Noah Van Sciver is one of our great cartoonists. He’s been at his drawing table for as long as he can remember–and that has resulted in some very impressive work. It takes a lot to gain any traction in the world of comics and illustration. Van Sciver is one of the brave and persistent souls.
It is my pleasure to share this interview with Noah Van Sciver. We chat about his two new books, Joseph Smith and the Mormons (see Comics Grinder review here) and As a Cartoonist (see Comics Grinder review here). I think some applause and cheers are in order every chance we can get. Along the way, we end up talking about a great deal of Van Sciver’s career as a cartoonist. A lot of dots get connected. So, I hope you’ll tune in and feel free to leave a comment or like over at ye ole YouTubes.
As a Cartoonist. Noah Van Sciver. Fantagraphics. 2022. 104 pp. $19.99
One thing you need to get straight is that a bona fide cartoonist, in the truest sense of the word, is someone with a certain way of moving about in the world. I’m a cartoonist, so I should know. Just about every word I write is somehow connected to the fact that I’m one of those people. Word choice is everything. Well, maybe it’s more like every line of thought but it can get right down to the granular level. It’s absolutely a way of life, and that’s not necessarily a good thing or a bad thing. It is what it is–and those among us who are part of this tribe, made up of so many groups and subgroups, understand that this unique ability to write and draw comes at a price. No one is born with this ability, although some people are definitely more predisposed to creating comics than others. Sorry, but it’s a skill that demands a number of factors to fall into place if you intend to reach a certain level of excellence. You don’t see a short person agonizing over the fact that they will never be an all-star basketball player. And, yes, I know about Spud Webb, but he’s the exception to the rule. Anyway, most people don’t give a hoot about whether or not they will ever create comics of any form, let alone win awards and accolades for their effort. This is the story about someone who really cares about all those things having to do with becoming a masterful cartoonist. We’re talking about Noah Van Sciver. And he’d be the first to tell you that being a cartoonist is no walk in the park–and yet, there isn’t anything he’d rather be more.
This book is about all the peculiar things about being a cartoonist. That’s really what it all boils down to. Being a cartoonist is peculiar. That, in and of itself, is a burden and yet it is also alluring. Essentially, it’s something special that envelopes the person seeking to master it. Just like any other creative endeavor, like starting up a band. Noah Van Sciver’s story is one of struggle, persistence, and ultimate accomplishment. This book, a collection of short works in comics, adds up to a portrait of the artist, perhaps his best set of portrait pieces to date. This is, you could say, an anthology all by one creator. In the world of indie comics, cartoonists are always scrambling to jump on board and join the latest collective effort, a way to promote each other and get one’s work out into the world. It’s all about getting people to read your work. A lot of Van Sciver’s auto-bio comics are about this ongoing pursuit of readers: courting them, wanting them, wondering where they are. For all the anti-social behavior that a cartoonist may engage in, at the end of the day, it’s all about the readers. Maybe the cartoonist isn’t exactly looking to spend too much time with any particular reader, but it’s nice to know that they’re still around.
Van Sciver wins over his readers without playing up to them. Far from it. In fact, he’s more than happy to speak the unvarnished truth byway of his social satire. He has a way of evoking authenticity. A real cartoonist, especially someone like Van Sciver who uses his own life for material, is always striving to be real and avoid any false notes. So, Van Sciver’s best work comes across as totally unfiltered. Of course, it’s a balance of artifice and reality. But a reader still ends up getting caught up in the moment as when Van Sciver is juggling an interview with a prominent reporter and his uncouth brother who has just crashed upon the scene. In this specific moment, a big event at an art museum featuring Van Sciver’s work, the hierarchy is easily hijacked. No sooner has Van Sciver begun to talk to the reporter than he’s put off by her obvious remarks. He even sympathizes with his train wreck of a sibling, if only for a moment.
In another more complex scene, Van Sciver is a visiting artist on campus and must find a way to tolerate those less fortunate but still quite annoying. A relatively young man, actually thirty and not so young, who loves to wear a top hat and read teen girl manga, is prime fodder for Van Sciver’s wrath. The guy in the top hat, it turns out, is easily triggered by what he sees as Van Sciver’s micro-agressions. Nevermind that Top Hat has a lot of arrested development to deal with. Now, Top Hat’s focus is to get Van Sciver into trouble by reporting him to a school administrator. There’s no winning for Van Sciver when he’s called in to explain himself. Later, he tries to turn the other cheek and be positive. But, ultimately, Van Sciver is right back to being underwhelmed by life on campus.
