Wednesday, September 10, 2008
Marc Singer on the new Love & Rockets
See his review on his blog. I read the comic yesterday - I'm still not sure what to make of it. Jaime's artwork was lovely, but as surreal as his strips ever have been.
Emily Flake on how-to books
Presumably in the current hardcopy as well, but see Drawing Blood: Lulu Eightball's Creator Sits Down With Instructional Tomes On How to Bring Comics to Life, By Emily Flake, Baltimore City Paper September 10 2008.
Scott Rosenberg on 9-11 book
Scott used to live here and write for the Express. He's off to the big city now (and has a chapter in my Pekar book). For his look at "American
Widow," written by Alissa Torres and drawn by Sungyoon Choi, see "9/11 book seeks to explain tragedy" By Scott A. Rosenberg, AM New York September 10, 2008. I bought a copy of the book today, but haven't looked at it yet.
Widow," written by Alissa Torres and drawn by Sungyoon Choi, see "9/11 book seeks to explain tragedy" By Scott A. Rosenberg, AM New York September 10, 2008. I bought a copy of the book today, but haven't looked at it yet.
Editor and Publisher on local cartoonists
Dave Astor's got a few articles on local guys. It's good to hear that Richard's got 200 papers - now he can't afford not to do the strip:
One Year and 200 Newspapers for Popular 'Cul de Sac' Comic
By E&P Staff
Published: September 10, 2008 3:32 PM ET
Obama Uses the Anti-McCain Words of a Tom Toles Cartoon
By E&P Staff
Published: September 09, 2008 4:56 PM ET
New Harvey Pekar Book Is Edited by ComicsDC Blogger Mike Rhode
By Dave Astor
Published: September 08, 2008 11:11 AM ET
One Year and 200 Newspapers for Popular 'Cul de Sac' Comic
By E&P Staff
Published: September 10, 2008 3:32 PM ET
Obama Uses the Anti-McCain Words of a Tom Toles Cartoon
By E&P Staff
Published: September 09, 2008 4:56 PM ET
New Harvey Pekar Book Is Edited by ComicsDC Blogger Mike Rhode
By Dave Astor
Published: September 08, 2008 11:11 AM ET
KAL at DNC report, and appearing in Philadelphia
There's a vignette at "Going Gonzo at the DNC: A Journey Through Four Days of Political Madness," by James Burrus, Yellow Scene Magazine.
Kal also wrote in today:
Tickets are now on sale for "The Art of Satire" on October 7 at Philadelphia's fabulous Kimmel Art Center.
Sponsored by The Economist, the show features sketch comedy, interactive animation, live drawing lessons and more. Tickets are moving fast so I suggest that you book your reservations soon.
Go to http://artofsatire.economist.com/ for more information.
The show continues for two shows in New York November 1. Tickets go on sale soon.
Best
Kal
Kevin Kallaugher
kaltoons@comcast.net
www.Kaltoons.com
Matt Fraction at Laughing Ogre Comics
Come and Meet Matt Fraction!
Writer of Invincible Iron Man, Uncanny X-Men and Casanova
September 13th, 12pm - 4pm
Lansdowne, VA
Matt Fraction, the writer of such notable titles as Invincible Iron Man, Uncanny X-Men and Casanova, will be signing at Laughing Ogre Comics Lansdowne on Saturday September 13, from Noon until 4:00 pm.
Mr. Fraction was kind enough to answer some questions for us about his writing and comics in general.
1. Which X-Men character is your favorite to write and why?
Right now, Cyclops. He's in an absolutely fascinating place right now, and it's just going to get more engaging as we go...
2. What makes your books different from the same titles five years ago?
Well, I think the X books are all discretely defined and each one has a unique identity and serves a function no other book in the X-line addresses. And, as you may have heard, there are "No more mutants." We're dealing with the X-Men in a time when they're not just sworn to protect a people that hates and despises them, but they're an endangered species. The future of humanity has been snuffed out. That's the spine of the X-Universe right now; that's the core of everything. And, for my money, that's a big turn from the epic and wonderful Morrison era, where there were millions and millions of mutants.
In terms of the Iron Man book, we're in the early days of a long reckoning for Tony Stark. He has a lifetime of sins that are going to demand atonement, regardless of whether he's ready or not. So Tony's on the precipice of a very brutal road...
3. Why was Tony right?
Was he?
4. What is the biggest difference between writing a team versus a solo book?
It's tricky making sure everyone has enough stage time in a team book; in a solo book, you can spend more quality time with your lead. There's a lot of balancing to be done in a team book...
5. Is continuity something to be embraced, or rewritten?
Neither; I think continuity is something to be respected but evolved. Consistency is the watchword.
We are very excited to have Matt Fraction in store! If you have any questions about the event, or need directions to our Lansdowne location, please email us at norah@laughingogrecomics.com, or call (703) 437-9530.
Writer of Invincible Iron Man, Uncanny X-Men and Casanova
September 13th, 12pm - 4pm
Lansdowne, VA
Matt Fraction, the writer of such notable titles as Invincible Iron Man, Uncanny X-Men and Casanova, will be signing at Laughing Ogre Comics Lansdowne on Saturday September 13, from Noon until 4:00 pm.
Mr. Fraction was kind enough to answer some questions for us about his writing and comics in general.
1. Which X-Men character is your favorite to write and why?
Right now, Cyclops. He's in an absolutely fascinating place right now, and it's just going to get more engaging as we go...
