Bill Griffith’s Invisible Ink is a memoir as fascinating in its way as Fun Home. Where Alison Bechdel gave us a look inside of a closeted life when closets were in flower, Griffith takes us across the border into the times before the times changed.
The problem for the comics snob is the superhero comic that’s too good to ignore. The reference is facetious; good comics aren’t a problem for anyone. The problem is this: Ignoring mainstream comics is easy.
The latest from Joe Sacco and Ted Rall.
Business evolution, comic book heroes and comic book makers.
Walt Kelly, M.K. Brown, George Wunder and George Carlson.
A look at Jeet Heer’s new book, In Love With Art.
Now that all our fond hopes for 2013 have been dashed and our memories of 2012 rendered into a whited sepulcher, wouldn’t it be wonderful to relive those innocent times? Well, then, I’ve got the column for you.
To a comic book mogul a comic book character was of no value unless you had the means to print and distribute a magazine. The deal offered to the creators was regular employment in exchange for all rights in their creations, and the terms were take it or leave it.
Like its predecessor, The Dark Knight Rises is a badly made movie redeemed by a single element that works.
Ed the Happy Clown returns, Shadow covers do battle, an ancient penny drops, Adrian Tomine meets Liz Prince in a paper bag, and Ray Bradbury checks out.
Freeway by Mark Kalesniko (Fantagraphics) UPA: The Jolly Frolics Collection (TCM) The eponymous metaphor of Matt Kalesniko’s Freeway is almost too easy: A transportation network that once granted free and effortless mobility that’s become a morass of stagnation and frustration to symbolize an animation business that promised personal expression amid camaraderie but delivers forced mediocrity… Read more »
The Someday Funnies now joins Smile, From Arrgh to Zap, and a complete version of Metropolis on the list of Things That Have Come Out Before The Last Dangerous Visions.
PS Magazine then and now…
Hollywood released two, three and sometimes four movies that were not as good as Adele Blanc-Sec every week of the year and change since it came out.
They send ’em, I review ’em. Eventually.
R. Fiore on Chester Brown’s Paying for It.
Old myths embedded in an adaptation of Ayn Rand’s Anthem and an early work by Jacques Tardi.
I’d like to be able to say Sylvain Chomet’s The Illusionist is a better movie than the recently coronated Toy Story 3. Not that it isn’t a fine thing on its own terms.
