Marie Duval exhibit open in NYC

Posted for Roger Sabin, a friend of ComicsDC. See Carli Spina's exhibit review on IJOCA's blog.

Peter Cannon: Thunderbolt

by RM Rhodes

2019 saw three sequels to 1986's Watchmen by Alan Moore and Dave Gibbons, one of the most seminal works in English language corporate super hero comics. One of those sequels was a live action television show on HBO. One of them was Doomsday Clock, the overt incorporation of the Watchmen characters into the larger DC comics universe. And one of them was Peter Cannon: Thunderbolt by Keiron Gillen and Caspar Wijngaard. Full disclosure: of these, I've only read the the latter, mostly because it was the only one of interest to me.

Since it's release, one of the things that made Watchmen stand out from the very crowded field of superhero comics was it's one-and-done status. There were no prequels, sequels, crossovers, or spin-offs (but plenty of parodies and homages). The corporate lore from DC Comics holds that the main reason for this was Paul Levitz, who was the president of DC comics from 2002-2009, although he had worked at DC Comics for 35 years in a variety of roles.

Three years after Levitz left, DC Comics announced that they were going to create a series of prequel comics that nobody was asking for. The prevailing theory was that the corporate overlords couldn't handle the fact that they had a very successful property on their hands that they hadn't fully exploited. The whole thing is a very sad cautionary tale about the work-for-hire nature of creating new characters for corporate super hero comics companies.

Each of the three sequels completely ignores this behind-the-scenes history. But only Peter Cannon: Thunderbolt actually attempts to grapple with the artistic legacy of Watchmen. Watchmen, for those who have never read it, is a formalist masterpiece, built around a nine-panel grid. Many creators have cited (or overtly copied) Watchmen in their own works over the years. Gillen takes aim at this aspect of the work and ruthlessly interrogates it, to astounding effect.

The original plan for Watchmen came from the fact that DC Comics had acquired a set of characters from Charlton (another comics publisher) and wanted Alan Moore and Dave Gibbons to do something interesting with them. Moore and Gibbons eventually created new characters based on the Charlton characters so that DC would have the option of doing something with the characters in the future. This gave Moore and Gibbons room to do something permanent without worrying that future continuity would reverse it - a surprisingly common occurrence in super hero comics.

For Peter Cannon: Thunderbolt, Gillen and Wijngaard uses those same Charlton characters (or rough analogs of the same), but based them on the variations that were created by Moore and Gibbons. It's a clever trick, one that skirts the whole "official sequel" issue (Peter Cannon: Thunderbolt was published by Dynamite, a comics company that has no connection to DC Comics) and, like the original decision made by Moore and Gibbons, gave Gillen and Wijngaard more room to maneuver.

Utterly unlike the intricate complexity of Watchmen, the plot of Peter Cannon: Thunderbolt really doesn't matter. The generic super hero tropes provide a series of events for the formalist commentary to sit on. From the very first panel on the very first page, the creators make it obvious that this work relies heavily on the reader's remembrance of Watchmen itself. In fact, there are several pages that are shot-for-shot replications of specific pages in Watchmen.

As the pages turn, this becomes even more explicitly a work aimed at insiders. Entire lines of dialogue are lifted (and mangled) from Watchmen for very specific reasons. And then, in the fourth episode, the title character lands in an a scene that is completely illustrated in black and white, an obvious and overt homage to the "slice of life" comics of Eddie Campbell, with whom Moore worked on From Hell. This gets even more explicit when Campbell himself shows up and tries to start a fight with the main character, who is still wearing his superhero outfit. The best part of this sequence is a cameo appearance from Moore himself.

Gillen proves that he's got a solid understanding of the formalism inherent in the nine-panel grid, as well as the metanarrative tricks that one can play with, if one has the inclination. And Gillen clearly has the inclination. His message is very clear: since it's publication, Watchmen has cast an oversized shadow on corporate super hero comics and, maybe, we might should find something different to fixate on. Any day now.

From a content perspective, I happen to think he's absolutely correct. The term "grim and gritty" came out of work like Watchmen and The Dark Knight Returns, which came out the same year. Grim and gritty superhero comics became a scourge on the marketplace in the 90s and are only now starting to peter out.