2. What makes your books different from the same titles five years ago?
Well, I think the X books are all discretely defined and each one has a unique identity and serves a function no other book in the X-line addresses. And, as you may have heard, there are "No more mutants." We're dealing with the X-Men in a time when they're not just sworn to protect a people that hates and despises them, but they're an endangered species. The future of humanity has been snuffed out. That's the spine of the X-Universe right now; that's the core of everything. And, for my money, that's a big turn from the epic and wonderful Morrison era, where there were millions and millions of mutants.
In terms of the Iron Man book, we're in the early days of a long reckoning for Tony Stark. He has a lifetime of sins that are going to demand atonement, regardless of whether he's ready or not. So Tony's on the precipice of a very brutal road...
3. Why was Tony right?
Was he?
4. What is the biggest difference between writing a team versus a solo book?
It's tricky making sure everyone has enough stage time in a team book; in a solo book, you can spend more quality time with your lead. There's a lot of balancing to be done in a team book...
5. Is continuity something to be embraced, or rewritten?
Neither; I think continuity is something to be respected but evolved. Consistency is the watchword.
We are very excited to have Matt Fraction in store! If you have any questions about the event, or need directions to our Lansdowne location, please email us at norah@laughingogrecomics.com, or call (703) 437-9530.
Tuesday, September 09, 2008
September 10: Junot Diaz at Politics and Prose
A third comics-related event tomorrow! Diaz was influenced by American comic books in his novel. This is at Politics and Prose. Unfortunately I don't think I'll make any of the three.
Wednesday, September 10, 7 p.m.
JUNOT DÍAZ
THE BRIEF WONDROUS LIFE OF OSCAR WAO (Riverhead, $14)
Díaz uses a mixture of Spanish and English to express the melting and melding that occurs when immigrants from the Dominican Republic meet New Jersey, USA. This splendid young Dominican-American writer has scored a home run with his zany, sweet, perceptive novel now appearing in paperback.
Wednesday, September 10, 7 p.m.
JUNOT DÍAZ
THE BRIEF WONDROUS LIFE OF OSCAR WAO (Riverhead, $14)
Díaz uses a mixture of Spanish and English to express the melting and melding that occurs when immigrants from the Dominican Republic meet New Jersey, USA. This splendid young Dominican-American writer has scored a home run with his zany, sweet, perceptive novel now appearing in paperback.
Tornoe spots Obama borrowing from Toles
Rob sent in this note and link to his blog:
Obama borrows line from Tom Toles cartoon
"Maybe what they're saying is, 'Watch out George Bush,'" Obama said with sarcasm, according to the Boston Globe. "Except for economic policies, and tax policies, and energy policies, and health care policies, and education policies, and Karl Rove-style politics -- except for all that, we're really going to bring change to Washington! We’re really going to shake things up!"
Great line. Too bad it came from Friday's cartoon by Washington Post cartoonist Tom Toles.
http://www.politicker.com/obama-borrows-line-tom-toles-cartoon
Obama borrows line from Tom Toles cartoon
"Maybe what they're saying is, 'Watch out George Bush,'" Obama said with sarcasm, according to the Boston Globe. "Except for economic policies, and tax policies, and energy policies, and health care policies, and education policies, and Karl Rove-style politics -- except for all that, we're really going to bring change to Washington! We’re really going to shake things up!"
Great line. Too bad it came from Friday's cartoon by Washington Post cartoonist Tom Toles.
http://www.politicker.com/obama-borrows-line-tom-toles-cartoon
Small Press Expo Announces Ted Rall, Ruben Bolling and Matt Wuerker as Guests for “Outside Looking In: Alternative Political Cartooning in 2008”
Small Press Expo Announces Ted Rall, Ruben Bolling and Matt Wuerker as Guests for “Outside Looking In: Alternative Political Cartooning in 2008”
For Immediate Release
Contact: Warren Bernard
Phone: 301-537-4615
E-Mail:webernard@spxpo.com
Bethesda, Maryland; September 9, 2008 - The Small Press Expo (SPX), the preeminent showcase for the exhibition of independent comic books, graphic novels and alternative political cartoons, is proud to announce Ted Rall, Ruben Bolling and Matt Wuerker as guests for the SPX 2008 special event, “Outside Looking In: Alternative Political Cartooning in 2008”.
Ted Rall is the President-elect of the American Association of Editorial Cartoonists (A.A.E.C.) and has traveled extensively to Central Asia. Author, ATTITUDE editor, cartoonist, columnist and sometime TV personality, Ted’s most recent book is “Silk Road to Ruin: Is Central Asia the New Middle East?” and his latest cartoon collection is, “America Gone Wild”. For more information on Ted Rall, visit his website at http://www.tedrall.com.
Ruben Bolling is the creator of the multi-faceted, multi-paneled social and political weekly strip, Tom The Dancing Bug. His most recent book is “Thrilling Tom The Dancing Bug Stories”. SPX is grateful that Ruben is making his first appearance at SPX in a number of years. Visit his web site at http://www.gocomics.com/tomthedancingbug/.
Matt Wuerker is the cartoonist and illustrator at Politico.Com and the weekly Politico newspaper. His cartoons and illustrations have been published by Smithsonian Magazine, Washington Post, Los Angeles Times and The Nation. You can see his cartoons at http://www.politico.com.
Ted, Ruben and Matt will join previously announced Tom Tomorrow and Lloyd Dangle at a special series of panels and interviews surrounding the state of political cartooning in this historic election year.
Additional guests will be added over the next few weeks, please stay tuned for those announcements.
The events surrounding “Outside Looking In: Alternative Political Cartooning in 2008” is included with the SPX admission fee of $8 for a single day and $15 for both days.
SPX will be held Saturday, October 4 from 11AM to 7PM and Sunday, October 5 noon-6PM at The North Bethesda Marriott Convention Center in Bethesda, Maryland.
For further information on the artists or to request an interview, please contact Warren Bernard at webernard@spxpo.com.
