* Sabrina, don’t just stare at the limited edition broadsheet collection of Benjamin Marra’s American Psycho illustrations, buy it.

* Chris Mautner reviews Guy Delisle’s Jerusalem and Jean-Pierre Filiu & David B.’s Best of Enemies, two nonfiction comics about the Middle-East by two world-class cartoonists. I look forward to tearing into both of them.

* Hooray! The Closed Caption Comics-anchored smut-comics anthology Sock is returning for another issue, featuring guest stars like Edie Fake, Andy Burkholder, and Anya Davidson. You can pre-order it at the link. (That’s from Ryan Cecil Smith’s contribution below.)

* More CCC news: Apparently Noel Freibert’s Weird anthology has a tumblr? (Via Shit Comics.)

* Still more CCC news: I’m quite excited for Difficult Loves, the debut full-length from Molly Colleen O’Connell, whom I believe is of mixed Portugese-Ethiopian-Maori-German extraction.

* Speaking of anthologies, I was happy to see that the crowdfunding project for the next issue Happiness was successful; here’s a page from contributor Krysta Brayer.

* Oh my, am I pleased to have made the acquaintance of the comics and short fiction of Aaron Shunga. (Via Shit Comics again.)

* Jonny Negron. Jonny Negron. Jonny Negron.

* “I Am the Arm” by Matt Rota, for the Twin Peaks: Fire Walk With Me art show at CoproGallery in Los Angeles.

* I’d actually intended to write about this project not at all, in any way, but oh well: Rob Bricken of Topless Robot speaks for a lot of people (ha, that’s not a sentence I get to write every day) in this piece absolutely laying into Before Watchmen, as well as the treatment of Jack Kirby vis a vis the Avengers movie, especially in the final sentence: “Hey Marvel and DC — it sure would be great to enjoy your products without feeling like an asshole.” Related: Tom Spurgeon on the implications of the recent dust-up between DC and writer Chris Roberson (when the latter announced his intention to stop working for the former following the completion of his current commitment, citing ethical concerns, the former ended that commitment preemptively) and DC’s recent legal victory over the laywer who represents the heirs of Superman co-creator Jerry Siegel. That’s probably it from me on the Watchmen 2 issue barring further newsworthy developments.

* Glenn Greenwald. Glenn Greenwald. Glenn Greenwald. Glenn Greenwald. Glenn Greenwald. Michael Hastings! Glenn Greenwald. Greenwald has recently focused on three areas about which he has formed genuinely revelatory theses, for me at least. 1) A separate, even harsher American judicial system exists for Muslims, one that inflicts punishment up to and including execution without trial; 2) Genuine dissent, dissent that truly challenges or threatens or even upsets the American government and its business and military allies, is functionally illegal; 3) The range of opinion and information afforded Americans regarding their conduct versus that of other countries is just as narrow, and the resulting opinions just as deluded, as those of more traditionally tyrannical or even totalitarian states.

* Wow, that was heavy. Okay, here’s Geoff Grogan’s endearingly lo-fi promo vid for his webcomic Babyheads.

* The Mindless Ones may well be doing the best Mad Men writing around.

* Finally, something to chew on that combines a bunch of my interests into one post that in retrospect strikes me as serious overreach on my part but whatever: I wrote about fanfic and creators’ rights in the context of a fic-based civil war amid George R.R. Martin/A Song of Ice and Fire fandom.

It’s been a long time since I wrote about Comics as opposed to comics, the industry as opposed to individual works. But over the past week I jotted down a couple of bigger-picture things on other sites and I wanted to gather them here.

First, last week I submitted the following response to Tom Spurgeon’s weekly Five for Friday audience participation post. The topic was “Make Five, Matter-Of-Fact Positive Statements About Comics Right Now.”

1. At this point, I feel comfortable saying that the internet has provided at least as durable and viable a forum for getting new work by growing alternative cartoonists in front of a wide audience on a regular basis as did the late, lamented Alternative Comic Book format. A couple weeks ago I realized that this is now how I consume the bulk of my comics, and this is quite aside from “webcomics” as traditionally identified.

