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JFK
SILVER SURFER
NELSON MANDELA
WTF

images copyright Shaky Kane

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We’re going crazy with the talking about comics lately, and Dan steps up to the plate for the latest in our recent series of interviews. Here he is on Inkstuds, in discussion with two of the best comics thinkers around, Jeet Heer and Tom Spurgeon. I probably won’t get a chance to listen to this until this weekend, but there’s nothing stopping you from taking the plunge now.

UPDATE: I was able to listen to it after all, and there’s a lot of good talk in there. Well worth checking out.

UPDATE II: Oh, but Dan: Omega the Unknown? Really? Obviously I like that comic a lot, but if you only get to pick one book …

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Frank’s energy these days is starting to make the rest of us here at Comics Comics look bad, so I’m kind of pissed at him, but if you want more of Frank on art and comics (including Storeyville and Cold Heat), Chris Mautner has just posted the second part of his interview with him today. Frank’s really on fire in this one.

(And here’s part one if you missed it.)

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Tastes change. Styles change. Everyone knows the story about Hitchcock’s Psycho, right? After filming lots of big-budget color movies in the mid to late ’50s, Hitch decided to take a different approach with Psycho. Convinced that he could do it better with his smaller TV crew (from Alfred Hitchcock Presents), he shot Psycho in black-and-white and structured it very much like the short-form pieces he was doing for TV. I think Hitch also understood that tastes were changing and that people liked the small-screen, simple and clear, episodic format that hearkened back to radio (and to Hitch’s own films from the ’30s). Also, many of the people who worked in TV in the ’50s and ’60s were former filmmakers from the pre-Technicolor, pre-Cinemascope era.

Contemporary filmmakers can attempt to evoke older films (Todd Haynes’ Sirk-themed Far From Heaven, for example) as much as they like — but in my opinion they will never be able to truly match or copy exactly what the old timers did BECAUSE THEY WERE NOT FORMED IN THE SAME CAULDRON. (Of course Haynes didn’t want to copy Sirk exactly. Haynes was investigating Sirk’s LANGUAGE.) The dominant style of staged movement, proscenium stage “blocking”, nuts-and-bolts “shot/reaction shot” that one can easily see running through all films of the ’40s and ’50s began to give way eventually. Interestingly enough, it was the French New Wave that had a lot to do with this because they themselves were looking back, like Hitchcock, to the older, formative films of Hollywood, to noir, and to westerns. This back to basics approach was picked up on by the ’60s and ’70s auteurs, but by then they could inject new flavors in to the form (more skin and sex) and the whole paradigm shifted.

Comics have a similar trajectory. All the talk that comics artists today can draw BETTER than their forebears is meaningless. The point is that this common language I’m describing IS NO LONGER IN USAGE. It’s all but dead because the people who were formed by it, who passed it on, are gone. Toth was an innovator; he was more forward-thinking than Caniff, yet he was still a “Caniffer.” Darwyn Cooke can attempt to evoke Toth in some of his Batman stories, but he will never be Toth because he was not formed in the same 1950s cauldron. So subtly, step by step, each generation puts its own spin on the dominant style. Any attempt to resurrect these “house styles” is seen as retro and somewhat conservative. The bland illustration style that ruled ’50s and early ’60s comics was part Caniff, part advertising, part hackwork. The practitioners of this style, though, knew how to construct a page that read clearly, much like directors of the ’50s films knew how to stage action.

Steve Rude is a great example of an artist who, like Toth, builds on the existing nuts-and-bolts style of comic storytelling without resorting to drawing in a more stylized approach like Frank Cho or Dave Stevens. One hundred issues of Nexus continuity prove Rude’s determination to remain a “classicist” and document his development. He’s committed to telling a story and frames the movement across the page in order to extract the maximum dramatic impact. Rude’s choices work for me as a reader because the clarity of it all, the simplicity of the drawing, allow the narrative to retain its momentum. Cho’s flourishes of technical wizardry, I think, actually prevent the narrative from assuming center stage. His transitions from panel to panel are generally awkward and ham-fisted. Compare the clarity of the Rude page (below left) to the clumsiness of Cho’s page (below right) in sequences that have a similar “action.”

Does Miami Vice look like Dragnet? Does a Dave Stevens page read like a Caniff page? Would I rather watch The Streets of San Francisco or Law & Order? Would I rather read Don Heck or Frank Cho? For me, the last is a litmus test. If you think Cho is a better draftsman, fine. But if you think Cho is a better comics artist than Don Heck, then I’m sorry, but I do not agree. In fact, I think it’s pointless to compare the two. For the reasons I’ve explained above, I think Cho is an ILLUSTRATOR first and a comics artist second. Don Heck, long reviled as one of the worst hacks in the Marvel Bullpen, was a solid storyteller. He had a great sense of comics “naturalism” and is a perfect example of the kind of “nuts-and-bolts” non-photo-referenced approach that prevailed before 1970 or so. In my opinion, artists like Cho and Stevens have contributed very little to the development of the form. Except maybe to impress upon a generation of young comics artists that technical virtuosity is more important than basic storytelling.

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I’ve heard a lot of cartoonists talking about this dilemma: in order to find all the strength within one to summon up the images needed for the comic, to maintain all the focus and attention to detail necessary, to have an editor’s eye + guiding hand, to be the objective reader who keeps the narrative whole, the artist then suffers the atrophying of other “occular” abilities.

I only draw the landscapes + figures I need for the story. The demands of the story are what engulfs me, so that my waking moments are spent shape-shifting into a camera, a projector. I’m an editing machine that plays my comic on an endless loop for months.

