If you ever want to, you can take any history book, cross out the title and scribble “Why The British Are Dicks” on it and it would suffer no loss in its accuracy. Most history after 1600 can be attributed to explaining the meaning of that sentence; Britain and France were the biggest colonial powers in the last couple centuries, and when they started to realize that they couldn’t actually tell others what to do, they mashed a few cookie cutters on a globe and created a whole bunch of countries that quickly fell into ethnic civil war because their borders were based on the location of natural resources and not tribal boundaries. Ergo, the common governments that were set up by imperialism became mechanisms for conflict as different ethnic groups fought to control it for their own interests.
Oh don’t get me wrong, the British and French produce cool things like “That Mitchell and Webb Look” and Daft Punk, but as far as geopolitics go, don’t bother reading about them unless you want chronically high blood pressure.
Jordan didn’t really have this ethnic problem as badly as, say, Nigeria. The kingdom was made in the early 20th century, and its borders were and are fairly stable. Some extremist elements would say that Jordan deserves to be folded into Greater Israel, but this isn’t a widely discussed idea. The Golan Heights is about the only thing anyone is still arguing over for ownership, at least in the immediate vicinity of Jordan. Otherwise, the kingdom has enjoyed unity ever since its creation.
I only really know Jordan as “one of the countries that got pulverized by Israel in the 1967 war”, so Merik Tadros’ graphic novel “The River Jordan” is an interesting look into a country I have little current knowledge of. It only spends a little bit of time in the country, but it still plays an important role in the themes of the novel.
Illustrated by Greg Houston, this book is based on actual events, and is semi-autobiographical. It follows the story of two families of the Nasir brothers and the tragic events that tear the two families apart. The narrative specifically views the story through the eyes of Rami, the youngest son of one of the brothers. The plot follows the events of the story almost like a documentary, with a voiceover box stating things in plain, factual exposition, even when it lets us see what characters are thinking. (more…)
TIPPIN’ HANCOCK’S HAT-Reviews of All Things Pulp by Tommy Hancock
MYSTERY MEN (& WOMEN) VOLUME TWO
Written by Various Authors
Cover by Mike Fyles
Interior Art and Design by Rob Davis
Published by Airship 27 Productions
New Pulp is such an interesting creature.It is organic, something sprouting from the past, but as it grows and blossoms, it becomes its own thing.And there are Publishers and Writers today who continue to care for this beautiful thing we call New Pulp, making sure that it remains available, that it stands out as innovative and different, not derivative and unoriginal.A leading Publisher in doing just that is Airship 27 Productions, a company that divides itself between New Pulp based on Public Domain pulp characters as well as new and original characters blazing trails through New Pulp.
One of the titles that showcases the movement of original characters in Airship is their MYSTERY MEN (& WOMEN) series of books.Four stories in the first volume introduced the idea and it has been continued in a second volume.Overall, the book is enjoyable, a hoot to read, and wonderful to view.Individually, the stories vary in style and quality.
THE RED BADGE ATTACKS- by Mark Halegua and Andrew Salmon
This is not only the debut of the vigilante known as The Red Badge, but it’s also the first story published by the Badge’s creator, Mark Halegua.The premise is simple.A vigilante is in the city taking out the bad guys as quickly and violently as possible. Throw into that the fact that the identity of the Badge is a mystery, even up until the very end, but a mystery with a myriad of suspects.
The Red Badge has definite potential as a concept.The path traveled by this story is well worn, but its also one that could be done with twists and turns.Unfortunately, that’s not done nearly enough with this tale.Yes, some of the action scenes sing like a chorus of tommy guns, but others drag like they’re falling on dead chambers.The same with the dialogue-There’s a few solid exchanges, but overall it’s stilted and weak.The strongest point of this story is you can see what Halegua (with help from Salmon) wants the Red Badge to be, which gives one hope he may get there in future tales.
TWO OUT OF FIVE TIPS OF THE HAT
LAIR OF THE MOLE PEOPLE- by Greg Bastianelli
One of the neatest stories in Pulp is when you take a person in an occupation that isn’t cop, adventurer, spy, and you throw them into a Pulp over the top adventure tale and it works!Bastianelli does this with his character Jack Minch, Ace Reporter in this tale and does it so well and with such skill that the story was over before I even realized it.The premise, again like with the previous story, is straightforward.Minch opens a message from a woman who had left it behind to be opened if she disappeared, which she did.This action leads this spunky, two fisted typewriter jockey into a world beneath the city, as indicated by the title, and at that point, the real fun begins.
