Tag Archives: Satire
Public Domain (#5) writer/artist Chip Zdarsky Image Comics (19 Oct 2022 issue) $3.99
Chip Zdarsky is an exemplary, stupendous, and extraordinary comics creator, someone I’ve admired since his groundbreaking work with Matt Fraction on Sex Criminals. But, before I embarrass myself any further, let the following video create the right mood. Maybe you are already a fan but, if you’re new, let Chip Zdarsky speak for himself:
Okay, so, Sex Criminals was written by Matt Fraction and illustrated by Chip Zdarsky. For Public Domain, Zdarsky is both the writer and artist. And that fact alone is worth the price of admission. We get full-on Chip Zdarsky, filled with whipsmart humor. People still use “whipsmart,” don’t they? Anyway, this is a love letter to the comic book from somebody who really gets it, and has seen it all from working on many of the biggest comic book franchises. Zdarsky knows where the bodies are buried or, in other words, how corporate comics are made. And, well, that’s not always to the satisfaction of comics purists or to anyone who appreciates a well-thought-out story. That’s the theme here: the little guy (Jack Kirby or Bill Finger, etc.) going against the suits who take the lion’s share of the profits and exploit the work created by the likes of a Kirby or a Finger. The little guys vs. the suits. And that’s not to say that little guys can’t be physically big and/or wear actual suits.
Issue Five is a great jumping on point as the stage is set for the old true blue creator of the iconic (and movie franchise) comic book character, The Domain, to get his chance to create his own new stories and own the rights to them. Syd Dallas never really cared about the business side to comics and allowed his employer, Singular media, to rob him blind. That all changed when a perfect storm of circumstances led to a legal fight. Now, suddenly, Syd Dallas is leading his own comic book company featuring the new adventures of The Domain. This is a far-fetched adventure even for Syd but his sons, both at loose ends, force him to find the will and the grit to give it a go. Add to the mix a young aspiring writer, Tanya, who used to work for Syd’s less than scrupulous creative partner, Jerry Jaspers.
In this latest issue, it’s up to Syd to get on with creating comics. Along with his two wayward sons, Miles (the ex-reporter with a bad temper and gambling addiction) and David (the tattoo artist with the shit-eating grin). Some of the best moments involve Miles and David and are seemingly nothing moments of apprehension and ennui. One favorite line from the new issue: “S’all good, man. Just a bunch of unemployed people pretending to not be unemployed.”
All in all, the banter and social commentary adds up to a delicious dark satire on the less than innocent comics industry. But who among us is innocent, right? Ah, well, now that’s the frame of mind to be in for this snarky, yet heart-felt, tale. Getting back to the issue of creating quality work, it all comes back to it being well-thought-out work and that’s where Zdarsky has got you covered. He actually writes! Maybe that’s his big secret: to actually write with integrity and, heck, you just might create something worth reading. Who knew?
Public Domain is published by Image Comics. Issue Five comes out 19 October 2022. If I did any rating, I’d give this one 10/10.
Dirty Pictures: How an Underground Network of Nerds, Feminists, Misfits, Geniuses, Bikers, Potheads, Printers, Intellectuals, and Art School Rebels Revolutionized Art and Invented Comix. by Brian Doherty. Abrams Press. 2022. 448 pp. $30.
Comix! No, not just comics. Comix is the term we use to describe all the work created by independent comics creators (often auteur cartoonists doing both the writing and the drawing) dating back to the Sixties underground up to today. Brian Doherty has had a great time digging into the roots of, and connecting the dots to, this quirky offshoot of the comics medium. First off, I gotta say that Doherty is quite in tune with his subject and cuts to the chase. Perhaps the biggest question that comes up on this topic is What in the hell was R. Crumb thinking? Well, you won’t get far without an open mind on this. Doherty gets to the heart of the matter with a quote from 1972. A reporter for The New York Times asked what Crumb’s intention was in creating some of his most macabre and provocative work. Crumb answered, “I don’t know. I think I was just being a punk.” Then Doherty adds to that the fact that Crumb and his fellow cartoonists were all bucking a highly restrictive system of censorship. Nothing was allowed at the risk of offending anyone! If that sounds familiar, well, it won’t be lost on anyone reading this book. The point is, Crumb was indeed reacting to something, rebelling against something. Did he go too far? Or was it more one guy’s approach, along with a whole slew of other cartoonists, both men and women, with their own fiery takes on society? I think this whole book rests upon the assumption that a reader can walk and chew gum at the same time. In other words, yes, there is a possibility of seriously looking at the most controversial facets of comix without retreating from it. One key aspect to understanding is to look at the motivation to rebel. As Doherty reminds us, the “x” in comix is there for a reason: to distinguish comix from mainstream comics, the all too often watered-down and lame opposition, particularly during the days of the Comics Code.
