Confessions of a Cranky Comic Book Cartoonist: Ten More-Or-Less Current, More-Or-Less Mainstream Funnybooks That I Actually More-Or-Less Enjoy – And Why!
Columnist Scott Shaw! brings his perspective as an experienced professional cartoonist and active participant in the comic book industry for more than 40 years. Get an insider’s look at the art form from someone in the trenches every day.
By Scott Shaw!
It may surprise some of you that I still read current comic books. Since writing and drawing allegedly humorous comic books is one aspect of my career as a cartoonist, it’s a matter of keeping up with the competition when it comes to reading funnybooks that are actually funny. But I also dig other genres, too. I’ll admit, I don’t purchase many new comics anymore, but between those I buy, borrow or browse at the local comic book emporiums, I’ve compiled this list of those I can recommend.
I’ll start with a few superhero series I dig, since that genre still seems to dominate the racks. Let’s face it, most superhero comics adhere to that old unwritten rule: “Create the illusion of change without ever changing anything for long.” Instead, the fun of the Marvel Universe – much more than DC’s dour, drab and depressing “New 52” – is in how the playing pieces are moved around in new and interesting ways.
Marvel’s Fantastic Four will always be my favorite superhero title and I’ll buy it as long as Marvel keeps publishing it. That dedication is due to my first reading it back when Jack Kirby, Stan Lee, Chic Stone, Joe Sinnott, Dick Ayers and others made sure that it really was “The World’s Greatest Comic Magazine!” Since those first hundred-or-so issues of Fantastic Four, the series’ quality has been wildly up, down and all over the place, but rarely approaching the compelling “sense of wonder” and fun that the Kirby/Lee team achieved. Most of those assigned to the title over the years seem to be attempting to re-create stories from those first hundred issues… and they never seem to quite “get” it. The current version plays with many of those classic elements – the Inhumans, Doctor Doom, Atlantis, the Kree, Annihilus and the Negative Zone, etc. – but writer Jonathan Hickman and rotating artists Steve Epting, Ron Garney, Barry Kitson and others seem more interested in telling new sense of wonder stories with them, even if I’m the one who sometimes winds up wondering exactly what is going on in Hickman and company’s sparely presented storytelling. At least I feel like I’m reading new exploits of the FF, not more rehashes. (Speaking of the FF, that Hickman-written spin-off – featuring the young members of the Future Foundation, overseen by a civilized version of Dragon Man – is a tougher read, especially due to some extremely off-putting artwork by Juan Bobillo.)
That moving-around-playing-pieces has been an enjoyable part of Marvel’s Thunderbolts since its inception back in 1997 by Kurt Busiek and Mark Bagley. Writer Jeff Parker and a variety of artists have been the latest folks on the series for the last few years and their approach to crafting the ongoing adventures of multiple teams of bad guys – both rehabilitated and otherwise – all overseen by Luke Cage, has been a lot of fun. Twists, turns and double-crosses abound, with the team’s headquarters unanchored in the time stream to complicate matters. (This lost-in-time wrinkle provided an amusingly uneasy team-up with Captain America and the Invaders during WWII.) In recent months, the book has been re-titled Dark Avengers after Norman Osborn’s team of badass stand-ins for some of the heroic Avengers’ stalwarts. By comparison, Luke’s team almost seems like the good guys they pretend to be. The unexpected arrival of Dr. Doom (direct from Mark Millar/Bryan Hitch‘s “realistic” stint on Fantastic Four from a few years back) is yet another player sure to challenge the small-time supervillains’ internal politics. To my knowledge, this is the only series focusing on bad guys that’s lasted so long and it deserves to hold the record over such lame and lesser attempts such as DC’s Secret Society Of Super Villains or Marvel’s Super Villain Team-Up. But whether his book is called Thunderbolts or Dark Avengers, Jeff Parker provides a lot of evil fun.
