Here is a commercial for furniture retailer Raymour & Flanigan:
Here is the video for “Luchini” by Camp Lo:
Carnival of souls: George R.R. Martin’s illness, Steel, Marvelnalysis, videos of note, more
* Well, shit and double shit: George R.R. Martin was hospitalized on Christmas Eve with the urinary tract infection from hell. Fortunately, he’s okay; unfortunately, the “big announcements” he’d planned for HBO’s TCA reception (why whatever could they have been!!!) are kaput. Get well soon, George.
* You maniacs! You blew it up! Ah, damn you! God damn you all to hell! Poor Steve Lyons does what he can with a thankless task.
* There’s a passage in my friend Ryan “Agent M” Penagos’s exit interview with outgoing Marvel Editor-in-Chief and reigning Chief Creative Officer Joe Quesada that I find very revealing about the man’s approach to his job: He sees his tenure and the projects he helped develop as the Watchmen or Dark Knight Returns he didn’t have it in him to produce as a cartoonist.
* Springboarding off Fantagraphics’ Complete Carl Barks announcement, Graeme McMillan asks what it means that Disney is publishing comics starring its characters through publishers other than Marvel. The long and the short of it is that Disney sees Marvel as being not in the comics business, but in the Marvel business. That’s consistent with their approach to many of their other brands: It’s not like they made Jim Henson start building all the puppets for their theme parks or had Pixar do Tangled for them. But it also tells you something about what Marvel’s approach to comics will likely be for the foreseeable future.
* Elsewhere, Graeme and Jeff Lester ponder at length why Axel Alonso got the Editor-in-Chief gig at Marvel over Tom Brevoort, who’s both more visible to the public and more integral to the company now-flagship Avengers franchise and nearly all of its big line-defining crossover events. But I don’t think it’s a mystery at all, frankly: Brevoort has said multiple times that he had no desire to take that job. I also don’t think it’s any mystery what Quesada will be doing, as it’s what he’s already been doing for quite a while.
* DC goes day-and-date digital with its Batman Beyond ongoing series. I note these things because they seem noteworthy, not because I have any idea what they really mean. I also note that I hear a lot of these series have had problems actually coming out day-and-date even when announced as such, particularly at Marvel.
* Gosh, Yanick Paquette has come into his own as the artist for Batman Incorporated.
* Cliff Chiang does Jaime Hernandez doing the Archies, basically.
* My friend and collaborator Isaac Moylan does Jeffrey Brown doing MMA.
* I haven’t seen Gareth Edwards’s much-lauded first-person giant-monster romance Monsters, but what little I’ve heard about it makes him sound like a pretty good choice to direct the next American Godzilla remake. Then again, wasn’t that basically what Cloverfield was? I mean that as a compliment by the way.
* Good news: The Second Circuit Court of Appeals struck down an FCC fine against boobs and butts on NYPD Blue.
* Real Life Horror headline of the day: “Severed head full of bullet holes found dangling from bridge in Tijuana, Mexico, official say.”
* Real Life Horror photo of the day: I’m not posting it here because even though it’s not graphic, its immediate implications are disturbing enough that doing so might be hurtful to some readers. But basically, a family photo snapped by Filipino city councilman moments before he was shot to death reveal his assassin with gun drawn and pointed directly at him right behind his unsuspecting family, and you can see it at the link. (Via Heidi MacDonald via Ivan Brandon.)
* My Representative, IRA supporter and anti-Muslim bigot Peter King, is the new head of the Homeland Security Committee; he says the New York Times should be indicted under the Espionage Act. He is a terrible person, and a dangerous one.
* Lighter-note time! Hahahaha, Tom Ewing reviews “Turtle Power” by Partners in Kryme for Popular, the blog on which he reviews every UK #1 single ever. A number-one hit that misattributed leadership of the Teenage Mutant Ninja Turtles to Raphael!
* Three music videos of note today:
* My gosh, what a song “Film Music” by Family Fodder is! (Via Douglas Wolk, through whom I first heard it a while back.)
* Here’s the hugely enjoyable video for master pasticheur Destroyer’s late-period Roxy Music homage “Kaputt.” (Via Ryan Catbird.)
Destroyer – Kaputt from Merge Records on Vimeo.
* Finally, this one’s unembeddable so you’ll just have to click through: Wubba wubba wubba, goodbye, God bless, not only in the USA but in the UK too, it’s Hercules & Love Affair’s “My House.” Perhaps only my wife, who hears me sing “Everybody Everybody” on the daily, has any idea just how ready I am for Club MTV/House of Style nostalgia. (Via Pitchfork.)
Thought of the day
Perhaps the idea is to kill off non-white characters as fast as Grant Morrison can create new ones.
