Tagged: strip

REVIEW: How to Fake a Moon Landing

How to Fake a Moon Landing
By Darryl Cunningham
176 pages, Abrams ComicArts, $16.95

HowtoFakeaMoonlandingThere has been a preponderance of memoirs as graphic novels filling bookshelves over the last few years but with the exception of Joe Sacco’s work, there has been precious little journalism done in the graphic form. Cartoonist Darryl Cunningham, therefore, is a welcome voice, shedding some much needed light on the darker areas of science and culture. He made his name with Psychiatric Tales and then turned his attentions to Science Tales; Lies, Hoaxes, and Scams, which was released in England. Since then, he added a chapter and this month Abrams’ ComicArts imprint releases it as How to Fake a Moon Landing.

Cunningham breezily takes us through some of the hot button topics that are used as bludgeons by No Nothing Conservatives or are blown out of proportion by a lazy media. As one expects, the Moon landing is just the beginning, with chapters also dedicated to the MMR Vaccination Scandal, Evolution, Global Warming and so on. Each chapter spells out the facts, sourcing them along the way, and then shows where fact goes off the rails and becomes fodder for others to misuse. While he takes the cranks and critics to task, he also often faults the news media for never digging deep enough or presenting the other side of the argument for a “fair and balanced” look at the issue.

In a sprawling interview with Tom Spurgeon in 2011, he explained, “The comic strip format is particularly good at presenting information in a concise and entertaining way. A comic strip is so easy to read, that you can often find that by the time you’ve decided not to read it, you’ve read half of it. It’s a very immediate format that engages straight away and can deliver a lot of information quickly. It’s the perfect medium for presenting complex information. I’m surprised it’s not done more often. I’ve never thought of myself as part of any social activist tradition. These social and political subjects have naturally evolved out of my own interests, and to some extent, my frustration and anger with the status quo.”

As a result, you might be surprised to learn that the MMR matter was the result of one doctor’s efforts to sell his own medicine or how much money the oil industry spent on lobbying; resulting in Vice President Dick Cheney ensuring a particular bill was effectively neutered. As usual, the common man is left to pay the price or suffer the consequences. Since its initial publication, Cunningham dropped “Electroconvulsive Therapy”, replacing it with “Fracking” which remains a current topic of debate. As a result, the book is exceedingly relevant as it digests the issues down into comprehensible chapters, pointing where you can look next for more detail.

Cunningham’s approach is pretty similar to how Scott McCloud educates us about graphic storytelling and it works. He infuses each chapter with black, white, and one other color, keeping things stark and letting the reader focus on the facts. On the other hand, those who automatically buy into conspiracy theories or refuse to allow facts into the discussion will dismiss the book which is a shame. Wisely, he closes the book with a prophetic chapter on “Science Denial”. Cunningham does a remarkable job with difficult material and for high school students, just opening their eyes to the world around them, this is a terrific primer.

REVIEW: BBXX

BBXX
By Jerry Scott and Rick Kirkman
335 pages, Andrews McMeel Publishing, $35

babyblues-20-collectionIn the early days of 1990, a brand new comic strip debuted, perfect for parents of young children and universal in its humor. Coming from veteran writer Jerry Scott with art by Rick Kirkman, Baby Blues was a pretty quick hit, still running in hundreds of papers. Now in its 23rd year, Andrews McMeel recently celebrated the success with the release of BBXX: Baby Blues Decades 1 & 2.

Unlike a lot of strip collections, this comes with extensive commentary from both creators, annotating and riffing on what prompted particularly strips, gags, characters, and visuals. As a result, this becomes an interesting look back at the development and evolution of a strip that went from two parents and an infant to a five-member family. It caught fire quickly, earning the Ruben Award for Best Comic Strip of the Year in 1995.

Looking back, Kirkman’s early art for parents Wanda and Darryl is simple, emphasizing oversized heads for the bodies with exaggerated features, notably noses. He provided more background detail at first and has simplified his work to the point where there are now just suggestions of background detail.

