* Drop what you’re doing and download Matthew Perpetua’s 8-disc Fluxblog 2008 Survey Mix. Ooftah, the first half of disc 2.

* Peter Jackson’s The Hobbit is now a trilogy. Whoever tells me this and expects me to complain, he understands nothing about Sean, nothing.

* The Secret Acres hivemind weighs on in the Comics Journal/Kickstarter/SP7 fight in high Secret Acres thinkpost style, while Dan Nadel clarifies a couple of his points from the middle of what’s either the best-timed or worst-timed internet hiatus in comics history.

* Another day, another enormously dispiriting interview with Grant Morrison about (among other things) the legal issues surrounding Superman and Watchmen. This one sees Morrison go full Barkley, saying “I’m not a role model” while not-so-subtly mocking Alan Moore and Dave Gibbons for the shitty contract they signed in “hey, I got mine” fashion, in addition to positioning his own refusal to stick up for Siegel & Shuster in any way besides celebrating their artistic accomplishments as a noble refusal to treat them like victims. Yeah, it’s a bummer alright, especially coming from a guy who argues that superheroes are contemporary mankind’s greatest and most inspiring artistic exemplars. Given that his goal is for all that to rub off on the culture to which he exposes them, it’s weird that he finds it so baffling his readers would expect some of that to have rubbed off on him as well.

* Semi-related: Ghost Rider creator Gary Friedrich is appealing the appallingly punitive decision against him in his copyright fight with Marvel.

* A pair of fine reviews of very important collections are up at The Comics Journal: Nicole Rudick on Gloriana by Kevin Huizenga and Brandon Soderberg on The Furry Trap by Josh Simmons. “The Sunset” in the former and “Cockbone” in the latter would make a list of my top favorite short comics of all time; “The Sunset” would top it in fact.

* Dan Clowes is going to make a show called The Landlord for HBO with the directors of that nightmarish-looking Ruby Spears thing.

* I’m kind of the opposite of Tom Spurgeon here: I knew Fantagraphics would be collecting the Ignatz series New Tales of Old Palomar by Gilbert Hernandez, but apparently I never said so on this blog, if my search function is to be believed.

* I’ve really been enjoying Dorothy Berry’s posts on Ernie Bushmiller’s Nancy for Comics Workbook, like this one about how rare Nancy is as a fictional female child who is neither a tomboy nor a girly-girl. My daughter is young enough to still be in that limbo state where she dresses more or less like a girl because we buy girl’s clothes for her but her behavior is essentially genderless, and I can tell you that in flipping through the Nancy Is Happy collection, I see a lot of that kid in her.

* The Mindless Ones’ Bobsy gives the business to Saga by Brian K. Vaughan and Fiona Staples, a comic I did not like at all.

* Gabrielle Bell has wrapped up her July Diary series for the year. If it wasn’t quite the revelation that last year’s effort was, it still contained a freaking zombie comic, and a two-panel autobiography that just slays me.

* The Burning Brothel, a Raymond Pettibon tumblr, is a delightful resource for an increasingly influential-on-comics artist.

* Eleanor Davis is laying it on the line in her comics and sketches these days. Don’t miss it.

* Well, Arsene Schrauwen #1 by Olivier Schrauwen sure looks good.

* I think every artist should be required by law to do a series of Batman character portraits, and I will be introducing this legislation as the Bill Finger Bill. Jordan Crane caught Michael DeForge’s stab at it, which I’d never seen before and which is awesome. Who’s the smiley guy next to the Joker, though?

* Jonny Negron.

* I always enjoy it when Frank Santoro works a little blue.

* Nice little comic by Mr. Freibert.

* Jordan Crane’s been posting processy glimpses of an upcoming contribution to the next issue of the Fort Thunder-centric Monster anthology (! did we know this was on the way?) to his tumblr, and I know this’ll come as a huge surprise but it looks gorgeous.

* Go buy comics from Andy “q v i e t” Burkholder’s Bigcartel store. Guy’s talented. (Via Michael DeForge.)

* Jeez, C.F. makes a lot of comics.

* Real Life Horror: This is what policework in America looks like now.

* Glenn Greenwald, inspired by Chris Hayes’s book Twilight of the Elites:

I see no evidence that “rich people are very, very afraid” — at least not by their actions. And that, to me, is the problem. That fear — a lot more of it — is necessary. Their ability to rope themselves off from the society they are degrading, combined with the para-militarization of domestic police forces (aggressively displayed in response to the Occupy movement and related protests), and the rapidly increasing domestic powers of surveillance and detention (designed to intimidate the citizenry and thus deter and guard against mass protests), have convinced them, I think, that they need not fear any protest movements or social unrest, that America can and will become more and more of a police state to suppress it. An elite class that is free to operate without limits — whether limits imposed by the rule of law or fear of the responses from those harmed by their behavior — is an elite class that will plunder, degrade, and cheat at will, and act endlessly to fortify its own power.

*Attention A Song of Ice and Fire fans who’ve read all five books: This EXTREMELY SPOILERY George R.R. Martin interview is unusually informative on various obscure but fervently debated plot points.

* I am allergic to watching anything Olympics, but I understand the opening ceremony, directed by Danny Boyle and music-directed by Underworld, was quite something — basically a tribute to socialized health care, rock and roll, and children’s literature. Most of the people I know from the U.K. feel about the place the way I feel about the U.S., but those people should take comfort in knowing that it’s unimaginable, unimaginable for America to conceive of itself in terms that humanistic. Anyway the soundtrack, Isles of Wonder, is out, and though most of the big famous songs I understand were in the production don’t show up here, there’s still a whole lot of terrific Underworld music, so I’m happy.

