Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Snow Time by Nora Krug, self-published — like one of those little Christmas-village dioramas in a store window with a dead body in it.

Snow Time hides some rough stuff beneath its pretty surface, this time around telling the story of a man whose mother’s suicide has left him with dangerous abandonment issues. None of this is made clear until the middle of the story, after which the man’s apparent delight and attention to the snowman he’s built in his front yard in the middle of a weeks-long spate of snowstorms takes on a new (albeit only implied) punchline quality, and it’s a refreshingly chilling one.

Click here for a full review and a link to read the comic online for free (albeit in German).

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010 — or in this case, a comic from 2009 I did not read until 2010. Today’s comic is The Book of Genesis Illustrated by R. Crumb, published by W.W. Norton — it’s about God, but it’s really about watching one of our greatest artists draw humans.

Captivating, illuminating, at times laugh-out-loud funny, and almost belief-beggaringly gorgeous, R. Crumb’s ambitious adaptation of the Bible’s first and foundational book hit pretty much every note I wanted to hear from such a project.

For starters, as a showcase of Crumb’s drawing chops–masterful even in his old(er) age–it’s tough to top. I’m aware of the criticism that it could have been subtitled Beards on Parade, and I reject that criticism, or rather I invert it: the beard parades were among the best parts! And they’re perhaps the most emblematic sections of the entire book, in that they boil Crumb’s project down to its essence. Genesis’ long multigenerational tale of the patriarchs of the Israelites and their large extended families necessarily includes a lot of hirsute dudes in Cecil B. DeMillian garb, and at times even substitutes litanies of their names for any actual story or plot. So what you get during the long lists of sons or what the back cover jocularly refers to as “The ‘Begots’” is a bit like folding one of Crumb’s sketchbooks into a comic. As the generations rattle by, Crumb draws scene after one-panel scene depicting some family activity at random: A mother nurses and laughs as her other son runs past playing; another mother breaks up a fight between two kids; people dance and drink at a party. At other times he’ll simply insert postage-stamp panel portraits of each person, inventing them out of whole cloth, and the act of reading becomes a master class in how many variations of the human face can be captured by one artist. In each case, through Crumb’s attention to detail, mastery of crosshatching and stippling, and rock-solid carved-from-clay character construction, an entire life, and the world that surrounds it, is suggested in the space of a panel.

Click here for a full review and purchasing information.

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010 — or in this case, a comic from 2009 I did not read until 2010. Today’s comic is GoGo Monster by Taiyo Matsumoto, published by Viz — kids in a world all their own, with all the terror and possibility that entails.

Planes fly low overhead, their departure and destination unknown. A rabbit run is the only world its furry inhabitants ever know, and one of them disappears without any of its fellows or minders able to say how or to where. I have no idea if “perspective” has the dual meaning in Japanese that it does in English, but Matsumoto frequently skews and warps it so that the school leans in on its inhabitants. One pivotal character literally sees the world from inside a cardboard box. Most importantly, except for one key sequence I won’t spoil here, our heroes never leave the school grounds, and on the one occasion that parents visit, they are viewed only from a distance.

In short (haha, yeah), Asahi Elementary is the world for Yuki, who is either psychically sensitive or psychologically impaired; and for Makoto, the new kid at school who befriends Yuki out of what seems more like a fascinated respect for his indifference to his peers than any kind of Heavenly Creatures-style shared psychosis; and for IQ, the eccentric-genius older kid who says he’s no more capable of taking a test without wearing his customary cardboard box than a normal person would be if forced to wear one. Their problems are solely their own and completely inescapable. If they don’t solve them, they won’t be solved.

Click here for a full review and purchasing information.

Boy’s Club #4
Matt Furie, writer/artist
Pigeon Press, October 2010
40 pages
$6
Hopefully buy it from Pigeon Press someday
Buy it from Secret Headquarters
Buy it from Atomic Books

The Top 10 Best Lines from Boy’s Club #4

10. “Nice assets”
9. “Can I have one?”
8. “Classic shit man”
7. “Another Sexy Bald Guy”/”I Love My Fuzzy Papi” [tie]
6. “Yer mom has a nice Countach”
5. “La Cucaracha”
4. “Ever tried pulling apart a grilled cheese sandwich?”
3. “Lights out gentlemen”
2. “Hey, that’s my washcloth”
1. “Clooney nailed it!”