Each generation appears to create its own family strip with the Nuclear Family of post-World War II represented by Hi & Lois and Family Circle while today we really have Zits! and Baby Blues. All four continue to run, the former two out of inertia while the latter two remain relevant with their contemporary humor. Scott and Kirkman are devoted to focusing on what it means to raise children from birth through toddler-hood through the addition of siblings. The strip opened in 1990 with the birth of Zoe while brother Hammie was added in 1995 with Wren arriving in 2002. As a result, the parents have aged very slowly, from 20-somethings wondering “Now what?” to 30-somethings trying to juggle three distinct personalities and overflowing schedules.

Baby Blues panel1Over the course of the nearly 800 strips in this collection, the last of which is from their 19th year, 2009, you can watch subtle evolutionary changes. Not only in Kirkman’s art but in the gear parents tote around, the technology being used and the children’s fascination with ever grosser objects or fears. The one constant has been their minivan; the same model has been used from the outset. We also get a hilarious breast milk gag that was done to amuse the creators and which was accidentally sent to the editor, who was out that week so it went out to the newspapers. The gag raised nary an objection, much to their surprise. The Los Angeles Times, though, asked for a substitute strip which is reprinted here for the first time.

Hammie was added largely because Scott finally had a child and Kirkman was experiencing the tribulations of having a second child. “There’s a noticeable shift in the strip that began to take place when Hammie arrived. The characters started to become a little more complex, and the situations, broadened.” This is another reason why the strip grew, endured, and remains entertaining after two decades.

Scott notes in Chapter Three, the period when Wren was introduced, as showing the parents had actually learned a few thigns along the way, making new mistakes instead. He noted “as with real parenting, things inevitably even out to a steady DEFCON 3 or 4. At least until middle school.” We can hope they allow the characters to reach that level and see what happens next.

The book contains some great insight into how the strip and its characters were developed with interstitial Scrapbook sections throughout this entertaining collection. The final chapters look at their critics and the creation process so you really get a nicely rounded look at this universal family and their place in the comic strip world.

AIRSHIP’S LATEST RELEASE DEBUTS! GHOST BOY!

Airship 27 Productions announces the release of their second title for 2013, GHOST BOY. 
The during the 1960s America was locked in a tense Cold War with the Soviet Union, Ian Fleming’s James Bond unleashed a spy craze and the Beatles swept across American shores with their version of new pop-rock and roll.  Meanwhile American comics had entered into the Silver Age with the birth of Marvel Comics.  Every week new titles seem to proliferate drug store magazine racks. 
Now Airship 27 Productions has dug deep into those long forgotten comic vaults to revive Jigsaw Comics’ odd-ball hero, GHOST BOY.  Created in 1964 by writer Art Croxton and artist Ric Sippo, the short lived series starred young Alex Conroy as the top agent of S.O.S (Science Operational Security) who is possessed with strange superhuman abilities. His best friend was an eight foot robot called P.O.P.S (Photoelectric Optimal Protection Sentry). 
Writers Terry Alexander, Micah Harris and Andrew Salmon recapture the fun and magic of this 60s forgotten character and offer up four brand new adventures. As an extra bonus, Ron Fortier and artist Gary Kato recreate the origin tale of GHOST BOY in a special 9 pg strip which kicks off this thrilling collection all gathered under a gorgeous cover by Laura Givens.
Comics fans rejoice, GHOST BOY is back! 
“Actually he never left,” explains Airship 27 Productions’ Managing Editor Ron Fortier with a mischievous grin in his eyes.  “That’s because there never was such a title and this particular project is in reality our homage to those wonky Silver Age comics we all grew up loving.”  Fortier goes on to explain the idea came about when the company looked into adapting an authentic 60s comic series only to discover the property was still under license.  “That’s when we collectively had this idea to make-up our own comic hero from that decade and see if could recapture the odd-ball exuberant charm those books contained.  We will let our readers judge if we’ve succeeded or not.”
AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!

Available now at Create Space –
(https://www.createspace.com/4176057)
As a PDF download from our website for only $3.
(http://robmdavis.com/Airship27Hangar/index.airshipHangar.html#ghostboy)
Within another week on Amazon proper and Kindle.
And within two weeks at (www.IndyPlanet.com)

Mike Gold: We Have Met The Enemy And He Is Us

PogoEarthDayPoster1970A great many idioms have their roots planted firmly in the comics media, and to the present generation there is none more vital than Walt Kelly’s famous phrase that occupies the headline space above.