In his capacity as co-editor of The Comics Journal, Dan Nadel (who is also publisher of PictureBox Books, co-organizer/curator of the Brooklyn Comics and Graphics Festival, and an important anthologist/historian/editor) tore apart virtually every aspect of SP7, a tribute to the influential Japanese alternative-manga anthology series Garo for which editors Box Brown and Ian Harker have established a Kickstarter fundraiser. This has led to the most impassioned argument among alternative comics people I’ve seen since back when I started reading the Comics Journal message board in 2001. Here are my thoughts on it.

1. I’m having a really hard time figuring out which side of this argument is the cool side to be on. Does anyone know? Because I’m on that side.

2. In a single post, the Comics Journal’s three-decade reputation for temperate rhetoric is RUINED.

3. I am actually glad this is what we’re arguing about today, instead of just sticking the boot into obviously bad and unethically made superhero comics again. For one thing, those comics don’t need the press. For another, the issues we’re talking about, the comics and creators and editors involved, they are actually vital to the art form. They can stand to be argued about passionately.

4. Dan’s ersatz editorial is clearly the product of months or years of pet peeves given voice in straw-that-broke-the-camel’s-back fashion, and as such is riddled with inapt or inept elements that a calmer and more considered approach to this post would probably have caught and eliminated. The thing about spelling “comix” with an “x” is pedantic and childish; the claim that EC Comics didn’t influence the undergrounds in a substantial way is plain wrong in a way that even Dan’s co-editor Tim Hodler caught immediately; much of the argument about how Brown and Harker are misreading Garo particularly and manga generally requires the absolute least charitable read of what they’re saying, to an extent that strains credulity; it’s kind of funny that he spells Bryan Lee O’Malley’s name wrong while decrying the sloppiness of his targets’ writing; and so on. Don’t blog angry!

5. The strange thing about doing a Garo tribute anthology is that you’re doing a tribute to an anthology, which is definitionally a whole range of comics (genres, styles, tones) by a whole range of creators rather than one particular set of visual and narrative and philosophical characteristics you can point to and say “there, that’s what we’re paying tribute to.” If the idea is to pay tribute to the way the various kinds of comics in Garo, a whole range of approaches that roughly map to “alternative comics” here in the English-speaking world, broadened the possibilities available to Japanese comics readers and makers, wouldn’t the best way to do that be to simply make a broad range of thoughtful, progressive comics? It’s entirely possible that that’s what this will be, with zero fetishization of Garo qua Garo, but if so it’d almost defeat the purpose — you could slap the word Garo on any collection of thoughtful, progressive comics. It’s like, no one thinks to do a RAW tribute anthology, because the influence of RAW was internalized and dispersed throughout all of alternative comics. Alternative comics is a RAW tribute anthology.

6. That said, I like Ian and Box personally, and as editors. (I like Dan personally, and as an editor of both comics and criticism, too. I’m a lot closer to Dan on both points, honestly.) I like many of the contributors here. The book’s Kickstarter isn’t something I’d contribute to because I’m not familiar with Garo and would mostly prefer to see the contributors do their own things in their own settings, but it’s something I’d probably pick up at a show.

7. I was surprised to see the discussion really quickly escalate into open anti-Nadel backlash. I probably shouldn’t’ve been. Dan is a gatekeeper four or five times over: He’s the publisher of one of the only mid-’00s artcomix publishers still standing. He’s the co-founder and arbiter of a curated festival that has absolutely kept cartoonists at the gates based on his taste. He’s the co-editor of the alternative comics criticism publication of record. As an editor/anthologist/historian he’s helped broaden, or suggest an alternative to, the comics canon, depending on how you want to look at it. He’s the post-alternative generation’s most prominent straddler of the line between comics and the fine art world. If you’ve ever felt rejected or neglected by him in any of these guises, it’s knives-out time, because nothing fires comics people up more than “you think you’re better than me?!”

8. That’s not to invalidate all the complaints, of course. Though all, literally all, of my personal and professional interactions with Dan have been delightful and enriching to me as a comics person, I have to imagine he’s been an unfair dick to people from time to time, since we all are. Moreover there are people in comics for whom a rejection by Dan in whatever capacity, however honestly and fairly arrived at by Dan, really would hurt, career-wise.

9. If you’ve ever followed any of the online feuds in which Dan’s been involved, or if you’ve ever talked to him about the work of other editors and publishers, the throughline that emerges is that Dan takes the presentation and contextualization of work very, very, very, very, very, very seriously. I’m paraphrasing this, but one thing he said comes back to me any time I look at an archival reprint project: For the vast majority of cartoonists, you only get one shot at this. If your work in reprinting comics, or writing about them in your book’s backmatter, or the context you provide for them w/r/t other cartoonists and movements in comics, is sloppy, that’s not just about you — from now on anyone who encounters these comics will encounter them with that sloppiness as their lens into the work. You owe it to the readers and the cartoonists alike to be rigorous, serious, sensitive, informed, insightful, and otherwise good at your job. If you strip away the excesses of rhetoric and the Kickstarter stuff, that’s his concern about SP7 and its presentation of Garo. It may be a lot to read into what is effectively sales copy, the Kickstarter description, but it’s hardly crazytalk.

10. Kickstarter and other crowdfunding entities enable the creation of a lot of terrible, lame work, but lots of terrible lame work gets made anyway. It seems like an opportunity to spread the financial risk of making art around up front so that artists can make more art is a positive development overall. It shouldn’t be the burden of a new model to behave flawlessly and yield flawless results in a way that the old model doesn’t.