SPX, a non-profit organization, brings together more than 300 artists and publishers to meet their readers, booksellers and distributors each year. Graphic novels, political cartoon books and alternative comics will all be on display and for sale by their authors and illustrators. A series of panel discussions will also be held of interest to readers, academicians and creators of graphic novels and political cartoons.
SPX culminates with the presentation of the 12th Annual Ignatz Awards for outstanding achievement in comics and cartooning that will occur Saturday night, October 4. The Ignatz is the first Festival Prize in the US comic book industry, with winners chosen by balloting during the SPX.
As in previous years, all profits from the SPX will go to support the Comic Book Legal Defense Fund (CBLDF), protecting the First Amendment rights of comic book readers and professionals. For more information on the CBLDF, go to their website at
http://www.cbldf.org/.
Founded in 1994, SPX is North America's premier alternative comic-book and graphic novel festival. This annual event brings together comic creators, publishers and fans together to celebrate the art of visual storytelling.
For Immediate Release
Contact: Warren Bernard
Phone: 301-537-4615
E-Mail:webernard@spxpo.com
Bethesda, Maryland; September 9, 2008 - The Small Press Expo (SPX), the preeminent showcase for the exhibition of independent comic books, graphic novels and alternative political cartoons, is proud to announce Ted Rall, Ruben Bolling and Matt Wuerker as guests for the SPX 2008 special event, “Outside Looking In: Alternative Political Cartooning in 2008”.
Ted Rall is the President-elect of the American Association of Editorial Cartoonists (A.A.E.C.) and has traveled extensively to Central Asia. Author, ATTITUDE editor, cartoonist, columnist and sometime TV personality, Ted’s most recent book is “Silk Road to Ruin: Is Central Asia the New Middle East?” and his latest cartoon collection is, “America Gone Wild”. For more information on Ted Rall, visit his website at http://www.tedrall.com.
Ruben Bolling is the creator of the multi-faceted, multi-paneled social and political weekly strip, Tom The Dancing Bug. His most recent book is “Thrilling Tom The Dancing Bug Stories”. SPX is grateful that Ruben is making his first appearance at SPX in a number of years. Visit his web site at http://www.gocomics.com/tomthedancingbug/.
Matt Wuerker is the cartoonist and illustrator at Politico.Com and the weekly Politico newspaper. His cartoons and illustrations have been published by Smithsonian Magazine, Washington Post, Los Angeles Times and The Nation. You can see his cartoons at http://www.politico.com.
Ted, Ruben and Matt will join previously announced Tom Tomorrow and Lloyd Dangle at a special series of panels and interviews surrounding the state of political cartooning in this historic election year.
Additional guests will be added over the next few weeks, please stay tuned for those announcements.
The events surrounding “Outside Looking In: Alternative Political Cartooning in 2008” is included with the SPX admission fee of $8 for a single day and $15 for both days.
SPX will be held Saturday, October 4 from 11AM to 7PM and Sunday, October 5 noon-6PM at The North Bethesda Marriott Convention Center in Bethesda, Maryland.
For further information on the artists or to request an interview, please contact Warren Bernard at webernard@spxpo.com.
SPX, a non-profit organization, brings together more than 300 artists and publishers to meet their readers, booksellers and distributors each year. Graphic novels, political cartoon books and alternative comics will all be on display and for sale by their authors and illustrators. A series of panel discussions will also be held of interest to readers, academicians and creators of graphic novels and political cartoons.
SPX culminates with the presentation of the 12th Annual Ignatz Awards for outstanding achievement in comics and cartooning that will occur Saturday night, October 4. The Ignatz is the first Festival Prize in the US comic book industry, with winners chosen by balloting during the SPX.
As in previous years, all profits from the SPX will go to support the Comic Book Legal Defense Fund (CBLDF), protecting the First Amendment rights of comic book readers and professionals. For more information on the CBLDF, go to their website at
http://www.cbldf.org/.
Founded in 1994, SPX is North America's premier alternative comic-book and graphic novel festival. This annual event brings together comic creators, publishers and fans together to celebrate the art of visual storytelling.
Monday, September 08, 2008
OT: Langridge in Act-i-vate webcomix
Jim Dougan wrote in today: You may have seen this already, but as a fellow Langridge fan, and the local DC representative of webcomix collective ACT-I-VATE, you might want to know that he's joined up and will be dazzling us all with the new adventures of MUGWHUMP THE GREAT:
http://www.act-i-vate.com/60.comic
Roger talks about it at his blog here:
http://hotelfred.blogspot.com/2008/09/preee-sentinggg-mugwhump-great.html
Thanks for the tip, Jim! Sure, Roger's from New Zealand and lives in England, but DC's a state of mind, right? Unfortunately he won't be at SPX this year since he did HeroesCon earlier this year.
http://www.act-i-vate.com/60.comic
Roger talks about it at his blog here:
http://hotelfred.blogspot.com/2008/09/preee-sentinggg-mugwhump-great.html
Thanks for the tip, Jim! Sure, Roger's from New Zealand and lives in England, but DC's a state of mind, right? Unfortunately he won't be at SPX this year since he did HeroesCon earlier this year.
Speaking of IJoCA...
... today is founder, publisher and editor John Lent's 72nd birthday! Happy birthday, John!
Arthur Szyk in NY Times
Szyk was a Jewish cartoonist who fled to New York and did some awesomely hard-hitting propaganda during World War II. He was the subject of a couple of great exhibits in DC about five years ago too. This article discusses a new exhibit of his work in Germany -
"A Caricaturist, but No Funny Stuff Here," By MICHAEL KIMMELMAN, New York Times September 8, 2008.