Kelly, in case you didn’t know (and shame on you for that), was the cartoonist who created, wrote and drew the feature Pogo for comic books, newspaper strips, and miniature trade paperbacks starting in 1942 (Animal Comics #1, published by Dell). He continued working on Pogo until his death in 1973. Pogo was a funny, clever strip that was uniquely gentle in its political and sociological satire. The phrase “We have met the enemy and he is us” was used several times, usually in conjunction with ecological issues. Indeed, for Earth Day 1970 Kelly produced a lavish poster with Pogo looking at a beautiful forest littered with garbage; it employed this famous phrase.

A couple days ago I was reading a Pogo trade paperback released in 1972 titled “We Have Met The Enemy And He Is Us,” a collection of short… let’s call them graphic short stories. The eponymously titled story wasn’t about ecology at all. In point of fact, were it published today, January 16 2013, I suspect most people would think it was in reference to our extremely unyielding, highly polarized, and therefore do-nothing Congress.

I reprint it here (© 1972 Walt Kelly Estate. All Rights Reserved.) without further comment, except to note that I edited out two panels so that it would make sense without the surrounding story. Enjoy the brilliance of a true master of the form, but dread the reality it reflects.

Gold Art 130116

THURSDAY: Dennis O’Neil plays the Blame Game

 

MARS MCCOY BLASTS OFF INTO COMICS!

Art: Eric Hurley

New Pulp Publisher Airship 27 Productions has announced their 2013 Mars McCoy Space Ranger plans. The second volume of the pulp prose anthology series featuring the character will be available in early 2013 as well as in comic books. There is an 8 pg. Mars McCoy comic strip in development written by Mike Baron with art by Eric Hurley, as seen above.

Mindy Newell: The Greatest Generation

Newell Art 121230This is a story I told to Joe Kubert. He loved it, said to write it up and he would use it as a backup in Sgt. Rock.

1943. Somewhere over Burma. The Dragonfly Squadron, inheritors of the famed Flying Tigers, is returning to base after flying a coverage mission for Merrill’s Marauders. First Lieutenant Meyer “Mike” C. Newell is flying wingman to his best bud, First Lieutenant Benjamin “Blackie” Blackstone. They met in training, and have been flying together ever since. The P-51D’s are pretty banged up, but the planes are the workhorses of the CBI and the pilots are confident that they will make it back to base, even though Johnson’s aircraft is leaking hydraulic fluid.

It is the rainy season in Burma and the landing strip, cleared out of the jungle overgrowth by Army engineers and sun-baked and rock-hard during the dry months, is a quagmire of mud that sucks at the wheels of P-51s as they touch down. The pilots must come down fast and hard with their throttles all the way open to clear the runway.

Three succeed, but Johnson’s plane, with its loss of hydraulic fluid, doesn’t have the power. Even with the throttle all the open the plane comes in slow and dodgy, and the mud captures the P-51 halfway down the runway. Johnson quickly gets out of the plane, and with the aid of the ground crew, is working to move the plane off the landing strip.

Blackie is already making his approach when the flare is sent up warning the other pilots off. Unable to veer off, he is forced to come in, still flying hard. As the wheels hit the ground, Blackie pulls back on the throttle and hits the brakes, but the inertia drives the P-51 forward and up onto Johnson’s plane. Blackie can’t shut off his engines, and the propellers are chopping their way through the other plane’s fuselage. That bird is still leaking hydraulic fluid. Blackie tries to open his canopy, but it is stuck. He is trapped.

Up above, Mike Newell, preparing his landing, sees the flare and pulls off, circling over the airfield. There is radio silence; no one knows what is happening below, though they know it is bad.

Admiral of the Fleet Lord Louis Mountbatten, First Earl of Burma and Supreme Allied Commander, Southeast Asia Command (SEAC) is visiting the base. He and his aide-de-campe (they have been together for many, many years) are watching the disaster on the landing strip unfold.