Merry Christmas to all, and to all a good night!

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010 — or in this case, a comic from 2009 I did not read until 2010. Today’s comic is Footnotes in Gaza by Joe Sacco, published by Metropolitan — the comics journalist’s abyss-gazes-also moment.

[One of the strongest sequences in the book is a] reminiscence by an old woman, recalling how she found her husband in the chaos after the book’s central round-up took place. Two panels show him fleeing for his very life, panicked and paranoid, mouth agape, eyes darting to and fro, a look of raw animal terror on his face–until in the third panel his wife literally catches him as he runs, looking up at him plaintively as he turns toward her mid-stride, the fact that he’s been grabbed by the woman he loves and not by…someone else clearly still not having registered. In that moment I tried to imagine what it would be like for my wife to see that look on my face, the look of all other thought and emotion and sentience out of my eyes, the look of a lifeform’s basic, primordial desire just to survive the next moment.

Click here for a full review and purchasing information.

* Dirk Deppey’s farewell post at Journalista is big-hearted and gracious, and thus out of character for the irascible sonofagun. Aw, I kid — Dirk gave me my “big break” as a comics critic, as he did with many other denizens of the then-nascent comics blogosphere, by hiring me to write for The Comics Journal, an institution that, whatever its subsequent faults, he opened to manga and “mainstream” comics like never before. Even before that, his facilitation of conversation between distant blogs made him a pioneer in online comics discourse and thus a central figure in the last decade of comics criticism. If NeilAlien is the father of comics blogging, Dirk Deppey is the father of the comics blogosphere. Good luck, Dirk!

* If you can forgive Time’s absurd hit-whoring slideshow format, which is not the sort of thing that should be rewarded but is also not the fault of the fine critic and swell person Douglas Wolk in any way, then you can read his Ten Best Comics and Ten Best Graphic Novels of 2010.

* Tom Spurgeon interviews the fine young critic Matt Seneca. I say “young” not because age matters, but because seriously, here is a person who started blogging about comics after Afrodisiac came out. He’s a new breed.

* Real Life Horror: The Obama Administration unveils their kinder, gentler indefinite detention policy.

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Young Lions by Blaise Larmee, self-published with a Xeric Grant — the emergence of an aesthetic is a joy to behold.

…when I said Larmee is dragging the beauty of this art style forward, I meant that literally: As opposed to CF’s side-scrolling distance, we’re in constant close-up close quarters with this quartet. Their reclining bodies occupy entire panels, their upturned, closed-eye’d faces appear inches away from our own, the background details are all but nonexistent. It’s tough to stand in judgement of people you’re seeing primarily through the POV you’d get if you were about to make out with them, you know?

It’s that intimacy that makes Young Lions successful, that makes the whole greater than the sum of its parts. Yes, these are assholes. But who–especially among artists and arts-interested people of the sort who’d buy a Xeric-winning self-published graphic novel such as this one–hasn’t been an asshole? Who hasn’t been friends with assholes, worked with assholes, been impressed by the creative output of assholes, been disappointed with the creative output of assholes, fallen in and out of love with assholes?

Click here for a full review and purchasing information.

* Today Marvel announced its next event comic: Fear Itself, with a core miniseries by Matt Fraction and Stuart Immonen. It sounds like fun in the heroes vs. villains mode Marvel’s modern mega-events have traditionally lacked, and best of all if you like me are a giant nerd, the Hulk and the X-Men are neck-deep in this one too. Click that link for my thoughts on what this says about Marvel’s view of its “Heroic Age” experiment with smaller mini-events.