I'll see if I can dig up my reviews of the exhibits for IJoCA and post them here later this week.
"A Caricaturist, but No Funny Stuff Here," By MICHAEL KIMMELMAN, New York Times September 8, 2008.
I'll see if I can dig up my reviews of the exhibits for IJoCA and post them here later this week.
NY Times takes note of Google's Chrome McCloud comic
In "Archie and Jughead? No, Javascript," By GEORGE GENE GUSTINES, New York Times September 8, 2008. Although I don't subscribe to it like I do the Times, the Daily News ran this today "Interview with Scott McCloud, artist behind Google Chrome comic," BY PATRICK MONTERO, New York DAILY NEWS WRITER, Monday, September 8th 2008. Beyond Google spreading everywhere, this has nothing to do with DC, but you can read the comic here.
Annapolis Capital's publisher on For Better or For Worse
Oooh, there's a harsh opinion in "GONE TODAY, HERE TOMORROW," By TOM MARQUARDT, Publisher & Executive Editor, The Annapolis Capital Published September 07, 2008. Usually I just send you to the article, but I can't resist this quote:
"I guess Ms. Johnston's entrepreneurial attempt to ease herself into retirement without a loss of income - by interspersing a few new strips with old material - doesn't bother readers as much as it bothers editors asked to pay full price for the comic-page equivalent of reruns."
"How about rerunning sports results and County Council stories? Can't we all just get a grip and move on to another strip that has fresh story lines? Geesh, you guys are killing me."
Now, that's an editor.
"I guess Ms. Johnston's entrepreneurial attempt to ease herself into retirement without a loss of income - by interspersing a few new strips with old material - doesn't bother readers as much as it bothers editors asked to pay full price for the comic-page equivalent of reruns."
"How about rerunning sports results and County Council stories? Can't we all just get a grip and move on to another strip that has fresh story lines? Geesh, you guys are killing me."
Now, that's an editor.
Comic Riffs interviews Borgman
See "Interview With the Cartoonist: Jim Borgman of "Zits"," by Michael Cavna, September 8, 2008 for an interview with Jim Borgman, formerly of the Cincinnati Enquirer.
Spider-Man artwork donation to Library of Congress "controversial?"
See "Donation spotlights comic book dispute" By Robert K. Elder of the Chicago Tribune in the Barre Montpelier Times Argus September 8, 2008. Sara Duke of the Library is quoted extensively.
UK Political cartoonist in town on Tuesday night
Meet Author Paul Stewart & Author/Illustrator Chris Riddell
Tuesday, September 9, 2008
at 6:00 p.m.
[I'll be attending this, with family - let me know if anyone wants to meet up - Mike]
English co-authors Paul Stewart and Chris Riddell (who also is an illustrator) will introduce their newest book Barnaby Grimes: Curse of the Night Wolf, which tells the story of a young man who runs errands on the city rooftops, where he stumbles across strange mysteries and adventures. They also will talk about their other popular adventure and fantasy book series, including the Edge Chronicles and the Far Flung Adventures. A book signing will follow. Grades 4-8. Please call to register.
Mr. Stewart is a highly regarded author of books for young readers - everything from picture books to football stories, fantasy and horror. His first book was published in 1988 and he has had over fifty titles published. Mr. Riddell has illustrated many acclaimed books for children and is a renowned political cartoonist, whose work appears regularly in UK newspapers the Observer and the Guardian.
Mr. Stewart and Mr. Riddell have collaborated on numerous books together including all the titles in the Edge Chronicles (Beyond the Deepwoods, Stormchaser, Midnight Over Sanctraphrax, The Curse of the Gloamglozer, The Last of the Sky Pirates, Vox, Freeglader, The Winter Knights and Clash of the Sky Galleons), as well as the books in the Far Flung Adventures (Fergus Crane, Hugo Pepper and Corby Flood).
Aladdin's Lamp Children's Books and Other Treasures
In the Lee Harrison Shopping Center
Lower Level Shops
2499 N. Harrison St.
Arlington, VA 22207
Tel 703-241-8281
Fax 703-241-8283
Email: aladlamp@speakeasy.net
STORE HOURS: Monday, Wednesday, Friday, & Saturday 10 am to 6 pm, Tuesday & Thursday 10 am to 8 pm, Sunday 11 am to 5 pm
Tuesday, September 9, 2008
at 6:00 p.m.
[I'll be attending this, with family - let me know if anyone wants to meet up - Mike]
English co-authors Paul Stewart and Chris Riddell (who also is an illustrator) will introduce their newest book Barnaby Grimes: Curse of the Night Wolf, which tells the story of a young man who runs errands on the city rooftops, where he stumbles across strange mysteries and adventures. They also will talk about their other popular adventure and fantasy book series, including the Edge Chronicles and the Far Flung Adventures. A book signing will follow. Grades 4-8. Please call to register.
Mr. Stewart is a highly regarded author of books for young readers - everything from picture books to football stories, fantasy and horror. His first book was published in 1988 and he has had over fifty titles published. Mr. Riddell has illustrated many acclaimed books for children and is a renowned political cartoonist, whose work appears regularly in UK newspapers the Observer and the Guardian.
Mr. Stewart and Mr. Riddell have collaborated on numerous books together including all the titles in the Edge Chronicles (Beyond the Deepwoods, Stormchaser, Midnight Over Sanctraphrax, The Curse of the Gloamglozer, The Last of the Sky Pirates, Vox, Freeglader, The Winter Knights and Clash of the Sky Galleons), as well as the books in the Far Flung Adventures (Fergus Crane, Hugo Pepper and Corby Flood).
