Posts Tagged ‘Los Bros Hernandez’

The Gilbert Hernandez spotlight panel at SPX

Monday, October 8th, 2012

I hosted Gilbert Hernandez’s panel at the Small Press Expo, and here it is! I haven’t listened to it yet — how did it go?

I learned things I didn’t know before, and that’s a wonderful way to leave a panel you’re hosting.


How I spent my Saturday morning

Tuesday, September 18th, 2012

Just me and the four greatest living cartoonists, nbd

(thanks, Meredith Rizzo)


Your Love and Rockets 30th Anniversary thought of the day

Saturday, July 14th, 2012

Gilbert and Jaime Hernandez have each been telling the stories of the same group of characters, continuously, for three decades. They’ve done lots of other stuff, Gilbert especially, but that’s the bulk of what they’ve done. No one else in comics has done it. No one’s even come close. Could someone else do it? Could someone else tell the life story of their characters, over an actual life span, and have a lot of people care passionately about where those lives end up? I won’t say it’s unimaginable, the idea of someone else doing it, because there are enough similar cases out there for you to imagine those other people doing it, and it’s only then that the gulf between Los Bros and everyone else becomes so clear. What if Bryan Lee O’Malley just kept going with Scott Pilgrim until he hit Vol. 30? What if Dave Sim had never lost his mind? What if all the B.P.R.D. spinoffs were written and drawn by Mike Mignola? What if Achewood were a comic book and Chris Onstad never burned out on it? What if Erik Larsen’s main touchstone for Savage Dragon were Márquez rather than Kirby? What if The Walking Dead were filled with Rick-level characters, instead of Rick and a bunch of other people for Rick to react to? What if Alison Bechdel made a series of Dykes to Watch Out For graphic novels instead of memoirs? What if Harvey Pekar had made stories up instead of writing them down? What if all of these things lasted for thirty years? And oh yeah, what if all of these people had siblings doing the exact same thing at the same time under the same title? It’s only when you see all the hoops one would have to jump through even to come close to what Beto and Xaime have accomplished that you really appreciate that hey, they’re the ones who built the hoops.

Love and Rockets, the great serial comic by Gilbert, Jaime, and sometimes Mario Hernandez, is celebrating its 30th anniversary at the San Diego Comic-Con International this week. Inspired by Tom Spurgeon, this week-long, daily series of posts will highlight some of my favorite things about Los Bros Hernandez and their comics. For more information, click here.


Your Love and Rockets 30th Anniversary thought of the day

Friday, July 13th, 2012

Any character in Love and Rockets stands a decent chance of being my favorite on any given day, because they are designed to be contemplated, and I’m the contemplative type. Today I’m thinking a lot about Tonantzin, one of the stars from Gilbert’s Palomar stories. She’s a stunningly hot small-town girl, so her rebelliousness first manifests itself by dressing provocatively and using sex to self-actualize. But her mind, heart, and psyche are all as dangerously overdeveloped as her body and sensuality, she gets swept up in a series of increasingly destructive obsessions, first with America and Hollywood, then with native culture and political protest, then with the danger of militarism and the possibility of nuclear annihilation. We can see that they all provide her with an emotional and intellectual way out of the confines of Palomar and her own body — indeed things start getting really bad when she’s taught to read — but because he never really describes it as such, we never realize how far she’s willing to go until it’s too late. Ultimately she comes to believe the only truly free intellectual and political act is to destroy the body she came in. It’s an unforgettable and utterly unique portrait of how good ideas and good people can nevertheless combine into something very bad. It’s a lesson that life entails losing vibrant, lovely people you neither want nor expect to lose. It’s a tragedy for a young woman and the people who love her. It’s a commentary on the hopelessness of the political climate of the day. Today I find myself wondering whether if she’d grown up in Hoppers instead of Palomar, and had punk and the Locas as a release valve instead of abnegative protest, would she still be alive today? On the flip side, would Speedy Ortiz still be alive if he’d grown up in Palomar instead of Hoppers, in a place where it was easier to form romantic relationships and harder to form ones based on a shared propensity for collective macho violence? This is the kind of thing you could do all day long with character after character after character from both Gilbert and Jaime. They’re drawn to be viewed from all angles.