* Also on Robot 6 today: Tom Brevoort’s and Brian Hibbs’s recent diametrically opposed comments on the effect the proliferation or reduction of titles starring the same character(s) has on sales. Some commenters take issue with my read on this, but I do think I have it right: Based on their own constructions of the issue, one of them is flat wrong about this. Or both! Brian himself clarifies things in the comments.

* It’s always fun when folks stumble across the antecedents for Benjamin Marra; in that vein I give you Joe McCulloch on Joe Vigil’s Dog.

* My sudden-onset appreciation for the comics of Gabrielle Bell has been one of 2010’s great comics-reading pleasures for me.

* Longtime ADDXSTC readers may recall that my interest in World of Warcraft first arose from my enjoyment of videos in which players engaged in some grade-A jackassery of the sort not envisioned by the game’s creators. In that vein, I present “300 Naked Orcs”: Three hundred players created entry-level orc characters and simultaneously attacked an 85th level NPC that no one ever expected anyone to be stupid enough to try to kill. And they killed him. It’s a thing of idiotic beauty.

* DeNiro, Pacino, and Pesci in Scorsese’s next Irish-gangster picture? I’ll eat that shit whole. (Via Alex Segura.)

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Werewolves of Montpellier by Jason, published by Fantagraphics — to quote an Album of the Year of the Day, everybody knows he’s a motherfuckin’ monster.

You have to be a real expert in Jason-character physiognomy to even be able to tell that the lonely expat main character in Werewolves of Montpellier is sometimes wearing a werewolf mask. After all, the guy’s an anthropomorphized dog at the best of times. In the end, that ends up being the gag. You’re not some uniquely unlovable monster, you’re just a guy with problems, like anyone else…

Click here for a full review and purchasing information.

* Dang: Dirk Deppey has been let go. Take it from someone who was there: Dirk midwifed the comics blogosphere as we know it. Vaya con Dios, Journalista — most of us wouldn’t be here if not for you.

* Two great Quotes of the Day today on Robot 6: Ta-Nehisi Coates on comics as the literature of outcasts (fun, potentially corroborative fact: all of my gay friends are also big nerds);

* and Joe Casey finds today’s superhero comics boring. Oddly, so do I, for the most part, and judging from multiple conversations I’ve had recently, so do a lot of people I know. There are some counterexamples, certainly, and hopefully I’ll get a chance to talk about them if I can collect some thoughts. (Here’s one that’ll be going in: the conclusion to Brian Hibbs’s year-ender essay on the troubles faced by the Direct Market.)

* The Joe Casey quote comes from Tom Spurgeon’s excellent interview with him, which kicks off Spurge’s Holiday Interview series for the year. Curling up next to my in-laws’ dogs in Colorado while reading these things on my laptop genuinely is one of my favorite Christmas traditions. I look forward to the rest of ’em. As for this one, Casey’s Ben 10 insulation from repercussions for calling a spade a spade has made him one of the most consistently entertaining interviews in comics on a “here’s where the bodies are buried” level.

* Speaking of Spurge, in this piece on his favorite WildStorm comics he makes the case for that incest storyline from Alan Moore and Zander Cannon’s Smax, the idea being that it’s a jarring enough custom that it makes us feel the kind of response that the characters themselves would feel, instead of setting up afterschool-special-type mustache-twirling antagonists who are racist or homophobic or some other thing we in the audience can gloss right over as “bad guys!” The idea is that it’s sort of the narrative equivalent of the way Shaun Tan used the fantasy elements of The Arrival to better simulate for readers the disorientation of the immigrant experience. It’s smart; given that Moore has shown himself to be prone to afterschool-special literalism in this area — including in Smax‘s fellow Top 10 spinoff The 49ers — I’m not sure I buy it.

* Marvel has made a big deal out of how Fantastic Four will be ending after the current “Three” storyline, which ostensibly will kill one of the Four; today they announced that the Fantastic Four creative team will be launching a new series called FF in March. I don’t understand these kinds of maneuvers. Do they even really goose sales anymore beyond the #1 issue? I mean, these things can work fine if you’re Grant Morrison, but Hickman and Epting are having a swell run on Fantastic Four, and to me the gimmickry just distracts from it.