2. Comics’ culture of complaint may not get us very far, but lately we’ve at least been complaining about the right things: representation of women and non-white people both on the pages and behind them at the big two companies; the rights of comics journalists to be afforded freedom of the press even when covering things local authorities oppose or in ways those authorities dislike; acknowledgement that popular titles and characters were the creations of individuals and objecting when the companies benefiting from those creations dismiss or abuse those individuals; calling on organizations that purport to honor the best in comics to explain why they’ve failed to do so by broad consensus standards; et cetera. I’ve seen way more complaining about these worthy targets of complaint than “Wolverine would never say that!” or “Chris Ware is boring” lately. While I’d be happier if we didn’t have to complain at all, at least we’ve got our heads on straight.

3. There are more excellent colorists working for the companies whose comics appear at the front of the Previews catalog now than I can ever remember before, and people are discussing their contributions to the comics they work on as vital. Dean White and Bettie Breitweiser, for example, are now talked about the same way Dave Stewart’s been talked about (justifiably) for years.

4. I like sex and horror in my alternative comics, and there’s a bumper crop of both right now, often at the same time.

5. I could name three or four or maybe even more conventions held up as an ideal interaction with the art form and its participants by people I personally respect: BCGF, TCAF, SPX, ECCC… Even one would be a fantastic boon, and we’ve got a bunch.

—-

Second, and related to the second point above, the critic and pundit David Brothers announced that he has stopped buying Marvel and DC products over ethical concerns. The shoddy treatment of Jack Kirby and his heirs in light of the forthcoming Avengers film and of Alan Moore in light of the forthcoming Before Watchmen comics were the straws that broke the camel’s back. A day later, the comics writer Chris Roberson announced that he would no longer be working for DC following the completion of his current projects for the publisher, also due to concerns about their treatment of creators, going so far as to direct curious respondents to Brothers’ piece for a full explanation.

My Comics Journal editor Tim Hodler notes that Brothers’s article feels different somehow from Stephen Bissette’s call for a (partial, as Tim remembers but few other seem to) boycott of Marvel last fall. I explained why I think that is on Twitter yesterday, and here’s an edited/expanded version of what I wrote:

Clearly and publicly articulated personal decisions to stop doing a thing work better than boycott calls for everyone else to stop too. At this point, even just saying “I read/make these comics; simultaneously I find these practices — toward Moore, Kirby, Siegel, Shuster, Friederich — repellent” is a victory. This has long been my stance as a freelancer for those companies. I think the noise matters more than the purchasing habits. (In terms of Bissette’s boycott, I thought then and still think that his call for readers to bring up ethical issues loudly and often at convention booths and panels would be more effective.) Ultimately, it’s people who like those comics and want to buy them or work on them, like Brothers and Roberson, who will bend the arc of the industry toward justice, just as it was people like Frank Miller and Neal Adams and Jerry Robinson who moved it in the past.

Meanwhile, the rise of “fusion comics,” the New Action, and nu-Image allow people who depart the big supercomics companies to maintain their diet of action- and spectacle-based comics. Manga does this too. Scott Pilgrim does this too. The push in some critical quarters for a new, primarily non-literary-comics canon — Kirby, Moebius, Otomo, Chaykin, McCarthy, Manara, Pope, Mignola, Urasawa, Graham — does this too. You can even get shared-universe storytelling, from Mignola/Arcudi or Kirkman or Grist or Larsen or the revival of Rob Liefeld’s Extreme titles. Today, you needn’t challenge/force yourself (depending on how charitable you want to be to people) to read alt/lit/art comics to make the change. Nor are transparent knockoffs of/auditions for the Big Two the only thing you have to fall back on if you want to read about extraordinary individuals attempting to solve problems through violence. Viable aesthetic alternatives that still work in roughly the same way enable different ethical/moral choices to be made. They go hand in hand. And many of those aesthetically comparable alternatives available today arose because of companies and creators who decided to work more ethically in the first place. It’s a virtuous cycle.