This story crackles with solid characterization, strong dialogue, and enough jump-from-around the corner action to keep any Pulp fan enticed and most definitely wanting more!
FIVE OUT OF FIVE TIPS OF THE HAT
DOCK DOYLE AND THE WANDERING CITY by Adam Lance Garcia
This story gave me fits.Here’s why.
Dock Doyle is a great American Hero and Movie Star, legends galore attached to his name.And this story takes him on an adventure deep into the Jungle for what is apparently another film job, but Doyle finds out far too late that things are not at all what they seem.And the reader finds that out as well, even about the central character himself.
This is quite possibly one of the best stories I have ever read.No kidding.Looking at it as an avid bibliophile who reads across all genres and recognizes all the movements, nuances, and influences in literature, mainstream and otherwise, this story is one of the best examples of post modern deconstruction I have found in a long time.
Looking at it as a reviewer of Pulp….It isn’t.It simply isn’t a Pulp Tale.
Don’t get me wrong.Some key elements are woven in.Action.Quick Pacing.Exotic locales.Defiance of death.All of that is there.Where this fails as a Pulp story is in the characters, especially the lead himself. Garcia paints vivid pictures and builds characters from the ground up.But they’re not Pulp characters.And trust me, I don’t feel Pulp characters have to be two dimensional or all good or all bad….but with Dock Doyle, there’s far too much gray even in the lead character…especially in the lead character…for this to be a Pulp Tale.
THREE OUT OF FIVE TIPS OF THE HAT- It ain’t Pulp, but it is damned good.
A MAN CALLED MONGREL by Derrick Ferguson
One of the great things about a good author…no, about a great author, is that he/she can deliver consistently, even when they are writing characters with some similarities in the same field of literature.And not just consistently in terms of quality, but also consistently in terms of differentiation-in making their work stand out solidly from what has come before.
Derrick Ferguson is just such an author.A master of the art.
Mongrel is a member of a family who essentially has a corner on the genius gene pool. When an attempt is made on the life of a family member, Mongrel swings into action against a Family that is focused on taking down leading corporations in the world via super science.But not while Mongrel Henderson is on the job.
This tale is raucous, over the top, and yet grounded in strong values.Family connections, pure heroism, and the battle of intellect versus emotion are all not only clearly on display in this story, but turned up to Eleven and broadcast in every single word.These characters, particularly Mongrel, exude excitement, action, as well as humanity.Mongrel can take on nearly any baddie that wants to stand with him, but he still cowers when called down by his mother.Ferguson’s strong suit in all his work is that the action is relentless, the violence is pointed and necessary, and the characters ooze the good and bad of simply being human, although the smartest, toughest, and most righteous or vile humans ever seen anywhere.This story stands out as the best in the entire volume and likely in the entire MYSTERY MEN (& WOMEN) series to date.
FIVE OUT OF FIVE TIPS OF THE HAT
Design and Art-Even though I said what I did about Dock Doyle’s debut story, the first image of Dock to be seen, the cover of this volume, is phenomenal.Award winning artist Mike Fyles delivers once again and proves he understands the concept of what Pulp covers are and what they need to convey.
Likewise the interior art and design of the book by Rob Davis does just what both of those things are supposed to.Davis’ work supports all the stories, the images bringing out in wonderful line work and iconic imagery exact moments from the stories and the format of the book makes one feel as if they’re holding a Pulp from a news kiosk back in the Thirties.Even the back cover design as well as the ads included add to that authentic feel.
FIVE OUT FIVE TIPS OF THE HAT
Even though every story wasn’t a grand slam and one might be better suited in another volume, MYSTERY MEN (& WOMEN) VOLUME TWO as a whole delivers.
The Comic Book Legal Defense Fundis pleased to announce that Alex Cox has been named to the position of Deputy Director. In this new capacity, his responsibilities will expand to include full oversight of the CBLDF home office and fundraising program. Cox joined the CBLDF in the fall of 2010 as Development Manager.Since joining the CBLDF last year Cox has improved the organization’s membership program and convention presences. Under Cox’s watch, membership in both the retailer and individual capacities has shown dramatic increases. Cox has also overseen the creation of a more robust volunteer program in the New York home office. Prior to CBLDF, Cox was a 15-year veteran of comics retail, including owning and managing the nationally recognized comic book store Rocketship.Speaking about the promotion, Cox said, “I’m extremely grateful to be in a position to help the comics community fight back against anyone that would threaten free expression in this art form that we all love. As a comic fan and student of the art form for close to 30 years, I never thought that I would see anything like the panic caused by Seduction of the Innocent in my lifetime. But with the current case in Canada, the creeping specter of censorship and persecution is rearing its head again, making the CBLDF even more important. I’m proud to be a part of it and I look forward to working with our members, retailers, and the creative community in the years to come.”
