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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FLASHBACK! Tim and Brandon discuss “Fables” vol 1 and the Fables graphic novel “1001 Nights of Snowfall”, along with a detour into ’90s Marvel! (Originally published January 1, 2007)
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If you’re looking for something new and different in comics, this week’s critiqued book definitely delivers: Scott D. Finch‘s “A Little World Made Cunningly” explores the author’s “fascination” with Gnosticism. Now, if we only understood it… Tim and Mulele discuss.
This book is available on Graphicly.com!
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FLASHBACK! Repeatedly collected and published since it went into the public domain, Winsor McCay’s Little Nemo is perhaps the most celebrated comic strip of the early 20th century. Peter Maresca, whose Sunday Press republished all the Nemo strips at their original size a few years back, talks with Tim about what’s good and bad about the strip, and the influence it still has on modern comics. (Originally published September 28, 2009)
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FLASHBACK! Many comics have been adapted to movies, but few have tried to reproduce the experience of actually reading a comic. These two did: Warren Beatty’s Dick Tracy, and Robert Rodriguez and Frank Miller’s Sin City. Tim, Mulele, Paul, and newcomer Rod discuss. Also: Paul and Mulele give Miller’s The Spirit a quickie review. (Originally published August 24, 2009)
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While technically a comic, The Legend of Spacelord Mo Fo attempts to be a bit of a comics/animation hybrid — not a “motion comic”, but something like manually flipping through the frames of a movie. Does the technique succeed? Does the writing back it up? Tim and Mulele ponder.
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Written by Grant Morrison.
Art by Sean Murphy.
DC Comics/Vertigo, 2011.
Grant Morrison is a decisive writer in the comics form. Many people do not like his more experimental works, especially when the narratives get characteristically dense or abstract. Final Crisis anyone? Many people don’t enjoy when he incorporates more esoteric ideas like chaos magic, ceremonial magic, occult philosophy, media theory, surrealism, dadaism, William S. Burroughs, psychedelics, alien abductions, etc. Invisibles reads like an incredible mess if you are not familiar with some of those topics. The same could be said of Doom Patrol. Some of his work doesn’t traffic with these outre ideas or experiments in the form though, and Joe The Barbarian is an example of such a work.
I hate to say that this book is an example of a “restrained” Morrison. What Morrison did was write something that appeals more to the Neil Gaiman fan than the Robert Anton Wilson or William Gibson fan. The pitch mashup I would use is The Goonies meets The Never-Ending Story. It’s a self contained eight issue miniseries that has been published in a nice hardcover. Continue reading REVIEW: Joe The Barbarian
Imagine a Disney movie with tons of cheesecake and commentary on how religion can be used to control a society. It would look an awful lot like Sky Doll, by Alessandro Barbucci and Barbara Canepa. Originally published by Soleil in France starting in 2000, it came out in English from Marvel in 2008. While there has been an anthology book and a sketchbook, the main series has apparently never been completed, but don’t let that dissuade you from reading this very compelling (not to mention gorgeously drawn) volume. Tim and Rashad explore.
Another take from Charley Parker
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Critiquing Comics retur
ns! Along with it, the work of Guy LeMay (“Z-Blade XX”) also returns, as he gives us a look at his more recent work. Listen to find out how Tim and Mulele evaluate “War Within” (written by Marcus Jones) and “Zombie Headhunter” (written by Guy and Tamey LeMay), both released under Guy’s Strong Guy Comics imprint!
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Alice from Alice’s Adventures in Wonderland, Wendy from Peter Pan, and Dorothy from The Wizard of Oz meet in a hotel in Austria in 1913 and perform almost every sex act conceivable with each other, animals, objects, relatives, consenting and non-consenting minors, and numerous combinations thereof (it’s all just lines on paper, folks!) nearly non-stop for 240 pages. Close to 20 years in the making, Alan Moore and Melinda Gebbie’s Lost Girls is perhaps the most ambitious, lavish, and beautiful project of Moore’s career. And yet, does it all amount to mere slash fiction? Or, on the contrary, is it so intelligent that it sabotages its own pornographic objectives? Or is it, in fact, impervious to criticism? Kumar and Dana turn up their trenchcoat collars and slink into the grimy back room to discuss.
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