Cyclical, Stale N Mate, Let’s Fucking Party, and Cheek Up’s
Shia LaBeouf, writer/artist
The Campaign Book, 2012
various page counts
Cyclical, Stale N Mate, Let’s Fucking Party: $10 print/$5 ebook
Cheek Up’s: free ongoing webcomic series
Buy them and/or read them for free online at The Campaign Book

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

I interviewed Shia LaBeouf about his self-published alternative comics for Rolling Stone. There’s a gallery at the link as well. I liked Shia and I like his comics.

* Is this the best line-up of comics creators ever assembled? Appearing at the University of Chicago’s Comics: Philosophy & Practice conference: Lynda Barry, Alison Bechdel, Ivan Brunetti, Charles Burns, Daniel Clowes, R. Crumb, Phoebe Gloeckner, Justin Green, Ben Katchor, Aline Kominsky-Crumb, Francoise Mouly, Gary Panter, Joe Sacco, Seth, Art Spiegelman, Carol Tyler, and Chris Ware. You’re just the Hernandez Brothers away from running the table on the Greatest Living Cartoonists. Burns, Clowes, Gloeckner, and Ware are my personal pantheon even before you consider towering figures like Crumb, Spiegelman, Mouly, Sacco, Panter, and Katchor. Good god almighty. (Via Drawn & Quarterly.)

* So this explains Guy Davis’s abrupt, weirdly underaddressed-by-Dark-Horse departure from Mike Mignola and John Arcudi’s near-peerless B.P.R.D.: He’s working on the next Guillermo Del Toro film.

* Tom Spurgeon and David Brothers on Before Watchmen, the shame of comics.

* Tim O’Shea talks to Kevin Huizenga about Gloriana, his forthcoming hardcover re-release of what I consider to be one of the greatest comics ever made by anyone, ever. Huizenga’s a difficult interview, but Tim makes it work.

* Comics Grid’s Nicholas Labarre’s essay on Roy Thomas and Mike Mignola’s adaptation of Francis Ford Coppola’s Bram Stoker’s Dracula is the most possessive-apostrophe-heavy link I’ve made in ages, but worth your time nonetheless. I remember the owner of my teen-years comic shop really giving that book the hard sell to me, to the point where I felt bullied into buying it. At the time I assumed he knew I was a big fan of the film and thus an easy mark for the tie-in, but now I wonder if he was simply trying to expose me to Mignola.

* Okay, Jillian Tamaki, now you’re just showing off.

* Tom Neely #1: Rob Clough review’s Neely’s fascinating The Wolf, one of the best comics of 2011.

* Tom Neely #2: My God, Neely’s parodies of various Kramers Ergot contributors (drawn in the style of KE regular Tom Gauld’s great-author comics) are unbelievably hilarious and mean, and I say that despite really liking the work of almost everyone lampooned thereby.

* Tom Neely #3: He’s drawing beautiful naked women again. PROCEED.

* OCCUPY BASIN CITY

* Did you know? Mazzy Star’s Hope Sandoval was the original model for Paul Pope’s character HR in THB. Once seen, it cannot be unseen.

* Fine writing by Matthew Perpetua about the enduring appeal of Kraftwerk.

* Fine writing by the Mindless Ones, Matt Zoller Seitz, and Deborah Lipp on recent Mad Men episodes.

* Related: Josh Wigler, host of the MTV News Watching the ‘Thrones’ video roundtables on Game of Thrones in which I participate, put together a pretty dizzying summary of all the geek-culture references and connections on last weekend’s Mad Men. I missed the Lost homage, myself.

* Watching this gameplay video from the old SNES sidescroller/sim hybrid ActRaiser, I suddenly understood Proust and his madeleines.

* Finally, I’m not a big gamer, I’m definitely not a big fighting gamer, and I don’t even own one of the systems for which such a game would be available, but boy oh boy do I want a Game of Thrones fighting game. (Via Topless Robot.)