“Alex has been a great addition to the CBLDF, and we’re excited to be able to develop a space for him to grow even further within the organization,” says Charles Brownstein, CBLDF’s Executive Director. “Alex has made great strides in developing our fundraising program in a very difficult time, and his leadership in the office has helped us bring in even more talented volunteers to help us fulfill our work. He’s an extremely valuable member of our team, and we’re glad to see him take on this new role.”
I was waiting in line at Modern Myths in Northampton, MA, picking up a few books. Among them, The Strange Talent of Luther Strode, a book I first heard of at NYCC, but in name only. My friends had gotten to the counter first, so (impatient nerd that I am) I flipped through a few pages of Strode while I waited.
Three pages in, I stepped out of line. I was not going to walk out of there without issue two.
The book revolves around (surprise surprise) Luther Strode, tall and lanky high schooler wanting nothing more than to beef up for the ladies. To that end, he orders a copy of the “Hercules” system (a parody of old Charles Atlas ads) to beef up. Miracle of miracles–it works!
Oh, does it ever work.
Strode is like the the mashup of a high school teen sex comedy and a horror flick. It plays a lot like the former, before surprising you with absolute bananas levels of violence. My friends can attest–I finished issue one while in a parking lot (outside of said comic shop) and would punctuate my reading with sudden “Whoa!”s and “Gah!”s. The book balances each genre brilliantly, with the horror flick making a small (yet memorable) appearance in this first issue. As for the teen sex comedy, it’s a little like if Revenge of the Nerds was less about the psychological victory and more about beating the piss out of people. (more…)
Britain’s favourite war comic, Commando, reached a major milestone in June 2011 when it celebrated the 50th anniversary of its first publication on 27th June 1961. Part of the Dundee-based DC Thomson & Co. Ltd stable of comics and magazines, Commando publishes 4 stories every fortnight — 2 new and 2 re-issued classic stories — and maintains its place as the home of comic action and adventure.Although it retains the classic illustrated cover and the iconic black and white comic artwork which has made it so beloved of the UK public, Commando has moved with the times over its 50 years and the stories contained within its pages now span a range of conflicts, right up to the first Gulf War in the early 1990s. Commando’s current editor, Calum Laird, who took over in 2007 said, “As someone who read Commando in the 60s and 70s, worked on the title as a junior member of staff in the 80s and 90s, and became editor in the 2000s, sitting in the hot seat for the 50th birthday is a great honour. Not everyone can have my career path but if Commando can entertain others as well as it did me, I’ll be very happy indeed!”
Visitors to the website (www.commandocomics.com) can also get their hands on some famous Commando cover posters (in A1 size format), exclusively, for the introductory price of £19.99. This September will also see a brand new collaboration for Commando, with the launch of the “Draw Your Weapons” exhibition – celebrating the iconic artwork from 50 years of the comic – at the National Army Museum in London. The exhibition will open on 1st September and Calum commented, “Everyone is delighted that this major exhibition of Commando artwork is to be hosted by the National Army Museum, as one of the key activities of our 50th anniversary celebrations. We’re sure that fans of Commando old and new, will revel in this display of comic art at its best, exhibited so dynamically by the National Army Museum.
Commando No 4447 Colours Of Courage
The proudest possessions of any regiment are its colours — the flags which it carries into battle. Its history is recorded on these colours, the victories it has won. A regiment guards its colours fiercely. To have them captured by the enemy is a terrible thing. But when a man hands over the colours to save his own skin it is a disgrace that brave soldiers can hardly bear think about.
Introduction by Calum Laird, Commando Editor
If there are two things difficult to get right in a Commando they are French Resistance stories and ghosts. Resistance stories could easily be 63 pages of skulking about avoiding searching German soldiers and ghosts could easily look like normal characters drawn without enough ink. Thanks to ace story-teller Cyril Walker, Colours Of Courage cracks along with plenty of action to break up the tension. And Arthur Fleming — an art teacher from Glasgow — manages to skilfully depict a glowing figure despite only having black ink and white paper to work with. Wrapped in one of Ian Kennedy’s superbly drawn and laid-out covers it’s got all it needs for a cracking Commando.