Love and Rockets, the great serial comic by Gilbert, Jaime, and sometimes Mario Hernandez, is celebrating its 30th anniversary at the San Diego Comic-Con International this week. Inspired by Tom Spurgeon, this week-long, daily series of posts will highlight some of my favorite things about Los Bros Hernandez and their comics. For more information, click here.


Your Love and Rockets 30th Anniversary thought of the day

Thursday, July 12th, 2012

Mario Hernandez is the great lost alternative cartoonist, the Lost Bro Hernandez. His interest in cosmopolitanism, leftist politics, the conflation of activism and terrorism by the authorities, the pas de deux between terrorism and authoritarianism, the revolutionary and counterrevolutionary power of art and pop culture, the Third World as a petri dish for first-world government’s reimportation of radicalism, all within the framework of vaguely science-fictional thrillers — he is in many ways the perfect comics-maker for our present moment. With its heavy use of blacks his style sits comfortably alongside those of his brothers, but its density and its bold slashing brushstrokes set it completely apart. If he’d had the time or inclination to produce the same volume of work, published with the same regularity, as his brothers, we’d likely have a third pantheon-level creator from the same generation of the same family, an astonishing thing to contemplate. As it stands we have a hidden treasure, a single gem in a stack of gems, and that’s not so bad either.

Love and Rockets, the great serial comic by Gilbert, Jaime, and sometimes Mario Hernandez, is celebrating its 30th anniversary at the San Diego Comic-Con International this week. Inspired by Tom Spurgeon, this week-long, daily series of posts will highlight some of my favorite things about Los Bros Hernandez and their comics. For more information, click here.


Your Love and Rockets 30th Anniversary thought of the day

Wednesday, July 11th, 2012

Jaime Hernandez is comics’ greatest maker of standalone images. His blacks, his typography, his sense of style, the drama of his line, the sense of balance and momentum even within a single image, his use of powerful moments to convey character, the whole nine. Out of all his peers in the ’80s and ’90s alternative comics movement — the stuff I think of as High Alt, the solo anthology series cartoonists who eventually coalesced around Fantagraphics and Drawn & Quarterly, Xaime and Beto and Ware and Burns and Clowes and Brown and Doucet and Bagge and Tomine and Sacco and Woodring and French — his makes him uniquely suited for the Tumblr era, when the rebloggable, context-free image is king. As such he stands the best chance of elbowing his way into the new canon currently being established as a reaction against High Alt and its forebears, consisting mainly of high-impact, visually dazzling genre comics whose work thrives in a one-at-a-time context — Kirby and Moebius and Otomo and Miller and Chaykin and Manara and pre-alt Mazzucchelli and McCarthy and Graham. But his best images often come within the flow of a story in addition to pin-ups, posters, covers, and title pages, and his interests broaden the canon-of-spectacle beyond solving problems through violence and/or sexy stylishness. They work equally well as vehicles for devastating emotional reveals, or as t-shirts.

Love and Rockets, the great serial comic by Gilbert, Jaime, and sometimes Mario Hernandez, is celebrating its 30th anniversary at the San Diego Comic-Con International this week. Inspired by Tom Spurgeon, this week-long, daily series of posts will highlight some of my favorite things about Los Bros Hernandez and their comics. For more information, click here.


