Deconstructing Comics Podcast, published every Monday, features comics creator discussion and comics reviews.
Ian McMurray‘s Square #11 is a tour de force of autobiographical cartooning, eschewing chronology, switching up styles, and closely observing himself and the things and people around him. He digs deep within himself and still makes it a fun read. Tim and Mulele discuss.
Podcast: Play in new window | Download
We turn our attention to comics lettering this week, and longtime letterer Rus Wooton. Rus worked on a lot of Marvel books in the 2000s, and his work can currently be seen on numerous Image titles, including Black Science (left). Tim talks with Rus about what makes lettering good or bad, how to get lettering work, the pluses and minuses of all-caps lettering vs “sentence case,” comics written and drawn by Rus, and more.
Podcast: Play in new window | Download
A parkour manga from Greece is the topic. A parkour manga featuring a French high school student in suburban Tokyo, and a mysterious punk-ninja-parkour gang. What could go wrong? In fact, Tim and Mulele find, surprisingly little!
R.U.N. by Kariofillis Chris Chatzopoulos, Rafail Voutsidis, Lagouvardos Manos, and Nikitas Efimidis
Podcast: Play in new window | Download
Critiquing Comics returns at last, with a look at Mike Dawson’s Angie Bongiolatti,
a story of twentysomethings in New York just after 9/11. The book has been published by Secret Acres, and Tim and Mulele can see why: the art and scripting are well done. And yet…something about this book is not quite there.
Podcast: Play in new window | Download
FLASHBACK! From 1985 to 1995, Bill Watterson’s Calvin and Hobbes challenged newspaper readers with imaginative stories, beautiful art, philosophical discussions, and ROTFL gags. Watterson famously eschewed commercialism, not only in the strip, but in real life, approving no C&H tie-in products other than books of strips and a calendar or two. Tim and Kumar discuss this game-changing strip and how relevant it remains today.
Originally published September 6, 2010
Podcast: Play in new window | Download
In the world of corporate comics, creators are challenged to put together a run on a given book that will stand out against everything that’s come before in that book, and leave a mark on the series that will last well beyond their run. Grant Morrison’s New X-Men run, from 2001 to 2004, met that challenge. In the ten years since he left the book, several characters and situations he set up have endured, including Fantomex, the Stepford Cuckoos, and Scott Summers’ relationship with Emma Frost. Morrison had a good handle on all his characters, old and new, and introduced the new ones in a way that made us care about them, something that certain comics writers have failed to do.
Of course, it’s not perfect. The X-men going public seemed to be the biggest event of the run — somehow overshadowing the slaughter of six million mutants on Genosha. The art was inconsistent — great when Frank Quitely was on it, but questionable some other times. This week Tim and Kumar examine Morrison’s run, particularly the initial “Cassandra Nova” arc.
Podcast: Play in new window | Download
Perhaps one of the most puzzling comics releases in years was The Book of Genesis, Illustrated by R. Crumb. While it’s a virtuoso art performance, the exact purpose of the book was puzzling to Crumb fans (“It’s not a parody?!”) and religious readers (“This comic is not for kids?!”) alike. Both groups have been taken aback by how straight Crumb plays it — neither parodying nor bowdlerizing the work. That’s not to say that nothing in it is Crumb’s own interpretation. Tim and John discuss the issues raised — both by Crumb and by his audience.
Podcast: Play in new window | Download
Big sweaty muscles, huge breasts, decapitations, and general dark ages carnage. Sounds like another everyday barbarian comic. That is, until you find out about the feminism, Celtic folklore, unreliable narration, matriarchy, humor, and unpredictable art. Kumar and Dana hew and cleave their mighty battle axes through Pat Mills and Simon Bisley’s 2000 AD classic Slaine The Horned God.Podcast: Play in new window | Download
In May, comics creator and educator Ben Towle wrote a post on his blog entitled “Let’s Stop Using Film Terminology to Talk About Comics,” in which he suggested that using terms like “camera angle” and “shot” to describe comics storytelling may prevent creators from innovating new storytelling ideas that couldn’t be done in film. The post generated a fair amount of discussion around the Web (including this take on CBR).
This week, the discussion continues here on the podcast, where Ben joins Tim and Mulele to talk about what inspired the post, possible reasons why we came to use film terminology in comics contexts, whether this really hobbles comics as a medium, and what (if anything) could or should be done to improve things.
Podcast: Play in new window | Download
This week, Tim talks with two women who are mixing Japanese and Western influences in their comics!
First, Ana Moreno, former US Marine and writer of Marine Corps Yumi, drawn in a gag-manga style by Takeshi Nogami. A gag manga about joining the Marines?! (available in both English and Japanese)
Then, Aussie Madeleine Rosca, creator of Hollow Fields (reviewed on last week’s show). Why does her work read right to left? Does she get any guff from readers about imitating a Japanese style? Also, the art of revealing neither too many nor too few secrets as your story moves forward, and more.
Podcast: Play in new window | Download