Comics Time: Crickets #3
Crickets #3
Sammy Harkham, writer/artist
self-published, December 2010
52 pages
$8
Buy it from PictureBox
In the past I’ve said the the solo alternative comic-book anthology series works great as an opportunity for developing cartoonists to experiment in front of an audience on a regular basis. That’s certainly true. But it also works great as a showcase for a confident, experienced cartoonist to show off his chops at a manageable but still considerable length — a star turn, if you will. Think the last two issues of Eightball, for example. And think Crickets #3. The bulk of this self-published issue of Sammy Harkham’s solo showcase is occupied by “Blood of the Virgin,” the story of a week in the life of a harried young father and hack in the stable of a fictionalized version of Roger Corman’s American International Pictures who really wants to make films, goddammit. It’s Harkham’s longest and richest exploration yet of his go-to themes: family as a series of unignorable demands on one’s time and emotions, and ethics and morality as a manifestation of how we deal with those demands. It offers him a seamless way to integrate the horror and trash-cinema influences he’s long displayed in comics like “Poor Sailor” and “Black Death” with the literary fiction he’s always championed as editor of Kramers Ergot but which has been overshadowed by that anthology’s artcomix and genre pastiches, not to mention his own. It gives him a shot at an Ignatz Series-style canvas in terms of trim size and two-color printing. It offers us page after page of his deeply pleasurable cartooning, which in its feathery line and dot-eyed clown-nosed character designs and alternately sinuous and bulbous lettering recalls old-timers like Gray and Segar and young turks like Crane and Huizenga while aping none of them. It enables him to sneak in non-narrative, artcomix-influenced visual flourishes completely diagetically — fog enshrouding a neighborhood during the small hours, a mushy plaster cast making a melted nightmare out of someone’s face, frank and kinky depictions of sexuality. It’s basically a just plain terrific alternative comic.
Carnival of souls: Alonso and Brevoort promoted, Flex Mentallo collected, more
* Another huge news day: Axel Alonso is the new Editor-in-Chief of Marvel; Joe Quesada is now focusing solely on his Chief Creative Officer (read: multimedia) duties; Tom Brevoort has been promoted to Marvel’s Senior Vice President of Publishing. The end of a ten-year era, although if any editor can be said to represent continuity with Joe Quesada’s approach it’s probably Alonso. The moves made by Quesada in the early days of his reign played as big a role in my getting back into comics as anything this side of Highwater Books, so I’ll miss him and wish him well.
* Related: Brevoort sounds off on DC’s “drawing the line at $2.99” pricing initiative. He paints a picture of a Marvel-Disney relationship that’s very different from that of DC-WB.
* DC is finally releasing a Flex Mentallo collection. Of course, I’ve had a Flex Mentallo “collection” on my hard drive for a while now, but still, awesome!
* YES: Curt Purcell on the relationship between Laura Roslin and Bill Adama in Battlestar Galactica.
* Frank Santoro is having some kind of art show in West Hollywood starting January 20th, it would seem. If I were in West Hollywood, I’d go to this.
* Joe McCulloch on the Batman comics of David Finch (and Scott Williams). I thought the Finch written/illustrated Batman: The Dark Knight #1was good silly fun, for what it’s worth.
* Here are two very different Best of 2010 lists from Ben Morse and Ryan Sands.
* Wow, Michael Hoeweler draws a mean Robyn. (Via Shaggy.)
* Anders Nilsen presents “The Allegory of the Apartment.”
* Spider-MODOK as designed by Gabriel Hardman? Sure, I’ll eat it.
* Dave Sitek from TV on the Radio is joining Jane’s Addiction. Uh, okay, sure. One thing many critics are wrong about is the greatness of Jane’s Addiction up through and including Ritual de lo Habitual, that greatness being very very great. I understand that Perry and Dave’s subsequent self-parodic antics cast a long shadow, but man, before that? Goth Zeppelin.
* Would you like to hear Neil Young’s “Only Love Can Break Your Heart” as rendered through the dulcet tones of Genesis P-Orridge and Psychic TV? I don’t see why you wouldn’t! (Via Cindy Hotpoint.)
Thoughts of the day
1) Through some strange alchemy, Susan Cooper’s The Grey King has caused me to stop worrying and love the ending of Lost.
2) I wonder if Kanye West has ever listened to Pulp’s This Is Hardcore.
Carnival of souls vol. 2: Special “very, very busy day” edition
* Here are links to the three Carnival of Souls posts I did over the break through today: post-Christmas/blizzard, pre-New Year’s, post-New Year’s.
* Here’s a guide to all of Robot 6’s big 2nd anniversary special content, including some cool stuff involving yours truly;
* And here’s Comic Book Resources’ Top 100 Comics of 2010, all in one place. This also includes a list of the list’s participants, which I think is helpful.
* Today on Robot 6:
* Becky Cloonan is posting pages from her unpublished Tokyopop book East Coast Rising Vol. 2;
* and DC Comics makes a slew of announcements: all ongoing series are $2.99, letters pages are returning, Peter Milligan on Red Lanterns, and Sean Murphy on an American Vampire spin-off. That’s a pair of shots fired in the PR war, hopefully a step in the right direction for the Direct Market on pricing, a sign that Green Lantern is joining Batman as the two core franchises of the DCU, and a sign that American Vampire is joining Fables as the two core franchises of Vertigo.
* The Comics Journal has launched The Panelists, a new group blog featuring Derik Badman, Alex Boney, Isaac Cates, Craig Fischer, Jared Gardner, and Charles Hatfield. That’s a formidable crew.
* Dark Horse’s Facebook page hosts a very useful and thorough guide to the state of Mike Mignola and John Arcudi’s Hellboy and B.P.R.D. comics.