Your Love and Rockets 30th Anniversary thought of the day

Tuesday, July 10th, 2012

Outside of erotica and autobiography, no cartoonist has ever woven sex so indissolubly into the fabric of his comics as Gilbert Hernandez, in a fashion reflective of lived experience. In all of fiction comics, only writer Alan Moore comes close. This goes beyond simply drawing hot people, although before unfortunate circumstances intervene, Tonantzin and Khamo are probably the hottest woman and man in all of comics. Gilbert’s ability to describe and depict physical attraction between his couples frequently makes for the sweetest and most romantic aspects of those relationships—whether male or female, characters’ appreciation for their partners’ hips, tits, dicks, thighs, stomachs, faces and what-have-you, and for the pleasure those parts bring them, is often just plain adorable, however freaky or kinky or dirty things might get. But Beto’s larger argument appears to be that we can no more separate our physical desires from our lives than we can detach from our physical bodies in the course of living them. This of course has a dark side: Life is frequently terrible, and thus so is sex in Gilbert’s comics. And so his greatest creation, Fritz, is the em-body-ment of all these aspects of Beto’s work: She is the sweetest, sexiest, kinkiest, dirtiest, most tragic character of them all. There are no sex scenes in Beto’s comics—life is a sex scene, for better and for worse.

Love and Rockets, the great serial comic by Gilbert, Jaime, and sometimes Mario Hernandez, is celebrating its 30th anniversary at the San Diego Comic-Con International this week. Inspired by Tom Spurgeon, this week-long, daily series of posts will highlight some of my favorite things about Los Bros Hernandez and their comics. For more information, click here.


Your Love and Rockets 30th Anniversary thought of the day

Monday, July 9th, 2012

No cartoonist has ever captured the spirit of rock and roll — listening to it, watching it, performing it, defining your life with it — like Jaime Hernandez. Vanishingly few have even come close; most attempts are cringeworthy. Jaime not only nailed the style, and the intensity, and the specific idiom of his punk milieu (the graffito “NO CLASH, SEX PISTOLS OR THE RAMONES IN 1987!” in the panels below is worth more than entire critics’ bodies of work), and the nuts-and-bolts stuff like the body language of people playing music on stage, he also chronicled the lives of the characters involved long enough to be basically the only cartoonist ever to explicitly examine what it’s like when you grow up and grow older and discover that you no longer look and act and think like someone in the pit at your favorite band’s show.

Love and Rockets, the great serial comic by Gilbert, Jaime, and sometimes Mario Hernandez, is celebrating its 30th anniversary at the San Diego Comic-Con International this week. Inspired by Tom Spurgeon, this week-long, daily series of posts will highlight some of my favorite things about Los Bros Hernandez and their comics. For more information, click here.


Comics Time: Esperanza

Wednesday, April 4th, 2012

Esperanza
Love and Rockets Library: Locas, Book Five
Jaime Hernandez, writer/artist
248 pages
$18.99
Fantagraphics, 2011
Buy it from Fantagraphics
Buy it from Amazon.com

For today’s Comics Time review, please visit The Comics Journal.


He’s your worst nightmare

Thursday, October 20th, 2011

You have no idea how proud of this I am.

Text by me, wizardry by Alex Kropinak.


Comics Time: Love from the Shadows

Wednesday, October 5th, 2011

Love from the Shadows
Gilbert Hernandez, writer/artist
Fantagraphics, 2011
120 pages, hardcover
$19.99
Buy it from Fantagraphics
Buy it from Amazon.com

For reasons unknown to me, I did not create a Comics Time entry for this review, which was posted on April 20 at The Comics Journal. I’m just rectifying the situation now. Please visit TCJ.com for the review.


Comics Time: Love and Rockets: New Stories #4

Monday, August 1st, 2011

Love and Rockets: New Stories #4
Gilbert Hernandez, Jaime Hernandez, writers/artists
Fantagraphics, August 2011
104 pages
$14.99
Buy it from Fantagraphics
Buy it from Amazon.com