Over the years I’ve heard or read a variety of arguments before and against the categorization of Elzie Segar’s “Popeye The Sailor” as the first modern superhero. (You’ve gotta admit that the notion of a tough-with-his-fists human male who gains phenomenal super-strength after ingesting a special substance and who is utterly unkillable 24/7/365 certainly sounds like a superhero!) Depending on my mood, I could easily support either stance, but one thing is constant: I love Popeye and he’s one of my all-time favorite characters, especially his original incarnation in Segar’s Thimble Theater syndicated comic strip. My first exposures to the sailor man was in Fleischer Studios’ animated “Popeye” cartoon shorts and Bud Sagendorf’s stories for Dell’s Popeye comic book and I love those, too, but IDW’s version is modeled on Segar’s original. Writer Roger Langridge (Snarked!) really captures the delightfully peculiar personalities and voices of Segar’s Popeye, Olive Oyl, J. Wellington Wimpy, the Sea Hag and the rest of the cast. So far, the second issue, featuring terrific art by Ken Wheaton, has been my favorite, but I’ve liked ‘em all a lot.
Then there’s Erik Larsen’s Savage Dragon for Image Comics. Erik insists that his character is anything but a superhero, but the strip reads like a 1970s Marvel comic as interpreted by a talented underground cartoonist under the influence of Jack Kirby, Gil Kane and some killer acid. Although Savage Dragon started out as a typical Image book (after all, Erik’s one of the publisher’s original founders and its former publisher), after a few years, Erik found his muse and ever since, the one thing you can count on from Savage Dragon is that the characters, stories and tone can turn on a dime. You never know what to expect from Savage Dragon and Erik rarely disappoints. Standouts have been (for me, at least): a long story arc in tribute to Kirby’s Kamandi; a honeymoon sequence that was originally conceived as a pitch for a Savage Dragon syndicated comic strip; a galaxy-conquering despot who looks like a cute little toy; a male Captain Marvel-esque superhero whose secret identity has been both a woman and an infant; a decidedly non-jolly green giant Osama bin Laden; an unauthorized appearance by the fabulous, furry Freak Brothers; and of course, Erik’s legendarily offensive “Don’t FUCK with God!” page. Now you see why I always pick up every issue of Savage Dragon; who knows what I might miss!
And although it’s not an actual superhero title, DC’s All-Star Western starring the latest iteration of “Jonah Hex” by Justin Gray, Jimmy Palmiotti and Moritat certainly depends on Batman for its central concept. This series explores the Gotham City of the mid-19th Century by dropping the disfigured and morally raw Civil War vet into the middle of it. (I assume the inspiration was the 1970 TV series McCloud starring Dennis Weaver.) Anyway, Jonah has been summoned by Dr. Amadeus Arkham (founder of Arkham Asylum) to solve a chain of serial killings. Along the way he runs afoul of Gotham’s Mayor Cobblepot (an ancestor of the Penguin) and even plummets into the caverns beneath what will someday become the real estate that Wayne is built upon! It’s a fascinating look at a retrofitted version of Gotham City, and Gray and Palmiotti have long proven their skill in writing Jonah Hex over the last few years. Moritat, last seen on the DC’s “First Wave” version of The Spirit, does a good job, although he needs to learn how to draw more than one look for a woman’s face. There’s also been a number of solid backup stories with a general Western setting, including “El Diablo” drawn by Jordi Bernet, “The Barbary Ghost” drawn by Phil Winslade, “Bat Lash” drawn by José Luis Garcia-López (!), “Nighthawk/Cinnamon” and “Terrence Thirteen”. I know I’m not the only comic book pro who considers All-Star Western – edited by Joey Cavalieri – to be the best of DC’s “New 52” by a wide margin.
Stan Sakai has been writing and drawing his Usagi Yojimbo for over twenty years and yet there are still a few people out there who dismiss it because it features talking animals. Dark Horse has been publishing Usagi Yojimbo for a large part of that time, and as his many awards verify, Stan just keeps getting better and better. Over the years, I’ve drawn my fair share of “funny animal” comics and during that time, I’ve heard the term “anthropomorphic” comics bandied about. I’m still not certain I completely understand the difference, but I can acknowledge that Usagi Yojimbo is definitely more “anthropomorphic” than “funny animal” and that Stan has become a master of subtlety as well as action, of nuance as well as the written word. However, we won’t be seeing any new issues of Usagi Yojimbo for a while, because Stan is temporarily putting his Ronin rabbit aside to concentrate on the upcoming 47 Samurai, a limited series written by Dark Horse publisher Mike Richardson and starring a cast of historical humans. I’ve only seen a few pages but I think that it’s some of the most impressive work I’ve ever seen Stan draw and he rises to the challenge beautifully. I think that 47 Samurai is going to change a lot of minds regarding Usagi Yojimbo.