Fire is dancing from the Johnson’s plane, and billowing black smoke is making the work of the ground crew even more difficult as their eyes tear and their lungs fill with the noxious stuff. Blackie is still alive; he can be seen struggling to open his canopy.

Suddenly the aide-de-campe runs to Blackie’s plane, jumps up on the wing, and works to free Blackie…

The fire is inching closer. It is an inferno consuming both P-51’s…

They explode.

The air is heavy with the smell of fuel.

Bits of burnt fuselage dance in the air like dust motes.

There is nothing left.

The runway is clear.

A second flare is sent up. Mike Newell resumes his approach.

He lands cleanly.

The remaining pilots bring in their planes, one by one, without incident.

They report for debriefing.

Late that night, Mike Newell is sitting on the wing of his plane, a bottle of Scotch in his hand. He swills it frequently, staring at the now silent and empty runway. It is raining again.

A shape approaches him in the darkness, and a clipped British voice says, “May I join you, Leftenant?”

Mountbatten swings himself up onto the wing as Mike moves over.

“This buggered war.” says Mountbatten.

“Yeah,” says Mike Newell.

“May I have some of that?”

Mike hands him the bottle. Mountbatten takes a swallow.

The two men sit in silence, sharing the Scotch.

•     •     •     •     •

Lord Mountbatten was the Last Viceroy and First Governor-General of India, overseeing the transition of that country into an independent republic. The IRA, who planted a bomb aboard his yacht when Mountbatten was vacationing in Ireland, killed him. First

Lieutenant Meyer C. Newell, awarded the Distinguished Flying Cross and many other medals and honors for his service in the Army Air Corps, survived the war, came home, and married Loretta Yontef. They had two children, Mindy and Glenn. He stayed in the Army Air Corps – which became the U.S. Air Force – until the middle of the 1950s. His unit was called up during the Korean War, but never saw active service. The new Israeli Air Force sought him out, offering him a high commission if he would join them. Worried about losing his United States citizenship, he refused. In 1985 he received the Medal of Honor from China for brave and decorous duty for the Chinese Republic during World War II. The Dragonfly Squadron received the Congressional Medal of Honor for their service to the United States of America several years ago. Last year, a student at the Air Force Academy wrote his graduate paper on the CBI theatre, the Dragonfly Squadron, and First Lieutenant Meyer Carl Newell, P-51 fighter jock.

Sgt. Rock was cancelled and the story of Blackie, the aide-de-campe, Lord Mountbatten, and my father never saw print. Until today.

My father, who will be 90 in January, is dying. We brought him home from the hospital. He is receiving hospice care. Every now and then he will talk to us.

Yesterday I said to him, “Dad, it’s Mindy.”

“I know,” he said.

“I love you, Daddy.”

“I love you, too.”

I bent over and gave him a kiss. He moved his head, weakly gesturing for me to come closer.

He gently kissed me on my cheek.

 

15 MINUTES OF FAME WITH MODESTY BLAISE

Daphne Alexander as Modesty Blaise

BBC Radio adds Modesty Blaise to their 15 Minute Drama. You can listen to sample clips at www.bbc.co.uk/programmes/p012gc6l.

Meet Modesty Blaise (aka the female James Bond)
Modesty Blaise is glamorous, intelligent, rich and very, very cool. She’s been called the female James Bond but she’s much more interesting than that.

Modesty started life in 1963 as a strip cartoon in the London Evening Standard. The first of the novels followed three years later.

Daphne Alexander plays Modesty in Radio 4’s adaptation of A Taste for Death.

Modesty Blaise – A Taste for Death Episode 1 of 5
Duration: 15 minutes
First broadcast: Monday 17 December 2012
She’s glamorous, intelligent, rich and very, very cool. Modesty Blaise has been called the female James Bond but she’s much more interesting than that. With her expertise in martial arts and unusual weapons, the ability to speak several languages and her liking for fast cars, twenty-something Modesty became a female icon long before the likes of Emma Peel, Lara Croft, or Buffy.

