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1. Our own Dan Nadel interviewed Dan Clowes at APE last weekend (armed with questions brainstormed by the CC staff), and from all reports, it went very well. During the conversation, Clowes handicapped the greats (Capp vs Fisher, Swan vs Boring, Cracked vs Mad, etc.), described meeting Al Jaffee and Steve Ditko, and analyzed advice once given to him by Robert Crumb. You can read about it all here, and if the a/v version is ever made available, we will let you know.

2. If you are following along with the CCCBC discussion of Neonomicon (and how could you not be?), a rare Alan Moore essay has come to light that may help illuminate some of the thematic material in that series. If you remember issue 2, when shopping at the Whispers in Darkness store, Agent Brears purchases a copy of The Magical Revival by Kenneth Grant, and later describes the author to her partner Lamper:

This Grant guy, he’s this serious magician who’s still alive in England. He knew Aleister Crowley. … Yeah, well, him, Grant, people like that, they’re serious about all the occult stuff. They treat it like it’s real, you know? Like it’s a science. And Grant, he believed Lovecraft’s whole mythology was genuine in some way. … I just want to see how anybody could actually believe in this stuff.

Anyway, in 2002, Moore used the occasion of a then-fairly-recent Kenneth Grant book to write a fairly lengthy essay on the man and his work, “Beyond our Ken”, which touches on such issues as Lovecraft’s influence, both on literature and “modern magic systems,” magic’s interchangeability with art (“the greater part of magical activity lies in simply writing about it”), and the dividing line between belief and reality. All of these topics obviously come to fruit in various ways within Neonomicon, so those readers not entirely turned off by this kind of arcane subject matter may want to download issue 14 of the occult magazine KAOS, which is available here, and read it.

[via, indirectly]

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Anyone out there have a copy of Fantagraphics book Your Vigor for Life Appalls Me: Crumb letters 1958-1977? If you also have a scanner and are willing to scan and send me a page I need from the book, please email me.  Thanks!

UPDATE: I’ve received several kind offers on this request, so no longer need assistance. Thanks to all who replied.

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Back in July I appeared on the Michael Coren show as part of the semi-regular arts panel. During the show I talked a bit about my Orphan Annie research. You can see the show by clicking on here. The Annie discussion starts at about 30 minutes into the show.

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This scene comes courtesy of WildStorm-affiliated colorist Jonny Rench, who died this past weekend at the age of 28. I recalled him easily from the work pictured above, the 2007-08 miniseries The Programme, written by Peter Milligan and drawn by C.P. Smith. I can best describe Smith’s art as ‘heavy realism’ in the shadowed, deliberately posed manner of Jae Lee, whose own work typically divines much impact from its interaction with colors by José Villarrubia or June Chung; Rench colored Smith on the first five of twelve issues. In keeping with the broadly satirical nature of Milligan’s drug-kissed scenario — seeing literal Russian superpowers rise up to gift an uncertain terrorism-era America with the certainty of national competition — Rench blasts most all displays of superhuman force with garish, fuzzy, sickly colors. Otherwise, Smith’s photo-still figures are bathed in one or more hue.

It’s one of the more peculiar-looking longform series to see release from DC/Marvel in a while, enough so to wedge the visual team’s names in my memory. And it’s unfortunate my recall should be sparked again by such sad news, but there you go.

Onto the upcoming works:

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Welcome to the first official meeting of the Comics Comics Comic-Book Club. Our topic is Alan Moore and Jacen Burrows’s Neonomicon. Originally the idea was to discuss each issue as it was released, but we’ve got some catching up to do, so this time we’ll tackle the first two issues together.

Have you finished the assigned reading?

First, of course, you need to read the comics themselves.

Neonomicon is the sequel to Alan Moore’s The Courtyard, which I covered previously here and here. (Writer Antony Johnston wrote in with an interesting comment regarding some of the fundamental language & layout choices.)

Jog has already written an excellent post about issue 2…

…in which he linked to a flawed but fascinating two-part video on issue 1.

And I didn’t mention it, but the re-reading I am assigning for myself before we get to issue 3 is H.P. Lovecraft’s “The Shadow Over Innsmouth”, which seems to be the main inspiration for Neonomicon so far, just as “The Horror of Red Hook” served for “The Courtyard”.