Aladdin's Lamp Children's Books and Other Treasures
In the Lee Harrison Shopping Center
Lower Level Shops
2499 N. Harrison St.
Arlington, VA 22207
Tel 703-241-8281
Fax 703-241-8283
Email: aladlamp@speakeasy.net
STORE HOURS: Monday, Wednesday, Friday, & Saturday 10 am to 6 pm, Tuesday & Thursday 10 am to 8 pm, Sunday 11 am to 5 pm
Sunday, September 07, 2008
Meltzer at Politics and Prose
Here's a couple of pictures from the booksigning for The Book of Lies at Politics and Prose. Chris and Randy were there and perhaps can chime in with details.
Brad talked about his love for Superman, read parts of the 2nd and 3rd chapter, talked about his project to save Jerry Siegel's house, mentioned his marketing campaign for the book, and gave a shot out to California Tortilla (a founder can be seen in the back of one of the pictures). A recording of the talk can be bought from P&P.
Brad talked about his love for Superman, read parts of the 2nd and 3rd chapter, talked about his project to save Jerry Siegel's house, mentioned his marketing campaign for the book, and gave a shot out to California Tortilla (a founder can be seen in the back of one of the pictures). A recording of the talk can be bought from P&P.
QUICK REVIEWS FOR COMICS DUE 09-10-08
QUICK REVIEWS FOR COMICS DUE 09-10-08
By John Judy
ALL-STAR BATMAN AND ROBIN #10 by Frank Miller and Jim Lee. Brace yourself. This issue Miller’s writing his “All-Star” versions of the females of Gotham City. Like those “Spirit” billboards except you have to pay three bucks to look at ‘em. “Must…! Find…! Aspirin….!”
AMAZING SPIDER-MAN #571 by Dan Slot and John Romita Jr. Could we just change this book to “The Amazing Norman Osborn?” Because I’m loving this character more and more. I’d like to see him and Lex Luthor in a sneer-off. Recommended.
AMERICAN WIDOW HC by Alissa Torres and Sungyoon Choi. A non-fiction account of a woman who lost her husband and father of her unborn son in the attacks of 9-11. About as far from escapist fantasy as you’re going to get this week. Recommended but too intense for younger readers.
BIG HERO 6 #1 of 5 by Chris Claremont and David Nakayama. Superheroes in Japan! Watch out, Gojira!
BOOSTER GOLD #12 by Chuck Dixon and Dan Jurgens. A Batgirl cover that makes you realize how much you miss the real Batgirl. What a great costume…
CRIMINAL 2 #5 by Ed Brubaker and Sean Phillips. A doll with a gun on the cover and a hard-luck cartoonist/forger inside. If you’re not reading this series you are part of The Problem. Highly recommended. Not for kids or wusses.
DARK TOWER: TREACHERY #1 of 6 by Robin Furth, Peter David and Jae Lee. For them what likes their Stephen King comic book adaptations and how!
EX MACHINA #38 by Brian K. Vaughan and Tony Harris. The George Bush-hating villainess “Trouble” continues her reign of Total Awesomeness! Spin-Off Series! Now!
FINAL CRISIS: REVELATIONS #2 of 5 by Greg Rucka and Philip Tan. Gotham Central’s Renee Montoya and Crispus Allen are reunited the hard way as the Spectre must pass judgment on the Question. And how often does that end well?
FREAK BROTHERS OMNIBUS SC by Gilbert Shelton. Just like you remember them! Although if you can remember them you were probably doing something wrong… Wait, what was I saying...? Recommended.
GOON #28 written and drawn by Eric Powell. “He ain’t been right in the head since his brother got an axe planted in his.” God, this series is great! Recommended.
SECRET INVASION #6 of 8 by Brian Michael Bendis and Leinil Francis Yu. The lying, fascist, religious maniac Skrull invaders are urging Earth to “Embrace change” and some of us are buying it. Perhaps because the Skrulls nominated Sarah Palin for Veep…
THE STAND: CAPTAIN TRIPS #1 of 5 by Roberto Aguirre-Sacasa and Mike Perkins. The first chapter in this adaptation of Stephen King’s end of the world story. A fulfilling week for King fans.
STAR WARS: CLONE WARS #1 of 6 by Henry Gilroy and Scott Hepburn. As someone how sat through the movie I can personally assure you that this comic will be much better.
ULTIMATE ORIGINS #4 of 5 by Brian Michael Bendis and Butch Guice. In which we learn that, in any universe, Hank Pym is the Levi Johnston of science heroes. Sorry Hank.
ULTIMATE X-MEN/FANTASTIC FOUR ANNUAL #1 by Lotsa People. There’s some fightin’ and some time-travelin’ and some crazy misunderstandings. And how!
WELCOME TO HOXFORD #2 written and drawn by Ben “Mommy, I’m Scared” Templesmith. At The Hoxford Home for the Profoundly Twinked-Out they believe the way to a man’s heart is through his stomach. Just don’t ask how they get to the stomach. Recommended. Not for kids.
WONDER WOMAN #24 by Gail Simone and Bernard Chang. Hollywood comes calling to pitch “Wonder Woman: The Movie!” But is Robert Downey Jr. available?
YOUNG LIARS #7 written and drawn by David Lapham. In which we learn how you follow the castration of your male lead and the possible death of your female lead. How about a psychedelic cover?!
www.johnjudy.net
By John Judy
ALL-STAR BATMAN AND ROBIN #10 by Frank Miller and Jim Lee. Brace yourself. This issue Miller’s writing his “All-Star” versions of the females of Gotham City. Like those “Spirit” billboards except you have to pay three bucks to look at ‘em. “Must…! Find…! Aspirin….!”