In Stef Penney’s brand new radio adaptation of Peter O’Donnell’s novel, Sir Gerald Tarrant, Head of a secret British agency, tempts Modesty out of retirement and into a job involving a young woman with extra sensory powers, an exotic desert location, and a larger than life public school villain, intent on murdering his way to a vast fortune. With its perfect cocktail of glamorous settings, hidden treasure, a twisting turning plot, and characters to root for, A Taste for Death is an action packed treat – and a guilty pleasure.

With an original score by Goldfrapp’s Will Gregory, arranged by Ian Gardiner, and performed by the BBC National Orchestra of Wales, conducted by Ben Foster.

Produced and Directed by Kate McAll

Interesting Modesty Facts:
Modesty first started life in 1963 as a strip cartoon in the London Evening Standard – the first of the novels followed three years later.

Vincent Vega, played by John Travolta, is seen reading a Modesty Blaise book in Pulp Fiction.

Learn more about Modesty Blaise – A Taste for Death Episode 1 of 5 here.

REVIEW: Dick Tracy

Today, comic book fans may recall Warren Beatty’s adaptation of Dick Tracy as a memorable misfire. When it was released in 1990, it was met with, at best, mixed reviews and while it performed respectably at the box office, missed Walt Disney’s estimates so the hoped for franchise was stillborn. Blame could be squarely placed at Beatty’s feet since he had a strangle hold on the film as its director, producer, and star. It got so crazy that poor Kyle Baker had to use only three approved head shots for the 64-page comics adaptation, which stretched even his considerable skills.

We have a great opportunity to reconsider this film now that Disney is releasing it tomorrow on Blu-ray.  One of the things about the production is that Beatty wanted to recreate Chester Gould’s strip as faithfully as possible, which meant he limited the color palette to a mere seven colors, predominantly red, blue, yellow, and green – all the same shade. Surrounding himself with a veteran crew consisting of production designer Richard Sylbert, set decorator Rick Simpson, cinematographer Vittorio Storaro, visual effects supervisors Michael Lloyd and Harrison Ellenshaw, and costume designer Milena Canonero, Beatty got the best looking film possible. The translation was so faithful that mainstream audiences took issue with the look.

What Beatty seemed to forget is that adapting from one medium to another requires certain accommodations and this experiment just didn’t work. In vibrant Blu-ray, after a digital restoration, its sharply garish and not necessarily for the better. What did adapt better were the makeup designs that replicated the grotesque Gould rogues gallery thanks to the ministrations of prosthetic makeup designers John Caglione, Jr. and Doug Drexler.

Only someone as major as Beatty could have corralled the roster of stars to don the latex, including Dustin Hoffman (Mumbles), William Forsythe (Flattop), James Tolkan (Numbers), Mandy Patinkin (88 Keys), R. G. Armstrong (Pruneface), Henry Silva (Influence), Paul Sorvino (Lips Manlis), James Caan (Spuds Spaldoni), Catherine O’Hara (Texie Garcia), and Robert Beecher as (Ribs Mocca). In fact, there are probably half-a-dozen too many of Gould’s creations in the mix, diluting the impact of any one foe especially when they were all under the influence of Al Pacino’s Alphonse “Big Boy” Caprice.

On the side of good there’s Glenne Headly as Tracy’s longtime love, Tess Trueheart; Charlie Korsmo as The Kid, Charles Durning as Chief Brandon, and Dick Van Dyke as District Attorney John Fletcher. Headly’s little girl voice has always annoyed me and she really didn’t have much to do, which meant she was easily eclipsed by the film’s real femme fatale: Madonna as Breathless Mahoney.

The script from Jim Cash and Jack Epps, Jr. is remarkably faithful to the golden era of the strip, with the blood-soaked streets of the big city, and a cops and robbers vibe. The main story involves the Kid witnessing a mob hit from some of Big Boy’s enforcers and the crime lord wants him silenced before a possible trial. And Breathless is the only witness to a kidnapping so Tracy spends quality time with her, where she does her best to seduce the square-jawed hero. And pulling the strings from the shadows is a criminal known only as The Blank, whose true identity is revealed late in the film and may surprise a handful of viewers.

The movie crackles along but even in the rewatching, just lacks a vital spark to make us care or cheer. The story and performances almost take themselves too seriously and when set against the uniquely colorful setting is more jarring than anything else. It’s not a bad film in the end, just not a very exciting one.

