Category: Reviews

I’m just focusing on the work in this series of “I Love (And Rockets) Mondays” post, and not getting into any behind-the-scenes stuff. But it’s clear that Gilbert Hernandez, for whatever reason, just generates more Love And Rockets-related material than his brother Jaime in the same amount of time, which I can imagine is an issue for a publisher that wants to keep things even.

This reprint series has alternated Jaime books and Gilbert books, except for the everything-else collection Amor Y Cohetes , which gathered all of the stories from both brothers (and their early occasional compatriot, third brother Mario) that didn’t fit into their respective main sequences. I had the sense that book had more Gilbert than Jaime, though I didn’t count pages.

But this twelfth volume, Comics Dementia , also breaks the sequence — it collects the Gilbert stories after the end of Love and Rockets volume one that don’t fit into the “Palomar” continuity in any way. (There are a couple of linked stories set in a small Latin American town that could be Palomar, but the possible connection is never made.)

Comics Dementia includes sixty-four mostly short stories — many of them are single pages; a number are three-panel gags like a daily newspaper strip, placed at the bottom of another comic that doesn’t user that full page — over 224 pages. They originally appeared in all sorts of places: many in the second series of L&R, but many in other publications as well. And this 2016 book has comics from as early as 1996 (right after the end of the first L&R series) and as recent as 2015.

These are all experiments or trials of one form or another: surrealism, exercises in visual storytelling, jokes, contributions to anthologies, and a lot of religious and semi-religious questioning. (I wouldn’t try to characterize Hernandez’s personal religious convictions, but he’s been wrestling with the questions of sin and redemption and the nature of evil since the very beginning — those are important concerns throughout his work, and surface more obviously here in short strips that are all about those concerns.)

It also has to be said that nearly all of this is aggressively weird: the Candide-esque turmoils of the preternaturally positive Roy; adventures of the Leaping Elite, women whose highly-trained thighs let them semi-fly; several appearances by the destructive and frequently giant-sized Love Gremlins; murderous attacks by the fearsome Froat, the brain-sucker of Delaware; three completely different consecutive stories all titled “Heroin;” philosophical musings; vaguely SF and fantasy-tinged strips that tend to end in horrifying violence; a collection of profiles of Catholic saints; random bits of non-fiction; and strips I can’t even describe.

Comics Dementia also more-or-less forms a single world — Roy battles the Froat, and meets the Leaping Elite, who capture Love Gremlins. Or maybe it’s just that there’s a loose “Roy” world that a lot of these strips fit into, since the more surreal or philosophical strips here don’t really fit into anything else. (And there are a bunch of those.)

This is a book for serious Gilbert Hernandez fans, the ones who want to dive into his quirky, one-off strips and are OK with the fact that a lot of them just end in death and dismemberment the way that old Monty Python skits would often end with a meta-joke about not having a punchline. Comics Dementia is the furthest reaches of the land of Love and Rockets, far out on the border with pure-art comics and stranger things. It’s an interesting journey, if you manage to travel there, but it’s not for everyone.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

Dave McKean is a deeply classy cartoonist, the kind whose work is as likely to be first shown on the walls of a gallery as in a publication somewhere. And even his comics that do appear alongside other comical funnies are more serious and elevated than their peers — aiming to be Works of Art and not just entertainments.

Sometimes this can be exhilarating, since creators working at a high pitch can bring audiences up to their level. And sometimes it can be annoying, as when you’re trying to read over two hundred pages of far-too-stylized Dave McKean lettering on a tablet, with the pages just that little bit smaller than they would be on paper.

McKean is never going to go out of his way to make it easy for you to read and understand his work — not physically (just understanding the words and images) and not conceptually. He’s simply not interested in an audience that isn’t going to work at least as hard as he does.

Pictures That Tick 2  is a 2014 collection of McKean’s short comics; it’s so classy that it’s subtitled “Short Narrative Exhibition.” Set your expectations appropriately.

It’s also so classy, or so heavily designed, that it has a short comic even before the table of contents, and a title page that primarily consists of squiggles laid out to look like words but which cannot be ready, on a typically moody McKean background. You know, I like his work, but often a little of it goes a long way.

Oh, and another short strip interrupts the title/copyright page — McKean is never not futzing around with book design if you let him.