11. Of course the new model shouldn’t also smack its shoe on the table and shout “WE WILL BURY YOU” about the old model, whether you’re talking about publishing through established publishers or distributing through the direct market, both of which are vital for the health of comics, no matter how much you don’t like your local shop and no matter how many rejection emails you’ve gotten. But Box and Ian aren’t doing that, so it’s a separate issue.

12. I think we should also separate obvious boondoggles, freak occurrences, and cases where wealthy, successful artists are using Kickstarter anyway from consideration of efforts like this. Penny Arcade, Womanthology, Mark Andrew Smith’s stuff, Marc Silvestri, that weird stick-figure D&D comic that made like five million dollars, Amanda Palmer — they tell us nothing about this project.

13. I don’t see how you put your books on Amazon and still wax outraged about Kickstarter’s Amazon fees, I really don’t. I’m not being some “two wrongs make a right” “Kirby got ripped off so it’s okay to rip off Alan Moore” type person, because in this case it’s literally the same thing. Isn’t it? That’s not a rhetorical question–I really want to know if there’s an appreciable difference between selling your books on Amazon and kicking to Amazon via your Kickstarter crowdfunding effort.

14. It seems to me that the job of a publisher is to pay for, print, distribute, and promote the work of the people it publishes. Take any of those elements away and I’m not sure you’re a publisher in the traditional sense, and that’s something for people published by such entities to thoughtfully consider. Of course, I’d never before thought about this issue at all prior to this year, so these are very tentatively advanced ideas I’m putting out there, not the Magna Carta. I know a lot of respectable outfits who don’t fulfill all four of those criteria.

15. That said, money from a bank, from your dayjob paycheck, from your trust fund, from a loan from your parents or your buddy who’s a lawyer, from people who pre-order or contribute on Kickstarter — all that money spends the same. If you, the publisher, are still in charge of gathering those funds in order to make and sell the books you publish, it doesn’t matter much to me how it is you’re gathering it.

16. The cartoonist Chris Wright said on Twitter that one of the reasons he likes publishing through a publisher rather than on his own is because he’s “too lazy and too stupid” to do it himself. He was kidding around a bit, but he’s right. Not every artist has the interest, inclination, or ability to hustle. I know that I myself could not be less interested in or less adroit at self-publishing. I got into writing to write; I have no brain for getting printer quotes. Now let me stop you right there before you “well la-di-da” me — I FULLY REALIZE this predisposition on my part limits my ability to get things made. If I could be different about it. I would be. I don’t feel entitled to the world beating a path to my door, I don’t expect it to, I own the consequences of my disinterest and inability to self-publish. But yeah, not every artist has that in them. They shouldn’t be expected to. They shouldn’t be blamed for their failure to, as if it’s a moral or artistic shortcoming.

* Double congratulations to Matthew Perpetua, my favorite music critic, for his new gig as music editor at Buzzfeed and for his wonderfully well done Fluxblog anniversary show last night. I had a marvelous time, photo evidence of which is available below. Click here to download a playlist consisting of all the songs that Matthew and the guests (Emily Gould, Heather, D’Angelo, Mark Richardson, Amy Rose Spiegel, me, Amanda Petrusich, Dick Valentine, and Rob Sheffield) talked about; mine was “Leaving Hope” by Nine Inch Nails.

* Please read my friend Tom Spurgeon’s extraordinary essay about nearly dying, then losing over 200 pounds. Please read my friend Bill Magee’s extraordinary essay about getting mugged for the fourth time, then remaining a kind person. I hate that they both went through what they went through, but look what they did with it. Also, Tom will be serializing a book-length version of his epochal “Comics Made Me Fat” essay on his website, which is wonderful news if you like personal writing from the best comics critic alive.

* Grant Morrison says that he’s down to his final four superhero comics projects before leaving the genre for the foreseeable future: Action Comics, which he’ll stay on through issue #16; Batman Incorporated, which he’ll wrap up with issue #12; Multiversity, the forthcoming eight-issue miniseries; and an unknown Wonder Woman project. In this interview with my pal Kiel Phegley (part one of three) he also talks about Happy!, his four-issue miniseries with Darick Robertson at Image, and about Image Comics’ position in the industry as a sort of standard-bearer for a certain kind of creator-owned comic.

* Related: DC is postponing the release of Batman Incorporated #3 due to violent imagery it feels would resonate inappropriately with the Aurora shootings.

* Back to Tom Spurgeon: His San Diego Comic-Con reporting was second to none, especially but by no means exclusively in terms of covering the actual comics portion of the con in addition to the Comic-Con Experience. Here’s his final overview; here’s his roundup of the big news. It does a body good to hear that the crowd popped for Los Bros Hernandez, giants among men that they are.

* Digital Tales Designed to Thrizzle by Michael Kupperman! Great choice for their digital-comics launch by Fantagraphics — that books is very accessible to altcomedy audiences.

* I’m really going to miss Jessica Campbell, the newly departed PR honcho for Drawn and Quarterly. Easy to work with and easy to talk to at cons. But based on her exit interview with Tom Spurgeon it sounds like she’s got good plans, so it’s hard to begrudge her from escaping comics’ gravitational well. Also, her farewell San Diego photo parade is one of the best I’ve seen; here’s her pic of Spurge emceeing the Two Minutes Hate portion of the Eisner Awards program.

* Frank Santoro presents Comics Workbook, a new group blog featuring Frank, L. Nichols, Brandon Soderberg, Mickey Zacchilli, Chuck Forsman, Andrew White, Sophie Yanow and various other notables. An early highlight: this post by Dorothy Berry about connecting with Ernie Bushmiller’s Nancy as a twentysomething the same way she connected with Enid Coleslaw from Daniel Clowes’s Ghost World in her teens:

The emotional transition from relating to the detailed inner life of Enid to the monochromatic punnery of Nancy is analogous to the transition from listening to an entire Bright Eyes album to just needing to hear the Beach Boys sing “Sometimes I feel very sad.”