Love and Rockets: New Stories #4 will turn any fan of Los Bros Hernandez into the host of The Chris Farley Show. “Remember? That time? When you drew Calvin’s plaid shirt? So that the plaid was always facing in the same direction? No matter how much Calvin moved?…That was awesome.” I am seriously finding it difficult, if not impossible, to review this comic without simply hitting the bullets-and-numbering button and whipping up a list of everything in it that amazed me. It would be a long list, too. But I’m abstaining as much as I can — to challenge myself for starters, and to avoid spoiling the comic for those of you who haven’t yet read it (which is probably most of you since it’s not out yet) for the most part. But I’m also holding off on that listicle because I think it’s a cheat. The fact of the matter is that while reading this book I discovered that I’m at least as attached to Ray Dominguez and Fritz Martinez, the protagonists of Jaime and Gilbert’s contributions respectively, as I am to a decent number of real people in my life. So sure, I could rattle off the ways in which Xaime and Beto continually prove themselves to be among the most graphically inventive and entertaining cartoonists alive some three decades into their careers — the crosshatching on Ray’s shirt and Maggie’s sofa; Gilbert’s use of wavy, puddle-shaped, impenetrable fields of black in his vampire story; the impact of the just-this-side-of-parallel lines of Angel’s body as she bends her leg to put on a high heel; the upside-down lava-lamp shape of Fritz’s legs in a skirt, used as an anchor for panel after panel of her simply walking around town with her agent ex; dredging up a long-ago, possibly long-forgotten character, drawing him as a late-middle-aged man in a way that makes him unrecognizable until you realize just how recognizable he is; the smashed-skull-as-cubist-masterpiece in Gilbert’s customary burst of horrifying ultraviolence; the holy shit moment when you realize the visual structure to that montage spread from Jaime’s story; Gilbert storming the ramparts of the vampire story and launching sex and violence back into it like payloads from a trebuchet; Jaime serving up a story whose snapshot style echoes comparable material from “Wigwam Bam” in significant and story-relevant ways; tracing the similarities and differences between Killer and Fritz via the characters they play, the use of their amazing bodies fraught with story information. And hey, look at that, I did rattle them off! But in the end, how it looks pales in insignificance next to what happens, because making it look that good is a means to the end of imparting just how much what happens matters. Ray’s shirt and Fritz’s legs, the shadow of the vampire and the structure of the montage — they’re just landmarks to remind you where you were when you found out if Ray and Fritz and Maggie were going to get happy endings, or not. It’s the easiest thing in the world to understand, and it’s the hardest thing in the world to do, and it’s magic, pure magic, to do it this well.


Comics Time: Citizen Rex

Tuesday, July 26th, 2011

Citizen Rex
Mario Hernandez, writer
Gilbert Hernandez, artist
Dark Horse, June 2011
144 pages, hardcover
$19.99
Buy it from Amazon.com

For today’s Comics Time review, please visit The Comics Journal.


Comic of the Year of the Day: Love and Rockets: New Stories #3

Sunday, December 19th, 2010

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Love and Rockets: New Stories #3 by Gilbert Hernandez and Jaime Hernandez, published by Fantagraphics — career-best work from cartoonists with two of the best careers in the medium.

On Jaime’s “Browntown”/”The Love Bunglers”:

…ever since I read it, when I think of it, I just keep thinking to myself, “Poor [name]. Poor, poor [name].” It makes me want to cry! Cry for an imaginary person I’d never read about until a few pages earlier. (It’s the flipside of feeling proud of the entirely imaginary Hopey Glass for becoming a teacher’s assistant, I guess.) Such power!…I will never forget reading this book.

On Gilbert’s “Scarlet by Starlight”/”Killer * Sad Girl * Star”:

the brutal exploitation of children at the center of “Scarlet by Starlight” — delivered in a grotesquely matter-of-fact panel, savagely angry and awful — is echoed by the far milder but still insidious sexualization of “Killer * Sad Girl * Star” later on in issue #3…and, of course, it compliments and reinforces Jaime’s “Browntown”/”The Love Bunglers” suite in that same volume.

Click here for a full review of Jaime’s contributions to the issue and click here for a full review of Gilbert’s contributions to the issue; click either one for purchasing information.