Finally, about a dozen pages in, you’ll finally get that table of contents, in a small scripty font on a red-and-black mottled background. (One suspects no one ever actually explained the importance of legibility in book design to a young and impressionable McKean, but instead expounded the virtues of drama.)

There are about five substantial stories here — two creation myths from an aborted project where McKean would be a showrunner for a third incarnation of the Storyeller series for Jim Henson Productions, and three projects that were art exhibitions/installations converted into comics. Also included are about a dozen shorter pieces — dreams, posters, wordless pieces, evocative comics for a jazz CD, and other random stuff.

The two creation myths are fairly straightforward: they’re very Dave McKean-ish comics, so the words are sometimes hard to read and the virtuosity of the art sometimes obscures the meaning, but the story isn’t difficult to follow or deliberately obscure.

The three gallery pieces are more evocative, designed to be fragments or moments that gallery-goers will experience probably but not necessarily in this order, and so the bits have to be more independent and separate. One is a journey around part of England’s coast, as a woman chases her runaway husband and finds the art he has inspired in his wake. Another is a series of bits of dialogue related to a true story from McKean’s youth, about something bad he did that he doesn’t quite explain or detail. The other one, “The Blue Tree,” which comes first in the book, is the closest to a conventional narrative and relates pretty closely to the two creation myths — McKean’s notes say he was explicitly trying to combine religious and scientific ways of looking at the world, from his two immediately preceding projects.

I’m not sure what size Pictures That Tick 2 is in the physical world. I hope it’s as large as possible: McKean’s work is best the more you can submerge yourself into it, to have it surrounding you on all sides. (So he’s probably best at gallery shows, and second best making movies.) These are comics to think about and ruminate on and read slowly, teasing out nuance and detail. But they will probably be slightly annoying, at least at moments, even to readers who like and enjoy McKean’s work, just because of the barriers McKean puts up between his work and the audience. So make sure you know that going in, if you do decide to go in.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

One good joke can you pretty far. Ask anyone who’s ever headlined a sitcom or had a popular stand-up act. [1]

Or a big comic strip, more to the point.

The early days of newspaper strips are a treasure trove of great examples: the same artists would have dedicated space in their paper, but not always be producing the same strip. So if a guy had a funny-kid joke that day, it might be one strip, and if he had a two-Irish-guys joke, it might be a different strip.

(I can’t see modern audiences standing for that, but modern audiences have been spoiled horribly.)

Frederick Burr Opper’s most famous strip was Happy Hooligan , but that was mostly just his hook to hang “jokes where someone tries to help, and it turns out badly.” He had plenty of other strips to be hooks for other jokes, too — but this is the one his audience loved best, so he tried to tell it as much as he could.

I should admit that I didn’t actually know most of that: Allan Holtz’s informative introduction to this recent selection of Happy strips (edited by Jeffrey Lindenblatt, containing about ninety strips from the high years of 1902-1913) gave me the background, along with a quick sketch of Opper’s life and career.

Happy is the kind of old-timey that’s still funny quite a lot of the time, but the cartooning expectations are different enough — a frozen “camera,” lots of wordy explanatory dialogue, drawing that looks a bit stiff to modern eyes — that the reader needs to settle into it and get used to it before it starts to be funny.

Well, there’s one other thing: you have to find that joke funny. That is the problem with a one-joke strip, whether it’s Happy Hooligan or Cathy or Garfield.

In Happy‘s case, the joke generally involved Happy getting pummeled by someone — usually a policeman — after trying to do something nice and inadvertently causing havoc by his clumsiness. Many fewer people in 2018 think violence is funny than did in 1902, so Happy has not aged as well as it might have. (On the other hand, a lot of strips of the same vintage are horribly racist, and Happy sidesteps that by mostly makes fun of British people, at least in the strips reprinted here.)

Happy Hooligan is an important milestone in the development of the American comic strip — Holtz’s introduction is good at making those connections, tracing the developing single-panel in Punch (where Opper worked before starting Happy). Now, “important” is not always the same thing as “still entertaining to read,” but Happy still largely works, if you’re willing to meet it half way and get used to its older rhythms and expectations. And that’s pretty impressive for something that appeared in a disposable newspaper more than a hundred years ago.

[1] You might be a redneck if. What’s the deal with. Watermelon. Seven words. Yo mamma.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

This book looks very much like it’s going to be a parody of The Family Circus. There’s a male cartoonist, his beautiful and pearl-wearing wife, their four chibi children, and the round single-panel that encompasses all of them.