AMAZING SPIDER-MAN #571 by Dan Slot and John Romita Jr. Could we just change this book to “The Amazing Norman Osborn?” Because I’m loving this character more and more. I’d like to see him and Lex Luthor in a sneer-off. Recommended.
AMERICAN WIDOW HC by Alissa Torres and Sungyoon Choi. A non-fiction account of a woman who lost her husband and father of her unborn son in the attacks of 9-11. About as far from escapist fantasy as you’re going to get this week. Recommended but too intense for younger readers.
BIG HERO 6 #1 of 5 by Chris Claremont and David Nakayama. Superheroes in Japan! Watch out, Gojira!
BOOSTER GOLD #12 by Chuck Dixon and Dan Jurgens. A Batgirl cover that makes you realize how much you miss the real Batgirl. What a great costume…
CRIMINAL 2 #5 by Ed Brubaker and Sean Phillips. A doll with a gun on the cover and a hard-luck cartoonist/forger inside. If you’re not reading this series you are part of The Problem. Highly recommended. Not for kids or wusses.
DARK TOWER: TREACHERY #1 of 6 by Robin Furth, Peter David and Jae Lee. For them what likes their Stephen King comic book adaptations and how!
EX MACHINA #38 by Brian K. Vaughan and Tony Harris. The George Bush-hating villainess “Trouble” continues her reign of Total Awesomeness! Spin-Off Series! Now!
FINAL CRISIS: REVELATIONS #2 of 5 by Greg Rucka and Philip Tan. Gotham Central’s Renee Montoya and Crispus Allen are reunited the hard way as the Spectre must pass judgment on the Question. And how often does that end well?
FREAK BROTHERS OMNIBUS SC by Gilbert Shelton. Just like you remember them! Although if you can remember them you were probably doing something wrong… Wait, what was I saying...? Recommended.
GOON #28 written and drawn by Eric Powell. “He ain’t been right in the head since his brother got an axe planted in his.” God, this series is great! Recommended.
SECRET INVASION #6 of 8 by Brian Michael Bendis and Leinil Francis Yu. The lying, fascist, religious maniac Skrull invaders are urging Earth to “Embrace change” and some of us are buying it. Perhaps because the Skrulls nominated Sarah Palin for Veep…
THE STAND: CAPTAIN TRIPS #1 of 5 by Roberto Aguirre-Sacasa and Mike Perkins. The first chapter in this adaptation of Stephen King’s end of the world story. A fulfilling week for King fans.
STAR WARS: CLONE WARS #1 of 6 by Henry Gilroy and Scott Hepburn. As someone how sat through the movie I can personally assure you that this comic will be much better.
ULTIMATE ORIGINS #4 of 5 by Brian Michael Bendis and Butch Guice. In which we learn that, in any universe, Hank Pym is the Levi Johnston of science heroes. Sorry Hank.
ULTIMATE X-MEN/FANTASTIC FOUR ANNUAL #1 by Lotsa People. There’s some fightin’ and some time-travelin’ and some crazy misunderstandings. And how!
WELCOME TO HOXFORD #2 written and drawn by Ben “Mommy, I’m Scared” Templesmith. At The Hoxford Home for the Profoundly Twinked-Out they believe the way to a man’s heart is through his stomach. Just don’t ask how they get to the stomach. Recommended. Not for kids.
WONDER WOMAN #24 by Gail Simone and Bernard Chang. Hollywood comes calling to pitch “Wonder Woman: The Movie!” But is Robert Downey Jr. available?
YOUNG LIARS #7 written and drawn by David Lapham. In which we learn how you follow the castration of your male lead and the possible death of your female lead. How about a psychedelic cover?!
www.johnjudy.net
Saturday, September 06, 2008
A fourth Harvey Pekar article that didn't make the book
I had thought I convinced them to leave this one in Harvey Pekar: Conversations (available now for purchase), darn it. This one is Harvey interviewing himself in his comic book. The odd typesetting is an attempt to replicate the way it was printed originally. This is amusing because Harvey talks about never working for DC, but 20 years later they were his publisher.
Oh well. Print it out and tuck it in after Mike Barson's interview from Heavy Metal.
The Situation as of 9-20-85
From American Splendor #11, 1986. Reprinted with permission of Harvey Pekar.
To what extent were you involved in the production of the stage version of American Splendor?
Not at all. See- here's what happened. My wife you know knows the Bishops (Conrad Bishop is the Independent Eye's artistic director). The way she knew them—she used to work in the Delaware state prison system, and they did some programs together there for the inmates. And so when we got married, she sent them copies of my books, uh, you know and Conrad liked the stuff, and he thought he would possibly like to make a stage production out of it. So I talked to Conrad about it, and we seemed to be in general agreement about how to handle the material. And so, you know, really I had — I don't think I have anything to lose by him doing it, and possibly something to gain, so I said, "Sure. Why not?" That's how I became involved.
Why did you start the book, American Splendor?
Well, simply because it was just too difficult to get published in those days on a regular basis any place. And I had ideas that I didn't want to sit around for 25 years before I saw it in print. So I, uh, I just, uh, I mean I-I don’t known if you’ve ever read my books, but, uh—
(Interviewer): Uh, no, but I just bought some. I can’t find them in this area…
The once-a-year thing was just a matter of—that's about how long it takes to get the stories. It's a 60-page book, and that's about how 'long it takes to get the stuff illustrated. That's one reason. Another reason is I'm currently losing money on the book and have been on every issue, and I couldn't you know I can – I couldn’t — sustain the losses. I can recover from losses on one book a year, but I couldn't do it for two books. So there's a couple of practical reasons. You know, it just evolved, it just sort of evolved out of these circumstances and became a once-a-year book.