* Kevin Huizenga has posted three new Fight or Run strips! Someone with more influence over Kevin Huizenga than I have should beg him to make this a weekly webcomic.

* The great Norwegian cartoonist Jason, of all people, pretty much nails Zack Snyder’s Watchmen, or at least what I think of it, right down to some very specific points of comparison with how it probably ought to have been filmed, and to calling out the silliness already present in the original. That said, it seems pretty clear that I like both the comic and the movie a lot more than Jason does.

* Vice’s Nick Gazin says some smart things and some stupid things in his latest comics review round-up, which is par for the course, but it’s entertaining either way, which is also par for the course. (Seriously, PictureBox haters are the new Fantagraphics haters.)

* Ooh ooh, Teenage Wasteland: The Slasher Movie Uncut by J.A. Kerswell — a Portable Grindhouse/Destroy All Movies!-style book about slasher flicks!

* Benjamin Marra’s ROM: Spaceknight art is now available as a one-of-a-kind print to raise money for Bill Mantlo’s medical bills. Bid on the thing — as of this writing it’s available for freaking $9.99! (Via Zack Soto.)

* Emily Carroll is a real talent.

* Dave Kiersh is a real talent.

* I can’t wait to talk about Battlestar Galactica with Curt Purcell.

* And here’s another Quote of the Day, this time music-related: Scroll to the bottom of this page from Pitchfork’s Artist Guest List Best of 2010 feature to read OMD’s Andy McCluskey thoughtfully and passionately explain the brilliance of Robyn.

* I think this Alyssa Rosenberg piece on Game of Thrones for the Atlantic (WARNING: more spoilery than I’m comfortable with) fairly misses the boat. Rosenberg argues that the show will require more “sustained leaps” of belief than not just series like The Sopranos and The Wire, which require us to suspend our potential disbelief that murderers struggle to behave decently and contribute usefully in other ways, but also shows like True Blood or The Walking Dead, which depict fantastical things happening “firmly within the existing world” and “in a world discernibly our own” respectively. But the appeal of the Song of Ice and Fire books, and presumably the series, absolutely is that the characters’ motives and their societies’ constructions are recognizable from where we stand, the occasional dragon or bit of sorcery notwithstanding. The fact that it doesn’t take place on “Earth,” not even the alternate near-future Earths of Sookie Stackhouse and Rick Grimes, makes no difference in terms of the show’s approach. (Its reception might be a different matter, but only because swords and armor and accents make a lot of people think “old-timey” and tune out, and that’s not what she’s talking about; she’s saying things like that the show’s in a class by itself because it’ll have “to convince viewers not only that dragons are real, but that they are a literal bulwark against a real and frosty evil,” which in reality is just a difference in degree from “vampires exist and want marriage rights,” not in kind.) “The Sopranos with swords” is dead-on, if the show is done right.

* Finally, no idea how I missed this, but on December 16th George R.R. Martin wrote that he “might have an exciting announcement…maybe two” on January 9th at the Game of Thrones TCA thingamajig in Los Angeles. I suppose it’s easy enough to guess what the first exciting announcement is, but what about the second? I’ll bite: I’ve often wondered if he was actually writing the next two Song of Ice and Fire books at once…

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Lose #2 by Michael DeForge, published by Koyama — the breakout artist of the year.

DeForge’s actual comics, as contained in these two issues, are straightforward, funny, and sharp as a knife. Inside, he wields a precise line to create character designs that read like a slightly more avant-garde version of what you might see on a post-millennial Nickelodeon cartoon. The storytelling and punchlines are always crystal-clear even as the material bounces back and forth between long-form, surreal horror stories and laser-precise gag strips….In issue #2, virtually all the page space is devoted to a long and no-fucking-around nasty horror story about a little kid who manages to domesticate a large spider whose brethren are simultaneously ushering in a quite lethal and disgusting plague-style demise for his uncaring family and abusive classmates. Imagine Skyscrapers of the Midwest weaponized and you’re almost there….DeForge has landed himself on my must-watch list.