But creator Benjamin Frisch apparently wasn’t interested in a re-run of the Dysfunctional Family Circus, and so The Fun Family  is a more free-floating parody — maybe of self-actualization and the search for meaning in life, maybe of just life itself.

Robert Fun’s family mimics the Family Circus closely: wife Marsha, sons Mikey and Robby, daughter Molly, baby J.T. Robby even takes over the comic strip, as metafictionally the Keane kids have the Family Circus and in real life Jeff Keane has actually done. [1] It even begins with a famous Family Circus trope: Robert Fun’s mother, “Grandma Virginia Fun,” has just died, and almost immediately appears as an angel.

But there’s no grandpa alongside her, and this dead grandma is a lot more demanding and specifically religious than in Family Circus. In fact, everyone here is spikier and quirkier than in the soft-focus Family Circus. Dad has a strange collection that he’s obsessive about, Mom abandons her husband and falls under the spell of a succession of gurus as she tries to find happiness, and both of them seem to ignore the fact that these kids seem to be no older than six or seven, leaving them to fend for themselves most of the time.

(But this is not a particularly realistic world to begin with: Frisch lampshades the children’s ages by pointedly noting that they do not age over the year or so that this graphic novel covers.)

Things spiral out of control after Grandma’s death, in several directions. I’ve mentioned the two parents’ obsessions, but the kids are nearly as crazy, building religious monuments or burying themselves in comics-making. The kids just want their parents back together, but instead they all just go further apart.

Eventually, there’s a break, and a confrontation. But it doesn’t go the expected way. Fun Family has a “happy” ending — everyone has things they want, everyone is successful, and so on — but it’s not at all the happy ending we expected, or the ending we would get from Family Circus. (Where, of course, nothing ever changes to begin with — nothing like this story could ever happen there.)

I’m not entirely sure if Frisch had a point in Fun Family: it feels like it’s trying to say something about family and work and happiness and self-understanding, but he’s throwing blows in all directions, which obscures anything positive he might be trying to say. Maybe there is nothing positive; maybe this is exactly what Frisch meant: happiness is based on delusions and monomania, so find the things that can make you ignore the outside world (which will only give you grief).

Fun Family looks a lot like the book I thought it would be — cute, rounded, with a great eye for classic cartooning and lots of dot eyes. But it reads like something darker and more savage, underneath all of the happy talk. It implies a deeply nihilistic view of life, for its its gospel of wealth and angelic dead grandmas. Perhaps it’s best Bil Keane was safely dead before Frisch took up his pen.

[1] I can’t imagine what it’s like to have your career be drawing cartoons about your own fictionalized fifty-years-ago childhood, following in the footsteps of your dead father. But “Jeffy” lives that.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

I don’t know why the story reprinted in I Can’t Believe It’s Not the Justice League  so obviously positioned itself as a one-time one-off. As a former editor and current marketer, I’m strongly against interrupting customers while they’re buying your stuff, but I’m not DC Comics.

And this book does make it clear, in little ways all the way along, that this will be just as much of this silliness as we’re going to get, so you’d better enjoy it now while you have it. (“Now” being 2005, in this case: and it’s true, we haven’t gotten any more, in the more than a decade since then.)

Maybe that was because writers Keith Giffen and J.M DeMatteis realized the high bwah-ha-ha style was harder and more demanding than they remembered, and wanted to get back to simpler punch-fests. Maybe this was all the time for penciller Kevin Maguire that they would ever get again, and they wouldn’t dream of doing it without him. (I think inker Joe Rubinstein was game for more of this, but maybe not?)

But, still: generally, during a story, you don’t look askance at your readers and mutter things like “are you actually reading that?” under your breath. Unless you’re DC Comics, obviously.

If that kind of thing annoys you, you probably don’t want to read I Can’t Believe It’s Not the Justice League. Other things might trigger that reaction: superheroes who crack jokes, running gags, repeated extreme facial expressions, sitcom-level character comedy, naivety and assholishness equally played for laughs, and lots of dialogue. (You can’t have character-based comedy without letting your characters talk.)

(I looked at the prior retro JLI story a few weeks ago.)