LOVE AND ROCKTOBER | Index, Acknowledgements, and Which Love and Rockets Books to Read First (UPDATED x2))

Friday, December 10th, 2010

Below you will find links to all my posts from LOVE AND ROCKTOBER, a marathon examination of the entirety of Love and Rockets by Gilbert Hernandez and Jaime Hernandez (and sometimes Mario Hernandez), October-December 2010. I will continue to add links to Los Bros’ new comics as they are released and reviewed. Please click the links for full reviews.

Thank you to Paul Baresh, Jacq Cohen, and Eric Reynolds of Fantagraphics for their help and support during this project. Fantagraphics’ “How to Read Love and Rockets” page gets my highest recommendation for anyone interested in keeping track of the optimal reading order for the series or learning what comics are and aren’t in what book.

This was one of the most enjoyable and inspiring things I’ve ever done for this blog. Thank you for reading.

Special thanks to Gilbert and Jaime (and Mario) for the inexhaustible richness of their work.

UPDATE: WHERE TO START
One of the most frequently asked questions regarding Los Bros Hernandez and Love and Rockets is which book to start reading them with. With Gilbert, that’s easy: Heartbreak Soup, the start of the Palomar/Luba saga of life in a small Central American village and, eventually, California. (Prepare to ignore the following: If you’re feeling frisky, you could start with Beyond Palomar, which contains the stand-alone graphic novel Poison River. That’s the origin story of Gilbert’s main character, Luba, and thus is chronologically the “beginning” of her story; it’s also one of the greatest comics ever made. The book also contains another stand-alone story, Love and Rockets X, which ties in with the Palomar/Luba stories but doesn’t require knowledge of them to understand or enjoy. But nine times out of ten, you’ll probably want to start with Heartbreak Soup.)

With Jaime, it’s a little trickier: Maggie the Mechanic is the start of the Locas saga, about a group of Latina punk-rock kids and their circle of friends, but it’s a science-fiction comic at first, which is different than the work for which Jaime is most renowned (since he gradually dropped the SF elements from the storyline); moreover it’s drawn in a more traditional, maximalist style than his best-known work, and I’ve seen this be a bit off-putting for some readers as well. The Girl from H.O.P.P.E.R.S. is volume two of the Locas strips, so you’re joining things in progress if you start there, but it’s much more what people are thinking visually/tonally/narratively of when they talk about Jaime’s greatness; moreover, jumping right in isn’t all that weird, since Jaime tends to make large jumps in the chronology anyway. Personally, I still recommend starting at the start, with Maggie the Mechanic, provided you think you won’t find light science fiction and classic illustration off-putting; it really is where the story of Maggie, Hopey, Izzy, Penny et al begins.

UPDATE 07/17/12: Okay, I know where to start, but how do I proceed from there?

L&R has been published, collected, re-collected, and re-re-collected in a fashion that can get pretty confusing. Heck, even now, with a line of digest-format versions that can be seen as pretty much definitive, most of Gilbert and Jaime’s stuff is still being released in standalone graphic-novel formats before eventually getting rolled into the digest series. So you end up having to bounce around between formats a bit.

Below I’ve numbered the volumes you to read in the order you want to read them. Titles in parentheses contain material that has been collected in other, more definitive volumes and thus can be skipped (though of course you should read my awesome reviews anyway).

And now, the reviews.

AN INTRODUCTION
Announcing LOVE AND ROCKTOBER
An interview with Gilbert and Jaime Hernandez

JAIME
The “Locas” Stories
(Locas [old, disavowed review])
1. Maggie the Mechanic
2. The Girl from H.O.P.P.E.R.S.
3. Perla La Loca
4. Penny Century
(Ghost of Hoppers)
(The Education of Hopey Glass)
5. Esperanza
6. Love and Rockets Vol. 2 #20
(Love and Rockets: New Stories #1 [old version])
(Love and Rockets: New Stories #1-2)
7. God and Science: Return of the Ti-Girls
8. Love and Rockets: New Stories #3
9. Love and Rockets: New Stories #4