IDW’s ongoing Ghostbusters series has one foot in action, one foot in horror and one foot in comedy. (Three feet? Hey, what did you expect?) There have been quite a few stabs at adapting the ghost busting gang from the 1984 and 1989 films, but frankly, their quality has been all over the ectometer. But I think that this version has finally nailed it. First of all, Erik Burnham’s scripts have been terrific, with interesting new situations and crackling and clever dialog that’s extremely faithful to the specific on-screen personas of Bill Murray as “Dr. Peter Venkman”, Harold Ramis as “Dr. Egon Spengler”, Dan Aykroyd as “Dr. Raymond Stantz” and Ernie Hudson as “Winston Zeddemore”. These stories have been so well-done that I could easily see them as the basis for new Ghostbusters films, animated series or video games. (As if!) And speaking of animation, I’ve got a sneaking hunch that the series’ artist, Dan Schoening, has a background in that field, because his representations of the cast, while not actually caricatures of the property’s key actors, evoke them well enough to be instantly recognizable. Erik Burnham and Dan Schoening really “get” Ghostbusters and it shows. I think that this funnybook iteration of Ghostbusters is about as good as it can get, possibly even equal to Evan Dorkin’s legendary run on Marvel’s Bill and Ted’s Excellent Comic Book… and as the guy who suggested BATECB to the Eisner judging committee, that’s really saying a lot.
Archie’s Kevin Keller by Dan Parent has gotten a ton of press due to the fact that it’s the first funnybook from “America’s most wholesome comic book publisher” to star an openly gay teenager. But outside of the gay press I’ve seen few if any reviews that point out that it’s genuinely a lot of fun. Now that such longtime Archie Comics creators as George Gladir, Stan Goldberg and Bob Bolling are rarely (if ever) given any new assignments, Dan Parent is arguably the company’s top creator in terms of writing and drawing the classic Archie characters with authority and appeal. Kevin Keller is no exception to that, especially when Dan wrings funny situations born of Veronica’s frustration that a cute, hip kid like Kevin Keller isn’t straight. But to Dan’s credit, the issue of Kevin’s gayness isn’t the only basis for his stories. But what I’ve especially dug about Kevin has been Dan’s terrific alternative covers for every issue of the ongoing series. Just as he drew for the initial Kevin mini-series, each one pays homage to the great Archie styles and themes of the past. One in particular that I love features Kevin – dressed as the old school Archie Andrews of the ‘40s and ‘50s – shrugging to the reader as if saying, “Can you believe how crazy-acting these straight teenagers are?”
Image’s Reed Gunther by Shane and Chris Houghton just finished up its initial 10-issue run but it’s not too late to pick up the two trade paperbacks that reprint the whole wonderful thing. I’m not a particular fan of westerns, so it’s kinda odd that I’ve got two of ‘em on this list, but if you think that All-Star Western sounds unusual, check out Reed Gunther. Reed is a roving cowboy who’s a magnet for trouble, much the same as James Garner’s private eye character in the classic 1970s TV series, The Rockford Files… except that Jim Rockford never had a grown grizzly bear for a best friend and steed. That’s right, thanks to Sterling, Reed is the Old West’s first (and only) bear-riding cowboy. Accompanied by the beautiful tomboy Starla, Reed become snared in an eldritch mystery of increasingly Lovecraftian nature and proportions… but instead of being terrifying, these monster-filled tales are hilarious! I can’t quite put a finger on why, but Reed Gunther somehow reminds me of European comic albums starring characters like Asterix, Tin Tin and Lucky Luke – and that can’t possibly be a bad thing, right? The maddeningly young and gifted Houghton brothers are currently turning their attentions to a new project, but they promise to return to Reed Gunther someday. Meanwhile, don’t miss the chance to savor Reed’s memorable first story arc.
Sergio Aragonés is arguable the World’s Greatest Living Cartoonist, and Bongo Comics’ Sergio Aragonés Funnies is, in my opinion, the best thing he’s done lately in a career that’s chock-full of “best things”… and I don’t write that just because El Maestro included a cameo appearance by Yours Truly on the cover of Sergio Aragonés Funnies No 1. Every issue includes a few short genre stories, a handful of puzzles and games, a pantomime gag or two and best of all, at least one (often two) autobiographical stories from Sergio’s amazing life – all written and drawn by Sergio himself! Unlike most of his other material, Sergio’s autobiographical pieces aren’t necessarily intended to be funny; many time they’re more poignant than you’d expect. His work for Mad and Groo The Wanderer has always been wonderful stuff, but these stories are special, even for him. (Let’s face it, Sergio’s one of the only cartoonists who’s ever had a life interesting enough to chronicle in funnybook form.) Sergio Aragonés Funnies has been on a temporary hiatus due to a passing problem with El Maestro’s back, but Sergio’s been on the mend for a while now – if anything, he’s doing even better than ever – and has jumped back into producing this now-bimonthly, Bill Morrison-edited series with a vengeance. So keep your eyes peeled for Sergio Aragonés Funnies No. 8, coming soon!