I’m honored to announce that I’m collaborating with William Cardini on a story for Thickness #3, the forthcoming issue of Ryan Sands and Michael DeForge’s excellent and sexxy erotic comics anthology series. I just couldn’t be more humbled and pleased to be sharing such auspicious company in the service of that noblest of goals: using comics to increase the blood flow to people’s genitals. Wish us luck!

* First, a suggestion: Why not load up this delightful 50-minute DJ set from LCD Soundsystem’s James Murphy before reading the rest of this post?

* Second, a public service announcement: Charles Forsman’s Muster List aspires to be a comprehensive link repository for minicomics cartoonists and the places online where you can buy those minicomics. It’s amazing.

* Speaking of Forsman, the new issue of his fine series The End of the Fucking World is out.

* Hoo boy: Benjamin Marra’s latest is Lincoln Washington: Free Man #1, a headlong dive right back into Gangsta Rap Posse #2‘s racial swimming/cess pool. “Eagerly anticipated” doesn’t cover it. Read a preview at the link.

* Jillian Tamaki’s figurework deserves some kind of tribute album.

* As do Brian Chippendale’s colossal environments.

* And speaking of figurework, look how fully formed, considered, and lively the bodies and faces were in R. Crumb’s earliest work. It’s like he mastered the hardest stuff first.

* Oooh, this is a good one from Tom Neely. And a relatively rare opportunity to see him do panel-to-panel stuff, too.

* I hope the recent burst of activity (relatively speaking) from Uno Moralez continues unabated.

* L. Nichols has a tumblr and she’s posting some knockout shots of murals and other art she did in a local restaurant. I promise you’re more interested in seeing this than you think you are.

* I have to hand it to DC for coming up with an approach to a He-Man and the Masters of the Universe comic book that isn’t appealing to me in a single way. That takes hard work!

* For a brief moment as I scrolled toward it in my Google Reader, I thought this David Bowie photo was a Renee French drawing. Renee, if you’re reading this, you can still make me right.

* Decoding the aesthetics of Beyoncé’s new tumblr. <3 (Hat tip: Beebles.)

* If you’re not familiar with the bracingly frank sex writing of Vanessa at Nightmares and Boners, you should fix that forthwith.

* Glenn Greenwald is writing about the egregious, openly unconstitutional treatment of journalist and documentarian Laura Poitras, but he could just as easily be talking about Julian Assange, Bradley Manning, Occupy protesters, and anyone else who makes the mistake of openly opposing American state power in a way that directly impacts or embarrasses the wielders of that power:

As is true for all states that expand and abuse their own powers, that’s what the U.S. Government counts on: that it is sending the message that none of this will affect you as long as you avoid posing any meaningful challenges to what they do. In other words: you can avoid being targeted if you passively acquiesce to what they do and refrain from interfering in it. That’s precisely what makes it so pernicious, and why it’s so imperative to find a way to rein it in.

See also Greenwald guest columnist Jesselyn Raddack on the Obama administration’s legal actions against journalists. The dark beauty of detainment, harassment, confiscation of personal electronics, mass arrests of and police brutality against nonviolent protesters, press blackouts, and so on is that none of it, none of it, has to stick in a court of law, at all. It’s all a fait accompli. The action’s been taken, and by the time it gets rectified in the near term (you’re released, no charges are filed, you get your computer back, someone gets put on desk duty), let alone in the long term (judicial pushback, as unlikely as that may seem with the current courts), your life has been made vastly more unpleasant, and everyone who sees what happened to you knows that their lives will be made vastly more unpleasant too should they do something similar. Message sent.

* Finally, might you consider Kickstarting my friend Simone Davalos’s fighting-robot documentary RoboGames?

A Game of Thrones: The Graphic Novel: Volume One
Daniel Abraham, writer
Tommy Patterson, artist
adapted from the novel by George R.R. Martin
240 pages
$25
Buy it from Amazon.com

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

* Zak Smith/Sabbath of Playing D&D with Porn Stars (and, y’know, the Whitney Biennial and suchlike) has been hired to work on the next edition of Dungeons & Dragons. Not a hoax, not a dream, not an imaginary story.