Once we get something of a handle on Crumb, the rest of comix is a piece of cake! Well, maybe not. But that’s basically the arc we’re following: the great warriors, led by Crumb, out to raise hell; then, the reaction to all this ruckus, which included anyone offended by the first wave of mayhem; ultimately, a long process of the original “filth” working its way through the rest of the culture; and finally, all the accounts settled and those left standing declared the champions: Crumb, Spiegelman, and so on. Doherty does an impressive job of maintaining the flow of events, logically moving from one place, one publisher, one movement, after another. For those old enough to remember some of this history, it rings very true. Doherty has written the kind of book that many of us knew was possible. It involves keeping an eye on the key players and examining their aspirations and actual activities. Again, it’s impossible to avoid both Crumb and Spiegelman, both very aware of the fact they had reputations to either maintain or enhance. And then, of course, you had all sorts of other activity brewing, not the least of which was the feminist contingent led by Trina Robbins and her crew at Wimmen’s Comix. Robbins and her women cartoonists were determined to fight fire with fire.
Like any great art movement, comix is the story of the artists who led the way as well as of those to have taken up the mantle. What sustains the character and spirit of comix today harkens back to the highly charged independent streak of the original underground. You can’t have comix, or anything that resembles it, without a healthy embrace of the subversive, the experimental, and the guts to see through the most outrageous expression. It may offend. In fact, it definitely will offend and there will be consequences to pay. But, all in all, we’re far better off when an artist isn’t restricted or afraid to just be a punk, as Crumb summed it up. But art cannot remain in a vacuum or it will die. As Doherty points out, a new wave of artists brought in refinements. Most notably was a finer sense of the literary as demonstrated by Los Bros Hernandez and their ambitious Love and Rockets comics willing to take on richer and subtler literary aspirations. I’ve been a champion of the term, “alternative comics,” as I see it as a very valuable distinction. It’s nice to see Doherty using it here. He points out that pivotal break with the past as the underground ruckus rebellion gave way to a more cerebral alternative vibe. Indeed, it was to be a new and significant development to the still unfolding world of indie comics, a world that has given shape to the highly personal and strange creature we know today as the “graphic novel.” Sure, there are still diehard purists who claim to not understand what is meant by that term outside of being a brazen marketing tool. But people do know what a graphic novel is, or can be, just as they know what is meant by the term, “comix.” And that’s because, believe it not, people can really walk and chew gum at the same time. If they couldn’t, well, we’d really be in a lot more trouble. Doherty’s book is a very welcome addition to our understanding of comix, from its origins up to its current offshoots, offering common sense insight.
DIRTY PICTURES is available beginning June 14, 2022 and ready for pre-order. Visit Abrams Press.
Street Cop. Robert Coover and Art Spiegelman. London: IsolarII, 2021. 104pp. $20.
Guest Review by Paul Buhle
This vest-pocket size story-and-comic arrives to a world without…vests! But it is the same size, more or less, as those once-famous Little Blue Books, printed by the millions in Girard, Kansas, at the former office of the Appeal to Reason, aka Temple of the Revolution. That hoped-for revolution had been quashed by the repressive blows of the Woodrow Wilson government against antiwar socialists. The print revolution of Little Blue Books, if it may be called so, is actually part of a larger saga about comics as an art form and its connections with Modernism-become-Post and Post-Post Modernism.