On the other hand, I'm not sure I agree with Gillen's thesis that maybe we should let the formalism of Watchmen go as well. The nine panel grid is a natural fit with the size and shape of a modern comic book page. Frank Santoro's Comics Correspondence Course preaches an eight panel grid because it removes the requirement for early creators to have to come up with a layout - effectively, one less decision to make. The argument for the nine panel grid is more or less the same, with the added benefit of giving the page the timing of a waltz - one, two, three, one, two, three, one, two, three. It is increasingly unlikely that such basic grids will ever really go out of style.

All in all, Peter Cannon: Thunderbolt is a very interesting piece of work. Unfortunately, it requires the reader to have a very deep familiarity with Watchmen to really "get" the point. Fortunately for the creative team, Watchmen is so ubiquitous that most readers have probably already done the prerequisite reading. It's ironic that Gillen would rely so heavily on the tropes in Watchmen to make the argument that it should not have the influence it currently has.

Peter Cannon: Thunderbolt was originally serialized in five issues. The collected edition, in hardcover, was released in early January of 2020. It's unclear why the collection was issued in hardback instead of the more common softcover, but this reviewer suspects that it had to do with capitalizing on the higher price point.

If you are a reader with fond memories of Watchmen, but are more interested in the formalist aspects of the work than the ongoing integration of the characters into the ongoing DC Comics universe, this comes highly recommended.

PR: IDW and Smithsonian Enterprises Announce Groundbreaking Graphic Novel Publishing Program

IDW and Smithsonian Enterprises Announce Groundbreaking Graphic Novel Publishing Program 

Nate Powell art of the Castle, viewed from the Mall

SAN DIEGO, CA (January 8, 2020) – IDW Publishing, a division of IDW Media Holdings Inc. (OTC: IDWM), and the Smithsonian Institution are proud to announce a multi-year global publishing program, which will create an unprecedented library of graphic novels built on the cultural and scientific knowledge of the world's largest museum, educational, and research complex.

Beginning in fall 2020, IDW and the Smithsonian will invite readers on a voyage of discovery with a comprehensive range of graphic books in a variety of formats. Among the planned product lines are: "Time Trials," a middle-grade graphic novel series inspired by the National Museum of American History video series; original graphic novels focused on landmark events and individuals, in the tradition of IDW's acclaimed March and They Called Us Enemy; coloring books in both the youth and adult categories; picture books for young readers; and more.

Drawing from the Smithsonian's vast holdings, which include some of the world's most popular museums, IDW will create exciting and unforgettable visual narratives for lifelong learners worldwide, produced by a close working relationship between experts at the Smithsonian and top talents from the world of graphic literature.

"The most energizing thing about working with the Smithsonian's curators, researchers, and zookeepers is that these are not just experts in their fields: they're storytellers," says Chris Ryall, IDW's President, Publisher, and CCO. "Together, we'll use the unique power of comics to entertain, inspire, and educate readers of all ages about the wonders of history, science, technology, culture, and more."

"We're excited to work with the IDW team and share the full breadth of the Smithsonian's extraordinary collections and research with readers around the world," says Carol LeBlanc, President of Smithsonian Enterprises. "We can't wait to see world-class writers and artists bring the Smithsonian mission to diverse audiences in innovative, accessible, and engaging new ways."

"Comics can communicate complex ideas in the blink of an eye," says Justin Eisinger, IDW's Editorial Director, Graphic Novels & Collections. "As our art form becomes increasingly central to the work of educators and librarians, this program presents a unique and important opportunity to align IDW's mission of quality graphic storytelling with the Smithsonian's quest to share information with curious minds everywhere."

"Award-winning books like March and They Called Us Enemy have demonstrated the massive potential of graphic nonfiction that's infused with literary richness, visionary artwork, and personal passion," says Leigh Walton, Editor and Marketing Director for IDW's Top Shelf imprint. "With the brilliant minds at the Smithsonian, I'm thrilled to apply those same values to explore untold stories and new frontiers around the world and throughout the universe."

IDW's books published in collaboration with the Smithsonian will be available everywhere books are sold, including comic book specialty shops, bookstores, libraries, museums, and ebook vendors. For continuing developments, please follow IDW online at www.idwpublishing.com and via our social media channels: Facebook, Twitter, Instagram, and Youtube.

