FLASHBACK! Fletcher Hanks created some bizarre, sadistic superhero comics in 1939-1941. Tim and Kumar discuss the Hanks collection I Shall Destroy All the Civilized Planets!, edited by Paul Karasik.
Also: Comic Book Comics #2!
(Originally published October 27, 2008)
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You’ve probably heard of Helen Keller, one of the first (but not the first!) blind & deaf Americans to become educated. If so, then you probably also know the name Annie Sullivan – Helen’s teacher. Annie Sullivan and the Trials of Helen Keller, by Joseph Lambert, is a graphic novel biography more of Annie than Helen, taking advantage of the comics medium to show symmetry in the lives and situations of the two women. It’s also pretty awesome.
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Dave Sim’s massive “Cerebus” series creates a dilemma for a comics reviewer. It contains some fantastic cartooning, hilarious scenes, and spot-on dialog. And yet… other parts feature highly misogynistic views and out-of-whack text-to-pictures ratios, both of which make it “hard to read” in different ways. Dana and Kumar re-read the second arc, “High Society,” and consider the good and the bad of the entire series, the mixing of satire and parody, and more.
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If you’re not Canadian, this week’s topic may be a bit of a head-scratcher. Louis, uh, who now? To Canadians, though, including our own Kumar and Dana, Riel is a famous historical figure of the 19th century who led a rebellion against the Canadian government. His story is the subject of Chester Brown‘s recent graphic novel which, while complete with end notes, also takes Shakespearean liberties with the historical record. And what’s up with the weird placement of characters on the page? An accident? No… nothing in this book is an accident.
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Even amidst the anything-goes craziness of the early Image years, Sam Kieth’s The Maxx was an outlier. While it included some superhero tropes, it wasn’t really a superhero book, nor was it like much of anything else on the market, then or now. While it definitely has its weaknesses, Kumar and Dana confirm this week that it was absolutely mind-blowing…and emotionally affecting.
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Go Nagai Creator, Story and Art; Takayuki S. / Mecha Design; Kazuhiro Amachi / Color; David Lewis and Alex Wald/ English Adaptation
First Comics, 1988
A few episodes back, I erroneously stated that Glenn Danzig was the first to bring Go Nagai’s work over to the US with Devilman (in which he infamously added nostrils to the characters for the American version).
This was categorically incorrect, and I should have known it at the time. Continue reading REVIEW: Mazinger
Adapted and illustrated by Darwyn Cooke
IDW, 2009.
Look, I’ll just say it.
I didn’t like it.
And it’s got nothing to do with Darwyn Cooke officially becoming a scab. I didn’t like it the first time I read it a year and a half ago, and I didn’t like it when I re-read it this week to write this review.
And yet here is a book that has been uniformly praised, as far as I can tell. I haven’t seen any dissent. And rightly so. The book is a masterpiece of craftsmanship. Cooke’s ability to construct a whole world in a near-minimalist style is astonishing. If the opening spread of New York doesn’t knock your socks off, nothing will. (Even though I’m sure Cooke didn’t “draw” it in any traditional sense.) I acknowledge all of that.
Writer, Artist, Editor: Jack Kirby
Marvel Comics, 1977.
(This review originally appeared at Weird Crime Theater.)
By pure coincidence, I found this comic at the Camberwell Collector’s Fair the very same week that I was reading Arthur C. Clarke’s novel version.
A cursory glance at the cover will tell you that Marvel’s approach to this property was so divorced from that of Stanley Kubrick or Clarke as to make it effectively unrecognizable. I mean, just look the price box alone!
by Dan Clowes
Drawn & Quarterly, 2010
(This review originally appeared at Weird Crime Theater.)
Look, let’s get some things out of the way right off the bat. Yes, as you may have heard, Wilson is not nearly as good as many of Dan Clowes’s other works. It’s not one of his best by any means, and it seems to be aiming for a kind of Jimmy Corrigan-like poignancy which it falls far short of (I’ll get back to this), but it’s still worth talking about, which is why I’m here.
Joe Kelly, writer. Doug Mahnke and Lee Bermejo, pencillers.
DC Comics, 2001.
“Masks are for hiding. Capes are for play. ‘Villains’ don’t share their plans before they smoke you — ‘cept in campaign speeches. Or the pulpit or in front of the classroom. Reality is a mite bloodier than sitcoms or comics. The greys stretch out farther… Evil scientists. Bogey-men. Gimps in tights who want to ‘rule the world.’ From now on they’re yours — and the rest are ours to do with as we see fit.”
— Manchester Black (leader of The Elite) speaking to Superman
Despite some things you might have heard me say, or what you might have read in my diary that I keep under my pillow, I don’t really care about Superman in the greater context of things. I don’t spend a lot of time thinking about the Clark / Superman dichotomy, or what principles Superman embodies. If anything, I agree with Gary Groth’s 1988 essay that really Superman is a symbol of commercialism, exploitation, and the gangster morality of the comics industry. I love the first Christopher Reeve movie. And I like the character to the extent that he opens the door to stories in which, say, Jimmy Olsen uses a “Helmet of Hate” to turn Superman into a red devil with horns and then the horns crack open and tiny Supermen fly out, all drawn in an almost inappropriately naturalistic way by Curt Swan.