* Which reminds me that the use of Facebook for PR was, along with now largely confirmed claims that the iPad is a digital-comics gamechanger, one of the big hobbyhorses of the late great Journalista blogger Dirk Deppey. “Seriously, what idiot ‘advertises’ their event solely on a website that requires registration to see the advertisement?” The kind of idiot who wants to advertise on the country’s most popular website, I guess.
* Chris Allen and Alan David Doane think that good superhero comics are the very least we should expect and demand. I see their point, although a good superhero comic is a good comic, after all.
* From good to bad: Graeme McMillan and the Comics Alliance crew explain what made some of 2010’s worst superhero comics so awful — very little schtick, lots of dragging very bad writing and art choices into the light of day and investigating what went wrong. Well done.
* If you’ve ever wondered what a smart critic with zero experience with any comics or video games would think of Scott Pilgrim vs. the World, check out Edward Copeland’s review. He situates the movie in the (500) Days of Summer/Nick and Nora’s Infinite Playlist sphere, as you might expect, and preferred the rom-com stuff to the fighting and video-game stuff, as you also might expect.
* I’d need to reread the Fourth World saga to be sure — it’s been a few years — but I’m pretty sure that, contra Tim O’Neil, Jack Kirby’s Anti-Life wasn’t fascism, or more accurately it wasn’t just fascism — it was war. I cribbed that from Tom Spurgeon and I think it squares — after all, anti-fascist superhero comics from the World War II generation were a dime a dozen, but the Fourth World Saga stood out for a reason. Regarding Tim’s contention that Morrison’s Anti-Life is less powerful a concept than Kirby’s because it’s imposed rather than embraced, I think that’s probably true, but there certainly are people who want to impose Anti-Life’s real-life equivalent and it’s a valid avenue of exploration.
* Tom Spurgeon’s interview with the comics critic and journalist David Brothers helped me get at something I’ve often found frustrating about Brothers’s work. He’s a fine writer who brings welcome eye-on-the-ball focus and deserved indignation to his commentary on industry ethics, diversity issues, and business practices, but I’ve been frustrated by his tendency to focus so much on superheroes and other fantastic-action genre work and his occasional lapses into his particular character-specific version of “Wolverine would never say that!” But regarding the former, Brothers reveals that he only this year started reading Chris Ware and Los Bros Hernandez — and what a year to start! — and regarding the latter, he owns up to “basic fan entitlement.” In other words he’s young and (like all of us, hopefully) growing as a writer. Read the interview for his smart rejection of “hey, true art takes time!” defenses of late books and for a great bit on superhero comics’ civilian fashions (although I strongly disagree with his contention that “part of being an adult is wearing a shirt that has buttons on it every once in a while”):
The lack of attention paid to fashion in comics is baffling to me. We all pay a certain amount of attention, time, and money on what we wear, but you wouldn’t know it when you look at mainstream comics. Guys still wear Solid Colored T-Shirt and Latex Tight Jeans, with maybe a loose, formless leather jacket on top. Women wear Solid Colored Belly Shirt/Baby-T, Low Rise Jeans, and Visible Thong Straps. Belts, jackets, suspenders, and even something as simple as logos tends to be almost nonexistent, barring the relatively few artists who take the time to do it right.
The visible thong thing really is the post-millennial equivalent of ’70s and ’80s shirtless vest-wearing street toughs and ’90s mullet-based hairstyles.
* Can you imagine a world in which Lord of the Flies, The Fellowship of the Ring, The Two Towers, Waiting for Godot, Rear Window, and The Creature from the Black Lagoon were in public domain as of this year? Yeah, neither can I. Fuck Thank you very much, Congress!
* Real Life Horror 1: I’m always up for reading about the giant octopus of that washed up on the shores of St. Augustine in 1896.
* Real Life Horror 2: Here’s a wonderfully written history of the bubonic plague by writer Mark Sumner on, of all places, Daily Kos.
* Real Life Horror 3: It’s always worth pointing out that my Representative, Peter King, supported IRA terrorism, especially given that he’s planning McCarthyite investigations of American Muslims who didn’t.
* Real Life Horror 4: The political blogger Digby has been doing yeoman’s work reporting on American law enforcement’s willy-nilly use of painful, frequently lethal tasers on non-violent non-criminals.
* Real Life Great Job: I can’t believe that one of the candidates for Republican National Committee Chairman is named Reince Priebus. Are we sure he’s not a Tim and Eric character? What do Prance Stuard, Bilb Ono, Doug Prishpreed, and Dun Dorr have to say about this?
* Cinema just got a lot less convincingly simultaneously genteel and dangerous.
* Oh, so that’s what’s up, Michael DeForge.
* Speaking of DeForge, who apparently never stops drawing, he has a funny new strip up at Vice.
* I’m glad to hear that I played some small part in getting Curt Purcell psyched about blogging about horror again.