* This week in astonishing Michael DeForge Ant Comic pages I’ve decided are homages to specific works I enjoy even though they probably aren’t: that grid fight from Hard Boiled by Frank Miller and Geof Darrow? Related: Lose #4 in September!

* Oh look, it’s the cover for Renee French’s Bjornstrand.

* And here’s the cover for its fellow PictureBox limited-release artcomic, Frank Santoro’s Pompeii. There’s something almost D’Aulaires about it.

* Eleanor Davis’s comics have been bracingly bleak lately. Hell, they’ve been lately, which is exciting right there.

* Have I mentioned that Gabrielle Bell is doing her July Diary again?

* Have I mentioned that Strangeways: The Thirsty by Matt Maxwell, Gervasio, and Jok is very pretty?

* Whoa, Simon Hanselmann’s working really blue in this Megg and Mogg strip. Blue enough to make me say “whoa.” Less so in this one. Much less so in this one. They are all so lushly colored. Where’d this guy come from?

* Kali Ciesemier’s illustration for an article about the increasing “sexiness” of women athletes’ uniforms is itself increasingly sexy. Unpack that, why don’t you.

* Jonny Negron, Jonny Negron, Jonny Negron. I often don’t even comment on Jonny’s stuff, I just post it and let it speak for itself, but I feel like his color work is radically underappreciated, including by me. Look at that green water.

* Speaking of water, Julia Gfrörer’s new Black Is the Color cover is the most solid-looking thing she’s ever drawn.

* Robert Boyd on the music of Love and Rockets. (The comic, not the Bauhaus side project.) (Via Tom Spurgeon.)

* I feel deeply, personally vindicated that Dan Bejar from Destroyer shares my love for Avalon by Roxy Music.

* Despite the usual undercooked lyrics, this Kreayshawn video is endearing and fascinating for three main reasons: 1) the sound of the song is like “What if we took one of those obnoxious sing-songy Avril Lavigne/Ashlee Simpson brat-pop songs we used to do and gave it to someone who was actually gleefully obnoxious?”; 2) Holy cow, she’s lovely; 3) I suspect the vividly colored, ersatz 3D visuals, in which typically inanimate elements are animated, were designed to simulate Ambien hallucinations.

* Three cheers for the Darkness’s new album cover. Very glad they/he are getting it going again; their second album is hugely underrated as songwriting — it starts super strong. Oh yeah, that link has the studio version of them covering “Street Spirit” by Radiohead.

* MY BODY IS READY, NEW BAT FOR LASHES ALBUM

* Oh look, it’s page after page after page of videos, photos, and miniature essays about Cindy Crawford-era MTV House of Style. It’s not even nostalgia, it’s as close as we’ll get to physically rupturing the timestream and encountering the vividly remembered past. Cindy Forever.

Batman: Earth One

Geoff Johns, writer
Gary Frank, artist
DC, July 2012
144 pages, hardcover
$22.99
Buy it from Amazon.com

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

* Here’s a link to all of my #losbros30 posts in honor of Love and Rockets‘ 30th Anniversary. I had a lot of fun with these, and I think I got at elements of the series I hadn’t suitably tackled in the past; I could probably do a full month’s worth of them.

* Related: Chris Mautner on six of his favorite moments from Love and Rockets. I’m a huge fan of those first four. The demon dog is a real sleeper, and the Ofelia sequence…that’s a towering achievement, that one.

* Actual Love and Rockets news: Love and Rockets: New Stories is the inaugural title in Fantagraphics’ digital distribution deal with monopoly digital comics whatchamacallit comiXology. I had a conversation with a friend over lunch about how much he wanted digital Love and Rockets literally hours before this announcement was made, and I don’t guess he’s at all alone.

* That announcement was made by Tom Spurgeon, who just kept breaking major alternative comics publishing news left and right all show long. He rounded things out with a pair of PictureBox projects: So Long, Silver Screen by Blutch, the acclaimed and influential French cartoonist’s North American debut, designed by David Mazzucchelli; and The Passion of Gengoroh Tagame, the first English-language collection by Japanese gay bondage erotica cartoonist Gengoroh Tagame (whom you may remember as one of my co-contributors in Thickness #3; you definitely remember him if you’ve read the book), created with the help of an array of big names — designed by Tagame megafan Chip Kidd, produced and translated by Anne Ishii, with an introduction by Edmund White. For a publisher who wasn’t even at San Diego, PictureBox sure dominated the news.

* Be sure not to miss Spurge’s Friday, Saturday, and Sunday floor reports, too. He paints an interesting if unfinished picture of how the need to secure your trip to Comic-Con months in advance may have done away with a kind of attendee-customer who’s bigger on generalized enthusiasm for the art form and cash to spend on it than she is on the kind of specific fannish zeal of which the show is now the exclusive province.

* All of these people were better at comics than Jaime Hernandez last year, apparently. Seriously though, congratulations to my friend Tom for his well-deserved Eisner Award win, and to comics as a whole for voting hugely important archivist, editor, and historian Bill Blackbeard into the Hall of Fame.

* Robert Kirkman and Charlie Adlard’s The Walking Dead #100 is the bestselling comic in seventeen years, apparently. By that one means that it’s the best-initially-ordered-by-retailers comic in seventeen years. Caveats galore for interpreting this as a victory for original work owned by its creators — there was a massive variant-cover gimmick, there’s the TV bump, Kirkman’s facing a lawsuit from the book’s original artist Tony Moore, Kirkman now runs a work-for-hire shop of his own, etc etc — but it’s not not a victory for such things, I don’t think. It’s certainly a victory for Kim Thompson’s “More Crap Is What We Need” theory, and I’m not saying that pejoratively.