Readers of Comics Grinder need not hear much about Spiegelman. Maus won a Pulitzer and has circled the world dozens of times. It may be said to have validated comics as art, at least in the US, where that designation had lagged. But actually the advance was twice-over, because Art and his wife Francoise Mouly had created, via their RAW Magazine of the 1980s-90s, an avant garde sensation. A collaborator, Ben Katchor, caught the flavor best by suggesting that RAW positioned or marketed itself as the organ of comics seen anew, a child of obscure or forgotten avant-garde French poetry and art. It was perhaps an extended reach if not actually a dubious claim, but never mind. The occasionally-appearing RAW was unlike any comic ever produced, more global, more arty, and in a curious way, the uneasy cousin of Robert Crumb and Aline Kominsky’s Weirdo, which was just plain…weird.
Novelist and lit prof Robert Coover is nothing if not the ungrateful, bastard grandchild of modernism, or possibly in his own world of categories. In novel after novel, story after story, Coover manages to lambaste the disordered society, indeed the disordered world, that we live in. Here, in a Manhattan of the future, neighborhoods are manufactured anew through computer printing, and they are never quite solid. The notoriously corrupt as well as brutal NYPD is put into a situation at once hopeless (cops chasing robbers into buildings disapper entirely) and favorably permissive toward ever higher levels of brutality. Actually, we seem well on our way to parts of this dreaded future already.
Coover’s protagonist is the cop of title, an ex-criminal badly paid, but without any other definition to his life, and true to noir traditions, he continues on what could only be called existential grounds.
I do not object in the least to flying cars, low-down characters of all kinds, to say nothing of a collapsing city-scape. This part actually seems closest to current reality, although the destruction of historic architecture is part of Capital’s plan. When our cop steps into a ghoulish pet shop with very ghoulist pets, I stop to object. My own work environment has avians walking and flying around me through the day. Ghoulishness is not in their remit. Or perhaps we are in a worse version of The Birds, where the animals are wreaking revenge upon the wrong-doing humans?
The story seems to dissolve somewhere around here, but the illustrations by Spiegelman remain wonderfully strange in their shape and colors. The artist who once did bubble gum cards, mixing the mundane with the more or less fantastic, delves popular culture imagery again and again here. The cop himself looks remarkably, sometimes, like Sluggo. This is a hell that is, at least, pretty funny.
We turned to the subject of the performance artist Brother Theodore and that helped connect the dots to Martin Olson‘s new book, The Conquest of Heaven, which I’ve reviewed in my previous post. It’s an intriguing and hilarious exploration of the addled yet persistent mind of the Lord of Darkness himself. On one level, it’s a very funny book. On a deeper level, it’s every bit the satire on what we humans let ourselves believe and what can pass for reality. Serious followers of comedy will most likely already be familiar with Brother Theodore. I kick myself now, because I can’t say I knew about him until recently and that’s only because I found out about him from Martin.
My introduction to this comic is this clip from The Merv Griffin Show. I can’t say that I was ever a big fan of Merv Griffin. He seemed to be the sort of talk show host that was easily parodied by other comics, like Martin Short. But now I come to see that Merv Griffin was pretty hip to groundbreaking comedy as he was an early supporter of Brother Theodore. If you are new to him and you view this clip, you can’t help but think that Andy Kaufman was taking notes….
So, if you view the clip, this will make more sense. In a nutshell, here you have one of the early wave of nontraditional comic artists. Brother Theodore was weird but that was the whole point of his act, to express the utter absurdity of life. As Martin points out, it’s nihilistic material that you make your way through to a redeeming payoff. And so I see some of that going on in Martin’s new book with Satan as the main character, an outrageous creature saying the most offensive things, but alternating with some poetic whimsy. Anyway, I wish I’d taken my search a little further and viewed the more recent clips of Brother Theodore in the ’80s on Late Night with David Letterman. Ah, that would have been more recent material to talk to Martin about. The thing is, this was simply a potential question I had pinned to the back of my mind. As it is, I did get a wonderful response regarding the above clip which includes Martin recalling what it was like for him as an impressionable 10-year-old to see this crazy and weird humor.
For those who are fascinated by the writer’s craft, we also chatted about the great science fiction writer Robert Sheckley. In fact, that’s just before we dived into talking about Brother Theodore. In the case of Sheckley, this is another mad genius who loved quirky humor. There’s a nice moment during our talk when Martin recalls Sheckley’s guiding principle in keeping his stories rich and alive: “Sympathize with all things!” And so Martin finds a way to even sympathize with the Devil!