Click here for a full review; unfortunately, this comic is out of print and unavailable.

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

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

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

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

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

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

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is High Soft Lisp by Gilbert Hernandez, published by Fantagraphics — Gilbert Hernandez vs. Gilbert Hernandez, to the death.

I’ve never seen a cartoonist so thoroughly dismantle–discredit–his own artistic preoccupations.

In High Soft Lisp, Gilbert traces the relationship history of Fritz Martinez, the ultimate sex goddess in a career full of them, and in so doing reveals that her every fetish outfit and sexual free-for-all is fruit from the poisoned tree. Lots of characters in this book enjoy the living shit out of Fritz’s sexuality, not least Fritz herself, but to a man and woman they’re revealed to be creepily predatory about it, embracing the worst in themselves and encouraging the worst in Fritz. And here’s the thing: What have we been doing over the hundreds of pages we’ve spent watching Fritz adorably and kinkily fuck her way through the post-Palomar cast of Beto’s comics? What has Beto been doing? What does that say about all of us?

Click here for a full review and purchasing information.

* Craig Thompson says “Habibi production is stuck in limbo.” In a good way, I hope?

* Mike Mignola tells CBR some more about his forthcoming Hellboy plans, including collabos with Kevin Nowlan, Richard Corben, and his own bad self. I especially enjoy the news that he may start treating Hellboy like an altcomic in terms of numbering; rather than label things “issue #2 of 6” or whatever, he’ll just start from #1, and they’ll come out when they come out, and the stories will finish when they finish. Hell yeah.

* Murderers’ Row: Sammy Harkham, Gabrielle Bell, Anders Nilsen, Kevin Huizenga.

photo by Dan Nadel

* Tucker Stone has his “WE are the walking dead!” moment. This is a great column on some of the year’s worst comics, worth both reading and just scanning through the horrifyingly awful panels Tucker picked out to illustrate. And seriously, stop buying terrible comics. (I do straight-up enjoy those last two images, though.) Moreover, right near the top of the piece Tucker rattles off a rock-solid best of 2010 list that covers superhero comics, alternative comics, and “fusion comics” alike. (Via Kevin Melrose.)

* Hey, Closed Caption Comics’ Ryan Cecil Smith has his own blog! (Via Tom Spurgeon.)

* This episode of a geek podcast named Bear Swarm! leaves no doubt that it is an episode of a geek podcast with a name like Bear Swarm!, if you know what I mean, but it also features a lengthy, geekish interview with George R.R. Martin about the Song of Ice and Fire novels, so I do recommend listening to that part.

* Eve Tushnet on Eyes Wide Shut and the pleasure of finding pleasure in occasionally less-than-pleasurable art:

I don’t think I’ve been nearly attentive enough about restraining this tendency in myself: the tendency to summarize, to grade. To say, “This movie was fantastic in ways x, y, and z, but ultimately failed/succeeded because q.”

It’s that “ultimately” which I need to work harder to avoid. Art is not an exam! You don’t pass or fail.

* Mark Bagley is returning to Ultimate Spider-Man, one of my favorite superhero titles for years and years on end now. I think it’s safe to say that his work for DC showed that Ultimate Spider-Man is where he belongs, although let’s be honest, David LaFuente creams anyone else who ever drew that book.

* In further news related to the good Brian Bendis comics, They’re making a TV show out of Alias. I’m not confident it’ll be any good, based simply on the track record of adaptations of any and all genre comics. It occurred to me yesterday that I could list all such adaptations I consider to be genuinely creatively successful on one hand and still have fingers to spare.

* Pure Sean crack: Ta-Nehisi Coates slags superhero movies for their smallness, praises The Lord of the Rings for its bigness. I’m telling you, I remember so vividly the 20-minute sneak-preview I was able to attend after the Cannes Film Festival, when they were screening the Mines of Moria sequence for critics. I went with a skeptical friend, and we left astonished. The instant Legolas fired that arrow and we traveled with it as it traversed that vast chasm and hit that orc, who then plummeted into the abyss, I realized: They’ve gotten the scale right, for the very first time in the history of fantasy cinema.