The digital restoration needs to be seen to be appreciated and Disney did a lovely job, The Blu-ray comes with a digital copy but neglects to include any extras to strongly recommend its acquisition.

HERMES PRESS ANNOUNCES TERRY AND THE PIRATES PLANS

Hermes Press has announced it will publish an archival reprint of George Wunder’s Terry and the Pirates. Wunder took over the strip after Milton Caniff left in 1946 and continued for nearly 27 years.

Terry and the Pirates: the George Wunder Years: Volume One 1946-1948, a deluxe hardcover in landscape format, will includes the daily and Sunday strips (reproduced in full color) which ran in continuity.

Learn more at www.hermespress.com.

FORTIER TAKES ON MODESTY BLAISE!

ALL PULP REVIEWS-Reviews by Ron Fortier
MODESTY BLAISE
(Lady in the Dark)
By Peter O’Donnell
& Enric Badia Romero
Titan Books
One of the great pulp heroes of all time was the comic strip character Modesty Blaise created by writer Peter O’Donnell with artist Jim Holdaway for the British newspapers back in 1963.  It was remarkable when one considers she arrived on the scene when most newspaper action strips were dying out.  After Holdaway left the strip, several new artists took over to include Enric Badia Romero featured in this volume.  Over the years Modesty & Willie appeared in several movies and series of 13 novels and short story collections. 
Now Titan Books is collecting these daily strips in large, handsome packages each containing three complete storylines; all of which are filled with humor, suspense, mystery and tons of explosive action; all traits that have become synonymous with the deadly brunette lovely.
This volume starts with “The Girl from the Future,” wherein Modesty and her loyal sidekick Willie Garvin come to the aid of their American friend, Paul Gant.  Gant, a rich tycoon, has been asked to construct two massive spheres of gold valued at millions of dollars.  His customer is an eccentric sci-fi publisher who believes he has been visited by a beautiful young woman from the future.  Of course both Modesty and Willie know the so-called time traveler is working some kind of scam.  Their challenge is to unravel the con and expose the conspirators before innocent people get hurt.
In “The Big Mole,” Modesty and Blaise are on holiday when they learn a group of terrorists known as the Paladins are holding a dozen nurses hostages in a nearby country retreat where they have fled with their prize, a wounded espionage agent working for a foreign government.  Hiding out in the retreat, the Paladins have orders to kill the spy rather than let him be recaptured by the British S.A.S.  Thus a double dilemma is posed; how to attack the facility, rescue the nurses while somehow preventing the spy from being assassinated at the same time.  It seems an impossible task until Modesty learns that an historical military reenactment between the Cavaliers and Roundheads is scheduled for that same area.  Can she and Willie adapt the old Trojan Horse gambit in a new, modern twist and save the day?
It all wraps with “Lady in the Dark.”  Dinah, a blind woman and close friend of Modesty and Willie, possesses a remarkable dowsing gift which allows her to find underground water sources and mineral deposits.  No one is surprised when she is hired by the widow of European count to help find a century’s old Roman treasure worth millions said to be hidden in an underground cave on her estate.  When Dinah’s husband, Steve, injures his back, Willie offers to accompany her on the assignment leaving Modesty to nursemaid Steve back to health in England.  But no sooner are Dinah and Willie settled into the old castle then the ever suspicious Garvin discovers they have been duped by Salamander Four, a secret criminal organization.  They are holding the true countess prisoner, having replaced her with one of their own agents, and want the Roman treasure for themselves.  Can Willie foil their plot while at the same time protect a blind girl and innocent countess?  Or can he somehow get word back to Modesty in time for her to fly to the rescue?  “Lady in the Dark” is a typical Modesty Blaise adventure that zips like hot lead and never misses its target.
We applaud Titan Books for this beautiful designed and packaged collection in their efforts to preserve one of the greatest newspaper action strips of all time.  Modesty fans should be thrilled at the opportunity to collect the entire run at such an affordable price in such gorgeous, easy to read books.  As for those of you who have never met the lovely and dangerous Ms. Blaise, we can’t think of a better way for you to do so.