Okay, that seemed a perfect place to stop but I need to just add that, having read both books in the series thus far, I can confidently say that one compliments the other. To hear Martin confirm that there will indeed be another book to fulfill the trilogy is wonderful news. Martin has, by turns, found himself creating his own universe upon which to comment on the human condition and the like, essentially having endless material to play with on the less than stellar condition of the cosmos. All this brings to mind Douglas Adams, and he did pretty well for himself as I recall.
John Paul Leon, an amazing artist in the comics industry with a highly distinctive style, has passed away. I got to know his writing partner, Brett Lewis, and that was such a treat. Brett, if you read this, please contact me. If you want to find out what John Paul Leon was all about, then just seek out THE WINTER MEN, one of the most dazzling and offbeat works of comics you will ever read: so quirky and inventive with its loving tribute to spy thriller tropes in a deliciously subversive way! This is all thanks to the creative team of Leon and Lewis. I love comics and I’m associated with comics on so many levels but it all comes down to the honest hard-working individuals who genuinely have something real and vital to bring to the table. John Paul Leon was such an individual. He is beloved within the industry and by the many fans who got to know his work.
John Paul Leon, best known for his artwork for Static Shock and Earth X, gave us a highly energetic and gritty style all his own. Leon died on May 1, 2021, at the age of 49, after a long battle with cancer. The news came via Chris Conroy, a senior editor at DC Comics. He wrote: “It seems the news is out. Last night we lost John Paul Leon, one of the greatest draftsmen in the history of comics, the kind of artist that EVERY artist revered. Those who loved him had some warning, but not enough.” For the ultimate tribute to Leon, read this by Michael Davis, co-founder of Milestone Comics and co-creator of Static Shock.
A GoFundMe has been set up in support of a trust for John Paul Leon’s family. It is organized by Tommy Lee Edwards, John Paul’s studiomate.
Next, let me share with you a post from John Paul Leon’s dear friend and creative partner, Brett Lewis. You can find this and a lot of other goodies by visiting Brett at his Patreon. I only share this one particular post since it is so fitting at this time. This was originally posted back in August of 2020 and is a touching reminiscence of events prior to working on The Winter Men.
Years before Winter Men finally got set up at Vertigo, while we were still shopping it around, i found myself editing and writing a Karl Malone comic book adventure.
(He is a famous now-former basketball player for the Utah Jazz.)
I’ve never looked down on well-executed licensed books the way some do (especially then) and i didn’t want to hire or work with any hacks.
John Paul Leon is always at 100% commitment level and we’d been looking to do something long form for years. I’d also been encouraging him to ink his own work for years (an easier said than done leap in those days) and wanted to see him explore in comics the sort of line qualities& open to color linework he utilized beautifully in his private work & life drawing –where he explored his love of things like Alex Toth fully as well as the kind of gestural 60s-70s editorial illustration style we studied with Jack Potter at SVA. This seemed like a good time and place.
This seemed right.
Best selling comic in the history of Utah. And i did a press conference with the guy, Malone, which was fairly surreal.
The color printed too dark/oversaturated, but the original colors by my other college friend, and John’s hometown friend, Bernard Chang were lovely.
The character designs were by me and the great illustrator and designer Chris Jordon. Maybe i can find some of those.
Above are the only images from it i have at the moment. **
Was working on getting a PDF for you guys to enjoy the whole story and original colors, but by a confluence of events the old zip disk it was on has come to be missing in the effects of my friend who had been working on all my old computers and hard drives to rescue into accessibility some files of old projects when he died,
and due to quarantine i can’t go search where i need to go search for it. Yet.
I hope there remain many other small hopes where you are too.
— Brett Lewis
There’s an old link buried somewhere within the innards of this site that has by old review of The Winter Men. I will go ahead and post it all here as it is such a wonderful time capsule and just goes to show the excitement that comics can elicit. The Winter Men was part of the Wildstorm imprint (originally, it began as part of Vertigo) at DC Comics and stands as an amazing example of the artful and edgy stuff you can find at DC Comics when all the stars align themselves properly! Ah, this is a double feature as it also includes a review of another oldie but goodie, RED HERRING. This would be a great time to issue a special hardcover edition of The Winter Men. Let DC Comics know how you feel if this strikes a chord with you.