* Speaking of: I can’t help but be a bit disappointed with the (leaked and/or official depending on what post you’re reading) video for Kanye West’s monster, especially given such recent direct points of comparison as the clips for Scissor Sisters’ “Invisible Light” or West’s own “Runaway.” To the table occupied by the former’s dizzyingly trashy recreation of giallo and other groovy-age staples and the latter’s go-for-baroque parade of sexual, racial, and self-mythological neurosis, “Monster” brings a cornucopia of played-out “sexy dead model” visuals I saw in a fashion magazine, like, ten years ago. Moreover I think the whole sentiment behind “Monster” loses something when removed from the self-loathing draped all over My Beautiful Dark Twisted Fantasy; conflicted tracks like “Runaway” contain both sides of Kanye’s macho-asshole schtick in the way that the tough-guy songs just don’t. Finally, once you’ve read Nitsuh Abebe’s suggestion that Nicki Minaj should have been represented by a shapeshifter rather than a pair of good/evil twins, you really can’t unsee it. It’s like (as I’m fond of mentioning) when I learned that the Frankie Pentangelli role in The Godfather Part II was supposed to be filled by Pete Clemenza until it fell through over a wage dispute with Richard S. Castellano.
* Happy birthday to my favorite author, J.R.R. Tolkien. I love you, Professor!
* Finally, HOLY SHIT
Thoughts of the day
* Inspired by discovering that Fred Van Lente is using the Runaways’ arch-nemeses/parents the Pride as the villains in this week’s Iron Man Legacy #10: Are the people like me who are big fans of largely abandoned superhero teams like the Runaways or the Agents of Atlas or the Seven Soldiers of Victory due to the quality of the recent runs that (re)introduced them the equivalent of die-hard devotees of largely abandoned old superhero teams like the Secret Defenders or the Champions or the Suicide Squad or the West Coast Avengers? Is it different because Runaways, Atlas, and Seven Soldiers were varying degrees of genuine critical darling while those earlier books weren’t? Or am I forever doomed to spaz out over the prospect of a Gorilla Man/Nico team-up the same way some people lose they shit any time Hercules and Angel hang out?
* Has the rise of “geek culture” as a cultural force so omnipresent that Patton Oswalt feels the need to ramble on in Wired about how in his day geeks had to walk to the Android’s Dungeon uphill both ways led to an improvement in the comfort and safety of geeky kids from bullying and ridicule? I’d really like to know the answer to that one.
Carnival of souls: Special “Best of 2010/Robot 6 turns 2” edition
* Happy New Year!
* In case you missed it over the holiday weekend, I posted my list of The 20 Best Comics of 2010. It was really some year.
* I also uploaded a three-part mix of the Best Songs of 2010. That’s always one of my favorite projects to do.
* Meanwhile, my blog-away-from-home Robot 6 celebrated its 2nd anniversary yesterday with a slew of sweet stories…
* Obviously, none was sweeter than the announcement that Fantagraphics will be publishing the complete Carl Barks Disney duck comics. That announcement was a long time coming, so kudos to everyone on both ends who made it happen, especially Chris Mautner and Jacq Cohen. And kudos to Gary Groth and Fantagraphics for landing not one but two of the most anticipated projects of the year, between this and the Floyd Gottfredson Mickey Mouse comics. I can’t wait!
* Also on Robot 6, I interviewed Brecht Evens about his eye-catching new book The Wrong Place. There’s an anecdote about a disco ball you really want to read. And you really want to read the book, too — Evens is clearly one to watch.
* I also interviewed the great Ben Katchor about his upcoming book The Cardboard Valise. This was one of the great thrills of my cartooning-interviewing career. I say it over and over, I know, but there’s nothing else in the world like Katchor’s comics.
* My colleague JK Parkin interviews Chris Pitzer, publisher extraordinaire of AdHouse Books. Between Afrodisiac, Duncan the Wonder Dog, its publishing and charitable efforts on behalf of Josh Cotter, and the creation of AdDistro, AdHouse had a hell of a year. Actually I think you can say that on behalf of just about every alternative comics publisher of note, which speaks to just how strong a comics year it was. Also, I either forgot or never knew that AdDistro is picking up Birchfield Close and Benjamin Marra, so that’s good/old news.
* You see a lot of jaw-jaw about comics “selling out,” i.e. going through all their available copies at the distributor level. You basically never see a publisher explain what that means with hard numbers. So a round of applause is due to Archaia Editor-in-Chief Stephen Christy for doing exactly that in this intriguing interview with Michael May. The authors of the books in question, Mouse Guard: Legends of the Guard‘s David Petersen and Return of the Dapper Men‘s Jim McCann, chime in as well. Another independent publisher with a rock-solid year, but that’s likely to be true any time you have the combined PR clout of McCann and Mel Caylo behind you.
* Brigid Alverson runs down the year in digital comics. Her opening paragraph reflects everything I’ve heard unofficially from the big publishers, which is that the iPad completely changed how they see digital comics.
* I caught a couple of newsy bits in Robot 6’s survey of creators on the year that was and the year to come:
* Dan Nadel says PictureBox is collecting Tales of Greenfuzz by Will Sweeney and has a new Yuichi Yokoyama graphic novel called Garden on the way;
* James Kochalka says Top Shelf is working on an iPad app;
* and John Rogers says Vertigo recently changed its residual structure to the implied detriment of creators.
