the composer] had to be open to so many people’s input. That would have driven me absolutely nuts, but that’s part of what they love about it. Comics is about as far on the other end of the continuum as you can go. I do all my own set design and costumes. I do all the acting. That’s all me, and that’s the way I like it.
mramgine asks: Are you familiar with the controversy surrounding what happened with Green Lantern back in the 90s, where Hal Jordan was turned into a supervillain and fans got so pissed that some sent death threats to DC? Why do you think certain creative decisions in media cause such reactions? Are some of these people mentally disturbed or is there some other reason for such behavior?
“You Are A Bad Person!”
by Sean T. Collins & Colin Panetta (after Jack T. Chick)
originally published in Mutant #6 by Atomic Books