A wonderful companion piece to this collection is the 2018 graphic memoir, One Dirty Tree, looking back on a childhood with eight other siblings in a less than ideal situation. This is a closer look at a ramshackle upbringing: living in squalor, an abusive and irresponsible father who is a Mormon zealot, and a young man with a very uncertain future–a young life miraculously held together by dreams of some day becoming a famous cartoonist! By force of will and determination, Noah Van Sciver turned his dreams into a reality beginning with his series of collected comics, Blammo. That would lead to his early masterpiece, his first graphic novel, 2012’s The Hypo. And, most recently, 2022’s Joseph Smith and the Mormons. This new book, As a Cartoonist, comes full circle with a collection of short works that feature comics from Blammo, among other sources.
In 1980, Woody Allen made Stardust Memories. He had already made two of his masterworks, Annie Hall and Manhattan, and he seemed to be at a crossroads: keep making funny movies or make more serious films. Perhaps there was a bit of a struggle. Just see Interiors. Anyway, a certain Woody Allen universe had been created and he was pretty much set and would go on to create a wonderful body of work. Van Sciver pays homage to that creative turning point in a moment in the book where he recreates Allen asking space aliens for advice. It’s a perfect opportunity for Van Sciver to insert himself and provide another take on the absurdity of it all.
Van Sciver is now at a point where he can look back and see significant milestones, including Fante Bukowski, which alone would thrill any cartoonist to call their own, and which Van Sciver can say confidently he brought into this world. Having recently become a father, Van Sciver honors his son, Remy, with a dedication and the final comic in the book. I think it’s safe to say that Noah Van Sciver is on the right path.
Our featured cartoon is entitled, “Free of Social Media Tyranny,” and was created in response to a snide comment that Hurricane Nancy received suggesting that she needed to be doing “political cartoons,” when that had nothing to do with what she was up to. So, she didn’t care for the comment. Well, these abrupt and harmful misunderstandings occur all too often on social media, thus the title to this piece!
Rounding out the collection this time around are a couple of intriguing animal-themed works. I hope you enjoy them!
As always, it’s a real treat here at Comics Grinder to present to you work by Hurricane Nancy. And be on the lookout for a collection of Nancy’s work to be published by Fantagraphics. More on that as we get closer to the release date.
Crisis Zone depicts the catastrophe for our time, almost 300 pages of collective debacle for the crew of caricatured cute animals (and the classic witch) brought up to date. They find themselves amid the crisis we now all seem to expect: an urban something causes all functions to break down, a sort of end of civilization as we know it. It might seem these animal-humans barely deserve to survive. They produce television shows, Youtube-style dramas, nearly all anal jokes in one sense or another, while they attempt to go on in the old ways of pointless consumption. A high point is reached when a distinctly human character appears, telling them he has tickets for Hamillton, the banality that currently passes for high culture.
Artist Simon Hanselmann escaped the ostensible eco-paradise of Tasmania, found to be boring, and intolerable with a troubled, single mother. Self-taught and obviously scorning the usual tricks of comic art, Hanselmann created a menagerie of characters engrossed in daily meandering; all in all, captivated by their own fascinations.
The most interesting part of this large-format, detail-heavy volume can be found in the last pages where Hanselman offers, in tiny hand-lettered detail, an overview of this particular comics process. Perhaps nothing so obsessive as this has ever been done in comic art? It is a hugely curious accomplishment.
EDITOR’S NOTE: The New York Post headline says it all, Sex Abuse Rituals at NJ Boarding School Exposed — in Cartoons by Survivor. The newspaper does an admirable job of describing the nuances of graphic novels and Glenn Head’s new book, Chartwell Manor. And The New York Post has no qualms about laying it out as it is: “Don’t let that whimsical cover art throw you: Head’s unflinching book recounts his two years at the now-defunct Mendham, NJ, boarding school run by headmaster “Sir” Terence Michael Lynch — a serial sexual abuser who manipulated young boys into “cuddling sessions” after fondling and beating their nude bodies.” The New York Post also provides an outstanding public service by underscoring the fact that survivors of Chartwell Manor still have time to file a suit against the Chartwell administration of aiding and abetting Lynch, and others, in the abuse of children. Time is running out for Chartwell Manor victims to join those who’ve already filed claims against surviving Chartwell administrators accused of letting Lynch — and other accused faculty — cultivate a culture of abuse. The deadline to file is November 30, 2021. Contact Jeff Anderson & Advocates law firm today.