* I also liked Gail Simone’s analysis of the effect that high price points for individual monthly comics had on consumers’ reading and purchasing habits.
* The whole Robot 6 crew lists our respective favorite/best comics of 2010. Chris Mautner and I may be the same person; I’ll get back to you on that.
* Meanwhile, you can see what pretty much everyone who works for Robot 6, Comic Book Resources, and Comics Should Be Good has been reading lately in our latest, giant-sized What Are You Reading column. The big news there on my end is that I’ve got enough of a comics-review cushion right now to dig back into Susan Cooper’s The Dark Is Rising Sequence. Fantasy books whose big confrontations consist almost solely of infodumps have no right to be that evocative.
Comics Time: The Incredibly Fantastic Adventures of Maureen Dowd: A Work of Satire and Fiction
The Incredibly Fantastic Adventures of Maureen Dowd: A Work of Satire and Fiction
Benjamin Marra, writer/artist
Traditional Comics, December 2010
24 pages
$3
Buy it from Traditional Comics
This is one of the most vicious and effective works of satire I’ve seen in comics in I don’t know how long. I say that as someone who pretty much loathes political and editorial cartooning of all stripes — an endless nightmare of preaching to the choir, taking complex issues and boiling them down to ideas and images with all the subtlety and insight of blowing the raspberry. By contrast, Benjamin Marra’s stroke of genius in The Incredibly Fantastic Adventures of Maureen Dowd lies not just in picking an unusual target, but in the pinpoint accuracy of hitting it — in knowing his target back and forth and hoisting her by her own petard. Dowd is justifiably infamous for her egregious gender stereotyping, which nearly always is done to portray conservatives as macho-man action figures and liberals as lactating girly-men (which means BAD), unless they’re women in which case they’re mannish (which also means BAD). In this regard and in many others — her use of schoolyard-taunt nicknames, her concoction of humorous dialogue between political players– Dowd herself basically is a political cartoonist, as she herself has said, and yes, I mean that pejoratively. Thus when I see her dolled up like some Cinemax super-spy sexpot, gun tucked in her garter belt as she balances writing a hard-hitting exposé of the Valerie Plame affair with getting ready for her big date with George Clooney — double-barreled mockery that hits her hard both for what she is and what she isn’t — I’m reminded of the words of countless Law & Order judges responding to hubristic defense attorneys objecting to how Jack McCoy just snuck excluded evidence into the proceedings: “You opened the door, counselor.” Revenge is sweet; my own political heel-turn of several years ago, time wasted believing this kind of horseshit and enabling the bloody-minded fools to whose benefit it redounds, makes it all the sweeter. Oh yeah, it’s also a traditionally kick-ass Ben Marra action comic. Keep your eye on his inks — there are places where it’s so thick and slick and shiny it’s almost Charles Burns territory. Fantastic.
Seanmix | Best of 2010
Just like last year, here’s a three-part mix I made featuring some of the best songs of the year. This year they’re almost kinda sorta themed: The first disc is mostly dancey, the second disc is mostly heavy, and the third disc is mostly, I dunno, ruminative. I hope you enjoy all three! And if you do, be sure to seek out and purchase stuff from the artists themselves. They deserve your money!
DOWNLOAD VOLUME ONE
Scissor Sisters – Night Work // LCD Soundsystem – Drunk Girls // Kylie Minogue – Get Outta My Way // !!! – The Most Certain Sure // Caribou – Sun // Trent Reznor and Atticus Ross – In Motion // Underworld – Always Loved a Film // School of Seven Bells – Dust Devil // Pantha Du Prince – A Nomad’s Retreat // Delorean – Infinite Desert // Teengirl Fantasy – Cheaters // Hot Chip – One Life Stand // Goldfrapp – I Wanna Life // Robyn – Dancing on My Own // Underworld – Scribble
DOWNLOAD VOLUME TWO
How to Destroy Angels – The Space in Between // Kanye West – Power // Glasser – Apply // Meth Ghost and Rae – Criminology 2.5 // Amusement Parks on Fire – Flashlight Planetarium // Serena-Maneesh – I Just Want to See Your Face // Interpol – Lights // Liars – Scissor // Trent Reznor and Atticus Ross – A Familiar Taste // Spoon – Who Makes Your Money // Big Boi – Shutterbugg (feat. Cutty) // The Knife – The Height of Summer // Caribou – Hannibal // Sleigh Bells – Infinity Guitars // David Bowie – Battle for Britain (The Letter) [Live] // Liars – Scarecrows on a Killer Slant // The Knife in collaboration with Mt. Sims – Colouring of Pigeons // Kanye West – Lost in the World (feat. Bon Iver)/Who Will Survive in America
DOWNLOAD VOLUME THREE
LCD Soundsystem – Dance Yrself Clean // Robyn – Fembot // Best Coast – Boyfriend // School of Seven Bells – I L U // Drake – Karaoke // Trent Reznor and Atticus Ross – Hand Covers Bruise // Four Tet – Love Cry // How to Dress Well – Can’t See My Own Face // A Sunny Day in Glasgow – Moments on the Lawn/Drink Drank Drunk // Liars – Proud Evolution // Antony & the Johnsons – I’m in Love // A Sunny Day in Glasgow – Nitetime Rainbows (Acid Wash Edit by Benoit Pioulard) // School of Seven Bells – Bye Bye Bye // Azure Ray – Dancing Ghosts // Bat for Lashes – Let’s Get Lost (feat. Beck) // Goldfrapp – Voicething // Underworld – Louisiana
Carnival of souls: Year-enders, variants, Joyce Farmer, more
* They’ll look familiar to you if you’ve read my own 20 Best Comics of 2010 list, but I have some more write-ups in Comic Book Resources’ Top 100 Comics of 2010 countdown: Weathercraft, Special Exits, Wally Gropius, Wilson, Love and Rockets: New Stories #3, Grant Morrison’s Batman comics, and The ACME Novelty Library #20. Given CBR’s mission and audience, that’s a really solid Top 10.