Yet when I’m walking along the Braddock trail with Gretchen and I spy those stacked mills + houses above, I furiously look at EVERYTHING and it inevitably leads me to draw other things, new things that have no place in the narrative other than it is my life, my story — and if I don’t record it here, her, now, it’ll be left on the cutting room floor.

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I spent Christmas with my girlfriend’s family, who very thoughtfully got me a couple of books, not knowing what an ungrateful wretch I really am. I already have (and still haven’t read) the Schulz bio. But I hadn’t even heard of Shooting War, a newish graphic novel by Anthony Lappe and Dan Goldman initially serialized online. Shooting War is the story of Jimmy Burns, a video blogger in 2010 who finds himself in even-worse-Iraq and, naturally, embedded in a fanatical military unit, kidnapped by a terrorist, and rebelling against the news establishment.

Let me digress for a minute. There are a few tendencies in contemporary culture that seem somewhat deadly:

1) A nerd-driven flippancy that signals: “I know more than you do, and I’m right all the time” (see: most blog-driven magazines).
2) The replacement of actual character-driven dialogue with TV or noir-shorthand. (see: any “adult” comic published by DC or Marvel in the last few years).
3) The inevitable “wacky” appearance by a previously “respectable” celebrity figure, in order to set it all in “perspective” (see: Bill Murray lately).
4) The substitution of photoshop technique for compelling images.
(see: most contemporary graphics).

Shooting War revels in all four of the above tendencies, in the process making the following points:

1) War is dumb
2) The news media is biased
3) Sometimes people need to grow up
4) Corporations are taking over America
5) There are fanatical Christians just like there are fanatical Muslims
6) Some old news guys still have integrity, and we can learn from them!

I suppose that it’s enough for a lot of books make the above points and walk away. What bothered me about Shooting War was, of course, that these points are boring and have been said a billion times on comedy shows, in newspapers, magazines, Doonesbury, etc etc. There’s not a single new idea in the book. It’s all recycled, media-driven stuff. And neither is there an original character. Jimmy is the (now) classic angry nerd typified in current culture–the glib, smart, and resourceful boy-man who learns some important lessons and gains maturity over the course of the narrative. And all of this is in the guise of a “revolutionary” narrative. The worst offense committed is throwing Dan Rather into the mix as a newly bad-ass father figure to Jimmy — Bill Murray in a Wes Anderson movie, or John Wayne in a Preacher comic. It’s all so damn easy. The art by Dan Goldman is equally tough to stomach: an undigested photoshop stew with no rhyme or reason to it. Goldman poses inexpressive figures littered with a ton of marks I suppose could be considered rendering against the most basic photoshop filter backgrounds. Anatomy is out the window, and for a supposedly character driven, issue-focused book, there’s not a single telling facial expression or body movement in the book. It’s all just poses. You can cover up a lot with a wacom tablet and CS3, but Goldman’s flimsy grasp on the most basic drawing and storytelling skills is pretty glaring. All the blur effects and shadows in the world can’t cover that up.

All of this is so much the worse because, if you’re going to do a fiction comic about a new media maverick in a warzone, you have to measure up to Brian Wood’s DMZ at the very least. That comic, while still possessing some of the faux-cool mannerisms of Shooting War, is at least smartly satirical and possessed of multi-dimensional characters. Shooting War is a slick, packaged product. It rails against mass media, while presenting something as homogenized and unthinking as the very thing is criticizes. It’s rebellion in a package — a kind of grotesque reflection of what passes for satire these days. Things like Shooting War are the inevitable byproduct of an increased interest in graphic novels (read: glut), but then again, the culture in general is full of them. It’s fake smart, fake rebellion. Seek out something real, something with meaning, instead.

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I found this convention sketch in a box at my mom’s house the other day. I’d forgotten all about it. I paid 15 bucks for it back in ’87, and I remember thinking that was a fortune. Too bad I barely remember anything about my interaction with Marshall Rogers himself. I only remember watching in amazement as he made these little marks on the paper when he started, little dashes that I quickly realized were for figuring out proportion. As soon as he had those marks down he was off to the races, and the drawing came to life literally in a matter of minutes. When he tore it out of the pad and handed it over to me, I do remember feeling a little gypped — but looking at it now, I think, good grief, it’s awesome, how did he knock it out that fast?

I showed this drawing to my friend Jim Rugg and we started talking about the sort of stylized naturalism that Rogers was known for. And then Jim said, “Y’know, the hackiest hack who worked for Marvel in the early ’60s had a better sense of basic figure drawing and naturalism than almost any contemporary cartoonist.” We both wracked our brains trying to come up with a modern equivalent to, say, Don Heck. And we couldn’t! Who draws in a non-photo-referenced, natural, realistic style? Okay, Jaime Hernandez. But who else? Everyone we came up with didn’t seem to fit. Michael Golden? No, too stylized. Beto? No, too cartoony. Jason Lutes? No, too stiff. There isn’t this sort of basic non-photo-ref’d style that’s in widespread use anymore. I’m sure if I really thought about it I could find an artist and point to their work and say, “Here, this guy.” But the fact is styles change, tastes change, and so do abilities and schools of thought. Photo-referencing rules the roost these days in “realistic-looking” comics, and I hate it. Gimme Don Heck instead. Or Rogers. He might’ve used some photo-referencing here and there, but he had it down and didn’t have to take photo after photo of his friends posing and then thinly disguise it as comics. I mean, have you read Coyote? What? You haven’t? What are you waiting for?

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After a little wrangling, I have posted the somewhat infamous audio recording of my “interview” with CF at SPX 2007. Check it out here. But please don’t yell too loudly, he’s trying to finish Powr Mastrs 2. Shhhh. Also, remember to send positive thoughts to Obama today. He’s our only hope.