I’ve been writing about comics and creating comics for many years now–and loving it. In the very near future, I hope to have some news about a book of my own. For now, I want to keep my nose to the grindstone and this is one very special reason to do so. This is an interview with master cartoonist Glenn Head. For those of you familiar with comix, especially those chock full of underground comix DNA as I just talked about in my last post, then this will be a welcome treat. Maybe you’ve gotten a chance to check out Head’s new book, Chartwell Manor, about the abuse that Head experienced at the boarding school, but just as important, the aftermath. Well, this interview helps to put things into further context from the standpoint of Glenn’s previous graphic novel, Chicago, as well as his career as a whole.
Snake Eyes (1990, 1992, 2001) was a comix anthology (editors: Glenn Head and Kaz) with some of the best comix talent going on at the time. It’s a great place to get a sense of what independent comics are about. It seems like we have subcultures within subcultures in the world of indie comics. Some cartoonists prefer a more soft approach while others need a harder one, and everything in between. So, with that in mind, we’ll explore the pages of Issue 3 of Snake Eyes. We will also take a look at a separate project, that ties in with what I’m talking about, Glenn Head’s Avenue D, from 1986.
Glenn Head’s Snowman in Snake Eyes
In an interview focusing on Snake Eyes, Glenn Head made the distinction between short-form comics and long-form graphic novels. For him, at the time (2001), he seemed to be saying that he found comics to be packed with energy and immediacy, while graphic novels had fallen into more of a form for a slower-paced drama to unfold. I think that is a subject for discussion than can always be added to byway of various comparisons and further refinement of articulating what it means to do comics as opposed to graphic novels. Basically, we know. But it’s always fun to discuss. And, sometimes, I wonder if we’re all on the same page! Seriously, the notion of comics is extremely broad if you include any and all possible forms, literally throwing in the kitchen sink for good measure.
Glenn Head is part of that select group of auteur cartoonists who has steadily been building up a body of work, with its surrealist bent and underground comix influence, that reaches the level of art. Much of his work, as creator and/or editor, has appeared in various comix anthologies: Bad News, Snake Eyes, Hotwire, and R. Crumb’s Weirdo magazine. And so it makes sense that Head has steadily been climbing the Mt. Everest of comix, the grand ole graphic novel.
Chicago: Searching and learning.
Most aspiring cartoonists will never follow through on creating their very own full-length, full-bodied (sorry, no stick figures) autobiographical graphic novel, the pinnacle of auteur cartoonist ambition. However, where there is a will, there is a way. Glenn Head has done this particular feat twice. The most diligent of cartoonists would do well to follow closely what Head’s been up to with his last two books, observe how they oddly mirror each other, one a variation on the other. What I’m talking about is Head’s 2015 graphic novel, Chicago: A Comix Memoir, which was regarded as Head’s coming-of-age magnum opus. Well, he’s followed that up with his latest work, Chartwell Manor, which is another coming-of-age magnum opus: same protagonist and life struggles but, nearly twice as long, more refined, and pivoting off a different focal point.
Chicago: Father and daughter moment.
As I leaf through this graphic novel, I am struck by all the intricate line work, all the meticulous detail, and all the frenetic energy. There’s a marvelous dance with death (and life!) going on, almost spinning out of control, and yet very well balanced. The artist is in the lead. Death will have to wait its turn. If we try to compare both books, Chartwell Manor is perhaps more focused and detailed, not to take anything away from Chicago. While the Glen character in the first book is going through a series of dark episodes, including an interlude with a troubled woman, it is the second book that confronts what is the root cause of Glen’s instability and struggle. The significance of this root cause is underscored by the fact it is not mentioned at all in the first book. The harrowing events of being molested at a boarding school, by the headmaster no less, are not afforded even one panel in the first book. But, by astonishing contrast, the boarding school IS the second book, covering most pages.
Glen with a gun. You keep feeding the underground comix beast.