* Speaking of Coates, I understand why American fiction writers used to be so smitten with the idea of ex-Confederate soldiers righting the wrongs inflicted on them and theirs by Union thugs. I don’t understand why they’d still be smitten with it today. Or maybe I do, sad to say.

* Finally, a little Real Life Horror (and let’s face it, for the next two years that could be the name of any given Congressional Beat column) for your weekend: My congressman, the odious, racist (and not incidentally IRA-supporting) Peter King, will be heading up a McCarthyite committee to “investigate” American Muslims come the next Congress. Fuck this asshole, fuck anyone who thinks this is a good idea, fuck this failed-state country of ours, hallelujah, holy shit, where’s the Tylenol.

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is The ACME Novelty Library #20 by Chris Ware, published by Drawn & Quarterly — the single best comic I have ever read.

What makes a life? Is it the narrative we assemble in retrospect from the sights and sounds we remember best? Is it like comics in that regard, a combination of words and pictures stacked together to tell a story? To what degree do we act as our own cartoonists, then, picking and choosing the right combination of words and pictures to tell the story of ourselves we most want to hear? Is it possible that the way we misremember things tells us more of that story? What about the words and pictures we skip entirely?

Click here for a full review and purchasing information.

* I’m proud to present Superheroes Lose, a new tumblr in which I’ll be posting comic covers and promotional art featuring superheroes losing. In part I’m doing this because I think these things are unintentionally hilarious; in part I’m doing it because I have some half-baked ideas on what these things meeeeeeeean, and having a lot of them in one place may help me shake those ideas loose.

* That being said, I’m quite excited about the image above even aside from its Superheroes Loseworthiness, because I think it means that the Hulk — the plain old Bruce Banner green Hulk — will be involved in a major, Avengers-driven (was that redundant?) Marvel event for the first time in the modern event-comic era. (World War Hulk doesn’t count — that was really a Hulk comic blown up big, and the event angle came from fighting the Illuminati, not the Avengers, Marvel’s modern flagship team.)

* Here’s a heck of a find: a live-action short-film adaptation of Charles Burns’s Black Hole by director Rupert Sanders. As best I can tell it’s sort of smushing several scenes from different points in the book into one long thing, so it’s not necessarily the most accurate adaptation (especially if you have Keith’s first encounter with Eliza memorized panel by panel), but it’s fine work regardless, atmospheric in a way these things usually aren’t and true to the spirit of the thing. (Via Jason Adams.)

* Johnny Ryan (!!!) interviewed Robert Kirkman and Tony Moore about The Walking Dead for Vice, with suitably juicy results. (Via Kevin Melrose.)

* Tom Kaczynski’s Uncivilized Books imprint is now a going concern, with comics by Tom, Gabrielle Bell, and Jon Lewis. Check it out.

* Tom Spurgeon reviews Two Eyes of the Beautiful II by the very talented Ryan Cecil Smith of Closed Caption Comics fame.

* Ta-Nehisi Coates on the appeal of superheroes — and supervillains — to marginalized groups beyond traditional geeks.

* I’m linking to ComixTalk’s 2010 digital/webcomics roundtable — featuring such august personages as Heidi MacDonald, Brian Heater, Brigid Alverson, Gary Tyrrell, Lauren Davis, and Larry Cruz — because it features my chum Rick Marshall of MTV Splash Page saying very, very complimentary things about Destructor, but even beyond that it’s stuffed with links to comics that come recommended by the participants and as such strikes me as a great way to launch a lazy pre-holiday weekend afternoon’s reading in a couple of days.

* Matthew Perpetua doesn’t like the gratuitous use of rap patois in hip-hop reviews, and the inconsistent application of stage names depending on the genre being talked about. I think in both cases this stuff is mostly showoffy; it’s interesting to see the differing directions that takes depending on whether or not hip-hop’s in the spotlight.

* Congratulations to The Country Club for mashing up Super Mario Bros. and Grand Theft Auto juuuuuuuuust about perfectly. I laughed out loud on the train at the ending. (Via Topless Robot.)