And finally, Keith Knight is one of the most talented and prolific cartoonists I know – I gobble up his stuff like junk food that’s actually good for me – yet he’s the only creator on this list that hasn’t done any actual comic books, but I’m gonna add it to my recommendations anyway. (Hey, it’s my list, my column and I’ll make and break the rules if I feel like it; consider it a bonus from me to you.) Fortunately for us, Keith’s The Knight Life (an autobiographical daily syndicated comic strip), The K Chronicles (his longtime autobiographical weekly comic strip) and (Th)ink (his weekly panel feature) have all been collected in a variety of reprint books published by Keith himself. Keith’s writing is hip, funny and smart, his drawing style reminds of Harvey Kurtzman’s (although he swears the Mad creator isn’t a particular influence) and his outlook on racial relations and humanity in general encompasses everything from sweetly cheerful (“Life’s Little Victories”) to hopelessly pessimistic. Visit Keith at kchronicles.com, read a healthy sampling of his stuff and order any and all of his books – Chivalry Ain’t Dead (The Knight Life), The Incredible Cuteness Of Being (The K Chronicles) and Too Small To Fail (Th)ink) are his latest – I promise you won’t regret it.
Not that any of my recommendations mean much in the greater scheme of things, but most (if not all) of these titles absolutely deserve better sales figures, so by all means, if what I’ve written here intrigues you, please, check ‘em out!
All I ask is that you leave a copy of each comic for me.
– Scott Shaw!
Next up: How and why I grew to love and embrace the once-reviled term “funnybook”!
Scott Shaw! — yes, that exclamation point has adorned his name since junior high school — currently writes and draws comic books starring the Simpsons for Bongo Comic, The Adventures of Captain Rochester for Rochester Electronics, and his autobiographical comic strip, Now It Can Be Told! for Act-I-Vate, as well as performing his live Oddball Comics show. He just finished storyboarding four episodes of Cartoon Network’s Annoying Orange animated show, is finishing a new 8-page Now It Can Be Told! story for Dark Horse Presents (“I Covered Myself With Peanut Butter To Become…The Turd!”) and will be drawing an upcoming Mark Evanier-written Garfield comic book story for Ka-Boom. He’s currently writing and drawing on the first Annoying Orange graphic novel – split with Mike Kazaleh – for Papercutz.
Guest columnist Scott Shaw! brings his perspective as an experienced professional cartoonist and active participant in the comic book industry for more than 40 years. Get an insider’s look at the art form from someone in the trenches every day.
By Scott Shaw!
Back in the late 1980s, when he was drawing such titles as DC’s Doom Patrol and Marvel’s Punisher, I ran into Savage Dragon creator-to-be Erik Larsen at a San Diego Comic-Con, where I complimented him on his “cartoony” drawing style. But instead of accepting my kudos, Erik – never the sort of person to mince words – made a sour expression on his face and said something to the effect of “Actually, I’m trying as hard as I can to dump that style. It’s costing me work!” Fortunately, Erik eventually changed his mind, and that’s why Savage Dragon is one of my favorite funnybooks – even when it’s deadly serious, it’s delightfully outrageous, exaggerated and somewhat ridiculous looking. It’s just what I dig in a superhero comic, which in my opinion should look outrageous, exaggerated and somewhat ridiculous – just like the concept of brightly costumed flying men, super-strong women and wall-walking whatchamacallits.