Well, wet your whistle on this, pardner. This review was originally posted at Newsarama, November 18, 2009:
REVIEW: THE WINTER MEN
“The Winter Men” is a patchwork quilt of observations and red herrings that takes the spy thriller to new heights of eccentric fun. It’s one of those stories that starts out about being one thing and ends up embracing everything. Meet Kris Kalenov, the main character in “The Winter Men,” he is your guide into the underworld and beyond. It’s a new world order since the collapse of the Soviet Union and Kalenov is no longer a star player in a Soviet secret weapons program. He has become a Moscow cop, usually full of vodka and, at the start of this tale, is keeled over drunk on a sidewalk covered in snow.
I did not discover “The Winter Men” when it was a comic book but, considering its production delays, including its switchover from Vertigo to Wildstorm, it’s understandable that it somehow slipped by me. Luckily, I did not have to experience any long waits between issues and got to read this new collected trade in one sitting. This is a good read anytime and anywhere but I also see it as perfect inflight reading. Aren’t spy thrillers very popular in airport bookstores? I believe this to be so. It’s because you’re out of your element and open to adventure.
One big thing about “The Winter Men” is that it gets you way out of your element. It’s like “Goodfellas,” one of the best movies about gang life, all about wiseguys and getting whacked. “The Winter Men,” is all about Russia’s new Mafiya and its biznessmen and getting under the right roof. There’s also something akin to “Watchmen” going on in the background, a uber-man that was once the pride of Mother Russia, but it’s Kalenov and his rough and shady bunch, that will have you delight over this convoluted plot as you would in, say, an Elmore Leonard novel.
“The Winter Men” has a real attitude about it too. It promises the world, heroically keeps up with its ambition and, if it falters, shrugs like a good world-weary Russian. Kalenov, our drunk Moscow cop who once was so much more, would prefer to just live quietly and make do with his less than perfect marriage. But too much has happened in the past and it can’t be ignored. “We once filled the sky with heroes…but now they’ve fallen to earth…” That is an intriguing refrain that is looped throughout the book. Within the span of the first few pages: hints of the Soviet super-hero program, a woman is shot, a child is kidnapped and Kalenov is picked up from the snow and enlisted to solve the crime of the century, although he doesn’t know that yet.
All this reminds me of any number of very good television series that, from the narrative, the characters and the production value, are clearly a cut above. And these shows usually make big promises and it’s okay if they don’t deliver on all of them since it’s the world that the characters inhabit that’s most rewarding. I think of shows like, “Life on Mars,” at least the American version, or “Life” or “Dollhouse.” In fact, it’s interesting to consider if these shows would have done better in finding an audience if they were less about process and more about results but, then again, these shows are primarily about attitude. The promises they make, real or not, can be legitimate fuel for the story’s engine.
Another connection to “Watchmen,” I think, is the group of heroes that Kalenov originally belonged to. Somewhat tongue-in-cheek, the line-up is recalled by Kalenov in a regular loop throughout the book: Drost, the soldier; Nikki, the gangster; Nina, the bodyguard; Kalenov, the poet; for a total of four, or five, if you include The Siberian. There’s even a sepia toned photograph of the gang in much happier times: Nikki has just told a joke and it has The Siberian in stitches. Along with the irony, it’s those details, the atmosphere and texture that this book thrives on.
There are a couple of scenes that come to mind. And, like everything else here, the writer and artist team of Brett Lewis and John Paul Leon tackle it with gusto. One has Kalenov and Nikki creating a disturbance in a McDonald’s so that they can unbolt from the floor a plastic table and chairs console to take home. The employee desperately tries to convince an irate Kalenov that the mayonnaise does adhere to city regulations with “well above the forty percent fat requirement.” Another good one has Nikki in the middle of a full-on turf war with other soft drink vendors. Informing the mayhem and murder are quotes from a self-help best-seller like, “Lose Control to the Maximum.”
