Editorial cartoonist Horsey interviewed at Comic Riffs

Michael Cavna's got part one up today - "David Horsey: How a Cartoonist Survives If Ink Newspaper Dies," Washington Post's Comic Riffs March 9, 2009.

Art Daily features Comic Art Indigene

See "Comic Art Exhibition Opens at the National Museum of the American Indian," Art Daily March 8 2009.

QUICK REVIEWS FOR COMICS DUE 03-11-09

QUICK REVIEWS FOR COMICS DUE 03-11-09
By John Judy

30 DAYS OF NIGHT: 30 DAYS TIL DEATH #4 written and drawn by David Lapham. So it looks like vampires and self-control don’t always go hand in hand….

ACTION COMICS #875 by Greg Rucka and Eddy Barrows. Traditionally Superman comics without Superman have not been very good. But this is written by Greg Rucka so it will be as good as it can possibly be.

ALAN MOORE’S LIGHT OF THY COUNTENANCE GN by Moore and Felipe Massafera. A new tale from the creator of WATCHMEN about television, ghosts and old gods. Contains no giant blue phalluses that we know of.

BATMAN BATTLE FOR THE COWL #1 of 3 written and drawn by Tony Daniel. Lotsa people fighting to wear Bruce Wayne’s old undergarments. I think it should be Bucky!

CAPTAIN BRITAIN AND MI 13 #11 by Paul Cornell and Leonard Kirk. It takes a certain brass to write stories in which Dracula trades catty remarks with Doctor Doom on his secret vampire moonbase before going off to fight limey superheroes. It’s something you don’t see everyday and thus evokes a sense of “Gotta Look.” Make of this what you will.

EX MACHINA SPECIAL #4 by Brian K. Vaughan and John Paul Leon. More weirdness from Mayor Hundred’s superhero past comes creeping into the present day. A political thriller with jetpacks. Recommended.

GHOST RIDER #33 by Jason Aaron and Tony Moore. After everything blowed up real good last issue it is time to reassess. Do Ghost Riding and Vengeance Spiriting really have a future in today’s economy? And, based on previous Ghost Riders’ experiences, is it really something you’d want to pursue in the best of times? Maybe community college ain’t so bad….

IMMORTAL IRON FIST #23 Duane Swierczynski and Travel Foreman. Our heroes are getting their asses kicked in the Eighth City of Hell. And that, ladies and gentlemen is how you tell a Great Kung-Fu Story! Recommended.

LOSERS BY JACK KIRBY HC written and drawn by “The King.” Collecting OUR FIGHTING FORCES #151-162 and featuring the adventures of Johnny Cloud, Captain Storm, Gunner and Sarge. Stories influenced by Kirby’s own service in WWII. Featuring a foreword by Neil Gaiman.

NORTHLANDERS #15 by Brian Wood and Ryan Kelly. The penultimate issue in which we learn of Magnus’s past and what has made him so relentless in his vendetta against the Viking invaders. Great stuff. Recommended.

PERRY BIBLE FELLOWSHIP ALMANACK HC written and drawn by Nicholas Gurewitch. The final volume collecting the comic strips that claim such diverse fans as Jim Woodring, Scott McCloud, Tony Millionaire and the woman who wrote “Juno.”

PUNISHER: FRANK CASTLE MAX #68 by Duane Swierczynski and Michel Lacombe. Frank’s got three hours left to live and most of Philadelphia is still breathing. This will not do!

SCALPED #26 by Jason Aaron and Davide Furno. A stand-alone issue spotlighting Diesel, the rogue FBI, wanna-be Indian and his adventures behind bars. Among the best comics being published today. Highly recommended.

SPECIAL FORCES #4 of 6 written and drawn by Kyle Baker. Okay, so this title comes out about as often as Boo Radley. It’s still Kyle Baker so it’s gorgeous, clever and edgy as all get out. If the Iraq War and its accompanying military recruitment policies still have you mad you need to be reading this book. Highly recommended.

THE STAND: AMERICAN NIGHTMARES #1 of 5 by Roberto Aguirre-Sacasa and Mike Perkins. The second arc of this amazingly high-quality graphic adaptation begins here. The super-flu has destroyed the world and now the survivors have to cowboy up and keep living. Turns out there’s a guy named Randall Flagg in town and they’re gonna have to choose a side. Recommended.

THE STAND: CAPTAIN TRIPS PREMIERE HC by Roberto Aguirre-Sacasa and Mike Perkins. As noted above, Aguirre-Sacasa and Perkins have brought Stephen King’s epic to vivid life. This collects the first five issues to whet your appetite for what’s yet to come.