I recently had dinner with a fellow cartoonist whose work I’ve admired for a long time, Joe Staton. Joe’s one of those rare cartoonists who has drawn everything from Green Lantern to E-Man to Scooby-Doo and all with equal expertise. We discussed our styles, both of which share a humorous bent. He explained that his current gig, drawing the syndicated Dick Tracy comic strip written by Mike Curtis, was the perfect assignment. Not only was Dick Tracy creator Chester Gould his original inspiration to become a cartoonist, but Joe was also getting more than a bit tired of dialing back the cartoony-ness of his style when drawing superheroes and the like. The audience for those comics apparently prefers a darkly photorealistic approach over “light ‘n’ fun”. With Dick Tracy, Joe can get paid for drawing what he loves to draw – and he does it damn well, too.
Both of these stories about cartoonists whose careers both included stretches in which they were forced to draw much “straighter” than they’d have preferred — have happy endings. And those just don’t happen nearly often enough, at least not often enough for the funnybook industry. But then, I’m a cartoonist.
Back when I was growing up, nearly all comic books and comic strips were drawn in “cartoony” styles, no matter how dead serious their storylines could get. Here are just a few my favorite cartoonists who drew “straight” material in decidedly less-than-serious styles: Dick Sprang (his square-jawed, Dick Tracy-esqe Batman and giant typewriters); Ross Andru and Mike Esposito (of their work on Metal Men, Wonder Woman and “The War That Time Forgot” in Star Spangled War Stories, cartoonist Evan Dorkin once observed that Andru and Esposito’s characters all looked “insane”); Jack Cole (his Plastic Man was equal parts superhero and humor strip while his crime and horror stories were only slightly less outrageous); Steve Ditko (The Amazing Spider-Man, “Dr. Strange” in Strange Tales, Blue Beetle and The Creeper – all cool, all weird, all cartoony as hell); Ramona Fradon (her “Aquaman” in Adventure Comics was cartoony but warmly beautiful, her Metamorpho was the only version that worked visually); Jack Davis (his style was as much at home on straight horror in EC’s Tales From The Crypt as it was in Mad); Mike Sekowsky (his Justice League Of America featured the widest Superman ever); Marie and John Severin (this sister-and-brother act was known for comedy but produced Marvel’s wonderful Kull The Conqueror together); and Jack Kirby (whose resumé spanned every style and genre – from Captain America to “Earl The Rich Rabbit” – while always remaining uniquely himself).
In fact, I’ll never forget the smile that spread across Jack’s face, sometime during my first visit to his home, when I told him that he was my favorite cartoonist. And to most of us who turn blank pages into stories and artwork, “cartoonist” is the label we prefer. After all, we write and draw cartoons. I’ll even bet that Hal Foster – whose Prince Valiant syndicated Sunday strip was about as realistic as any famous funnies pages feature ever – referred to himself as a “cartoonist”. (Hey, Foster was a dues-paying member of the National Cartoonists Society for many years.)
But then, in the mid-to-late 1960s, Neal Adams came along. Although Neal’s first published comic book work appeared in an issue of Archie’s Joke Book, he had a background in the sophisticated comics-format ads of the fabled Johnstone and Cushing ad agency and the Ben Casey syndicated comic strip. After drawing a slew of Superman-related covers for DC editor Mort Weisinger, Neal went on to stellar gigs on “Deadman” in Strange Adventures, “Batman” in Detective Comics, X-Men and The Avengers. Suddenly, everyone was raving about how “realistic” Neal’s style was. By the time Jack Kirby’s first “Fourth World” comics debuted at DC, the “King Of Comics” found himself sharing his position of industry importance with Neal Adams.
So, what is “realistic”, anyway?
Well, it sure ain’t Neal Adams’ drawing style. Neal’s art is impeccably executed, but it’s an idealization of reality as seen through a perspective from Madison Avenue. The work of the great Russ Heath is certainly a bit more realistic, but Russ’ approach to drawing – even at age 85 (!) – is still too fastidious to be considered realistic. I suppose Alex Ross’ work is about as “realistic” as comic books get… but his dynamic poses, staging and compositions are anything but everyday. And isn’t “realistic” supposed to reflect the “real world”? But one thing’s for sure: ever since Neal Adams entered the world of comic books, the ability to draw in a “realistic” style has been the goal of many – in my opinion, too many – comic book artists. (Please note that I avoided using the word “cartoonist”.)