Sordid content, twisted and unabashed, all that very messy human stuff, is only hinted at in most mainstream graphic novels. Whatever the case, great work will emerge, sometimes from a big traditional publisher. But, aside from self-published work, the really gritty stuff comes from the smaller niche publishers. Among that set, Fantagraphics is a leader in the United States. In fact, it has cultivated a particular vibe that, along with a high standard of excellence, places it in a unique position. Much angst going back to underground comix of the sixties finds a home there. This particular point of view, this grungy campy swagger, has had plenty of time to ferment into a brand. Those who are part of it find themselves deeply enmeshed in a scene: part way of life; part putting on an act. But what is an act and what is real? That’s part of the mystique. What matters in the end is the end result, a work that aspires to something bigger, a work of art.
Demons to be exorcised.
Dancing with death can tire you out so it’s good to pace yourself. The reader will see the satisfaction that comes from someone working on their craft. On one level, it’s the very act of working on a big project, whatever the content, that sustains an ambitious cartoonist. This is a graphic novel focusing on Head experiencing abuse at Chartwell Manor, a boarding school, and the years of living with that, a lifetime of living with that. This book provides a latter day underground cartoonist like Head another chance to push his style further, to level up his connection to the past, compared to all the great soul-baring cartoonists who have come before: Crumb, Gilbert Shelton, Bill Griffith, Art Spiegelman, Jack Jackson, S. Clay Wilson, Robert Williams, and so on. It’s feeding, what I call, a “persistence of style.” Like he does in Chicago, Head can evoke an extended passage about him as a young and troubled youth, walking around naked in his family home with a loaded gun, aiming it at his head and pulling the trigger, and the act of creating that into comix is not necessarily a cathartic act, as much as it’s an artistic act. That’s not to belittle at all what happened to Head at Chartwell Manor. There are definitely demons to be exorcised. That’s just to point out that Head would be a lesser artist if his main aim was to have his graphic novel simply be a therapeutic act. It’s a complicated and thoroughly fascinating journey to explore the past while navigating your way to creating art.
Chartwell Manor: A rare moment of quiet joy.
There are key moments in the book, during and after Head’s time at Chartwell Manor where he talks to his parents and tries to let them know about the horror. In an early scene, while Head is still a student there, it seems like the parents are right on the verge of knowing but don’t want to know. It’s one of those instances when you wonder if something was said between the panels. Other moments, depicted from years later, also leave the reader wondering what the parents are aware of and what they are in denial about. It’s an ambiguous thread running throughout–and done to great effect.
Where there is a will,…
All those dirty little secrets that seem to have no way of getting out! And then they do. Ways are found to vent out frustration. It’s no exaggeration to say that underground comix have a lot to do with venting out frustration! The whole autobio comics genre has weathered various cycles of backlash, unfairly labeled as heavy-handed and a way for cartoonists to use it as therapy to work out personal problems. But, at the end of the day, most readers are fine to take the risk that some work will fall short while some will rise to the highest level. Honestly, any artist worth their salt, is going to tackle some form of autobiography. And, hey, all comics of this sort, in one form or another, is a story reflecting back to its creator.
…there is a way.
It’s important to note that each book has its lighter moments. In Chartwell Manor, those moments are mostly concerned with the process of creating comics. Chicago has a more experimental vibe, even whimsical at times, as when Head stumbles upon a visit to Chicago by Muhammad Ali and nearly gets his block knocked off. The point is that Head is in a wonderful place. Like any artist at this stage of their career, Head has a treasure trove to work from, plenty to return to for future books. With Chicago and Chartwell Manor, readers can see for themselves two distinct ways of presenting similar facts and the promise of what lies ahead.
Harvey Kurtzman is a god. Of course, you can’t please everyone. Panel excerpt from HATE by Peter Bagge, 1991.
Comedy is not pretty. Isn’t that what Steve Martin concluded oh so many years ago? Well, it’s true. If humor has anything to do with revealing the truth, then it’s gonna get ugly. Harvey Kurtzman knew something about this too and was revered by other cartoonists moving up the ranks, like Peter Bagge. And, if you study Peter Bagge’s work, you’ll see the Kurtzman influence, sometimes subtle and sometimes in a direct reference.
From “What’s in a Name?” Written by Peter Bagge. Drawn by Danny Hellman.