* I’m at the point where I almost want to take Michael DeForge’s drawing implements away from him and make him go play outside in the nice sunshine. If a day went by when he didn’t unveil a new strip for some anthology or magazine or website somewhere, I’d probably call missing persons.

* I’m saving this for when I can read the whole thing in one sitting, but Andrew White has finished his excellent SF webcomic Sexbuzz.

* Lala Albert continues to impress every time a new strip catches my (third) eye.

* J. Caleb Mozzocco raves about Tom Scioli’s American Barbarian.

* Tucker Stone raves about Derf’s revamped and expanded My Friend Dahmer. This couldn’t be more up my alley.

* Finally, I’ll probably be putting together another Carnvial of Thrones before the week is out, but the details on the forthcoming official map collection The Lands of Ice and Fire deserve a link here as well. Sothyros!

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

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

* The first Monday of the month is the best Monday of the month because it’s the Monday Matthew Perpetua unveils his latest Fluxblog 10th Anniversary Survey Mix: 2004! We’re kicking off a stretch of years wherein I remember the music very fondly, because I listened to much of it in what my therapist referred to as a sensory deprivation chamber, my car during my 75-90 minute commute each way to and from Wizard magazine. You form some intense relationships with sound in those circumstances. Anyway, Matthew’s taste runs both broad and deep. And this year’s eight-disc mix has some killer transitions: “Vertigo” into “Evil” and “Blood on Our Hands” into “Pardon My Freedom” are my favorites.

* Rock-solid, basic biographical profile of Daniel Clowes by The New York Times‘ Carol Kino. This is not something I care about, really, but Clowes is a great ambassador for comics simply in that you can hand so many of his book-formatted to people, confident in their quality.

* The best of the spoiler-free reviews of the first four episodes of Game of Thrones that HBO sent to critics, at least that I’ve seen, is Willa Paskin’s at Salon.

* Here’s the cover for Hope Larson’s adaptation of Madeleine L’Engle’s A Wrinkle in Time, out on October 2nd.

* It’s been a while since I directed you to Michael DeForge’s Ant Comic. So allow me to direct you to Michael DeForge’s Ant Comic.

* And while I’m sending you to various webcomics, the latest installments of Ray Sohn’s True Chubbo and Brian Chippendale’s Puke Force are unexcerptable but strong.

* Yeesh, Anders Nilsen.

* NEGRON

* In the flat-color vein of that Tom Scioli American Barbarian page from the other day comes the cover to Chuck Forsman’s Snake Oil #7.

* Another cover! This one for Everything Together: Collected Stories by Sammy Harkham, due from PictureBox in September.

* Ross Campbell draws Katniss & Peeta from The Hunger Games. Apparently he hated the movie, but Ross has idiosyncratic taste in movies, from what I can gather.

* My god, look at these pages for Vasilis Lolos’s forthcoming Electronomicon. Next level for Lolos, like an 8-bit Al Columbia. I hope this one actually comes out.

* A pay-cable series based on Clive Barker’s Nightbreed could be magnificent, but as with most of Barker’s potential live-action projects it’s best to see it before you believe it. (Via Jason Adams.) Elsewhere, Barker talks to his fansite Revelations about his recent, extremely grave illness — toxic shock brought on by a trip to the dentist that put him in a coma and damn near killed him.

* Frank Santoro on recent minicomics from Michael DeForge, Jesse McManus, and Chuck Forsman.

* Finally, the Happiness anthology’s crowdfunding campaign is nearing completion, while the publisher Sparkplug’s is about halfway there with a month to go — go donate and get some good comics in return.

q v i e t
Andy Burkholder, writer/artist
ongoing webcomic, May 2011-present
Read it at qviet.tumblr.com

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

* The nominees for the Doug Wright Awards, comics’ classiest award slate, have been announced. A strong selection of respectable choices, but no so strong that you won’t want to pick winners. And only three categories! A marvelous way to run a railroad.