A few years ago, I displayed my work at the Long Beach Comic-Con and the pro set up at the table next to me was a talented young guy named Joshua Middleton (NYX, Superman/Shazam: First Thunder, many covers). I’ll admit I was unfamiliar with his artwork, but after witnessing the rabid demand for his originals, I studied up on Josh and his approach to drawing comic book art. My impression is that he shoots specific photographs that relate to the scripts he illustrates, uses PhotoShop to trace them, adds backgrounds and props, inks the tracings and, with his impeccable color sense, paints each image digitally. If that’s not accurate (and it may not be, considering my aversion to technology), I apologize to Mr. Middleton, but the final result is some very impressive “realistic” art, even if the pages of original artwork that Josh was selling hand-over-fist to an eager following did resemble extremely well-drawn coloring book art.
Here’s the big issue I don’t understand. How come the average person out there is resistant to reading a “straight” comic book like Watchmen, Marvels or The Rocketeer but loves humorous comic strips like Peanuts, Calvin And Hobbes or Mutts? And how come faithful comic book readers’ tastes seem to be the opposite, flocking to the straight stuff yet shunning the funny stuff like the plague? (I’ll never forget the year that Keith Giffen, J. M. Matteis and Kevin McGuire’s Justice League Of America received an Eisner Award nomination for “Best Humorous Series”. Sheesh!) If the world of comic books paralleled the real world, Bongo’s Sergio Aragonés Funnies would be America’s best-selling comic book – and deservedly so, since it’s written and drawn by the World’s Best Cartoonist – instead of being a mere niche title!
Are the vast majority of modern comic books going for a dark and/or photorealistic approach to storytelling because their publishers think they’re competing with the various live-action films? Or instead, are they trying to attract the attention of live-action filmmakers?
Fortunately, there are a few cartoonists left who “get” it. Kyle Baker (The Bakers, Special Forces and Deadpool Max), Roger Langridge (The Muppet Show, Thor The Mighty, Snarked! and Popeye) and Darwyn Cooke (DC: The New Frontier, Richard Stark’s Parker and now, Before Watchmen) – and the aforementioned Erik Larsen and Sergio Aragonés are all delivering comic book stories with a much welcome (for me, at least) cartoony touch.
Maybe some of them can answer this question better than I can: since when was a flying man any more “realistic” than a talking duck?
Next up: “Why I Don’t Dig Superhero Movies!”
Scott Shaw! — yes, that exclamation point has adorned his name since junior high school — currently writes and draws comic books starring the Simpsons for Bongo Comics, The Adventures of Captain Rochester for Rochester Electronics, and his autobiographical comic strip, Now It Can Be Told! for Act-I-Vate, as well as performing his live Oddball Comics show. He just finished storyboarding four episodes of Cartoon Network’s Annoying Orange animated show, is finishing a new 8-page Now It Can Be Told! story for Dark Horse Presents (“I Covered Myself With Peanut Butter To Become… The Turd!”) and will be drawing an upcoming Mark Evanier-written Garfield comic book story for KaBOOM!
After living here for just over ten years, I’m still learning about Los Angeles and its surprisingly rich history. From the 1950s and into the mid-’60s, local station KTLA, then owned by Paramount, ran The Pier Point 5 Club, later renamed The Popeye Show. Both shows aired live segments between episodes of the Popeye cartoon, which had been licensed to Paramount in 1941. To compete with other children’s programming, KTLA needed a host for the live segments, and so they hired Tom Hatten.
Dressed as a skipper to resemble Popeye, what made Tom Hatten unique from the other kids show hosts was his abilities as an artist, in addition to being a classically trained actor. Tom Hatten would draw Popeye, Olive Oyl and Bluto live on the show. For many LA area kids, this was probably the first time they’d ever seen someone draw seemingly random lines on a page and bring them together to create something familiar. The show was so popular that it was brought back in the ’70s and ’80s.
That magical experience was expanded when Tom Hatten started holding contests on the show where random “squiggle” as he would call them, would be made by a local kid, and then he would turn it into a whale or funny looking character. If he couldn’t turn the squiggle into something, the kid would win a free bike.
This kind of local programming is unheard of these days, so naturally this kind of improvised drawing is almost impossible to find. Fortunately I know of one live performance happening this week that is an absolute joy to watch. At Comic-Con International: San Diego, one my favorite panels is Quick Draw, where master cartoonists Sergio Aragonés (Groo the Wanderer, Mad Magazine) and Scott Shaw! (Captain Carrot & His Amazing Zoo Crew, Simpsons Comics) improvise their way through a flurry of cartoon drawings. This year they’ll be joined by cartoonist Mike Kazaleh (The Adventures of Captain Jack, Futurama). The show is hosted by comics historian/animation director Mark Evanier and there are usually some guest appearances by popular comics creators. It’s a hilarious hour and change, and really shows just how brilliant these people are to be able to create identifiable objects with personality and style using free association and random audience suggestions.