SUPER HUMAN RESOURCES #1 of 4 by Ken Marcus and Justin Bleep. A humorous look at a world-class super-team through the eyes of a temp worker. Hopefully no one tries to set the building on fire…

TOP 10 SEASON TWO #4 of 4 by Xander Cannon and Gene Ha. A jail-break in Neopolis, the city of science heroes. Now that’s how you wrap up a mini-series! Recommended.

WALKING DEAD #59 Robert Kirkman and Charlie Adlard. After the past couple of issues it’s kind of a relief to see some old-fashioned “drive over the zombies with a big car” action. Not for kids or otherwise squeamish folk.

X-MEN NOIR #4 of 4 by Fred Van Lente and Denis Calero. Wrapping up my favorite X-MEN mini-series in years: The X-Men re-imagined as hard-boiled pulp fiction characters from the thirties. Crackling dialogue with danger and double-crosses on every page. Highly recommended!

www.johnjudy.net

Staake and Thompson in New Yorker

Bob Staake, who regularly appears in the Post on Saturday, did the March 9th cover for the New Yorker. Our Man Thompson has a small caricature of a fugitive American millionaire who may be ruining sports in England. The issue also has Anthony Lane's negative review of Watchmen.

Book of Esther comic exhibit in Baltimore

The exhibit opened today. See "New-age depiction of Esther's age-old story: Exhibit at Jewish Museum focuses on graphic novel's retelling," By Edward Gunts, Baltimore Sun March 8, 2009 for JT Waldman's graphic novel story.

Here's the basic information - "Drawing on Tradition: The Book of Esther," runs through July 26 at the Jewish Museum of Maryland, 15 Lloyd St. Admission is $8 for adults, $5 for students and free for members. Call 410-732-6400 or go to jewishmuseummd.org.

Dave Astor continues his humor column

His third is up today - and it's funny, but pointed just like his two previous ones.

Zadzooks, superheroes and Watchmen at Washington Times

On superheroes is "EDGE: Saving the world ain't what it used to be," Peter Suderman, Washington Times Friday, March 6, 2009.

Zadzooks is still on toys - "Zadzooks: More from toy fair; Legions of action figures on parade," Joseph Szadkowski, Washington Times Thursday, March 5, 2009.

But his blog has a piece by someone who doesn't know anything about Watchmen or comics - "Remembering Watchmen," By Heidi Haynes, Washington Times Zadzooks Blog March 04 2009.

And finally, here's the paper's review - "MOVIES: 'Watchmen' leap into action," Sonny Bunch, Washington Times Thursday, March 5, 2009.

Greg Houston covers Washington City Paper

I like Greg Houston's illustrations for the City Paper quite a bit. There's only one online, but the current issue has 4 or so in it.

Post on the Unbearable Whiteness of Superbeings

See "What Color Is Your Superhero?" By Adam Serwer, Washington Post Sunday, March 8, 2009; B05. I'm afraid I'm not convinced, although if the demographics are changing I'm sure it's from movies about superheroes and not comic books.

Kronenberg interview on Batcave Companion

Here's another interview with the former DC-ite, and now telecommuter, Michael Kronenberg on his new book:

Sheriff, Amanda. 2009.
Inside The Batcave Companion.
Scoop (March 6): http://scoop.diamondgalleries.com/public/default.asp?t=1&m=1&c=34&s=265&ai=80649

Another Wimpy Kid interview

See "Talking to `Wimpy Kid' author Jeff Kinney" -Bo Book Club, TimeforKids.com, Buffalo News March 4 2009.

Sara and Mike go to Charlottesville

Sara Duke and I went to Charlottesville yesterday to see an exhibit, but we also stopped at a bunch of antique stores to exercise our comics-senses. So here's some of what I found:




Opus 'n Bill On the Road Again screen saver box covers. Unfortunately, I have no idea how one could view the animated segments now.


Eat Right to Work and Win, a 1942 book using King Features Syndicate characters. "Contributed by Swift & Companyto America's All-Out Effort through the National Nutrition Program. Office of Defense Health and Welfare Services." To read the whole booklet, click here.

Foxy Grandpa doorstop by Carl 'Bunny' Schultze. This is the second Foxy Grandpa thing I've found around Charlottesville - the first was a bank of his head. Sara and I both think this was repainted, but that doesn't much matter to me.

Wordless comic strip Ferd'nand 1957 collection.