* The Sopranos vs. The Wire, officiated by Matt Zoller Seitz. ‘Nuff said.

* Somehow it’d escaped my notice that the makers of The Art of Daniel Clowes have a Dan Clowes blog stuffed with rarely-seen Clowes goodies. Fixed! My eye naturally gravitated to this selection of Eightball t-shirts and this unpublished comic starring Vida from Eightball #22/Ice Haven. (Via Tom Spurgeon.)

* My collaborator Matt Rota has an art show opening up in the Last Rites Gallery Manhattan in a few weeks. It’ll be pretty.

* Benjamin Marra’s got a show coming up, too. It probably won’t be pretty, strictly speaking.

* Some strikingly cartooned Michael McMillan art in this brief profile by Dan Nadel.

* I often think to myself “Self, you should post more art by COOP.” Done and done.

* Renee French is a national treasure.

* Jillian Tamaki made a lovely-looking SuperMutant Magic Academy minicomic, but it’s all gone.

* Stunning use of flat color by Tom Scioli in American Barbarian, about which he is interviewed extensively by Tom Spurgeon at the link.

* Ryan Cecil Smith draws Nat King Cole.

* Michael DeForge is in an anthology with Kramers Ergot 8 space-age standout Robert Beatty called Rat Hex. I mean, Michael DeForge being in anthology isn’t the surprising part, he’s in every anthology (except that Kramers), him being together with Beatty’s a two great tastes deal is all.

* Ross Campbell draws Leonardo. It’s weird to say “gorgeous” about a drawing of a Teenage Mutant Ninja Turtle, but there you have it.

* Fortunately, the Happiness Comix tumblr appears to have exaggerated rumors of its own demise, but it’s mainly posting a smattering of art from the unrelated Dimensions anthology. I am not complaining. (Below: Hiromi Ueyoshi, Tim Beckhardt, Tom Toye, Lincoln Bostian, Bethany Price.)

* Fanmaking Moebius art selections from Monster Brains and Same Hat.

* “If you ever see a one-armed bunny, you’ll know it used to be an evil wizard.”

* FIONA ÜBER ALLES

* Jason Adams loved The Hunger Games, which overcame his initial casting skepticism, as it appears to have done with virtually every human being. I’m gonna make an effort to see this one in the theater.

* Deadwood creator David Milch said he knew the show was ending when he wrote the finale for Season Three, which most people have long believed to have been a wholly inadvertent series finale regardless of how thematically appropriate a capstone to the whole show it would have been. I feel like this is something he might have let us know earlier!

* You can get loads more Game of Thrones stuff at the gettin’ place, including four excellent new preview/trailer/featurette things and George R.R. Martin reading a new preview chapter from The Winds of Winter.

* The Press Play blog did a series of video tributes to Mad Men in anticipation of the season premiere; the one below is my favorite.

SuperMutant Magic Academy
Jillian Tamaki, writer/artist
Ongoing webcomic, December 2010-present
Read it at MutantMagic.com

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

* For pete’s sake, someone please hook Rick Trembles up.

* These “q v i e t” sex comics are wondrous. Sexy, funny, dissonant, imaginative, as sex tends to be at varying times. (Via Conor Stecschulte.)

* Big PictureBox sale all month long!

* Have I used the “Brian Chippendale is the best he is at what he does, and what he does is write lengthy, funny, thoughtful essays on the on-page and off-page ethics of Marvel comics” formulation yet? Because if not, let me do so here.

* Great news for film fans: Bordwell and Thompson celebrate the tenth edition of their seminal Film Art by partnering with the Criterion Collection for online examples of the techniques they discuss in the book. By the way, “seminal” gets tossed around a lot, but get this: “Film Art was the first introductory film textbook to use frame enlargements rather than publicity photographs as illustrations.” Let that sink in for a moment.