Perhaps your reading of “The Winter Men” will find it keeping to all its promises and even holding the answer to the meaning to life. God knows, it is certainly within its reach. If you find fault, some blame, maybe a good bit of it, can go to the fact the series was cut from a promised eight issues down to six. There are parts to the story that do appear truncated. And the ending does seem to come all too quickly. However, the fact remains that this comic is really about the quirk and it’s all there for you to enjoy.
“The Winter Men” collected trade releases on November 25.
Hope you enjoyed this installment of Comics Grinder and I welcome you back for more. You can always check in too at the Comics Grinder site.
And here’s another quirky title, very much up my alley, that I enjoyed from way back. This review was first published at Newsarama on August 12, 2009:
Best Shots Extra: WildStorm’s RED HERRING #1
by Henry ChamberlainDate: 12 August 2009 Time: 05:55 PM ET 0 0Reddit0Submit0
Red Herring #1
Writer: David Tischman
Pencils: Philip Bond
Inks: David Hahn
Color: Guy Major
Lettering: Rob Leigh
Published by DC Wildstorm
Reviewed by: Henry Chamberlain
In Stores Today, August 12, 2009
Well, it’s true, as David Tischman says in a recent Newsarama interview, Philip Bond knows how to draw sexy women. So does David Hahn. That’s how we lead into Wildstorm’s latest cool caper comic, Red Herring. A young woman in a lacy bra has just slipped into a pump while chatting on her cell phone. Her languorous pose is surrounded by little bits of intimate narration: “It’s been crazy-busy at the office and talking to your mother calms you down.” We proceed a few pages as Maggie MacGuffin tries to find the right outfit while keeping in mind, as the story title suggests, “Blue Makes Her Look Fat.”
With such a stylish beginning, we smoothly move through what is a top-notch sly and sexy story. One goal of this opener is to connect Maggie MacGuffin with male lead, the titular Red Herring. As characters, they could not be more different. They seem to only share the fact that their names represent literary dead ends, false clues in a mystery, but they prove to be very much alive. They are not meant for each other but that could be fun too.
I haven’t had quite as much fun with a comic since another Wildstorm series, Mysterius the Unfathomable. This is a totally different scene, the world of high rollers and espionage in Washington D. C., but it’s definitely got a similar ultra-cool and clever style. Where Mysterius was very good with details about magicians, Red Herring provides the right balance of insider dealing and conspiracy theorist satisfaction.
We already know that things are never quite as they seem so it makes perfect sense to spice up the ambiguity by having fate bring together a party girl with a conscience, Maggie MacGuffin, and an earnest gumshoe secret agent, Red Herring. Couldn’t make matters any worse, could do it? Well, maybe so. Did I mention there is a possible alien subplot and people are already trying to kill Red before he kills them? Yeah, things could get very messy.
This first issue is probably chock full of MacGuffins and red herrings. As for the details that add texture, they build up quite nicely. The narrator mocks Maggie as she struts her way to Capital Hill. “Compromise is the ESSENCE of politics. That’s what your AP History teacher said.” Maggie works down in the lower levels of Congress “where the offices are small and the salary’s even smaller. Two weeks barely pays for a good pair of shoes.” At first, we see Maggie filing away papers but then we come to find out this meek office worker is actually the lover of a high powered Congressman.
The tempo slows down for some procedural scenes with the no-nonsense Red Herring. So far, Red is proving to be a little too dry for his own good. But he has this thing about his glass eye and so he may prove to have some interesting issues. . Red is supposed to be about ten years older than Maggie and the plan, according to David Tischman, is to keep these two platonic. That could be a pity. Or maybe it’s a red herring.
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.
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!
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.
For more details, visit Fantagraphics right here.
Guest Review by Paul Buhle
Constitution Illustrated. by R. Sikoryak. Drawn & Quarterly, 2020, 128pp. $18.95.
Editor’s Note: It is a distinct pleasure to have Paul Buhle do the honors with a review of the new book by R. Sikoryak. As a side note, I had the opportunity to interview Sikoryak in 2019. You can read, and view, it here.