GILBERT
The “Palomar”-verse Stories
1. Heartbreak Soup
2. Human Diastrophism
3. Beyond Palomar
3x. Birdland^
4. Luba in America
5. Luba: The Book of Ofelia
6. Luba: Three Daughters
7. High Soft Lisp
7x. The Adventures of Venus
8. Love and Rockets Vol. 2 #20
9. New Tales of Old Palomar
10. Chance in Hell
11. Speak of the Devil
12. The Troublemakers
13/14/15. Love and Rockets: New Stories #1-3 and “Dreamstar”
16. Love from the Shadows
17. Love and Rockets: New Stories #4

LOS BROS HERNANDEZ
(Mostly) Non-”Locas”/”Palomar” Stories
Amor y Cohetes (Gilbert, Jaime, Mario)
Birdland^ (Gilbert)
Fear of Comics (Gilbert)
Love and Rockets: New Stories #1 (Gilbert and Mario) (old version)
Love and Rockets: New Stories #1 (Gilbert and Mario)
Citizen Rex (Gilbert and Mario)

^ (not quite a Palomar-verse story, but not quite not a Palomar-verse story)


LOVE AND ROCKTOBER | Comics Time: Love and Rockets: New Stories #1-3 and “Dreamstar”

Wednesday, December 8th, 2010

Love and Rockets: New Stories #1-3
featuring various stories by Gilbert Hernandez, writer/artist
Fantagraphics, 2008-2010
104 pages each
$14.99 each
Buy them for 33% off from Fantagraphics
Buy them from Amazon.com

“Dreamstar”
in MySpace Dark Horse Presents #24
Gilbert Hernandez, writer/artist
Dark Horse, July 2009
8 pages
Read it for free on MySpace.com (sorry, the permalink to the story isn’t working so you’ll have to scroll for it)
Buy it in MySpace Dark Horse Presents Vol. 4 from Amazon.com

“Fuck. Where’d all the good sex go? There used to be fuckin’ and sucking’ and pussy eatin’ and everything. Pussy eaten’ being my favorite. Now it’s rare to see sex much lately, unless it’s seen as sad or creepy or simply wrong. Shit, is that a cop?”–from “The Funny Papers”

“I didn’t get naked or do porn or have to suck anybody’s dick!! OK?!!”–from “Sad Girl”

“The naked maniac guys, the bloody cop, my up-the-butt daisy dukes…camera behind me getting a good close-up…I’ll take what I can get.”–from “Killer * Sad Girl * Star”

“They’re only animals! You did it! You did it too!”–from “Scarlet by Starlight”

The suite of stories Gilbert Hernandez contributed to the relaunched, graphic-novel-format Love and Rockets: New Stories might be his most complex work yet. By my count, you have two relatively straightforward strips, “Sad Girl” and “Killer * Sad Girl * Star,” starring Killer, Guadalupe’s teenage daughter and heir to the Luba/Fritz/Petra bombshell genes. You have a Fritz B-movie, “Scarlet by Starlight.” You have a movie Killer starred in, “Hypnotwist,” which was a remake of an earlier film we’re told; two other Killer movies are woven into “Killer * Sad Girl * Star.” You have an abstract strip called “?” with which “Hypnotwist” shares much of its visual vocabulary. You have a strip that’s similar in tone to his bleaker Palomar morality plays, “Papa,” and a similarly cold America-based strip called “Victory Dance.” Then you have a funny-animal goof called “Never Say Never,” an exercise in ’60s-style humor cartooning called “Chiro El Indio” that’s written by brother Mario, a trio of newspaper strips called “The Funny Papers,” and a kill-crazy rampage by the Martin & Lewis impersonators from Bela Lugosi Meets a Brooklyn Gorilla (seriously!) called “The New Adventures of Duke and Sammy.” Finally, there’s “Dreamstar” from Dark Horse’s defunct webcomics site at MySpace.com, which is still another film from Killer’s oeuvre.