But back to Tom Hatten. Unfortunately I couldn’t find any videos on YouTube of Tom drawing from the original show itself, but I found this two-part interview from 2004 where he was a guest on the local talk show Marty’s Corner. He demonstrated the squiggles game and his drawing Olive Oyl to get the job, along with other great anecdotes.
Never read a graphic novel before? Haven’t read a comic book in years?
Here’s some brand new stuff that came out the week of October 28 that I think is worth a look-see for someone with little to no history with comics. That means you should be able to pick any of these up cold without having read anything else. So take a look and see if something doesn’t grab your fancy. If so, follow the publisher links or Amazon.com links to buy yourself a copy. Or, head to your local friendly comic book shop.
Disclaimer: For the most part, I have not read these yet, so I can’t vouch for their quality. But, from what I’ve heard and seen, odds are good they just might appeal to you.
After seeing Geppetto die at the hands of vampires, Pinocchio swears revenge in this darkly funny graphic novel. As the vampires plot the enslavement of mankind, only a one-puppet army stands in their way. But will a wooden boy and his endless supply of stakes – courtesy of plenty of lies and his elongating nose – be enough to save the day?
Looks like a pretty funny execution of a funny concept. If you’re into humor/horror, this could be the comic you’ve been waiting to read for your whole entire life.
Casper and the Spectrals #1 – $2.99
By Todd DeZago & Pedro Delgado
published by Ardden Entertainment
Just in time for Casper’s 60th anniversary, Ardden Entertainment proudly debuts Casper And The Supernaturals, an all-new take on the world’s most famous ghost and his two friends, Wendy the Witch and Hot Stuff! There is a city within New York City known as Spooky Town, but most humans are unable to see it.
Within this city live the Supernaturals, the ghosts, goblins, demons and witches of the world. When an ancient entity known only as the Volbragg threatens both New York and Spooky Town, Casper and his friends are forced to band together and defeat an unimaginable evil!
THIS ISN’T YOUR FATHER’S CASPER THE FRIENDLY GHOST! He’s EXTREME! I kid. Seriously, this looks like a cute revitalization of this classic character. If you don’t know who Casper is, don’t worry about it. This is a totally fresh start. No prior knowledge needed.
Bart Simpson Comics #50 – $2.99
By Sergio Aragonés
Published by Bongo Comics
Bongo Comics welcomes Sergio Aragones as a new regular featured writer and artist in the pages of Bart Simpson Comics!
First, Sergio starts with a story that pits the Simpsons against our national security in ‘The Simpsons Project,’ and then he debuts his regular bi-monthly feature entitled, ‘Maggie’s Crib.’
Get ready when the world’s fastest cartoonist meets the world’s brashest boy! And as if that wasn’t enough, Sergio also provides the cover to Bart’s fabulous 50th issue!
Somebody tell Bongo Comics to get a website. Come on. It’s almost 2010.
That embarrassment aside, Sergio Aragonés is a fantastic cartoonist (and has a website). Every year at San Diego Comic-Con, he does this hilarious must-see panel called Quick Draw where he, super-cartoonist Scott Shaw! and a guest cartoonist try to out-draw each other. It’s tons of fun, very spontaneous and immensely creative. Sergio drew for MAD Magazine for years (heck, he probably still does) and also does his own comic Groo The Wanderer. Seeing him handle The Simpsons will be a big treat.
A symbol of counterculture worldwide, Ernesto “Che” Guevara is one of the most, if not the most, recognizable and influential revolutionary figures of the twentieth century. From the pages of history textbooks to silk-screened T-shirts at Urban Outfitters, his mythologized face is positively unavoidable. But what, exactly, does this glorified image stand for?
During his life, and perhaps even more since his death, Che has elicited controversy and wildly divergent opinions as to who he was and what he represented. In Che: A Graphic Biography, Sid Jacobson and Ernie Colón—the graphic duo who made the 9/11 Commission Report understandable in their bestselling The 9/11 Report: A Graphic Adaptation and who most recently explained the ongoing war on terror in After 9/11—have come together again to give a real portrait of Ernesto Guevara de la Serna. Following Che from his fabled motorcycle journeys with Alberto Granado as a young medical student to his eventual execution at the hands of Bolivian soldiers and CIA operatives, Che: A Graphic Biography not only provides a concrete time line of his life but also gives a broader understanding of his beliefs, his legacy, and Latin American politics during the mid-twentieth century.