Bud Sagendorf's Davy Crockett game, done around the time he was doing Popeye. I love the fact that someone saved this out of the Sunday comics and mounted it. I'll probably make a color copy and play it with my daughter. If there's any interest, I can do a hi-res scan for you readers.









Seven plates from Merry Masterpieces Fine Porcelain plates, Dayton Hudson, 1999. Anybody know anything more about these? Is it a New Yorker artist? They look vaguely like Danny Shanahan to me.

I bought a few more books and some Puck lithographs too.

Acquisitions considered, but not made: Raymond Briggs' Snowman place setting, 4 pieces by Royal Doulton - $40; Wood bas relief carving of Charles Dana Gibson cartoon - ? (some non-buyer regret over not at least checking the price); Raymond Briggs' Snowman porcelain box by Royal Doulton - $18; James Thurber house 50th anniversary commemorative plate - $40;

Watchmen: Portraits book review

Enos, Clay. Watchmen: Portraits. London: Titan Books, 2009.
192 pages, $50.00 (hc)
ISBN-10: 1848560699, ISBN-13: 978-1848560697

Portraits is the oddest of the three books that Titan published as companions to the movie, but it also has the highest production values and is physically the largest of the three. Clay Enos was the official still photographer, but also decided to shoot sets of portraits of both the actors in costume and the people working on the film. He shot in black and white, and used harsh lighting and a white backdrop, so every pore and hair can be seen. This gives the images a curious effect as though Richard Avedon decided to photograph superheroes. This is added to by the juxtapositions of the crew members and actors – “2nd Assistant Camera” is followed by “1940s Store Owner” who is followed in turn by “Captain Axis” all in hyper-detailed photographs. In his foreword Snyder says, “Not only do these pages immortalize individual cast and crewmembers, but they also celebrate in particular the exceptional work of our talented costume, hair and make-up departments. But beyond even that, the photos of the actors in costume capture something more. What at first glance simply might appear to be an extra dressed up as a general for a day, reveals on closer study the decades of a career spent in uniform.” Snyder’s point is somewhat undermined by the lack of identification of everyone, including him, by name. They are only identified by position. However, Enos decided to follow his muse, and a book and traveling photograph exhibit have resulted. I am not sure who this book will appeal to, but I appreciate the fact that Enos thought outside of the job he was hired for to create it.

Impera et Divide exhibit in Charlottesville, VA UPDATED

Just some quick notes and photos as Sara Duke is doing the formal writeup for the International Journal of Comic Art.

Sara and I took a meandering trip down, stopping at antique stores and trying to stump each other with obscure comics knowledge. As previously noted here, the exhibit is in the non-profit Second Street Gallery, Charlottesville, Virginia.

It has six artists - Frédéric Coché (France), Aerim Lee (South Korea), André Lemos (Portugal), Ilan Manouach (Greece), Andrei Molotiu (US) and Fabio Zimbres (Brazil) and was curated by Pedro Moura (Portugal) and Charlottesville's Warren Craghead III. Although Pedro declared that the art was all just 'comics,' these really are art comics. A companion book, Divide et Impera, by Pedro gives a good overview of the artists and their artwork. Pedro, Warren and Andre were at the show, and it was a pleasure to meet with them and talk about the exhibit. Andre did a special mini-comic/zine just for the exhibit and probably on the plane flight over. I bought a copy of this, the exhibit companion book, and many of the other publications for sale for Michigan State University's Comic Art Collection should one like to see them in the future.

The exhibit suffered somewhat from being trimmed significantly at the last moment due to a smaller gallery size than expected. The version shown in Amador in Portugal was much larger and included Craghead's work which was left out of this version. Of the artists, I was only familiar with Zimbres previously (and Molotiu's academic writing on comics). I'll leave it to Sara to get into the details, but I was especially taken with Cloche's aquatint comics - essentially he engraves a plate and prints 10 of them (according to Pedro) and then cleans the plate. He sells the engravings while reproductions of the art make up his books, 3 of which were on display from Warren's collection. Sara was taken with the work of Ms. Lee, which was eyepopping in color. Much of the artwork is for sale.

Due to the smaller size of the show, many pieces couldn't be displayed, but Pedro took us back to look through them. If you're interested, I would imagine arrangements can be made with the gallery. One could probably buy the book from them through the mail as well, and perhaps the other publications.

There's a blog by Craghead at http://imperaetdivide.blogspot.com/ which has pictures as well.