A sample of Harvey Kurtzman: Mad #4, 1953
One of the darkest and most hilarious bit of comics I’ve read is a collaboration between Bagge as writer and Danny Hellman as illustrator. The piece is about a meeting between young aspiring cartoonist Peter Bagge and the legendary cartoonist Harvey Kurtzman. With a cutting New York sense of humor, Kurtzman is brutally depicted as a bitter doddering old man. The punchline, as it were, states that Kurtzman’s erratic behavior may have been caused by the fact he was dying from cancer; and he did indeed die not long after this infamous meeting!
Ah, and then there’s the R. Crumb influence–and that certainly makes sense, if you know anything about Peter Bagge’s work. My goal in this interview was simply to explore the process with a masterful cartoonist and hopefully end up having asked the right questions. I think what really stands out for me from our conversation is that Bagge’s outlook is that of a highly irreverent individual, as well as a sensitive and thoughtful person. So, basically, Bagge possesses a sensible mix of character traits that most of us can relate to. That is part of the magic of Hate’s main character. Everyone can relate to something about Buddy Bradley, the guy who wants to get along, but not too much!
A sample of Peter Bagge: Hate #16, 1994.
Well, that gives you an idea of Bagge’s offbeat sense of humor. Comedy, the very best and most cutting, is definitely not pretty. And so it was my goal to explore this subject with Bagge, and many other related matters! I hope you enjoy the video interview, which you can access by clicking to it down below. Peter Bagge’s work is most definitely adult fare and in the best spirit of the term. It is dark, sophisticated, and meant to elicit a world-weary cackle of recognition. Enjoy!
The Complete Hate from Fantagraphics is available November 24, 2020. Book One (HATE 1-15) focuses on young Buddy Bradley’s travails in early 1990s Seattle. Book Two (HATE 16-30) focuses on Buddy and his girlfriend Lisa Leavenworth’s move back to Buddy’s native New Jersey (and a switch from black-and-white to full color). Book Three (HATE Annuals 1-9) features the final arc of Bagge’s magnum opus, as Buddy and Lisa become parents (and buy a garbage dump). Each volume, along with the slipcase, contains new covers, endpapers, title pages, and other surprises by Bagge.
The Complete Hate Box Set. by Peter Bagge. Fantagraphics, Seattle. 938 pp, $119.99.
A great way to savor or discover the work of cartoonist Peter Bagge is the new collection, The Complete Hate Box Set, published by Fantagraphics Books. Peter Bagge is indeed a significant cartoonist, and one of the bright lights that led me to Seattle back in the early ’90s. Like so many, for me, a copy of Hate comics was a perfect companion while sipping a latte at Caffe Vita, downing a beer at the Comet Tavern, or anticipating a show at the Re-bar. It was a time to see and be seen and, no doubt, to mock your fellow hipster. And few, if any, did it quite as well as Peter Bagge in his ultra-satirical comic book series featuring the ultimate malcontent, Buddy Bradley.
HateBall tour poster by Peter Bagge and Daniel Clowes, 1993.
With hindsight, Hate seems like the perfect comic to encompass this whole grungy era. The title alone sounds like a timeless tribute to callow youth. But as Bagge explains in the introduction to this collection, nothing was so smoothly planned in advance, including the title, which only came about sort of by accident. It wasn’t as if Bagge had set out, without a care in the world, to be a successful satirist. First, Bagge slowly but surely developed Neat Stuff, a comic based upon his own family growing up. His main character, Buddy Bradley, was loosely based upon himself. And, as luck would have it, a somewhat older Buddy was right in step with a whole new zietgeist and would go on to take a prominent spot in the new wave of alternative comics of the 1990s.
HATE #1, 1990.
Hate has its own loopy specificity, a zany quality built from Archie Comics, MAD Magazine, and all manner of underground comix. It was to be Bagge’s answer to the hegemony of the ’60s counterculture. And it was to be more than just a comic from the halcyon days of Generation X. It has moved past that and entered a new phase where it can take a rightful place among the best in comics. It does this by simply being something exceptional in terms of style, consistency, and inventiveness.
The unreal meets the real in a run-down Seattle apartment.
You can say that Hate is a prime example of an excellent comic willed into existence by a very determined cartoonist. And the best test of that is how it grabs the reader. As I progress from one panel to the next, I am struck by the energy and vision on display. These are very loopy characters, out of reality in an uncanny way and yet what they say rings true and sounds like the sort of kooky youthful insights and outbursts going on in very real taverns, night clubs, and shanty apartments. In other words, Hate shares all the characteristics of some of the very best that comics have to offer. Hate lampooned Seattle hipsterdom while also being a part of it. Not an easy thing to do unless you’re focused and persistent. And, perhaps most important of all, don’t take any of it too seriously to begin with.