When I did the first one, I had no idea if or when the second one would be coming out, or even if I would call it another name instead of American Splendor. But the title--I don't know--I like it and people liked it, and so I just kept.it, and I just kept calling it number two and number three and stuff like that.
Have you had any offers from the big comic companies like DC or Marvel, or if you would get such an offer, would you consider it, considering that their product is mainly superheroes?
First of all, do you know I'm getting a contract, that I've signed a contract with Doubleday to get a 160-page trade paperback book, an anthology of stories from the first through the ninth book, that'll be coming out in April?
As far as the Marvel and DC thing, you realize how unlikely it is that they would offer me anything. It's almost like totally—I don't know—I've had contact. I haven't asked anybody there to do anything for me, but I've had contact with a few people at both companies. I mean, it's out of the question. They know my work, and some of the people over there--maybe a lot of them for all I know—liked it, but it's like asking some publisher that puts out these gothic romances to put out my comic books. I mean, it's like, yeah, they're books, they're both books, but there's a big difference between a plumbing textbook and a book of poetry.
And I think Marvel and DC--their comics are a lot more commercial than maybe you'd like to get into.
Yeah. Well, I mean it’s just –it’s much—you know – it’s true what I used to say – “form.” As a – uh – as a, as a, you know what I mean—My book is a comic book in form but not in content, and that means a typical comic book in form but not in content. In other words, by that I mean that the book is—I use balloons and panels and stuff, but as I said in the interview in The Comics Journal, people have traditionally used comics in a very limited way, when there's no reason for that. So when people think of comic books, they just think of like maybe a few genres actually, instead of when you say a novel, you want to know what kind of a novel. There arc all kinds of different novels. But when people say, "comic books," they think about some costumed superhero or maybe a talking duck or- something. But there's not really much variety in straight comics, and alternative comics are not easy to find or anything.
It's conceivable that what happened to comics could've happened to any art form; that is, if the people who employ the art form had just only wanted to do one thing. But in movies, at first the stuff they did was confined to rather narrow limits, but then eventually, guys were making movies about just about every subject and doing all kinds of things and affiliated with all kinds of artistic schools. If they had just stayed with, say, cowboy movies and slapstick comedies and something like that, the people would probably think movies are junk.
Do you think the play will help the sales of the book? Do you think it's good publicity?
It certainly won't hurt it. I mean, of course, I mean obviously you see an example here – you bought some books. But I mean as far as whether this will be just a local-uh-I mean, you know - you - you know, the book, I mean. The play got some very nice reviews in the morning and afternoon papers here, so that might stimulate some local interest in Lancaster, but Lancaster's not—this is not a real large theater, and Lancaster's not a real big community. So even if they like me a lot here-and I appreciate it if they do—it's not going to make a big impact on my standard of living or anything like that. But on the other hand, if it's a big Broadway hit or something like that, obviously it would help. You've just got to more or less use a rule of reason to think about the question. If it's a big national hit or something like that, it helps you, you know. But it's okay. It's great. I've been having a good time out here, and I've been treated very, very well, and I've been out here just today and yesterday, but I've had a great time, and that's worth it.
I'm not concerned about money that much, because I've got a steady job. I can live on the income. I'm not that greedy, you know. It just so happens that what I want can be purchased for relatively little money. What I want is a lot of books right now.
Is there a particular reason why you do the books autobiographically?
Yeah, there's a reason why I'm dealing with them autobiographically, because what I want to do is write about everyday experience, and I think that everday experience has a huge effect on people—the accumulation of everyday experience. Everyday experience has been ignored by far too many writers, and I wanted to write things that people could identify with, write about experiences that people could say, "Oh yeah, I knew that kind of guy," or "I went through that." I didn't want to write about generic experiences. I wanted to write about particular experiences, and I can write about because I think if you write about the particular rather than the general, it's much more specific, much more believable. So if you write stuff that's true, as accurate as possible, I think -- my work, anyway — has a chance to have much more impact on people.
When people invent fictional characters, I mean they're not really fictional, in a sense. There have been any number of novels, I suppose, that have been written where most of the material has been factual, except the names have been changed. But maybe a person's been a compilation, a character of a novel's been a compilation, of two people that a guy knew, and maybe he's fit the parts together badly, so that the character's implausible. I don't have to run that kind of risk doing the kind of thing I'm doing. So that's my rationale.
Obviously, not everybody thinks like me. Obviously, there are all sorts of different ways to write good stories, good novels, but I give you the reasons for why I do what I'm doing. This is the method I've evolved. In order to attain my goals, I employ autobiographical writing, and the reason that I employ autobiographical writing is –you know – I gave you the reasons – you know – it’s you know – so that – you know - it would be easier to identify with, so it would have a greater impact on people, stuff like that. Other people—I don't know. I can't speak for any other writer. I just speak for myself. I haven't talked to other guys about why they do this or don’t do that.
Oh well. Print it out and tuck it in after Mike Barson's interview from Heavy Metal.
The Situation as of 9-20-85
From American Splendor #11, 1986. Reprinted with permission of Harvey Pekar.
To what extent were you involved in the production of the stage version of American Splendor?
Not at all. See- here's what happened. My wife you know knows the Bishops (Conrad Bishop is the Independent Eye's artistic director). The way she knew them—she used to work in the Delaware state prison system, and they did some programs together there for the inmates. And so when we got married, she sent them copies of my books, uh, you know and Conrad liked the stuff, and he thought he would possibly like to make a stage production out of it. So I talked to Conrad about it, and we seemed to be in general agreement about how to handle the material. And so, you know, really I had — I don't think I have anything to lose by him doing it, and possibly something to gain, so I said, "Sure. Why not?" That's how I became involved.