* Michael DeForge starts collecting his own go-to tropes. He seems a bit anxious about repeating himself, but I think it’s a lot of fun to have amassed enough work that you start to notice things repeatedly popping up without your having intended to put them in there. Related: Read Leather Space Man and Abbey Loafer and Military Prison and and and…

* Ben Katchor’s “Logo Rage” is his funniest, bleakest strip in some time. Go read the whole thing.

* Jason tries crosshatching.

* Hot stuff from ADDXSTC fave Conor Stechschulte.

* Meanwhile, Conor’s Closed Caption Comics compatriot Andrew Neyer has a new series of panel paintings I quite like.

* Aeron Alfrey’s not just the President of Monster Brains, he’s also a client.

* Upon the great artist’s death, Joe McCulloch and Chris Mautner select six essential Moebius books. It’s amazing to think that more well-done, in-print English editions exist for Jacques Tardi or Lewis Trondheim than for Moebius, but that’s where we’re at and where we’re likely to remain.

* Bruce Baugh on California gothic (The Lost Boys, Blue Velvet, Invasion of the Body Snatchers, etc.).

* Remembering the “go-motion” animation technique of Phil Tippett. This is what “real” looks like to me, in terms of movie monsters.

* Longtime friend of the blog Jason Adams of My New Plaid Pants counts down his Top 20 Movies and Top 10 Scary Movies of 2011.

* Animals are killed during the making of all shows and films. How do you think catering and craft services get their chicken and burgers and whatnot, the meat fairy?

* Finally, the trailer for Ridley Scott’s Prometheus isn’t as good as you’ve heard…it’s better. Charles Barkley was right when he said that any knucklehead can cut together an awesome trailer (I think that’s what he said), but even so. This thing is pretty much predicated on validating your continued belief, over the course of decades and in the face of reams of inferior entertainment-product based thereupon, that the concept at its core is just as majestically horrifying as you remembered it to be. Well done all around.

I interviewed the ubiquitous Jonny Negron for The Comics Journal.

* I suppose now’s as good a time as any to let you know that I reluctantly retired from Robot 6 in mid-January due to time constraints. I miss everyone over there and hope you’ve still been reading them in the months since — I have and will continue to do so!

* With Game of Thrones Season Two set to debut on April 1, I’ve naturally been blogging up a storm at my dedicated GoT/A Song of Ice and Fire blog All Leather Must Be Boiled. I’ll probably do a separate best-of carnival post here this week. I’ve also got one of my trademark Secret ASoIaF Project Announcements coming up soon, with any luck, so stay tuned.

* Everything about the cover for Josh Simmons’s forthcoming Fantagraphics horror-comics collection The Furry Trap makes me uncomfortable.

* Drawn and Quarterly will be republishing Brian Ralph’s Highwater Books classic Cave-In for their children’s line. Smart thinking. That’s a terrific, eye-opening book — like all of Highwater’s Fort Thunder output it hit like a thunderclap at the time.

* In addition to today’s wonderful news about Jonny Negron’s debut book from PictureBox, he also appears to be cranking up the posting of art to his tumblr, which is great news OBVIOUSLY.

* Speaking of ramping it up, Gabrielle Bell is apparently forcing herself to produce more diary comics, as she announces in a post that’s far more self-effacing than it has any need to be.

* I’ve been meaning to say that Jesse Moynihan’s Forming has been really good lately.

* Kate Beaton’s sketches and diary comics are much less ruthlessly gag-oriented than her strips — they pretty much just capture moments, like this one.

* Frank Santoro profiles Zack Soto and his excellent Study Group webcomics site, with an emphasis on how Zack’s reformatted his Secret Voice comic from print to the web.

* Speaking of Study Group, Aidan Koch’s new strip for it, The Blonde Woman, is lovely.

* Press Play’s series of posts describing the plot of Breaking Bad based solely on the show’s opening pre-credits sequences continues to be delightful.