Deep thinking comic artists have been pretending to be non-serious since the early days of daily comic strip glory. Hard-working cartoonists stationed at their drawing boards would be seen as entertainers, and for a long time, they could hardly be anything else. If they had their own deep ruminations, they seemed to keep their seriousness to themselves. Even the fabulous Rube Goldberg, editorializing in 1949 about the fears of atomic warfare (the drawing got him a Pulitzer) made possible or probable catastrophe into a joke, his happy little domestic world, like any other domestic world, in danger of being blown to smithereens.
“Pogo,” with a depth that at least a fair number of readers grasped in the work of Walt Kelly, may have marked a new stage, and never mind the earlier exceptions. Kelly was brilliantly droll but the issues were deadly serious. You could buy his books in oversized paperbacks, something that was also true of Li’l Abner, but for most readers, the heavy sexual suggestions of Daisy Mae surely overcame the New Dealish sub-content.
When comic art became “art” —from the most ponderous of underground comix to Raw Magazine—the old definitions seemed to go out the window. But did they? And so we get, sooner or later, to R. Sikoryak, the master of the droll, none better. If I were pressed to offer one candidate for author and book high definition comics today, it might well be Sikoryak and Masterpiece Comics (2009) and for this reason: the complex relation of text and image is not literal, random or even satirical in the usual sense. His art compels a second look or second thought, definitely not on the same wave length as the first one.
Sikoryak, born in 1964 and educated at Parsons, actually worked on Raw (so did Ben Katchor, among others), co-edited a Jam with Art Spiegelman, and set out on a career that includes books, illustrations for the New Yorker, World War 3 Illustrated and the Daily Show with Jon Stewart. He has also usefully raised the profile of other artists with his continuing Carousel slide shows.
He has one astounding narrative-artistic innovation, not entirely new but never so well developed before. As a post-modernist of the popular culture world, he recuperates the leading images of cartoonists of the daily and comic books perfectly, at least as well as the original artists drew them, but with entirely different dialogue. This could be a shtick and might be for other artists, but for Sikoryak, it is a serious method. The work of the original artists, be they E.C. Segar or Gary Larson, Chester Gould or Gary Panter, gains a new articulateness. The images are not randomly chosen, in other words.
The Unquotable Trump (2017), a political stroke, references what seems to me his seminal work, once again Masterpiece Comics, which quite literally goes through the Canon from the Bible to Dostoyevsky, with wonderful sidebars (Wuthering Heights re-enacted as an EC Comics horror-tale, for instance) taking apart the originals and re-enacting them.
His target in Constitution Illustrated is either more or less elusive. Precisely drawn versions of the most familiar and often the most familiarly banal comics, early classics to standard superheroes to the most miserable of the dailies—all are seen in these pages.
But wait. The text in Masterpiece Comics was taken from the apex of literature. The text in Constitution Illustrated is the…US Constitution itself.
What can you (that is to say the artist) do with THAT?
Americans now face the gravest constitutional threat within their own history, a history brief compared, for instance, to that the Chinese, but long in terms of a modern republic. Especially a republic claiming to be a democracy, even a model democracy.
The choices of “classic” comic art and excerpts from the Constitutional text are very carefully chosen. Popeye and Olive Oyl are seen on an eighteenth century frigate, warning Wimpy about Tax Duties on taxes and revenues. Albert Alligator (with a proper 18th century wig) warns a jury of Okefenokee residents about the rights of the accused at a trial. Nancy and Sluggo explain the apportionment principles in the election of a president. And so on.
One is more than entitled to ask: what does this add to the original? Or: are we only being entertained?
Sikoryak is too subtle to offer an answer. But there is an answer, underlying so much of his work. The inter-working of text and dialogue demands, like Brecht’s plays, the participation of the viewer. Passivity, the idea of this work as a joke, is repudiated. Whatever he was trying to do in The Unquotable Trump, he is also insisting upon here. Wake up, reader. Look at the constitution with new eyes. Or else.
Paul Buhle is the rare leftwing scholar of comics. He is coeditor of the Paul Robeson comic, to be published in October, and drawn by Sharon Rudahl.
Election Year. By Llody Scott. Independently published (June 2, 2020). 220pp, Free.
Here is a book that would make one hell of a movie. There’s even a moment in the book when one of characters suggests they’re in the middle of movie-worthy activity. That said, you might have heard that this novel is well on its way to a movie adaptation thanks to no less than Duchess Meghan Markle and the new movie production company she is launching with Prince Harry. Well, this news calls for a proper review of the book in question and I’ll do my best to give you just enough of a taste without spoiling anything.