Why did you start the book, American Splendor?
Well, simply because it was just too difficult to get published in those days on a regular basis any place. And I had ideas that I didn't want to sit around for 25 years before I saw it in print. So I, uh, I just, uh, I mean I-I don’t known if you’ve ever read my books, but, uh—
(Interviewer): Uh, no, but I just bought some. I can’t find them in this area…
The once-a-year thing was just a matter of—that's about how long it takes to get the stories. It's a 60-page book, and that's about how 'long it takes to get the stuff illustrated. That's one reason. Another reason is I'm currently losing money on the book and have been on every issue, and I couldn't you know I can – I couldn’t — sustain the losses. I can recover from losses on one book a year, but I couldn't do it for two books. So there's a couple of practical reasons. You know, it just evolved, it just sort of evolved out of these circumstances and became a once-a-year book.
When I did the first one, I had no idea if or when the second one would be coming out, or even if I would call it another name instead of American Splendor. But the title--I don't know--I like it and people liked it, and so I just kept.it, and I just kept calling it number two and number three and stuff like that.
Have you had any offers from the big comic companies like DC or Marvel, or if you would get such an offer, would you consider it, considering that their product is mainly superheroes?
First of all, do you know I'm getting a contract, that I've signed a contract with Doubleday to get a 160-page trade paperback book, an anthology of stories from the first through the ninth book, that'll be coming out in April?
As far as the Marvel and DC thing, you realize how unlikely it is that they would offer me anything. It's almost like totally—I don't know—I've had contact. I haven't asked anybody there to do anything for me, but I've had contact with a few people at both companies. I mean, it's out of the question. They know my work, and some of the people over there--maybe a lot of them for all I know—liked it, but it's like asking some publisher that puts out these gothic romances to put out my comic books. I mean, it's like, yeah, they're books, they're both books, but there's a big difference between a plumbing textbook and a book of poetry.
And I think Marvel and DC--their comics are a lot more commercial than maybe you'd like to get into.
Yeah. Well, I mean it’s just –it’s much—you know – it’s true what I used to say – “form.” As a – uh – as a, as a, you know what I mean—My book is a comic book in form but not in content, and that means a typical comic book in form but not in content. In other words, by that I mean that the book is—I use balloons and panels and stuff, but as I said in the interview in The Comics Journal, people have traditionally used comics in a very limited way, when there's no reason for that. So when people think of comic books, they just think of like maybe a few genres actually, instead of when you say a novel, you want to know what kind of a novel. There arc all kinds of different novels. But when people say, "comic books," they think about some costumed superhero or maybe a talking duck or- something. But there's not really much variety in straight comics, and alternative comics are not easy to find or anything.
It's conceivable that what happened to comics could've happened to any art form; that is, if the people who employ the art form had just only wanted to do one thing. But in movies, at first the stuff they did was confined to rather narrow limits, but then eventually, guys were making movies about just about every subject and doing all kinds of things and affiliated with all kinds of artistic schools. If they had just stayed with, say, cowboy movies and slapstick comedies and something like that, the people would probably think movies are junk.
Do you think the play will help the sales of the book? Do you think it's good publicity?
It certainly won't hurt it. I mean, of course, I mean obviously you see an example here – you bought some books. But I mean as far as whether this will be just a local-uh-I mean, you know - you - you know, the book, I mean. The play got some very nice reviews in the morning and afternoon papers here, so that might stimulate some local interest in Lancaster, but Lancaster's not—this is not a real large theater, and Lancaster's not a real big community. So even if they like me a lot here-and I appreciate it if they do—it's not going to make a big impact on my standard of living or anything like that. But on the other hand, if it's a big Broadway hit or something like that, obviously it would help. You've just got to more or less use a rule of reason to think about the question. If it's a big national hit or something like that, it helps you, you know. But it's okay. It's great. I've been having a good time out here, and I've been treated very, very well, and I've been out here just today and yesterday, but I've had a great time, and that's worth it.
I'm not concerned about money that much, because I've got a steady job. I can live on the income. I'm not that greedy, you know. It just so happens that what I want can be purchased for relatively little money. What I want is a lot of books right now.
Is there a particular reason why you do the books autobiographically?
Yeah, there's a reason why I'm dealing with them autobiographically, because what I want to do is write about everyday experience, and I think that everday experience has a huge effect on people—the accumulation of everyday experience. Everyday experience has been ignored by far too many writers, and I wanted to write things that people could identify with, write about experiences that people could say, "Oh yeah, I knew that kind of guy," or "I went through that." I didn't want to write about generic experiences. I wanted to write about particular experiences, and I can write about because I think if you write about the particular rather than the general, it's much more specific, much more believable. So if you write stuff that's true, as accurate as possible, I think -- my work, anyway — has a chance to have much more impact on people.
When people invent fictional characters, I mean they're not really fictional, in a sense. There have been any number of novels, I suppose, that have been written where most of the material has been factual, except the names have been changed. But maybe a person's been a compilation, a character of a novel's been a compilation, of two people that a guy knew, and maybe he's fit the parts together badly, so that the character's implausible. I don't have to run that kind of risk doing the kind of thing I'm doing. So that's my rationale.
Obviously, not everybody thinks like me. Obviously, there are all sorts of different ways to write good stories, good novels, but I give you the reasons for why I do what I'm doing. This is the method I've evolved. In order to attain my goals, I employ autobiographical writing, and the reason that I employ autobiographical writing is –you know – I gave you the reasons – you know – it’s you know – so that – you know - it would be easier to identify with, so it would have a greater impact on people, stuff like that. Other people—I don't know. I can't speak for any other writer. I just speak for myself. I haven't talked to other guys about why they do this or don’t do that.
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