Lots of really good cartoonists on that list, Frank. L.Nichols is getting better and better. Aaron Cockle’s comics are very clever and pack a lot into a few pages. Sam Sharpe can really draw. And I’m eager to see new work from Mardou! Man, I hated missing SPX…
Shit, now I got to troll around the internet getting some of this shit cause I was too wasted to get to SPX. Some nice looking books. Nadel/Paul L didn’t give you a Monster huh?
Yah, Monster was in limited supply. Looks great though!
Ack! I should’ve given you my new book, Frank.
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Arrgh, I want those Tom K books! This was the first SPX where I had a hard time finding stuff I really wanted. Thank god BCGF is right around the corner.
hardcore art comics are over, eh, Ian? It seems to me that the heavyweight champs of art comics are still playing ball – new If ‘n Oof is unbelievable looking (we had one promo copy) and the Providence scene is alive and kicking with Monster – but “the kids” at spx have moved on from art comics it seems. The ClosedCaptionComics crew is scattered around and still making awesome work – but SPX felt populated less by wild style comics than with a more conservative vein of comics – lots of fresh faces.
Frank says Chippendale & Brinkman were Bird & Diz, but I always thought they were Miles & Trane, but maybe BJ & CF were Miles & Trane, and when the hell is Dexter Gordon coming back from Paris anyway?!?! ***Disclaimer: ComicsComics is a jazz-to-comics conflation safe zone*** (per Frank.)
Hardcore art comics are over? Maybe SPX is over.
Monster was good, but there was something sad about it. The CF strip was the best. CF’s mini from BCGF was the best. Is CF the best?! Enjoyed the Monster panel. Got the impression that making comics was just another thing to do like playing music and rasslin’ to those kids. Maybe there are people entering comics with that same attitude today, maybe not though. Either way there are people who want to pick up where they left off, so I guess that makes those post-Art Comics. Don’t piss on them though, “post” can be good, post-bop, post-punk, etc etc.
yes, Jazz metaphors are legal and encouraged. I think Gary Panter is Art Tatum.
hardcore art comics may be over at spx. How’s that, Ian?
I thought long and hard about “what does it all mean?” at spx this year. I suggested to Dan that I thought maybe there could be a “third stream” like Jazz and Classical of Gil Evans – but Nadel soberly responded: “this may be it. it’s the end of fandom probably. can you imagine kids in ten years digging thru bins for old graphic novels at a show like spx? I can’t”
I don’t know, sometimes I imagine that I am some kind of archivist for some kid that will come along in five to ten years who missed the stuff. With that Renee French collection Oni put out, or Rogan Gosh, or the Bongo Jimbo issues, or Ninja (now out of print!). [probably this is what everyone who bought a copy of Kramers Ergot 7 was thinking] Do you think it will be replaced by things on a peer to peer level? That all there will be is art school freshman making autobio minicomics (or webcomics, more likely) about their last year in high school? That seems unlikely to me, because of how unrewarding it would be for anyone with the slightest bit of self-awareness.
When I hang out in record stores it is inevitable that a dude in his fifties will come in and talk about how crazy it is that places still sell vinyl and will then need to be told that records never stopped being pressed. And what sells the most is reissues. Even if that particular comics-nerd-fandom-history dies, the thing that made a kid in 1985 sad he missed the Dark Phoenix Saga, there will still be a dissatisfaction with the work being made “of the moment.” I’m waiting for a world comics boom to satisfy the true seekers. (I AM PISSED that if I want to get my hands on some Anke Feuchtenberg work I have to go to MOCCA. Sparkplug was selling it at cons back on the west coast back when I couldn’t afford it and maybe that’s still the case.)
I told Gary Panter he’s the Captain Beefheart of comics and he said “maybe Invasion of the Elvis Zombies” was his Unconditionally Guaranteed.
Brian: I’m waiting for a world comics boom to satisfy the true seekers” – I don’t know how to do this without file sharing – I want to use the actual comics or print collections – but so much of this stuff is off limits to “true seekers” – I can’t track down enough Rogan Gosh comics for the demand – so you need/have gatekeepers and that gets tricky – publishers / critics / resellers like me claiming ownership over vague creators and comics – ideas – total can of worms.
LP comparison; the “download” is often additional to the tangible record release, like to get it on ipod w/o recording it from vinyl. Will a digital-version (cbz or pdf?) save future zine readers the bother of a scanning? Music may serve more of a purpose to have mobile and scale isn’t a factor, but if the only way I can read Coober Skeeber or Monster Vol. 1 is digital, I’d bother. Will “zine blogs” sprout up like those which share obscurities from the past/contemporary “try b4 buy” tapes and whanots? DJs keep vinyl alive, collectors help, but if there were no DJs the wax would become like 8-tracks.
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