* Presume not to instruct Curt Purcell on matters pertaining to the Groovy Age of Horror when recommending Scissor Sisters videos, for he is subtle and quick to post far, far more pertinent giallo videos. Here endeth the lesson. Seriously, music people who read this blog, if you enjoyed the video for “Invisible Light,” you must click that link and watch Curt’s videos. Nude for Satan, ladies and gentlemen. (But aren’t we always?)

* Slowly George R.R. Martin turned, step by step, inch by inch…

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Death Trap by Lane Milburn, self-published with a Xeric Grant — looks like a creature feature, feels like something far more unsettling.

Everything he does well, he does as well as he’s ever done it here: Immersive environments, crosshatched and “lit” to look like they were constructed from solid smoke. Weird, ugly monster designs that connote some sort of infectious sickness of reality as much as they do simply somethin’ scary….And perhaps the most finely tuned sense of queasy, bottom-just-dropped-out horror and madness you’ll find in comics this side of Al Columbia.

Click here for a full review and purchasing information.

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is It Was the War of the Trenches by Jacques Tardi, published by Fantagraphics — a furious comic, furiously cartooned.

With the exception of the introductory story, this entire book features three tiered panels per page. In superhero comics this format is known as “widescreen”; it connotes power. It’s powerful here, too, but it’s a power to oppress and crush rather than soar or punch in action-movie style. They’re like miniature trenches.

Click here for a full review and purchasing information.

X’d Out
Charles Burns, writer/artist
Pantheon, October 2010
56 pages, hardcover
$19.95
Buy it from Amazon.com

Even more so than in Black Hole, the images Charles Burns creates here are small, dense, and inescapable. An abundance of tightly gridded pages filled with repetitive head-on close-ups or point-of-view shots. An avoidance of establishing shots unless they’re designed to mimic what our protagonist Doug sees, nine times out of ten with him on the left-hand side of the panel, our eyes’ transit across the image locked to his own. Narrow rectangular panels consisting of nothing but unbroken fields of disembodied color — some conveying something clear, like maroon panels for the drug-induced unconsciousness brought on by maroon pills, others whose meanings are less clear but no less demanding of our attention, denying us access to anything but that particular color for that particular panel. The recurring use of photographs, sealing a single moment in time. The arising of recurring images unbidden into Doug’s head, single glimpses of scars, cigarette burns, black cats, fetuses, a nude, holes. The way those images weave themselves in and out of both his ostensible real life amid art-punks in the late ’70s and his dream-state/hallucination/extradimensional excursion/whatever it is, and the way that implies that they’re some sort of indelible fabric binding his existence together, like his life could be reduced to these eggs and holes in the wall and black-haired women and black-haired cats and drowning animals. The images are stronger for Burns’s more intense focus on the finite and discrete, on individual moments and objects. Their gravitational pull colors and distorts everything else we see. In much the same way that Doug’s plastic Tintin mask carves away extraneous detail until all we’re left with is the idea of a face, X’ed Out is a story of how both memory and dreams boil our lived experience down to the iconic essentials, however unpleasant they may be. This book could just as easily and accurately have been called 0’d In.

Every day throughout the month of December, Attentiondeficitdisorderly will spotlight one of the best comics of 2010. Today’s comic is Wilson by Daniel Clowes, published by Drawn & Quarterly — a comedy-of-cruelty masterpiece.

I don’t think the kaleidoscopic array of styles in which Daniel Clowes drew Wilson says much of anything. I think that’s the gag….Draw it how you will: Wilson’s always there, in medium close-up more often than not, a wide-eyed and open-mouthed expression of guileless wonder on his face more often than not, saying something fucking horrible almost constantly. No matter how you shake and dance, the last two drops go in your pants; no matter whether he’s detailed or abstracted or realistic or cartoony or full-color or two-tone or black-and-white or whatever the hell, Wilson is a massive, massive tool.

Click here for a full review and purchasing information; click here for a roundtable discussion of the book with the Savage Critics.