Colours Of Courage, originally Commando No 1182 (December 1977), re-issued as No 2412 (October 1990)
Story: Cyril Walker Art: Arthur Fleming Cover Art: Ian Kennedy
Commando No 4448 The Four Scars
Corporal Bill Kirk felt the tiny life-raft rock lazily as the Jap struggled aboard. Both turned to look at the sinking Jap prison-ship they’d been on — Bill a prisoner, the Jap a guard. Then they turned back, to look at each other; and what that Jap read in Bill Kirk’s eyes made him start back in fear. But there was no escape for him. With only the vast empty ocean and the sharks circling the raft for witnesses, they grappled in a fight to the finish.
Introduction by Calum Laird, Commando Editor
I’ve mentioned before that I my childhood Commando issues at the back of the garage a few years ago. Some I had to look at again to refresh my memory, but not this one. I don’t know how many times I read and re-read this in the 60s but it must have been a lot because I had almost total recall. Ken Barr’s cover with its ethereal hand hovering over the action, Victor de la Fuente’s action-packed, high-energy inside art and Eric Hebden’s crackerjack of a story with its startling twist were just what the doctor ordered in 1965…and are equally so today. I think so anyway and I hope you’ll agree. As an aside, Ken Barr used a sheet of transparent plastic sheet with the outline of the hand painted on it to get that ghostly effect. I certainly didn’t know that in 1965.
The Four Scars, originally Commando No 185 (October 1965), re-issued as No 831 (April 1974)
Story: Eric Hebden Art: Victor de la Fuente Cover Art: Ken Barr
Commando 4449 Days Of Danger
Simon Katz was a young German and a fervent anti-Nazi. A brilliant mathematician, he escaped Germany by the skin of his teeth and went to work as a code-breaker for the British. Not long after, Sergeant Barney Taft also made an escape – from the bullet-strafed beaches of Dunkirk. Though they were on the same side, when circumstances threw the pair together, they clashed bitterly. But could they manage to work together against a ruthless enemy? They would have to if they were to survive.
Story: Stephen Walsh Art: Vila Cover Art: Nicholas Forder
Commando No 4450 The Nightmare War
Private Franz Bauer, a German Army engineer wounded during the invasion of France, was haunted by the deaths of his comrades in the same battle — wiped out by a mine. When he recovered he threw himself into his new job developing the remote-controlled Borgward IV demolition vehicle, hoping it might save other German lives. His chance to save thousands of lives would come, but he would be working alongside an unlikely ally — someone who had nightmares every bit as bad as Franz’s.
Story: Mac MacDonald Art: Keith Page Cover Art: Keith Page
Before I get to the box that came today, I have to thank Glenn Hauman, who was responsible for several big boxes of stuff that showed up semi-mysteriously yesterday, while I was at work. He was trying to get me started on rebuilding the collection that the flood destroyed, and it was one of the nicest things that anyone has ever done for me. (I haven’t really had a chance to see what’s there yet — I’ll probably have to wait until I have shelves again, and unload directly onto them to go through it all.) I’m not sure where all of it came from, so thanks to Glenn, and thanks to anyone else who was responsible.
But today a box came in from Midtown Comics, which used to be my local when I worked in the city, and which has been e-mailing me about their deals incessantly in recent weeks. Just before Thanksgiving, they had a sale that finally got me:
40% off most graphic novels
free shipping
and no tax, since I’m in New Jersey, where they don’t have a physical presence.
How could I resist? And so here’s what I got: (more…)
Beloved editor, artist and writer Terri Windling is in need, and we are asking for your help in a fundraising auction to assist her. This auction will combine donations from professionals and fans in an online sale to help Terri through a serious financial crisis. Terri is the creator of groundbreaking fantasy and mythic art and literature over the past several decades, ranging from the influential urban fantasy seriesBordertownto the onlineJournal of Mythic Arts. With co-editor Ellen Datlow, she changed the face of contemporary short fiction with The Year’s Best Fantasy and Horror and other award-winning anthologies, includingSilver Birch, Blood MoonandThe Green Man: Tales from the Mythic Forest. Her remarkableEndicott Studio blogcontinues to bring music, poetry, art and inspiration to people all over the world. Terri Windling and her family have been coping with health and legal issues that have drained her financial resources at a critical time. Due to the serious nature of these issues, and privacy concerns for individual family members, we can’t be more specific than that, but Terri is in need of our support. As a friend, a colleague and an inspiration, Terri has touched many, many lives over the years. She has been supremely generous in donating her own work and art to support friends and colleagues in crisis. Now, Terri is in need of some serious help from her community. Who better than her colleagues and fans to rise up to make some magick for her? Through the next 18 days, we’ll be posting personal offerings from the likes of Neil Gaiman, George R.R. Martin, Wendy & Brian Froud, and many more! Besides bidding on these beautiful items, YOU can also post your own skills, services, arts, crafts, or whatever else you’d like to offer for auction! Please see our completeAbout Uspage for FAQ about Terri, the auction process, and other ways to get involved. Thank you!
