The reason I know a smidgen about comics: I hang out with a lot of geeks. Feminist, sex-positive, queer-friendly geeks. They told me the backstory of Wonder Woman’s creator, William Marston, radical psychologist and happy polyamorist. Jill Lepore explored Marston’s home life in “The Secret History of Wonder Woman,” but Chicago-based culture and comics writer Noah Berlatsky took a deep dive into the marriage of psychology and artwork that is Marston’s enduring pop culture impact.
Even comics skeptics find Wonder Woman unique and titillating. As Berlatsky rightly points out, she’s been a feminist icon for decades, and among certain circles, a kinky queer one. (Lasso of truth? Ladies-only island? Hmm…) Berlatsky illuminates how Wonder Woman—of World War II inception—nods at that era’s values yet still espoused female superiority and pacifism, slyly winked at lesbianism and even may have stood traditional rape and incest narratives on its head. He also focuses appropriately on the artist, Harry Peter, as well as Marston, and shows how even Peter’s idiosyncratic perspective and anatomy bolster the argument that the series was ahead of its time. Read the rest of this entry »
By Steve Gadlin
David Yow’s book “Copycat (and a litter of other cats)” features a collection of his cat artistry. When my wife picked it up and thumbed through it, she said, “this is pretty good,” and held on to it for another fifteen minutes. In most households, this would constitute a pretty good review. In my home, it meant a little something more.
You see, I also draw cats. A lot of ‘em. A few years ago I started a website called IWantToDrawACatForYou.com as a joke-slash-social-experiment. A fortuitous trip to ABC’s “Shark Tank” and a deal with Mark Cuban later, it has become an accidental business for me. To date, I’ve drawn 17,228 cats. So if there’s any person in this world who has an excuse to turn her nose at David Yow’s book, it’s my wife. A “pretty good” from her has to be worth at least a “totally awesome” from a non-cat-drawing family. Read the rest of this entry »
As the medium of comics continues to grow in both artistic legitimacy and creative diversity, the question arises of how we will handle an inclusive definition of such an eclectic collection of forms. Does an open and encompassing parameter for graphic narrative allow us to recognize works such as Jim Davis’ Garfield strips and the latest run of Marvel’s X-Force series as using the same language, albeit for entirely different purposes and audiences? Can the same terms we use to discuss Alan Moore and Eddie Campbell’s graphic novel “From Hell” work for examining Theodor Geisel’s propaganda cartoons?
It’s because of these questions that University of Chicago professor Hillary Chute is becoming such a valuable voice in the suddenly-no-longer-ironic field of comics scholarship. “Outside the Box” is her third book on comics, following “Graphic Women” and her collaborative work with Art Spiegelman on “MetaMaus.” Chute is such a unique voice largely because she never read comics until well into her graduate school studies, where she experienced Spiegelman’s “Maus” and was immediately taken by it.
As a result, her passion for the medium comes not from any nostalgia but from a scholarly appreciation and understanding. Read the rest of this entry »
It’s a story as old as civilization itself: A young woman who stops time when she has an orgasm meets a guy with the same thing. Brought together by the whims of circumstance, they fall for each other, and in the throes of a new relationship start robbing banks.
Think “Tristan and Isolde” filtered through Philip K. Dick and you’ve got half of the idea.
The other half is a smart and sex-positive take on the romantic comedy. Suzie (she’s the girl) acts as the narrator for the series, bringing the smutty shenanigans and the sci-fi to a personal level. What makes her and Jon (he’s the guy) so compelling as a romantic pair is the sheer amount of honesty between them. It’s downright refreshing to see adults talking so frankly and intimately about their sexual histories, not as an arousing enticement but as an intimate disclosure. Past partners, masturbatory habits, even musical preferences are shared between them and with us.
It’s a bold approach to sexual comedy, and some of the best work by Matt Fraction (he’s the writer). Largely known as a prominent writer for Marvel Comics, one of his strengths is playing around with multiple levels of plot and mood. He knows when to place a joke about fleshlights and when to spin out lines of near-poetry, as when Suzie describes her first experience with post-climax timelessness: “I was enveloped in silence and color.” Read the rest of this entry »
By Megan Kirby
Today, the nineties are glorified as a golden era for independent publishing, a decade when every photocopier ran hot with the printing of punk-rock fanzines and weird-out mini-comics. A lucky few made it big, releasing polished graphic novels with big-name comics publishers. Most just got tired and left the days of staple-bound periodicals behind them.