About IDW

IDW Publishing stands proudly at the forefront of printed visual entertainment, cultivating a formidable library of world-renowned licensed brands and creator-owned original IP. Its diverse array of comic books, graphic novels, and art books deliver reading enjoyment to fans of all ages. Its award-winning imprints The Library of American Comics, Yoe! Books, and Artist Editions preserve the valuable cultural history of the sequential art medium, while titles under the critically acclaimed Top Shelf and Black Crown banners celebrate fiercely independent voices. IDW Publishing is a division of IDW Media Holdings, Inc. (OTC: IDWM), a fully integrated media company with robust offerings in publishing, tabletop gaming, multimedia entertainment, and art exhibition via the San Diego Comic Art Gallery. IDW products are distributed worldwide by Penguin Random House Publisher Services, Diamond Comic Distributors, and Alliance Game Distributors.

About the Smithsonian

Established in 1846, the Smithsonian—the world's largest museum, education, and research complex—includes 19 museums and galleries, 9 research centers, and the National Zoological Park. The total number of artifacts, works of art and specimens in the Smithsonian's collections is estimated at 156 million, the bulk of which is contained in the National Museum of Natural History, which holds more than 145 million specimens and objects. The Smithsonian is a renowned research center, dedicated to public education, national service, and scholarship in the arts, sciences, and history. www.si.edu.

Exhibit Review: Comic Art: 120 Years of Panels and Pages

by Mike Rhode


Comic Art: 120 Years of Panels and Pages. Sara W. Duke and Martha H. Kennedy, Prints and Photographs Division and Georgia M. Higley and Megan Halsband, Serial and Government Publications Division. Washington, DC: Library of Congress. September 12, 2019- September 2020. https://www.loc.gov/exhibitions/comic-art/about-this-exhibition/

Since I am friends with all four of the curators of the exhibit, consider this more of an exhibit overview rather than a review. Located in the historic Jefferson Building, the site of many fine exhibitions besides those of comic art, the Swann Gallery’s exhibits are always interesting and this one is no exception. The exhibit showcases highlights of the Library’s collection of comic art, meaning in this exhibit at least comic strips and comic books, including its very latest forays into collecting.

The exhibit is divided rather arbitrarily into five sections – “Early Years: 1890s-1920s,” “Mid-Twentieth Century: 1930s-1960s,” “Late-Twentieth Century and Onward: 1970s-2000s,” “Comic Books and Beyond: 1940s-2000s,” and “Webcomics.” Although the sections are clearly delineated on the website, this is less true for the actual exhibit except for the comic books which are displayed in cases in the middle of the gallery, and the webcomics which are on a screen by the exit door.

 

 

 

Taking the three original art sections first, there are some very good original cartoons on display, beginning in Early Years with the copyright drawing for the Yellow Kid, and originals from Winsor McCay, Frank King’s Gasoline Alley, George Herriman’s Krazy Kat, and some tearsheets from the Geppi Collection. The next section has a fine Batman & Robin page, a lovely Burne Hogarth original of Tarzan, and an early Peanuts original, although the Hulk page by Marie Severin has been shown too many times in recent exhibits. The latest section definitely plays into the interests of the two curators. There are two 9-11 pieces, one from Will Eisner and one from Alex Ross that were collected after that tragedy, a Sunday strip from local cartoonist Richard Thompson’s Cul de Sac, a page from the New Yorker's Chris Ware, items from women cartoonists Trina Robbins, Lynn Johnston and Marguerite Dabaie, and posters and prints from the Small Press Expo collection. 

 

 

The comic book section is limited by both space and the difficulties in displaying bound printed matter, (as the Post Office classified comics when they were sent through the mail to subscribers). Again reflecting the interests of this sections curators, there are some rare pieces such as the recently-acquired All-Negro Comics no. 1 and DC’s World Best Comics no. 1, along standards such as a Disney issue of Dell’s Four Color Comics, EC’s Weird Fantasy, Lobo (an uninspired Western distinguished only by having an African-American hero), Harvey Pekar’s American Splendor, Mad no. 6, Twisted Sisters no. 1 and an fanzine among others. The Webcomics section just shows strips on a computer screen, made up from some of the electronic comics that the Library has begun collecting digitally including Ryan North’s Dinosaur Comics, Randall Munroe’s XKCD and Kate Beaton’s Hark! A Vagrant. It is nice that the curators are including this new form, but seeing them on a large computer screen in an exhibit gallery does not add anything to the understanding of the strips. 