* Peter Jackson is making it sound like he may make a third film out of the Hobbit-adjacent material from the Lord of the Rings appendices, with which he already fleshed The Hobbit out from one movie to two. I totally understand and enjoy the initial doubling of the project, since it’s mostly just going to show us the stuff that one of the main characters of the story, Gandalf, is off doing when he’s not with the other main characters. But to come up with a whole third film independent of The Hobbit proper’s narrative framework…I don’t know, at that point you’re writing fanfic, basically, even if it’s fanfic based on canonical sources.

* In other news…

* I missed this for some reason, and shame on me: The End of the Fucking World cartoonist Chuck Forsman has launched a subscription service for his Oily Comics imprint, whereby a $30 or $50 subscription will get you either three or six months’ work of minicomics from a lineup including Forsman, Melissa Mendes, Max De Radigués, Jessica Campbell, Dane E. Martin, Andy Burkholder, Aaron Cockle, and probably more by the sound of it — on the order of a comic or more per week. That’s a terrific deal if you really like these artists and can take a flyer on sight-unseen minis. Forsman talks a bit about the initial line-up over at The Comics Journal — it’s cool to see Drawn and Quarterly PR stalwart Jessica Campbell releasing comics of her own, for example, and Andy Burkholder is a real talent.

* Wow, this is the platonic ideal of a cover for Ron Régé Jr.’s The Cartoon Utopia from Fantagraphics.

* An extra-long, extra-NSFW Uno Moralez image/gif gallery. This is a very good one.

* Taste the rainbow with Jonny Negron.

* Michael DeForge’s Ant Comic — do I have to get used to calling it Ant Colony now? — is terrific.

* Here’s a tight, thoughtful piece by the Comics Grid’s Jonathan Evans on how translation is depicted in Guy Delisle’s travelogue Shenzhen.

Gilbert and Jaime are both masters of the form of comics. That’s in addition to their character work, their sheer illustrative chops, and so on; indeed it may be the most exciting thing about them. In the case of both brothers I’ve spent a long time chewing over just a few handfuls of panels, unpacking what went into them. Here’s Gilbert’s silent, six-panel comic “Heroin,” one of three one-page shorts he made with that title. It’s just a man against one of Beto’s soon-to-be-trademark dismal nowherescapes, clutching his arm, doubling over, standing back up, hunching over again. We don’t know who he is or where he is or what he’s doing or what its connection is, specifically, to the titular substance — he could be a junkie on the nod, sure, but then why is he also Richard Nixon (or maybe it’s Bob Hope)? Whether it’s about the drug specifically or addictive, destructive influences generally (as are the other two “Heroin” strips) doesn’t really matter, since the effect stems almost entirely from the building blocks of the comic itself: the man, the background, the grid layout, the lack of any text save the title, the rhythm that builds up as we watch his body contort, the three big blocks of black in each panel (trees, man, buildings), the hands pointing in opposite directions, the diagonal hill line bisecting each panel. Every element combines to convey discomfort and unease, the sense of being at the mercy of something that lets you straighten out just long enough for it to be crushing when it knocks you back down. Long before I’d actually read any comics by Los Bros I saw this page reproduced in an issue of The Comics Journal and it has worked its way into the fabric of my comics brain ever since. It occurred to me just the other day that I’ve even done a homage to it without realizing it. I think it’s a perfect comic.

And here’s two panels from “In the Valley of the Polar Bears” by Jaime. Maggie’s been working as the kayfabe “accountant” for her wrestling-champ aunt Vicki, something of a terror in and out of the ring, but the two are barely speaking. Vicki has just confided in her wrestler boyfriend Cash that the reason she’s been treating Maggie so badly is because she cares about her a lot and is hurt by Maggie’s seeming indifference in return. So here, Cash approaches Maggie to tell her about her aunt’s secret soft spot — and then blam, next panel, it’s already been told. Jaime doesn’t show us the conversation. He doesn’t slap a big “Five minutes later…” caption up there. He doesn’t alter the size of the panels or the gutters to imply the passage of time. He doesn’t cut to another scene in between. He doesn’t show Maggie and Cash in another location so that we’d know time must have passed for them to get from place to place. He zooms in a bit but other than that they’re even in the same basic spatial configuration. He pretty much breaks every rule of how jumps in time are conveyed in comics, and yet it’s still crystal clear what happened. Talk about no-fat storytelling. Why belabor the re-presentation of information we readers already have? And why monkey with shit to explain what you’re not showing us when you can simply not show it to us and assume we’re smart enough to follow? These two panels are so bold, so full of lessons in how to tell a story with comics. I think about them all the time.

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.

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.

* Today in and around the San Diego Comic-Con International:

* Your absolute A-#1 top story of the day, the show, the year: It’s a picture of George R.R. Martin and Los Bros Hernandez. Their beards are full of MAGIC. I love these wonderful men. (Via Fantagraphics, who clearly took this picture just for me.)

* Tom Spurgeon breaks two major announcements from Drawn and Quarterly: They’ll be publishing Art Spiegelman’s latest odds’n’sods collection Co-Mix, and collecting Michael DeForge’s webcomic Ant Comic as Ant Colony. Spiegelman is justifiably legendary and insight into his process is always welcome; DeForge is the best cartoonist of his generation and Ant Comic is one of the two or three best things he’s ever done.