Here's my photographs, largely taken as a mnemonic device for writing a review:

Frédéric Coché (France)

Ilan Manouach (Greece)

Fabio Zimbres (Brazil)

Andrei Molotiu (US)

André Lemos (Portugal)

Frédéric Coché (France) books

Aerim Lee (South Korea)

Aerim Lee (South Korea)

International Comic Arts Forum WANTS YOU!

CALL FOR PROPOSALS EXTENDED:

The 14th Annual International Comic Arts Forum: ICAF 2009

October 15-17, 2009

The School of the Art Institute of Chicago

<http://www.internationalcomicartsforum.org>

ICAF, the International Comic Arts Forum, invites scholarly paper proposals for its fourteenth annual meeting, to be held at the School of the Art Institute of Chicago in Chicago, Illinois, from Thursday, October 9, through Saturday, October 11, 2008.

The deadline to submit proposals HAS BEEN EXTENDED TO April 3, 2009. (Scroll down for proposal guidelines and submission information.) Proposals will be refereed via blind review.

ICAF welcomes original proposals from diverse disciplines and theoretical perspectives on any aspect of comics or cartooning, including comic strips, comic books, albums, graphic novels, manga, webcomics, political cartoons, gag cartoons, and caricature. Studies of aesthetics, production, distribution, reception, and social, ideological, and historical significance are all equally welcome, as are studies that address larger theoretical issues linked to comics or cartooning, for example in image/text studies or new media theory. In keeping with its mission, ICAF is particularly interested in studies that reflect an international perspective.

PROPOSAL GUIDELINES:
For its refereed presentations, ICAF prefers argumentative, thesis-driven papers that are clearly linked to larger critical, artistic, or cultural issues; we strive to avoid presentations that are merely summative or survey-like in character. We can accept only original papers that have not been presented or accepted for publication elsewhere. Presenters should assume an audience versed in comics and the fundamentals of comics studies. Where possible, papers should be illustrated by relevant images. In all cases, presentations should be timed to finish within the strict limit of twenty (20) minutes (that is, roughly eight to nine typed, double-spaced pages). Proposals should not exceed 300 words.

AUDIOVISUAL EQUIPMENT:
ICAF's preferred format for the display of images is MS PowerPoint. Regretfully, we cannot accommodate non-digital media such as transparencies, slides, or VHS tapes. Presenters should bring their PowerPoint or other electronic files on a USB key or CD, not just on the hard drive of a portable computer. We cannot guarantee the compatibility of our equipment with presenters' individual laptops.

REVIEW PROCESS:
All proposals will be subject to blind review by the ICAF Executive Committee, with preference given to proposals that observe the above standards. The final number of papers accepted will depend on the needs of the conference program. Due to high interest in the conference, in recent years ICAF has typically been able to accept only one third to one half of the proposals it has received.

SEND ABSTRACTS (with complete contact information) by March 20, 2009, to Prof. Cécile Danehy, ICAF Academic Director, via email at:

cdanehy@wheatoncollege.edu

Receipt of proposals will be acknowledged immediately; if you do not receive acknowledgment within three days of sending your proposal, please resubmit. Applicants should expect to receive confirmation of acceptance or rejection by April 17, 2009.

Mar 18: Superhuman Resources signing at Big Planet

Ken Marcus writes in:

I just wanted to let you know that we're doing a signing at Big Planet (Bethesda from 10-2 and Vienna from 3-7.) on March 18th.

Oh, here's a preview if you'd like to post. Thanks so much.

Comic Art Indigene very Quick Review

Comic Art Indigene had a press preview at the National Museum of the American Indian last night and I got to stop by.

Assumption: Tony Chavarria was a comics fan before becoming a Curator of Ethnology. Hypothesis: He combined his two interests into one exhibit. Conclusion: This exhibit is cool - it takes a few minutes for you to see how everything relates to comic art, but it's worth it.

A real review will follow this, but I wanted to get something up quick.

With apologies to John Judy for stealing his trademark title phrase.

ICAF's 2009 John A. Lent Scholarship in Comics Studies

2009 John A. Lent Scholarship in Comics Studies

Students of comics!

ICAF, the International Comic Arts Forum, is proud to hold each year the John A. Lent Scholarship in Comics Studies competition. The Lent Scholarship, named for pioneering teacher and researcher Dr. John A. Lent, is offered to encourage student research into comic art. ICAF awards the Lent Scholarship to a current student who has authored, or is in the process of authoring, a substantial research-based writing project about comics. (Preference is given to master’s theses and doctoral dissertations, but all students of comics are encouraged to apply.) The Scholarship was established in 2005.