* Reading Paul O’Brien’s latest report on Marvel’s monthly sales made me realize the havoc that variant editions must wreak on retailers’ ability to properly judge how many copies of comics to order for their customers. I mean, read this paragraph about the publisher’s best seller, Avengers:
This is the start of the book’s second storyline, but don’t read too much into the big sales increase just yet. The first five issues were heavily supported by variant covers, including 1:75 “character” variants by John Romita Jr. Issue #6, for some reason, was allowed to fend for itself. But with issue #7, it’s back to business as usual – this has a 1:15 Tron variant, a 1:25 Ed McGuinness variant, and a 1:50 Marko Djurdjevic gatefold variant. It also introduces the Red Hulk into the cast, which might be something of a draw; HULK sales may have passed their peak, but there’s still a significant audience there who might not have been buying the book before.
DC, of course, does the same thing:
Batman: The Return of Bruce Wayne #6 and Batman and Robin #16, both of which were meant to be out in September, each had a 1:25 variant-cover edition to boost sales. Batman: The Return #1 (originally scheduled for October) and Batman, Inc. #1 had 1:200 variant editions in addition to the 1:25 ones. Batman and Robin #17, finally, which was solicited with a different creative team and ended up being the first part of a three-issue fill-in run, came with a plain old vanilla 1:10 variant-cover edition.
That’s a lot of hoops to jump through, and I have to imagine that’s the last thing the Direct Market needs right now. (Bonus points to DC analyst Marc-Oliver Frisch for reacting to the shenanigans the way that card dealer reacts to being able to leave the table after dealing to a drunk and belligerent Joe Pesci in Casino.)
* Chris Mautner interviews Eric Reynolds about Mome: part one, part two. (Via Kevin Melrose.)
* Alex Dueben interviews Joyce Farmer about Special Exits. Farmer says she worked on the book for 13 years, and threw away the first 35 pages after she finished them because she felt they weren’t up to snuff.
* I think this is the only time I’ve ever found eyebrowless-era David Bowie attractive.
Album of the Year of the Day: David Bowie – Station to Station [Deluxe Edition]
Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best albums of 2010. Today’s album is the Deluxe Edition of Station to Station by David Bowie — between the all-ought breakneck onslaught of the 1976 live performance in my hometown arena of Nassau Coliseum and the simpler, woodier sound of the analog-remaster version of the album itself, it’s a point-blank blast from the European cannon.
Click here
The 20 Best Comics of 2010
20. Boy’s Club #4, by Matt Furie (Pigeon Press) / Night Business #3, by Benjamin Marra (Traditional Comics)
I don’t know if there are any other comics around I feel more simpatico with than the flagship series of Matt Furie and Ben Marra. In Boy’s Club’s stoner/slacker sight gags and quote-laden dialoge, and in Night Business’s overpowering love for trash and sex and violence, I see myself. In some alternate earth, I’d be making comics exactly like these. Fortunately for me, I live on this earth, where someone else is there to do the work and I can just sit back and enjoy it.
19.Fandancer, by Geoff Grogan (self-published)
Taking advantage of the large scale of its pages better than any comic I read this year this side of Absolute All-Star Superman, Grogan’s latest self-published stunner crams Jack Kirby superheroics into the history of mid-to-late 20th century art and feminism by any means necessary. Inscrutable, personal, beautiful.
18. B.P.R.D./Hellboy, by Mike Mignola, John Arcudi, Guy Davis, Duncan Fegredo, and others (Dark Horse) / Invincible, by Robert Kirkman and Ryan Ottley (Image)
I read and enjoyed a lot of superhero comics this year: Captain America, Secret Avengers, Steve Rogers: Super-Soldier, The Marvels Project, Incognito, Atlas, Marvel Boy, Gorilla Man, Thunderbolts, Hulk, Incredible Hercules, Prince of Power, Chaos War, Fantastic Four, Invincible Iron Man, Ultimate Spider-Man, Ultimate Comics Enemy/Mystery/Doom, Powers, Green Lantern, Blackest Night, Brightest Day, The Flash, Superman: Secret Origin, Action Comics, Astro City, Joe the Barbarian. But here’s the thing: No superhero comics (with the exception of one you’ll find later in this list) deliver the feeling that anything, anything, can happen in their pages the way that Invincible and the comics of the Hellboy/B.P.R.D. universe do. When I begin to read the latest issue of these series, it’s with that same visceral thrill I used to get from The Sopranos, Deadwood, The Wire, Battlestar Galactica, Lost, and Twin Peaks: I simply have no idea what is going to happen to the characters this time around, no idea what will happen to their world, no idea if they’ll even make it to the end of the issue. Their creators play by no rules and are manifestly having the time of their lives doing it. That’s the feeling I wish I could get from every single other superhero comic I read. Even the good ones.