* Neil Gaiman and J.H. Williams III are doing a prequel to Gaiman’s beloved series The Sandman for DC/Vertigo. I’m reporting this as news rather than as “hey I’m looking forward to this” since Sandman’s not really my thing. It’s newsworthy for a couple of reasons, I think: 1) This is going to be an absolutely colossal bestseller, I’m guessing the bestselling comic in a decade or more; 2) I’m surprised Gaiman’s doing it in light of the Before Watchmen situation, since he’s been an outspoken creators’ rights advocate for years and has (I think) a relationship with Alan Moore. That makes him returning to the company in such a big way seem much more like a tacit endorsement than does the work of most DC employees and freelancers who aren’t directly involved in the project, I think (myself included).

* Tom Spurgeon’s daily floor reports are thus far as thorough on a day-to-day basis as many are for the entire show, a mix of anecdote, opinion, temperature-of-the-room stuff, and actual news and reporting. Here’s Preview Night; here’s Thursday. Of greatest interest to me: Josh Cotter isn’t doing comics for now; Douglas Wolk isn’t writing for ComicsAlliance for now; Gary Groth liked Joe Lambert’s excellent Annie Sullivan and the Trials of Helen Keller.

* Derf Backderf’s My Friend Dahmer is headed for the big screen. Still haven’t read it. Shameful.

* Frank Santoro has a limited edition book on the way from PictureBox called Pompeii, a “straightforward comic book narrative, chornicling the lfie of two artists in the doomed city.” I like the sound of that.

* I defy you to find a more loathsome way to talk about making comic books or any kind of art whatsoever. This one’s a news story as well, in that Image Comics publisher Eric Stephenson has been so outspoken in his criticism of Before Watchmen while his new partner J. Michael Straczynski has been so outspoken in his defense of it.

* Finally, meet your new Game of Thrones castmembers, including Diana Rigg, aka Emma Peel, aka costar of The League of Extraordinary Gentlemen Vol. III: Century #3: 2009, as the Queen of Thorns.

* In other news…

* Jeeeeeeez, look at Chris Ware’s Building Stories. That’s no moon. That’s a space station.

* Dave Kiersh’s new book After School Special is out and available through Giant Robot! I’ll say it until everyone listens: Read Dave K. If we could get his work into the hands of the millenials there’s no telling what might happen.

* Theo Ellsworth is debuting his new book The Understanding Monster Book One at SPX. Also, it wasn’t until I saw this poster he designed for the show that I realized what a power-packed lineup that show has this year: Ware, Clowes, Mouly, Jaime, Beto, Tomine. And something new from me and a special collaborator, maybe?

* There’s something quietly unnerving about the way Breaking Bad actor-director Bryan Cranston refers to “Walt” and “Bryan” as separate entities in his excellent, insightful two-part interview with Alan Sepinwall. I say that not to diss him as some third-person phony but as a testament to the power of Walt. Of particular note in the interview are the sections where Cranston describes moments where his conception of the character and showrunner Vince Gilligan’s diverged, and what he’d learn from them.

* The A.V. Club’s Noel Murray gets a great interview out of Kevin Huizenga, perhaps the prickliest interview subject in altcomix. I’ll never not get a charge out of it when Huizenga describes his comic “The Sunset,” for my money the best short comic of all time, in precisely the terms I’d use to describe it myself.

* I haven’t been following Fantastic Life cartoonist Kevin Mutch’s webcomic Moon Prince except to admire it visually from time to time, but that’s because I suck at following webcomics, not because it doesn’t look crazy and beautiful, because it does:

* Beautiful work by Jordan Crane. His finished pages are so uncannily devoid of human error that it’s unusually interesting to see the artifacts of their construction. Michael DeForge and Ryan Sands should try to get a contribution out of him for the Thickness collection, by the way.

* Read an excerpt from Frank Santoro’s excellent graphic novel Storeyville and Crane’s webcomics portal What Things Do.

* At last: Jonny Negron turns his attention to MILFs.

* It’s been a while since I linked to Monster Brains, and this sensuously sinister gallery of Carlos Schwabe art seemed like as good an excuse as any. Look at the eyes.

* I’m happy to use the occasion of Phil Jimenez’s birthday as an excuse to post this spread from Infinite Crisis again. One of my favorite pieces of superhero-comic art by anyone ever.

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.

The Walking Dead #100
Robert Kirkman, writer
Charlie Adlard, artist
Image, July 2012
30 pages
$3.99
Buy it via Skybound

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

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.

* Tom Spurgeon hadn’t even arrived in San Diego yet before he started rolling out killer coverage of the comics side of Comic-Con:

** Here’s his list of five stories to watch at the show this year. If it really is more of a festival now, the CCI organization should go full Angouleme and allow a guest of honor to create a special programming slate. Kick the selection of the guest of honor to a vote by the previous year’s Eisner Award winners or something.

** Here’s the first in a series of posts on comics to buy at Comic-Con. I can get behind two of the three.

** Tom also lined up a couple of announcements. First, AdHouse is releasing an extremely limited edition collection of Jim Rugg’s painstaking notebook drawings called Notebook, available now. Rugg describes the project as “vacillat[ing] between celebration and satire,” which if you recall is the same sweet spot that made his and Brian Maruca’s Afrodisiac such a success.

** Second, PictureBox is releasing an extremely limited edition book by Renee French called Bjornstrand, available at SPX in September. Like the Rugg project, it’s limited to 300 copies.

* Drawn and Quarterly previews the new Brecht Evens graphic novel they’re unveiling at San Diego, The Making Of. Would you believe it looks pretty?