This follows immediately on the heels of the prior story: the Super Buddies still haven’t had a first case, but are caught up in dram with their new neighbor, a bar being run by a former (very minor) supervillain…and his partner, who turns out to be everyone’s least favorite Green Lantern, Guy Gardner. (I think at this point he had some other kind of power ring, but the story doesn’t explain — he has a ring, he can do stuff, that’s good enough.) He and Power Girl — the superhero with the famous “boob window” — are our new characters here, replacing Captain Atom, who is quietly recuperating from the events of the prior story and will not return.

The plot, such as it is, sees the Super Buddies first go to hell, and then to the usual alternate world populated by evil versions of themselves. (Is that Earth-3? I can never remember. This is probably pre-Flashpoint, so I don’t think there even was an Earth-3 in those days.)

They run around, complain, yell at each other, make jokes, and occasionally do something heroic when they’ve exhausted all other options. It’s gloriously fun and silly in an over-the-top way, in the way that superhero comics are rarely allowed to be. (The silly comics of this decade tend to be much smaller scale, for whatever reason.) Maguire is still one of the very best artists at depicting facial expressions, and he has a lot of scope here — these folks are making all kinds of faces all the way through. He has a funny script to work with, of course, which definitely helps: these are broad characters, pushed to be silly, and Giffen/DeMatteis have long experience making them funny.

You might prefer your big superheroes to be serious: it happens. If so, this is not a comic for you. You can pick, oh I don’t know, literally anything else featuring any of these characters.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.

You know, I think Gabby Schulz may just be a tad bit dramatic.

It’s a feeling I have — partially based on my readings of his earlier books Monsters  and Welcome to the Dahl House , partially because he can’t seem to decide if he is “Ken Dahl” or “Gabby Schulz,” and partly because Sick  is possibly the most self-dramatizing book I’ve ever seen in my life.

Admittedly, it’s the record of a time Schulz thought he might be dying, which does tend to concentrate the mind. (But, then again, says the contrarian part of my mind — didn’t he recover from this fever without any medical intervention? Isn’t it possible that he’s just really, really whiny when he’s sick?)

And, of course, it’s a book: the only record we have of Schulz’s sickness is what he tells us himself, on large comics pages soaked in bile and misery, full of jaundice yellow and starless black. It could all be fiction. Just because it’s by someone named Gabby Schulz and about someone named Gabby Schulz doesn’t mean it’s meant to be taken literally.

But I think it is. I think Schulz means every word, every pen-stroke of this book, and that’s the way he works in comics: heart on the sleeve at all times, everything out there and exposed, all raw nerves and naked emotion and pure pleading about what he thinks are the most important things at every moment. It would be an exhausting way to live; it can be overwhelming even in a short graphic novel like this one — particularly one so oversized and focused on the negative as Sick.

Gabby Schulz is negative. Everything I’ve seen of his work, under either name, is all about the things he loathes and can’t stand — himself always first and foremost among them. Schulz is the kind of left-winger who is both contorted into knots by his unearned privilege as a white American man and sent into a frenzy by the horrible treatment he continuously endures as an unskilled worker in that clearly hellish American society. His getting sick seems to mostly be of interest as a way to ramp up the self-loathing to ever greater heights — to show how much he can really hate things when he gets going.

Sick is a book in which there is nothing good. There can be nothing good. To be Gabby Schulz is to be cursed: the most horrible human that ever lived, worthless and pitiful and also complicit in the worst society in the history of the world, a pyramid of horrors piled on top of each other without end.

Schulz realizes this, in a way: the book is in large part his own arguments to himself that life — his life, specifically — is worthless and horrible and better ended, and his feeble occasional moments of fighting against that sense.

It’s not a book to read if you are in any way depressed, or suicidal, or unhappy about life. Only the sunniest of Pollyannas could read Sick without flinching, or worse.

All this is presented in vibrant, eye-catching, torn-from-his-heart art — glorious in its hideousness and spleen. And his words are precise if not measured: always pushing further and always obsessively circling that same central conceit: that to be Gabby Schulz is a horrible, terrible, worthless thing, even more so when he has a fever.

I can’t exactly recommend this book. It’s so far over the top there’s cloud cover obscuring its lower reaches. It is absurdly strident about its every last thought. But it is hugely impressive, and uniquely powerful, and utterly itself. It is Sick. Take that word in whatever sense you like.

Reposted from The Antick Musings of G.B.H. Hornswoggler, Gent.