Okay, so let’s see if this works at all or if the whole idea is a misfire. Here we go: (more…)

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DOIN’ THE CHESTER
Howzitgoin’ CC faithful!? Good? Good. This week we are studying the evolution of Chester Brown’s grid layouts in Yummy Fur issues 19, 20, and 21. Seriously. What? You don’t have these comic books in your collection? What? How old are you? It’s okay. I know it’s hard to collect comics. But you gotta try. For me. You can have a better sense of the maker’s intent if you dig up the original issues. Track these comics down. They are essential reading. Yummy Fur #19 contains “Helder” and issue #20 contains “Showing Helder” both of which are collected in The Little Man from Drawn and Quarterly. We will also be looking at Yummy Fur #21 which contains the first chapter of The Playboy (originally called Disgust). FYI comparing Chet’s original comics with the eventual collection is a sport in and of itself. Things change and rearrange. (more…)

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For the first part of this discussion, see here.

In his opening essay, “The Comic of Cthulhu: Being a Letter of Reminiscence and Recollection Concerning The Courtyard”, scripter Antony Johnston discusses the problems he faced when retelling Alan Moore’s original prose story in comic-book form:

One of the main challenges is adapting prose to a visual medium such as comics is that in prose, it’s perfectly acceptable to engage the reader with an inner monologue, and often for some length. These are necessary for exposition, feeding the information vital to understand the story, because in prose you can’t simply show something as you would in a film or comic. You must describe it.

There’s just one problem; during such passages it’s also perfectly acceptable for nothing to happen.

Even more so than the task of condensing a narrative, or deliberating over dialogue, this is the biggest challenge in any such adaptation. In a comic, something must always happen. It can be mundane, it can be remarkable, it can be somewhere between the extremes. But something must happen, visually, in order to justify the form’s usage and make the story feel like it belongs in the medium.

With a few exceptions, this wasn’t too hard a task with “The Courtyard.” Where Moore makes leaps to new locations in a single carriage return, the comic can make the same journey at a more leisurely pace, using space and sequence to pace out a relevant monologue over something so ordinary as Sax lighting a cigarette, or donning an overcoat.

This sounds like a somewhat plausible solution in theory, but turns out to be a mostly deadening misstep in practice. Sax’s Harrison Ford-in-Blade Runner voice-over generally doesn’t interact with the visuals (which, as Johnston admits, mostly involve uninteresting stage business, not important narrative information), it simply dominates them. For much of the comic, you could cover up the panels and understand everything that is happening without even looking at the drawings. (Incidentally, setting this comic next to Crumb’s Genesis shows just how wrong-headed those critics who found Crumb’s illustrations too literal really were—any panel of that book puts this entire comic to shame.)

It’s no accident that the four pages Avatar has chosen to offer as an online preview illustrate one of the very few sequences in Moore’s story where something actually happens. Let’s compare. (more…)

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What do you do when you know the subject of your book is both a good man tied to an important event, and a good—but not great—artist? If you’re N.C. Christopher Couch, you actually don’t know that, and instead prime the pump and inflate, inflate, inflate. Jerry Robinson is responsible for some rare good deeds in comics. Great, even. He helped Siegel and Shuster get (some of) what they deserved. He was a friend and supporter of Mort Meskin. He has worked for international free speech and successfully campaigned to free a jailed cartoonist. He even set up an international political cartoon syndicate. By all accounts, this is a nice man. A thoughtful man. Even a righteous man. And this book, Jerry Robinson: Ambassador of Comics, like a well-meaning award ceremony (come to think of it, kinda like how the comics industry treats most of its grand old men), is a slap in the face disguised as a pat on the back.

Here’s the first line of the Couch’s preface: “Few American artists can claim to have worked in as many media as Jerry Robinson, and with such success in all of them.” Here is a short list of artists (alive, dead, young, etc.) I can think of who have worked in as many or more, with more success: Andy Warhol, Julian Schnabel, David Salle, Dave Eggers, Charles Burns, Stephen King, Gary Panter, Milt Gross, Matt Groening, Jules Feiffer, Robert Crumb… I could do this all day). This sort of jive hyperbole is doing no one any favors. What it does is make you stop and doubt the rest of what follows.

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PITTSBURGH SCENE REPORT
This weekend! If you are within driving distance of this show, you are commanded to attend.

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Moebius has opened a career retrospective exhibition at Fondation Cartier and besides a catalog (which thus far I’ve not been able to import) there are some features on the dedicated exhibition web site that are so amazing that I needed to take an entire post to point them out.

1) Unpublished Drawings: Lots of them. Note: These are recent sketchbook drawings that possess the same unmistakable combination of rigor and flow that distinguishes his best work.

2) A frighteningly good video screen capture of Moebius drawing and coloring (wait for it to load, then select the video as it plays). What’s fascinating here is how at ease he appears moving between line and color.

That should be enough. I hope some sympathetic reader in Paris will send some photos of this show. If the web site is any indication, it must be amazing.

Meanwhile, actually coincidentally, the PictureBox store just got in three of his recent books. Check ’em out here.

See you at APE (go here for all the info)!