New Pulp Writer Martin Powell has shared some new promo art for the upcoming graphic novel of THE ETERNAL SAVAGE he’s writing, illustrated by Steven E Gordon. The Eternal Savage is based on Edgar Rice Burroughs’ classic book and authorized by ERB, Inc. to be published by Sequential Pulp/Dark Horse Comics. You can learn more about Sequential Pulp Comics at http://www.sequentialpulpcomics.com/
Hello all! Welcome back to my little corner of the Internet. A place I’d like to think you’ve come to like. See what I’ve been doing with the place? I got the wet bar over there in the corner, next to the classic 1996 arcade machine Alien Vs. Predator. I put in those stadium style leather recliners in front of the 60” HD with Xbox 360, PS3, and Wii, in case you want to go faux-bowling. What’s that you said? You want to enjoy some tunage? Let me turn up the 5.1 surround sound, and blast a little Guster. We’ll take it all the way back to Goldfly. Mmmm, yeah, that’s the stuff.
OK, now that you’re all comfy and cozy, let’s chat a little, shall we? I want to address something that’s been nagging me now for a few months. It seems a few people in the industry working today, are pulling double duty. It’s grinding my gears just a bit. Ironic, I know, because I myself am both an artist and a writer. For me to spend the next few paragraphs bitching and moaning seems trite, doesn’t it? Well, that’s the funny thing kiddos. After you made yourselves comfortable, I went and sealed the room. The TV is unplugged, and the wet bar is going back into the closet. You’re stuck here with me, and you’re going to let me get this off my chest. Bwa ha ha ha ha ha ha. Ahem.
Let me start first with Tony Daniels. Most people know him as the consummate artist of Grant Morrison’s run on Batman a few years back. Daniels’ graceful and detailed figures come from that classic Image background, but over the years he’s added a moody elegance to his work. Such that when he made way to DC, he fit in instantaneously. I’d concur most critics enjoyed his work on the Batman R.I.P. series, and as such, his star was set to shine very bright. Under Morrison’s pen, he was subdued. His pages held back where they needed too… and when they were let loose, the dramatic moments elevated the book to something special. And with that success, he was given the reigns to the post-R.I.P. run, Battle for the Cowl. And more than just the reigns to the art, mind you. He took up both the Writer and Artist chairs for this one. It was, in a few words, a complete mess. Issue after issue Daniels packed his pages with beautifully overdrawn characters in an underdeveloped story. Knowing nothing of the back-room politics of DC, left me wondering how the hand of the editorial staff planted firmly up Tony’s rear felt. Perhaps they got a deal on his page rates? Why spend $150 a page on pencils, and $100 on script, when you can pay one guy $200? I don’t have any clue if that’s close, but, man is it ever a hunch.
And here we stand, years later after everyone thoroughly agreed “Battle” was a train wreck… with Daniels once again doing double duty on “Detective Comics.” What’s the definition of insanity again? Detective Comics has been a lesson in “Too-Much-Titude” if there ever was such a thing. Pages are drenched in details. Figures contort in amazingly moving, completely impossible ways. Gadgets fling and zzzzooom from Batman’s utility belt. And the villains are soaked in macabre costumes, and grimaces. But the story? Incoherent. violent, and dumb. Without a dedicated writer to constrain him, Daniels is producing little more than a highlight reel. The rub is though, he’s already in the big leagues. All this posturing will get him what? Another Batman book?