17. Afrodisiac, by Jim Rugg and Brian Maruca (AdHouse)
Far more than just a superhero/blaxploitation parody – although it’s both of those things, and awesome at them besides – Rugg and Maruca’s cleverly written, beautifully drawn, impeccably edited and designed collection of short stories about their ghetto superhero is also a rich meditation on the interplay between artist, audience, subject, and society.
16. It Was the War of the Trenches, by Jacques Tardi (Fantagraphics)
French master Tardi does to the Great War what the Great War did to the bodies of millions of young soldiers: blow it wide open and root in the mess. Depicted primarily in an unyielding onslaught of widescreen panels, it’s like a slog through the trenches itself. Furious and full of contempt for war and its masters.
15. A Drunken Dream and Other Stories, by Moto Hagio (Fantagraphics)
I gasped aloud repeatedly while experiencing the sheer loveliness of this book, a collection of short stories from throughout the decades by shoujo-manga pioneer Moto Hagio. Best of all, there’s a cake beneath all that icing, as Hagio’s stories are frequently sophisticated, moving, and unwilling to pull punches.
14. The Troll King, by Kolbeinn Karlsson (Top Shelf)
Top Shelf’s Swedish invasion yields one of the happiest surprises of the year, an exploration of queerness and monstrosity that gives a method to the illustrative madness of contemporary artcomix. I have a feeling this one was underseen and underread: By all means, see it, read it, enjoy it.
13. Prison Pit Book 2, by Johnny Ryan (Fantagraphics)
Johnny Ryan journeys deeper than ever before into his inner ickiness and returns with an action-horror hybrid it’s almost impossible to “enjoy” in the traditional sense of the word – and which thereby takes those two genres in stunning new directions. Put it this way: In Fantagraphics’ Spring 2011 catalog, his next comedy collection is described in “Prison Pit’s awesome, but did you know he made humor comics too?” The tide has turned and his star is made.
12. Closed Caption Comics #9, by various (Closed Caption Comics) / Death Trap, by Lane Milburn (self-published)
2010 was a fine year for art-comics anthologies: The Fort Thunder reunion Monster, Zack Soto’s beautiful West Coast showcase Studygroup12 #4, the charming and bold British import Mould Map #1, Marvel’s increasingly tonally daring Strange Tales II, a strong year from Fantagraphics’ Mome…and that’s without even having read the newsprint anthologies pood, Diamond Comics, and Smoke Signals. Similarly, alt-horror had another tremendous year, with uncompromising and disturbing work from Renee French, Lisa Hanawalt, Michael DeForge, Nora Krug, Noel Freibert, and more besides. But my favorite examples of these two subgenres came straight outta Baltimore’s Closed Caption Comics collective. The latest installment of their flagship anthology is its most ambitious, bleakest, and best one to date, with truly horrifying work from Mr. Freibert and Conor Stechschulte and an array of never-better performances from the rest of the group; meanwhile, member Lane Milburn’s Xeric-winning solo showcase combines the best of creature-feature and grindhouse horror, delivered with gorgeous, meaty cartooning.
11. Artichoke Tales, by Megan Kelso (Fantagraphics)
A war comic like none you’ve ever read, Megan Kelso’s ambitious alt-fantasy is concerned not with conflict’s immediate carnage, but with its lasting effects on the societies engaged in it – economic, cultural, religious, familial, even geographical. I found it humanistic, unsparing, and fascinating.
10. Weathercraft, by Jim Woodring (Fantagraphics)
It’s always darkest before the dawn, and the psychedelic body-horror of Jim Woodring has never been darker than it gets here. His hapless, villainous Manhog is made to suffer like you’ve seen few comics characters suffer before in any style or genre…only to emerge enlightened and overjoyed on the other side in a final act that feels like that first breath of fresh cool air after you’ve hidden your head under the covers in terror for minutes on end.
9. If ‘n Oof, by Brian Chippendale (PictureBox)
The Fort Thunder/Lightning Bolt noise warrior creates his funniest, most action-packed, most accessible comic yet, one splash page at a time. It’s a bracing combination of science-fiction worldbuilding, Dark Tower-style glimpses of a larger superstructure behind it, buddy-movie laughs, action-movie pacing, and Chippendale’s typically under-the-radar melancholy. This is where he shows he really is one of his generation’s greats.
8. Big Questions #14-15, by Anders Nilsen (Drawn & Quarterly)
Anders Nilsen’s decade-in-the-making flagship series concludes with an ending as explosive and uncompromising as its art is delicate and vulnerable. Elsewhere I’ve called this the best and most important funny-animal comic since Maus. I’m sticking to that. If next year’s collected edition isn’t on top of my Best of 2011 list, then will have been some kind of miracle year.