The Complete Hate Box Set is available as of December 1, 2020. For more details, visit Fantagraphics Books right here.
Gipi is one of the great cartoonists. His approach is to treat the page in a heroic fashion, as both canvas and stage, employing a variety of techniques and styles. In one work, he will typically shift from loose sketchbook line drawings to haunting panoramic watercolor panels. We see this kind of work in the States but we see even more of this in Europe. Gipi is part of that Italian breed of cartoonist who sings for his supper through fierce and daring visual storytelling. I was rifling through a stack of books and papers just the other day and Gipi’s The Innocents nearly hit me on the head. I took that as a sign. It is a story about lost youth and their comeuppance. That title was part of an amazing Ignatz collection published by Fantagraphics. A title that is currently on my radar is One Story, also published by Fantagraphics and one of the most ambitious works by Gipi that I’ve come across.
Gipi commands the page like a canvas or a stage.
Any artist, or magician worth his salt, is a master of illusion. Any given number of strokes of ink or paint on the page may seem marginal or of undetermined worth–and sometimes they don’t seem to quite add up! There are times when no one notices any of these potentially perceived mistakes or accidents that require further reflection. Or the culmination of all these marks does add up without much doubt but it still doesn’t seem to meet some fickle taste. Only a determined, persistent and consistent effort will ultimately win the day and that is what Gipi does. He’s the one who is constantly drawing. He is a cartoonist who unmistakably acts like any other artist, whatever the medium. And, in the process of all that problem-solving, a universe emerges. In the end, he can make it look easy. Ideally, and in general, you want all the elements on the page, even the splotches and rough gestures, to simply read as part of the narrative. Each mark belongs on the page. Gipi has the temperament and the confidence to pull that off.
Gipi, cartoonist as visionary artist.
Going hand in hand with a heroic attitude to mark-making is the actual script to which Gipi runs with as if his very life depends upon it. These sort of stories are the ones that need plenty of room to run, as they are larger-than-life stories about life! The reader can ease up on applying cold logic and allow the tale to cast its spell. For most readers, this will not be a problem at all. We begin in the present. Gipi charms the reader with his overwhelming sense of weltschmerz. Gipi shows us that the older you are, the less you can acknowledge your age when facing the mirror. An aging beauty can only see through a vintage lens. Cut to our main character, a former fiery rebel who is not aging into the perfect Lothario he intended to be.
Just drive off in a Maserati.
Next, our aging rebel finds a kindred spirit and they drive off in a Masareti. Remember, the plot is going to keep shifting. So, our main character is one Silvano Landi. It turns out that Mr. Landi is under heavy medication in a psych ward. He is drifting in and out of recollections, all very lucid and vibrant as hell. What Silvano sees, we see. A team of professionals are determined to keep Landi nicely sedated with increasing amounts of Bituprozan, in keeping with their standards, in order to address his “Schizophrenia with Monomaniacal Obsessive-Compulsive Behaviors.”
“A bare tree. Why?”
The team is both impressed and bewildered by a series of drawings Landi has done of a service station and a tree. They admit the work is dazzling but it is also so clearly out of the norm, and most disturbing. God help any artist at the mercy of psych bureaucrats! As for Landi’s request to go outside, well, the team won’t tolerate that at all. Silvano Landi is a famous writer, after all. He must get the most careful and strict of treatment.
Navigating a psych ward.
The story now takes a determined turn. We move over to Landi’s great-grandfather, Mauro, and the trenches of World War I. From here on out, we alternate between Landi, Mauro and all points beyond. As you’ve come to appreciate from this writing, this is all pure Gipi! Ah, and this is where the plot thickens as we venture off into geopolitics and so much more. It is absolutely not my intention to go over every plot point but, instead, to give you a good generous taste.
A tree grows at the end of the world.
My goal in a post like this, as always, is to provide you with a guided tour, part of my exploration of the most provocative and challenging works in comics. I happen to relish expressing myself in well-chosen words and this exceptional work inspires that effort. Keep in mind, Gipi is not exactly alone but he’s also definitely among the very best auteur cartoonists. If you had only one cartoonist to read, Gipi will win you over on many levels. None the least is, again, that deliciously melancholic sense of raw and jaded sophistication–and exhausted experience.