And Tony’s not alone. Long before he was mounting the double duty cannon, there was – and still is – the God-Damned-Frank Miller. When Frank’s not dropping a giant turd on the Occupy Wall Streeters, he’s peddling his book Batman Super Guy Vs. Mohammad. Holy Terror has been critically shat on… hard. What hurt here of course is the fact that Frank’s art is a personal love of mine. His mastery of simplicity mixed with an amazingly deft hand in page layout and composition is such that I’ve never not loved his art. Sin City? A masterpiece in noir. It’s when Frank turns that majestic hand to the rusty old typewriter in his dank basement that I shudder. It seems that he’s awash in nothing but profanity– in substance, and style. Every story he seems to write is the same. Shallow, angry, and drenched in “noir speak.” Sin City was good, seriously. But to rehash it, in theme, in tone, and in production every time thereafter? It rubs the sheen right off the apple.
We get it, Frank. You like crime. Prostitutes. Guns. Profanity. You hate brown skinned people. Hippies. Comic book fans. Without a guide through the muck, Miller’s overselling his anger. Want to do a book about Batman fighting terrorists? Give it to Brubaker, and I’d have no doubt there’s be gold on them there pages. In Frank’s complete control, we get books in near self-parody.
I could list a few other wrartists here, but I think my point is becoming pretty clear. The beauty of comics comes with the collaboration. When all you have to deal with is just the words, or just the art, it forces you to focus on the nuance of the final product. Forced with the task of doing both? It becomes a very rough mountain to climb. The best books in my collection – the ones I hand out willingly to those uninitiated with the medium, – are always ones where the team creates a work where the ends are much better than the means. On its own, Alan Moore’s script for The Watchmen is breathtaking (if a bit maddening). Dave Gibbons’ artwork for the series turned heads with its skillful pacing and solid figure work. Put together? The book is as perfect a thing as I could ever hope to produce with some Unshaven Lad someday. Left to their own devices though, a one man show skates thin ice trying to maintain both substantially hard roles.
Let’s bring this around, back to the irony at hand, before we end this li’l tirade. For those out there who’ve read an Unshaven Comic, there’s little doubt that this article would seem like the pot bitching at the kettle for being black. I myself have donned the solo credit in our last issue (well, for half the issue…). Am I so bold as to suggest I somehow surpassed Tony Daniels or Frank Miller? Hell no. I happily admit that I think my art stinks. I don’t have the skill or talent to compose a page the way those men do.
And hell, I’m a nobody. If I can’t take a little leap of faith in myself and try to tackle both roles in a book, what am I doing trying to break into the industry? Where Tony and Frank have already made it, and proven they have the skills to pay the bills… I’m still slinging logos and catalogs to feed my family. Until DC comes calling, offering me a role in the big leagues, I’m swinging for the fences, showing the scouts that I can pitch and bat if I have to. Just don’t ask me to do both at the same time.
OK, the door’s unlocked. The wet bar is back online. Who needs their drink freshened up? I’m sorry to have kept you so long. Don’t think of this as a rant though. Consider it an open forum. Do you think playing double duty leads to a lack of quality on one side of the page or the other? Speak, and be heard, my citizens of Fishtopia!
Today is Black Friday, the day when it is our patriotic duty as Americans to go into a spending frenzy. For all our talk about family values, we think it is more important to forgo the conviviality of the Thanksgiving table so that we can stand in line to buy things.
Originally I had thought to write a column full of gift suggestions for those of you who want to introduce your family and friends to the joys of graphic storytelling. There are terrificbooks for a variety or ages and tastes and interests. I have my favorites, but I don’t know the people on your list, so my recommendations may not apply. That’s what the comments section is for.
Instead, I want to talk about you, Constant Reader. You and your needs.
Some people like to shop. Some people like to shop in crowded chain stores, the kind you find in your local mall. I am not one of those people. I don’t like walking around with a list of names, trying to figure out what to get. I’d rather sit at home, and imagine people getting things for me.
Here are some things you, as a fan of comics, might not yet know you want. Feel free to print this up and leave it where your loved ones can find it.
For example, do you know that your love for the combination of words and images on paper makes you a connoisseur of fine art? This book showcases the career of Barbara Kruger, one of the most influential (and entertaining) of late twentieth century feminist artists. This book provokes me and makes me feel exalted, all at the same time. Would that all gifts were so accomplished.
Do you think you have the most embarrassing family in the world? Would you like to be shown otherwise? If so, I can’t recommend enough My Favorite Year, a fictional account of what it must have felt like to be Mel Brooks working as a writer for Sid Caesar. I love everything about this movie, including Bill Macy and, especially, Joseph Bologna.
You know how everyone says the best holiday gift is peace on earth? If you say this and you mean it, you should let everyone know you want this calendar from the War Resisters League. Bold graphics, good politics, and amusing history trivia make this a great deal for an even more great cause.