* Graeme McMillan on the 30th Anniversary of Love and Rockets. For what it’s worth, Beto’s recent work is far less frivolous and indulgent than Graeme believes. It’s actually nothing less than an ongoing interrogation of, even condemnation of, his fetishes. It’s as strong an exploration of the consequences of child sexual abuse as comics has ever produced this side of Debbie Dreschler, too. Not an easy read, to be sure, but also not a stupid read.

* In other news…

* Tucker Stone runs down some of the year’s most anticipated remaining releases for Flavorpill, including works by Chris Ware, Hope Larson, Jacques Tardi, Johnny Ryan, David Lasky, Noah Van Sciver, and Los Bros Hernandez. Always a pleasure to read Tucker’s dead-on, succinct summaries of the appeal of folks like these.

* LOL, James Robinson is off that not-appealing-to-people-who-like-He-Man He-Man comic after one issue, replaced by DC’s designated dogsbody Keith Giffen.

* MoCCA intends to relocate its museum, which seems like the kind of thing they might have included in their announcement that they were closing the old one.

* Hooray, new Cindy and Biscuit from Dan White!

* I enjoyed Steven Hyden’s piece on Nine Inch Nails’ masterpiece The Fragile for the Onion AV Club. Music writing about work I really, really, really, really love, even when we’re basically on the same wavelength, almost always contains one or two ideas that make me want to turn a cereal bowl upside down and smash it to pieces with the fleshy underside of my fist—this is why I’ve read a grand total of, I think, half an entry on that Bowie Songs blog—and there’s no album that means more to me than The Fragile, I don’t think, so I expected to be driven nuts, but no. I’ll take “alt rock’s Raging Bull,” sure.

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.

Fatima: The Blood Spinners #1
Gilbert Hernandez, writer/artist
Dark Horse, June 2012
24 pages
$3.99
Buy it from Dark Horse

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

* The San Diego Comic-Con International starts tomorrow evening, but for all intents and purposes it’s already underway, if by “all” you mean “PR.”

* The main announcement to break through the fog for me so far is that Fantagraphics will be debuting not only Love and Rockets: New Stories #5, which I think it’s safe to say is eagerly anticipated following last year’s installment, but also a new line of L&R t-shirts OMGGGGGGGGG!!!! There’s no more t-shirt-ready artist in all of comics than Jaime, and Gilbert’s no slouch either. UPDATE: THEY’RE ONLY AVAILABLE AT THE CON, BOOOOOO TO THAT, BOOO BOO BOOOOOOOO, SERIOUSLY FUCK THAT

* If you didn’t read Tom Spurgeon’s essay about the 30th anniversary of Love and Rockets, Los Bros Hernandez, and the San Diego Comic-Con, you really should. Aside from making a terrific capsule-format case for the greatness of all three cartooning Hernandez brothers and their series as a whole, Tom reminds us that Comic-Con is what we make of it, and that a better way to keep the Comic in Comic-Con than joking about movie studio people is to find and engage with the comics portions of it. A milestone anniversary of one of the greatest comics of all time is a pretty easy way to do that.

* The death of a Twilight fan struck by a car outside the convention center is an awful way to start the show. (Via Jill Pantozzi.)

* In other news…

* The Mindless Ones wrap up their commentary on the latest League of Extraordinary Gentlemen. Adam’s right that something about the Harry Potter battle felt inconsequential, but I ultimately decided that was the point.

* MoCCA’s physical museum closed abruptly. They charged an awful lot of money for table space and admission at their festivals and it’s a shame to see it wasn’t spent in such a way as to prevent this.

* David Bordwell provides an overview of the latest edition of his and Kristin Thompson’s Film Art, which doubles as an essay on filmmaking as a series of choices. Killer new cover for the book, too. No pun intended.

* Hey, wanna see a 3-D Craig Thompson/Theo Ellsworth jam comic?

* I LOLd for this installment of Puke Force by Brian Chippendale.

* Matt Furie does Simon Hanselmann’s Megg & Mogg. From the upcoming guest-star-studded “acid episode”!

* We’ve all been there, Scott Pilgrim. (Via Kiel Phegley.)

* A lady by my collaborator Isaac Moylan.

* A lady by my collaborator Jonny Negron.

* Chris Ware is an articulate and empathetic interview subject, even a moving one as the end of this interview makes very clear, but he is also just a machine for churning out hilariously embarrassed reactions to his own work. I wish I had the cock-of-the-walk attitude of all the people I’ve seen making fun of Ware for his genuine self-effacement. Must be nice to breeze through life like that! (Via Drawn and Quarterly.)

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.

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.

* The winners of the final round of Xeric Grants for comics self-publishers have been announced. Aidan Koch is the only name I recognize; given how many known quantities applied in use-it-or-lose-it fashion, that’s quite a compliment to all the other winners. While the Xeric Foundation is correct when they assert that cartoonists have far more options for self publishing now than they did when the Xeric was conceived, from crowdfunding to publishing direct to the web, the Xeric was much more than a means to an end — it provided opportunities for cartoonists who lack the fanbase or the social-networking aptitude to make crowdfunding viable, and it was as much an honorific as a practical grant. I wish they hadn’t stopped it, and I’m glad to see Tom Hart and Leela Corman’s SAW school pick up the tradition, albeit with far fewer zeros on the checks, with their new SAW micro-grant initiative.