Part of what prompted me to write this review is a bit of serendipity. Lloyd Scott and I are both biracial and we both chose to speak to that within a political thriller. Well, mine is not quite as intense. Look it up, Max in America, and you’ll see what I mean. But still, I think that connection is pretty uncanny, especially how we both share our experiences with identity, being seen as the Other, and playing with being a raceshifter. You can say that our backgrounds provided the fuel for our work. I like that. Election Year is offbeat and eccentric, in the same spirit to what I’m doing too. So, let’s take a closer look.
Meet Maverick Johnson Malone, our main character, a Millennial working to help elect Suni Wainwright as the first woman, and youngest, U.S. president. It is the pivotal year of 2020, and there’s excitement in the air. The only problem is that Maverick hates Suni because she’s so fake! This summation is only based upon casual observation until one day it is based on far more than that. It turns out that Suni is a Russian operative–and so the plot thickens.
Given all that we know about a certain occupant in the White House and his Russian connections, the plot to this novel has found a funny indirect way to tackle the issue. Lloyd has attached humor to her Manchurian candidate that provides a light and breezy way into her political thriller. The humor going in features Maverick Malone who, at first, seems rather klutzy and self-absorbed. It could be Rome burning in the background but Maverick will keep obsessing over why her ex is such a jerk. This adds up to a pitch perfect Bridget Jones vibe. Lloyd has also created a believable office culture made up of staff working to get Suni Wainwright in the White House. Often, it is Maverick Malone to the rescue with a new idea to put out the latest fire but that is usually overshadowed by her own disgruntled attitude.
Then things transition to a more serious tone. We do have the fate of American democracy to deal with, don’t we? Gee, that question has so many levels of irony that it leaves my head spinning. In fact, the story truly finds its groove just prior to the political intrigue, as the reader gets to know Maverick better. What emerges is the story of a young biracial woman who feels alienated. Part of the problem is her dysfunctional family. Her White mother and Black father are wealthy and distant. As much as she is frustrated by having to constantly explain her racial background, she finds the even greater divide to be money.
Like a good work of film noir or crime fiction, this novel is meant to please with its fair share of twists and turns. Lloyd has fun tapping into a style with the energy of a young adult novel. Maverick is already into her thirties but still full of Millennial spunk. It is this energy that carries the reader as Maverick goes deeper with her sleuthing. Along the way, Maverick finds love with Ryan, a dashing young biracial much like herself. And, to round things out, Maverick develops a greater sense of responsibility as she finds herself caring more for Jay, a Black girl who lives next door to her. It is this trio who all become caught up in the intrigue and danger that threatens to kill them all. And, even when the tension is high, Lloyd manages to insert a little irony as when Jay has a meta-moment. Jay wryly observes that the three of them seem to resemble yet another comedy adventure but with plenty of diversity.
Overall, this is a unique joy ride of a thriller. Yes, it provides those unexpected twists and turns. But the most unexpected revelations run deeper than any car chase. At the heart of it, this is a story about confronting the status quo and finding the right solutions to ultimately achieve the change that we all want. Lloyd Scott brings up many provocative issues, which pop up as events heat up. It is our main character, our shero, Maverick Malone, who is in a position to truly empathize with the Other in America. It is Maverick who can appreciate, even when passion might overtake wisdom, that life is full of complicated contradictions.
While there is plenty of humor, and action, to be found here, this is also a story about trying to understand some painful truth. For all the rip-snorting good action we find here, there’s also just as robust rounds of political fisticuffs, like this particularly pointed salvo: “You have no idea the extent of your privilege. The geographical luck of your births, freedom is a right from your first breath, and all you do is complain. We on the outside know, we see how endowed with opportunity you are and the means to do great things you have at your disposal, but all you Americans do is spend your time infighting. Refusing to see the truth of things, running down the climate clock for everyone with your pollution and your insolence. It’s time for it to end.” Well, now, if those aren’t some fighting words, I don’t know what is! Yes, if the action doesn’t get you, the heated political talk just might be enough for you to want to see how this political thriller all comes together.