The Scholarship is subject to the condition that the recipient present a half-hour talk, based on her or his research, during ICAF. The award consists of up to US$500 in kind to offset the cost of travel to and/or accommodations at the conference. A commemorative letter and plaque are also awarded. No cash is awarded.

Applicants must be students, or must show acceptance into an academic program, at the time of application. For example, applicants for ICAF 2009 must show proof of student status for the academic year 2008-2009, or proof that they have been accepted into an academic program beginning in academic year 2009-2010.

The Scholarship competition is adjudicated by a three-person committee chosen from among the members of ICAF’s Executive Committee. Applications should consist of the following written materials, sent electronically in PDF form:

* A self-contained excerpt from the project in question, not to exceed twenty (20) double-spaced pages of typescript.

* A brief cover letter, introducing the applicant and explaining the nature of the project.

* The applicant’s professional resume.

* A brief letter of reference, on school letterhead, from a teacher or academic advisor (preferably thesis director), establishing the applicant’s student status and speaking to her/his qualifications as a researcher and presenter.

PLEASE NOTE that applications for the Lent Scholarship are handled entirely separately from ICAF’s general Call for Proposals (which can be viewed at http://www.internationalcomicartsforum.org/icaf/call-for-proposals-icaf-2009.html). Students who submit abstracts to the general CFP are welcome to apply separately for the Lent Award.

Send inquiries and application materials via email to Ana Merino of the ICAF Executive Committee, at ana.merino@dartmouth.edu. The deadline for 2009 submissions is May 1, 2009.

Dave Astor's new Huffington Post column started today

Dave Astor, the great former E&P syndicate reporter, has started a new humor column at Huffington Post. Check it out - the first one is a good start.

Watchmen: The Art of the Film book review

Aperlo, Peter. Watchmen: The Art of the Film. London: Titan Books, 2009.
256 pages, $40 (hc).
ISBN-10: 1848560680, ISBN-13: 978-1848560680

Unsurprisingly, The Art of the Film complements and somewhat overlaps The Film Companion. It focuses more on the film’s design and special effects. Of special interest to comic book readers is concept art by Adam Hughes, David Finch and John Cassaday, prop art by James Jean and new art by Dave Gibbons and colorist John Higgins including three pages drawn as a new alternative ending to the comic book, and thus the movie.

The only word to describe this movie, and this resulting book is ‘lush.’ An ad for The Veidt Method (Page 13) quotes comic books’ one-time ubiquitous Charles Atlas self-improvement ads. Dozens of prop newspapers hang in a hallway, with decades spanned in their headlines, waiting for approval to use in the movie. Production manager Alex McDowell explained part of the rationale for such detail, “This film is interesting because environments really have to represent the characters iconically, because you are in this very complex, fluid time stream back and forth. You need something to ground you when you cut back to something that’s 1970 or ’77 or ’85.” (p.28-29) The small black & white television shown in the original Nite Owl’s apartment on p. 39 is actually the same model that this reviewer had in his bedroom as a teenager.

The Introduction chapter gives the basic rationale behind the design and look of the movie. Concept Art has the initial redesigns of characters, the storyboards and the new ending by Gibbons and Snyder. Several pages focus on James Jean’s painting of Silk Spectre I’s World War II propaganda poster. Jean painted her in both Norman Rockwell and Vargas’ styles. Production Art focuses more on how a scene is actually laid out and what it will look like – an example is the cemetery for the Comedian’s funeral which is shown as a painting and a set of elevation drawings. This leads naturally into the Sets chapter, which again shows design artwork and stills from the finished movie; here a good example is Dr. Manhattan’s apartment or Adrian Veidt’s office.

Props drills down into more detailed pieces especially, and unsurprisingly, weapons although it also includes the newspapers seen waiting for approval in the Introduction, Rorschach’s diary, Watchmen action figures from Veidt’s office (sculpted for the film by Neville Page, but the viewer can now own a set as a result of the movie, as reality and fiction intertwine). Moore and Gibbon’s original story had a secondary story running through it – a knock-off of an EC pirate horror comic called The Black Freighter. Interleaving that into the movie would have been impossible, so Snyder created an animated direct-to-video version which went on sale before The Watchmen opened. A few pages show artwork from the ‘comic book’ and the resulting animation.

The Owlship, a flying version of Batman’s Batmobile, gets a chapter to itself, as do Costumes. Both are filled with production artwork and the final results. The book ends with a look at the multiple poster campaigns designed for the movie. Like The Film Companion, this book is well-done and should appeal to those interested in more information than the movie alone could provide.