* I’m enjoying the emergence of Tim Marchman as the guy who smacks around comics’ unethical practices for mainstream media publications. Today he holds the feet of Len Wein and DC to the fire over Before Watchmen for the Daily Beast. Wein is an interesting test case for this sort of thing, of all people doing Before Watchmen. He edited the original and thus could reasonably be expected to have a keener sense of the integrity of the thing, which I assume is why Marchman chose to interview him about scabbing for the prequel. And he himself has been screwed way harder in a similar fashion than anyone else involved, never seeing a multimedia dime for his hand in co-creating Wolverine, though that could cut both ways in a situation like this. Finally, his house burned down in the last few years, bringing to the fore the economic issues that might entice someone to take on a project like this, which has been hinted at but infrequently discussed. Marchman doesn’t bring up any of that, unfortunately, but other than that it’s a barnburner of a piece, especially in terms of addressing and outright mocking the ethical justifications offered for the treatment of Alan Moore. (It certainly beats this much-linked A.O. Scott/Manohla Dargis thing on superhero movies for the Times, which passes off rhetorical packing peanuts like “Every age has the superhero it wants, needs or deserves” as insight, though I do agree with the broad thrust of their argument against the genre.)

* Matthew Perpetua’s mighty Fluxblog has just released its 2007 survey mix, the latest in his series of sprawling eight-disc best-of compilations for each year of Fluxblog’s decade of existence. This one is a real doozy.

* AdHouse is shutting down its distribution wing, noting that many of the boutique- and self-publishers AdDistro handled are more widely available now than they used to be. Good on Chris Pitzer for doing yeoman’s work on this.

* Marvel is relaunching many of its series with reshuffled creative teams this autumn in an initiative called Marvel NOW! As a reader, I see this primarily through the lens of having a beginning, middle, and end to long, high-quality runs on various books I’ve enjoyed over the past few years, which I’m looking forward to.

* PictureBox announces delays to CF’s Powr Mastrs 4 and Brian Chippendales (still ongoing-as-a-webcomic) Puke Force, but a reveals a new CF book, Warm Genetics House, to make up for it. I’ll take it!

* This CAKE recap makes it official: Closed Caption Comics is running neck and neck with Secret Acres for “best con reports.” As a bonus, this includes Noel Freibert’s review of Thickness #3, the first and afaik only such review to date. I’m grateful that in reviewing my contribution with William Cardini, Noel didn’t seek payback for the “cat in the microwave” incident. See, Noel — I told you there was a nicer way to explore splattery textures!

* As far as I know, this is our best glimpse yet of the cast for Bryan Lee O’Malley’s next comic, Seconds.

* My pal TJ Dietsch interviews Brandon Graham about Prophet, his marvelously modular sci-fi adventure series for Rob Liefeld’s Extreme line. Prophet is an object lesson in making individual installments count, and in the value of thinking biiiiiiiiiiiiiiiig in SFF yet never getting lost in the caverns of your own ideas.

* Chris Butcher on the problems with professional publishers using Kickstarter to fund the books they publish. It always seemed to me that publishers take your book, print it, distribute it, and market it, on their own dime. That’s what a publisher is. Chris’s point is basically “Well, that’s what a publisher was.” He’s not outraged, he’s simply pointing out that this is changing — has changed — and wondering how to proceed.

* Today in the “saving it for when I’ve read the books” column: Tom Spurgeon on the Joe Sacco collection Journalism and Tucker Stone on Carl Barks’s Disney ducks comics. The last panel he uses to illustrate the post should be issued to superhero artists with their 1099s.

* Speaking of which: Tom Spurgeon on Jaime Hernandez’s superhero slobberknocker, God and Science: Return of the Ti-Girls. No greater pleasure in writing-about-comics than reading my favorite critic write about his favorite cartoonist.

* The Mindless Ones annotate/critique Alan Moore & Kevin O’Neill’s The League of Extraordinary Gentlemen Vol. III: Century #3: 2009: Part one, part two, part three tk. Some pretty robust debate in these.

* One last “good critics on good comics” entry: Chris Mautner guides you through the work of Jacques Tardi, who probably goes hand in hand with Jason as the European cartoonist who’s most benefited from Fantagraphics’ thoughtful, consistent approach to collecting his work.

* Gabrielle Bell is doing another round of July Diary daily comics! This one’s my favorite so far. So subtly funny.

* I was so convinced that this remarkable installment of Ant Comic by Michael DeForge was an homage to the third Where’s Waldo? book with all the battles in it, but I asked and it’s not. It’s still remarkable, however.

* Jonny Negron does a dream comic. Sure, I’ll eat it.

* Looks like my friend and collaborator Isaac Moylan will be drawing a lot this summer.

* Julia Gfrörer does fanart for Wallace Stevens’s “The Emperor of Ice Cream.” What a country!

* A child’s guide to Dogs and Water, by Anders Nilsen.

* This pinup of Megg from Simon Hanselmann’s webcomics by Marc J. Palm represents the shortest amount of time between “discovering a webcomic” and “discovering sessy fanart for that webcomic” I’ve ever experienced. Hooray!

* Happy Fourth of July from Jillian Tamaki and Frances! (And a not-so-happy one from SuperMutant Magic Academy guest artist Frank Stockton. My god.)

* The new Charli XCX song sounds exactly like a collaboration between Katy Perry and Leviathan from Hellbound: Hellraiser II.

* One of the nice things about the Internet is I can operate a dedicated site where posting pictures of Kristen Stewart in shorts and a Led Zeppelin t-shirt is part of the remit.

The League of Extraordinary Gentlemen Vol. III: Century #3: 2009
Alan Moore, writer
Kevin O’Neill, artist
Top Shelf/Knockabout, June 2012
80 pages
$9.95
Buy it from Top Shelf
Buy it from Amazon.com

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

Interiorae
Gabriella Giandelli, writer/artist
Fantagraphics, 2012
144 pages
$19.99
Buy it from Fantagraphics
Buy it from Amazon.com

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