It was only in reading Beto’s stories in all three volumes that the Chinese puzzle-box intricacy of what he’s doing here revealed itself to me. Much of this is accomplished by delaying the point at which we receive vital information. In “Hypnotwist,” we don’t see Killer appear until a pair of pages deep into the strange, wordless strip. Up until then we’ve been focusing on the imagery the strip shares with the previous volume’s “?”–giant smiley faces, a tumbling glass, ducks, a door with a question mark; meanwhile, the meager information about Killer’s first movie we learned in “Sad Girl”–it involved a lot of green-screen work and running in place in a trenchcoat designed to make her look nude underneath–doesn’t tip us off about anything in “Hypnotwist” until Killer herself shows up. “Scarlet by Starlight,” meanwhile, never tips its hand, not even with subtle deviations like the hair-color games Chris Ware played with his similar sci-fi/horror story-within-the-story in ACME Novelty Library #19. Unless you happen to remember the title from Fritz’s strips, or the endpages in The Troublemakers and Chance in Hell, there’s no way to tell it’s a “movie” from the Palomar-verse until you see Killer watching part of it in the following strip. Fritz herself is buried under cat-person make-up and her humanoid speech doesn’t give her lisp occasion to manifest. (I know she has other identifying characteristics, but let’s face it, when it comes to deducing the identity of Beto characters, “giant breasts” hardly narrows it down.) In “Killer * Sad Girl * Star,” one of the movies Killer stars in is presented in such a fashion that it seems to be real life. “Victory Dance” starts out like a non-narrative exploration of figurework a la “Heroin” from Fear of Comics before becoming a story about a relationship haunted by the spectre of death and one member’s fleeing from it a la “Papa,” and finally revealing itself to be set in “Papa”‘s world. “Papa,” meanwhile, could be a Palomar-verse strip for all I know–I’d need to go back and see if mudslides or poisonous worms were ever a feature of Palomar’s surroundings. “The New Adventures of Duke and Sammy” plays “Papa” and “Victory Dance”‘s relationship/travelogue tragedies as farce. “The Funny Papers”‘ sub-strip “Meche” evokes a key backstory element in the Fritz comics, while “It’s Good to Be…” (quoted above in its entirety) seems to be a direct commentary on Beto’s current approach to sex in his comics. As is custom, the films we see the characters acting in are all reflective of the issues of sexuality that dominate their own lives. Specfically, the brutal exploitation of children at the center of “Scarlet by Starlight”–delivered in a grotesquely matter-of-fact panel, savagely angry and awful–is echoed by the far milder but still insidious sexualization of “Killer * Sad Girl * Star” later on in issue #3…and, of course, it compliments and reinforces Jaime’s “Browntown”/”The Love Bunglers” suite in that same volume. All in service of what feels like an extension of the flagellating self-critique we saw in High Soft Lisp, the quotes above being Exhibit A.

And I could probably go on! But to do so would be to imply that trainspotting is the primary value of these comics. I could just as easily enumerate the innumerable pleasures of Gilbert’s cartooning itself in these strips: The wire-thin, unwavering line with which he draws the legs of the protagonist of “Hypnotwist,” say–a style I’ve never seen him use before. That choreography in “Victory Dance.” The emergence of vast, hellish landscapes as a no-doubt-about-it theme in Gilbert’s work with the opening of “Papa.” The dead-behind-the-eyes facial expressions of the humans in “Scarlet by Starlight.” The sequence in “Hypnotwist” where a balloon-headed man’s head is popped, leaving it sagging horrifically off his neck as he crawls in the nude. The WTF repetition of the Masonic square and compass. The unexplained holes in Papa’s head. Killer as a heavy-lidded Luba lookalike. Hector as a wild-eyed gray-haired hot-tempered eminence grise.

All told, you could wrap these stories up between two covers and come up with a book of absolutely crushing intelligence, emotional heft, and visual power–a book among the best of Gilbert’s career. And by #3, Jaime is hitting a similar career peak, playing off of similarly uncompromising themes. Here I am at the end of over two months of reading nothing but going on three decades’ worth of Love and Rockets, and neither I nor Los Bros Hernandez are anywhere near exhausted. All hail.