Through decades of DIY publishing shifts, there’s been a stubborn constant: “King-Cat Comix and Stories,” a zine that John Porcellino has self-published since 1989, and which is released today through his own distro, Spit and a Half. Porcellino started “King-Cat” when he was in high school with simple line comics and hand-written stories about punk rock and mental health, along with tongue-in-cheek fantasy sequences. (One early issue was dedicated to Porcellino’s fictional love affair with Madonna). He often wrote about Illinois, exploring his hometown of Hoffman Estates and the suburbs around Chicago. Read the rest of this entry »
“The Best American Comics” is unusual in two respects. For one, it’s more egalitarian than any other volume of the Best American Series. Grant Snider’s introspective webcomics stand deservingly by Alison Bechdel’s excellent and complex graphic novel “Are You My Mother?” But alas, the comics content is less likely to stand alone. The pieces that work best in the 2013 edition are the ones that are either self-contained, like a daily newspaper strip, or make the reader want to rush out and buy the whole work.
Comics’ best attribute is their ability to tell simultaneous narratives with words and images. And they’re like any medium where words are secondary: there are people who groove with a song’s melody, and people who only care for lyrics. The excerpts from “Rachel Rising” and “Annie Sullivan and the Trials of Helen Keller,” both with captions, had just enough story arc to make this reader pencil down their names for future, full-length purchase. Language-less strips have a special challenge, and less ways to clue the reader into the context. It’s easy to give up on them and just skip ahead while vaguely admiring the art. About one-fourth of Best American Comics feels like this, but a beautiful exception is “Grainne Ni Mhaille” by Colleen Doran and Derek McCullough, which tells an Irish immigrant family’s trials via Doran’s gorgeous super-hero style illustration. Read the rest of this entry »
Allie Brosh doesn’t post on her web comic Hyperbole and a Half regularly, so when she does it sends quivers through the Internet community. The format of her work is text, maybe a paragraph or two, followed by an illustration of utmost simplicity. Her neckless figures approximate the general form of a torso, with stick arms and legs that nevertheless entirely capture the depth and breadth of the human condition. Her stories are confessional, biographical, and hysterically funny. To this day, her story about moving across the country with two anxious dogs remains one of the funniest things I’ve ever read. Stories we love from online are preserved in the book for those of us who prefer our media on paper, as well as new chapters not available online.
More recently Brosh has written candidly about a debilitating depression she’s suffered and the various ups and downs she’s experienced trying to overcome it. She presents this information bravely and beautifully, with more than a little humor included. Read the rest of this entry »
There is a Kathy Acker comic now.
With this third entry in Russ Kick’s acclaimed series of anthologies adapting works of literature into illustrated form, the most notorious work by America’s most controversial postmodern author, “Blood and Guts in High School,” exists in comics form.
I can stop writing reviews now. I have now everything I ever wanted out of Western literary culture.
All of which is what makes the Graphic Canon series so interesting as a concept. Adapting prose works into comics is nothing new, going back to the long-running “Classics Illustrated,” which for decades brought works of classical literature into a cheap and accessible format before closing down in 1971. It would briefly resurface in the early nineties with noteworthy artists such as Bill Sienkiewicz, P. Craig Russell, Jill Thompson and others, reflecting the tones and themes of the original stories with comparable artistic style and motifs. Read the rest of this entry »
Many of Lisa Hanawalt’s cartoons are populated by clothed animals. Lizards in garter belts and leather jackets, high-heeled shoes and bikini tops. Cats in construction gear, or dogs riding airplanes in checkered shirt sleeves. In the universe of Hanawalt, animals express human vulgarities without compunction, but they also indulge in our unapologetic weaknesses—playing Angry Birds during a heart-to-heart, laying on the couch and watching movies all day, being a backseat driver.
Although fans of her work will already be familiar with some of the pieces in her debut book, “My Dirty Dumb Eyes,” the collection should not be ignored. It is gorgeous, highlighting her incredible coloration and bizarre but beautiful depictions. Most importantly, she’s hilarious. In an early “chapter,” What Do Dogs Want? a tennis-ball bride ranks highly, followed by two Pomeranians feasting on a salt lick in the shape of human legs. A meal of “dirty underwear on a bed of regurgitated grass, with cat poop reduction” does, indeed, sound perfect…for a dog. Read the rest of this entry »
Over the last few decades, autobiography has risen in comics to become a genre to rival the four-color ubermenschen for diversity and abundance. For many of them it’s a chance for the author to explore their memories and examine those moments of their past that defined them. Every autobiographical cartoonist talks about the mistakes and letdowns of their past, but none of them do anything about it.
Jess Fink’s new graphic novel “We Can Fix It: A Time Travel Memoir” is a double feature of science fiction and memoir, as the New York cartoonist travels back into her past with the aid of a time machine and a really awesome jumpsuit. Ostensibly it’s to offer advice to her younger selves, although she seems to spend an inordinate amount of time making out with them instead. Read the rest of this entry »