This gets its own post:

Negron
by Jonny Negron
Softcover
80 full color, high gloss pages
6″ x 8″
$19.95
PictureBox, September 2012
more here

Pope Hats #1-2
Ethan Rilly, writer/artist
#1: self-published, 2009
32 pages
$4
Buy it from AdHouse
#2: AdHouse, 2011
40 pages
$6.95
Buy it and read a preview at AdHouse

You know, I was gonna be harder on these before I started flipping through them again in preparation for actually writing this review? I have no objection to slice-of-lifers, obviously, even stylized ones like these — the kind where everyone’s dialogue is constantly “on” (“Don’t you want to say goodbye to Peter?” “If by Peter you mean ‘my bed’ and by goodbye you mean ‘pass out in,’ then yes. Yes, I want to say goodbye to Peter immediately.”), and where the lead occasionally talks to a cartoon ghost, and has a boss who looks like the Kingpin, meditates in the lotus position in his office, dictates all his correspondence (including grocery lists) to three assistants in lieu of owning a computer, and lives in an adjoining hotel so he never has to go outside. What’s more, Rilly’s cartooning is absurdly proficient and elegant. I wish I could remember who I’m stealing this from because it’s the perfect way to describe it, but you really could sit Rilly down next to his fellow (mostly) Canadians in the core Drawn & Quarterly line-up — Seth, Adrian Tomine, Joe Matt, mid-period Chester Brown — or for that matter next to Los Angeles’ classy classicists Jordan Crane and Sammy Harkham, and he wouldn’t look the slightest bit out of place. But speaking of fellow Canadians (and of Los Angelenos, at this point), there’s a healthy dose of Bryan Lee O’Malley’s comparatively contemporary portraits of young urban semi-professionals in there along with the standard Gray/Segar roots, an influence the aforementioned snappy, showy speech and not-quite-magic realism only make clearer by the end of Pope Hats‘ second issue. The problem is that it’s all a bit too dazzling to actually get into, at least for me. Every word uttered, every gesture gestured by studious law-clerk lead character Frances and her drunken whirligig actress roommate Vickie is designed to drive home just how them they are at all times. If the story, such as it is at this point, is one of young people feeling locked into the personae and professions they’ve chosen themselves, then Rilly’s conveying this all too well — I never felt like the characters had been given the freedom to surprise him or me. (You could perhaps say the same for the whole package as comics, if you were feeling less than charitable. The random-ass title, the self-effacing tone of various bits of incidental copy here and there, supplementary short stories in which ironically verbose schmoes wax philosophical about the ineffable joy and dread of modern life — the only way it could be more of a ’90s altcomix solo-anthology throwback is if it had a letter column full of people asking permission to turn it into a student film.)

But that’s all just how I remembered the comics from my initial read; much of it vanished upon that aforementioned flipthrough, which ended up feeling like a tour of Pleasuretown. For all I may object to the flippant patter, Rilly has a terrific eye and ear for the intersection between a person and her job, and how what she does during work hours and off hours alternately aligns and contrasts in revealing ways. Vickie is a manic pixie dream girl for guys and something of an alcoholic trainwreck for her roommate Frances, but she’s also a compelling actress in local productions. Frances is dutiful at work and at home to the point of drudgery/neurosis, but she tells a pair of spooky true stories at the end of issue #1 — in medium-closeup direct-address Brian Bendis fashion, no less — that both showcase how well comics can do that sort of thing and demonstrate how her attention to detail can manifest itself as an engaging facet of her personality during her free time. Issue #2’s backup story “Gould Speaks” hits its “intellectual blowhard actually quietly emotionally wrecked by a breakup” note a little hard for my taste, but watching Rilly fill out the space of the bus on which the title character is taking a cross-country trip by almost constantly shifting angles from panel to panel is a multi-dimensional joy, and when the true meaning of the story’s title is revealed, I laughed out loud. And of course there’s the fact that Rilly is a fucking phenomenal drawer — of hair, of ceiling fans, of city streets, of bar interiors, of beds, of pretty much anything. See the cover of issue #2? The inside’s just as pretty. It’s that kind of comic. In other words it’s a good kind of comic — it could be better, yeah, but isn’t that what issue #3 is for?

A foundational imagination.