7. Special Exits, by Joyce Farmer (Fantagraphics)
Underground-comix journeywoman Joyce Farmer returns with a 200-page chronicle of the decline and death of her aging and infirm parents, with nearly every meticulously crosshatched panel drawn as if her life depended on it. Maybe it did. This is a magnum opus no one expected to read, a brutally frank depiction of what it’s like for full lives you love to end, and it has the most painfully happy ending of the year. It made me cry. Don’t do what I almost did and ignore one of the year’s most moving comics.
6. Wilson, by Daniel Clowes (Drawn & Quarterly)
I think this is Clowes’s meanest book, but not for the reasons you think – it’s not Misanthropy On Parade like a lot of his old, witheringly sarcastic rant comics were. No, what’s mean about Wilson is that Clowes keeps giving his loudmouth, obliviously cruel protagonist a chance, right down to the often incongruously cute cartooning, and Wilson keeps slapping that chance away. Sympathetic portraits are often the most unflattering ones; no wonder so many people wanted to look away.
5. X’d Out, by Charles Burns (Pantheon)
Pure Burns. The Black Hole author pares his visual and thematic obsessions down to the bone, revealing a colorful waking nightmare of holes, fetuses, wounds, polaroids, Tintin, and red and black nothingness. Short, sharp, shocking.
4. The Batman comics of Grant Morrison (DC)
Dark, witty, mysterious, eerie, thrilling, and endlessly re-readable, Grant Morrison’s Batman books — Batman and Robin, his three issues of Batman proper, Batman: The Return, and Batman Incorporated — featured career-best art by Cameron Stewart and Frazer Irving and got me pumped for the experience of reading new comics like no other books. They’re exactly why I read superhero comics. The only problem is that they’ve kind of spoiled me for other ones.
3. Wally Gropius, by Tim Hensley (Fantagraphics)
The first great comic of the Great Recession. Tim Hensley’s breakout graphic novel, previously serialized in the Mome anthology, seems like a send-up of silly ‘60s teen-comedy and kid-millionaire comics on the surface, but beneath lies as odd and accurate a cri de coeur about capitalism and consumerism as I’ve ever read. It also does things with body language I’ve never seen in comics, and is funny as hell to boot. There’s nothing else out there like it.
2. High Soft Lisp / Love and Rockets: New Stories #3, by Gilbert Hernandez and Jaime Hernandez (Fantagraphics)
This year I read nearly every comic ever created by Los Bros Hernandez; what a pleasure to discover at the end of my immersion that their two most recent comics are also two of their best, and thus two of the best comics by anyone. Gilbert and Jaime both tear furiously into love and sex in these two collections; what they find inside is ugly; what they do with it is beautiful. I’ll never forget that panel and those words — in both books.
1. The ACME Novelty Library #20: Lint, by Chris Ware (Drawn & Quarterly)
The most influential cartoonist of the past quarter century assigns himself the task of chronicling an entire life, from birth (and before) to death (and beyond?). In so doing he takes an unsympathetic bit player from his massive Rusty Brown storyline and crafts his single finest and most moving stand-alone work to date around him; launches a virtuosic, pyrotechnic display of formal mastery yet still manages to make the most important parts the stuff he never shows you. It culminates in a final page so dizzying that I actually felt physically stunned, as if someone had taken the book from my hands and struck me in the head with it. Not just the best comic of the year, but the best comic I have ever read.
For more information on and reviews of these and other great comics from 2010, check out all 31 of my Comics of the Year of the Day entries.
Comic of the Year of the Day/Comics Time: Big Questions #15
Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is…
Big Questions #15
Anders Nilsen, writer/artist
Drawn & Quarterly, December 2010
48 pages
$7.95
Buy it from Drawn & Quarterly
Big Questions is a series about the impossibility of learning the answers to those questions, because there are none. Even still, you might be forgiven for expecting the final issue of Anders Nilsen’s decade-in-the-making, 600-page funny-animal opus to offer some kind of benediction for the plight of its avian and human protagonists. Maybe it’s just one character who ends up really getting it, maybe it’s some magic-realist glimpse of a world beyond a la Chauncey Gardiner’s final stroll in Being There, maybe it’s just Harry discussing Item Six on the agenda or Gaston’s telling us what his mother put him on her knee and said to him or Michael Palin in drag summing things up prior to the gratuitous pictures of penises in Monty Python’s Meaning of Life, but it’s something, right?
No, not really. Maybe Morris the bird’s carpe-diem credo on the final page can give us some direction, but in general, the climactic events of the previous issue end up offering little insight, and no one takes the opportunity to grow. The zealots Charlotte and Leroy remain steadfast, as do the hedonists Morris and Louis. The Idiot remains oblivious. The flock remains obedient. Even in death, the Pilot simply moves on to a world that if anything is even more baffling, and mute in the face of our bafflement. It’s all a big dark cave or a vast white field, our experiences accruing like tiny stippled dots; we draw our own conclusions, and are drawn by them.
Album of the Year of the Day: Azure Ray – Drawing Down the Moon
Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best albums of 2010. Today’s album is Drawing Down the Moon by Azure Ray, released by Saddle Creek — quiet glowing balladry.
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Destructor update
Destructor is in a bad way in today’s page from “Destructor Comes to Croc-Town.”