 

 

The exhibit will be switched out around February to preserve the paper items. In a small room next to the exhibit, Sara Duke’s selection of Herblock cartoons from fifty years ago is worth looking at, especially since the topics he drew and she selected are still problems and in the news.

(This review was written for the International Journal of Comic Art 22:1, but this version appears on both the IJOCA and ComicsDC websites on January 8 2020, while the exhibit is still open for viewing.)

Exhibit Review: The Comic Art of Lynn Johnston

by Mike Rhode


The Comic Art of Lynn Johnston. Kate Grumbacher. Washington, DC: Embassy of Canada Art Gallery, September 13, 2019-January 31, 2020.

The Canadian Embassy on Pennsylvania Avenue, NW, between the White House and Congress is a striking setting for this small exhibit on For Better or For Worse, the long-running and popular comic strip. From 1979- 2008, the strip followed the lives of the Patterson family, a wife and husband (a dentist) and their three kids and dogs as they grew up in Canada. The strip is still running in reprints. The exhibit was originally shown in a gallery in Canada and modified by Grumbacher for exhibit in Washington. Johnston was in town for the exhibit opening, and also spoke at the Library of Congress the following day. She noted that she can no longer draw the strip due to tremors, but she’s being creative in other ways. On the back of the introductory plinth is fabric that she’s designed and goofy paintings of dogs and cats, but the exhibit largely concentrates on the comic strip.

 

 

 

As you walk into the exhibit, a large panel depicts a collage of her characters over the life of the strip, and has the title of the exhibit in French and English. The exhibit is bilingual throughout. In French, for the record the title is L’Art de la Bande Dessineé selon Lynn Johnston. Turning left from the title plinth, Johnston’s desk is featured along with some early drawings framed above it. The desk looks barely used compared to some other cartoonists’. The ‘office area’ is bounded by a small wall, and on the other side of that is a small interactive section where a visitor could color a sheet with characters from the strip, or create their own four-panel strip in a blank sheet of squares. A large set of labels explains the process of creating a comic strip. Next to that is a small enclosed exhibit case with family photos, toy cars and other materials she used as references to draw the strip. Next to the exhibit case is a group of several original Sunday strips matched with color prints to show how they 

 actually appeared in the newspaper. 

 

 

 

The main characters of the strip are introduced, and then large panels with purple headers explains the high points of the strip over the years. These included “Michael & Deanna” (the oldest son and his wife), “April’s Birth” (the third child), “Infidelity,” “Lawrence Comes Out” (when the character was revealed to be gay, it was a major controversy), “Mtigwaki” (the eldest daughter Elizabeth goes to work in a First Nations community), “Shannon Lake” (an autistic character introduced in a school setting), “Elizabeth’s Sexual Assault,” “Elizabeth’s Wedding,” “Death & Illness,” and “Farley’s Death” (also controversial when the family dog died saving April from a stream).

 

The exhibit concludes with a short film, a quilt of the characters (hanging up very high), and in a nod to our locality, reproductions from the Washington Post of a page of comic strips, and Michael Cavna’s article about the end of the strip. 

This is a celebratory exhibit. There is no deep analysis of the social or historical implications of the strip, beyond the purple panels’ basic claims, and that is fine. The exhibit is both a celebration of a Canadian artist and an enjoyable hour-long stop for Washington’s tourists, in a venue they would not normally see. More photographs of the exhibit are at https://flic.kr/s/aHsmGVy4FY and Johnston’s Library of Congress talk at https://flic.kr/s/aHsmGVvahH

 

(This review was written for the International Journal of Comic Art 22:1, but this version appears on both the IJOCA and ComicsDC websites on January 8 2020, while the exhibit is still open for viewing.)

   

 

(This review was written for the International Journal of Comic Art 22:1, but this version appears on both the IJOCA and ComicsDC websites on January 8 2020, while the exhibit is still open for viewing.)