I will forever love these two creators for doing The 9/11 Report: A Graphic Adaptation. I think it was a huge step in comics expanding on their potential. It gives an amazing timeline of events so you can see how things were happening simultaneously, in a way that straight prose never could. It was clear, concise, intelligent. Definitely one of the best comic releases of that year, possibly the decade. I don’t know if this is as significant, but again I applaud what their doing and the skill in which they do it.
From the bestselling author/illustrator team of The 9/11 Report: A Graphic Adaptation comes the truly gory tale of the historical Dracula.
The Dracula myth has sparked a legacy of endlessly entertaining creepy tales. The fictional character, originally penned by Bram Stoker, was inspired by and named after a real-life fiend—Prince Vlad Dracula, the fifteenth-century ruler of Wallachia—a man infamous for massacring and impaling his enemies. In brilliant four-color illustrations, Vlad the Impaler tells the ghastly prince’s life story from his seizure as a boy by the Turkish Sultan, to his love life, to his maniacal attempts to retain power regardless of whose throat he must slit.
From the bestselling writer and illustrator team who brought us The 9/11 Report: A Graphic Adaptation—hailed by Stan Lee as “beautifully and compellingly written and illustrated. . . . It will surely set the standard for all future works of contemporary history, graphic or otherwise”—this graphic novel, based on a true story, is replete with gory details of torture tactics. Ideal for readers who made 30 Days of Night and World War Z bestsellers, the combination of riveting legend and blood-and-guts drawings will be an anticipated addition to the graphic novel fan’s library.
Hey, it’s those guys again! Some nicely coordinated release schedules from two separate publishers. Smartly done. This seems a bit darker and more for fun, but should also be an interesting read.
Bob Dylan Revisited – $24.95
By Bob Dylan, et al.
104 pages; published by W.W. Norton & Company; available at Amazon.com
Rendered in striking, explosive graphic form, many of Bob Dylan’s most famous songs—illustrated as they’ve never been before.
Mesmerized by the power of Bob Dylan’s lyrics and intrigued by the possibilities of translating his powerful, enigmatic personality into art, thirteen leading graphic artists banded together to create this unusual testament to the universality and transcendent vision of an American musical genius. With their vibrant, unexpected colors and dynamic, cinematic imagery, this group has assembled in Bob Dylan Revisited one of the most provocative interpretations of Dylan’s music in decades. Whether illustrating “Blowin’ in the Wind,” “Like a Rolling Stone,” “Hurricane,” or “Lay, Lady, Lay,” these artists capture the tender emotions, the ineffable sadness, and the romantic overtones of Dylan’s classic songs, at the same time reflecting the moral and political urgency of his music. Each artist’s style surprisingly complements Dylan’s lyrics and offers an irresistible window through which to reconsider one of America’s most enigmatic artists. A deeply respectful and brilliant homage to the extraordinary influence of Bob Dylan.
Love the cover. Here’s the list of songs and the artists interpreting them, according to the publisher’s site:
“Blowin in the Wind” interpreted by Thierry Muraty
“A Hard Rain’s A-Gonna Fall” interpreted by Lorenzo Mattotti
“I Want You” interpreted by Nicolas Nemiri
“Girl of the North Country” interpreted by François Avril
“Lay, Lady, Lay” interpreted by Jean-Claude Götting
“Positively 4th Street” interpreted by Christopher
“Tombstone Blues” interpreted by Bézian
“Desolation Row” interpreted by Dave McKean
“Like a Rolling Stone” interpreted by Alfred (drawings), Raphaëlle Le Rio, Maël Le Maé (scenario) and Henri Meunier (color)
“Hurricane” interpreted by Gradimir Smudja
“Blind Willie McTell” interpreted by Benjamin Flao
“Knockin’ on Heaven’s Door” interpreted by Jean-Philippe Bramanti
“Not Dark Yet” interpreted by Zep
This looks really cool, very imaginative. Here’s a 12-page preview. Perfect Christmas (or other holiday) gift for that Dylan fan in your life, since they probably will have already either bought or sworn off the confounding Christmas in the Heart.