“Sometimes I’ll be walking down the street and I’ll suddenly recall some unspeakable transgression of mine, and the shame and horror I feel will stop me dead in my tracks!”
– Jim Woodring in Jim. Does that sound familiar or what?
Zaya h/c (£22-50, Magnetic) by Jean-David Morvan & Huang-Jia Wei.
Pick a page, any page, and I promise you will lap this up.
A tonic for tired eyes, it is a sublime fusion of European science fiction settling into steampunk in places, with plenty to please more mature manga readers too in the form of the Chinese protagonists, antagonists and subaquatic, aerial and upper-atmosphere dogfights.
The architecture is exquisite, from Zaya’s countryside getaway – an ornate, gabled mansion with white wooden and stone features overshadowed by trees – to the early morning marina with its Venetian towers and baroque clocks in what is evidently a very rich quarter of a very rich city. You should see Zaya’s hotel room – and just wait until you book into the saltwater resort of Estrella del Mar whose hotels, each competing to outdo the others in opulence and originality, sit right on the immaculate beaches, their balustraded stone steps rising from the sands.
However the art is actually composed, it looks like good old-fashioned pencil and wash with exquisite figure work and a fine eye for fashion. Zaya’s black waistcoats, miniskirts and cocktail dresses could not be more chic; her hair, blouses and battlesuit too.
The palette, for the most part, is pure Arthur Rackham: sepia, creams and muted greens which makes the rich blue skies of Estrella del Mar all the fresher and the minimally deployed reds stand out a mile.
As to the steampunk aspect, there is a charming mix of the antique, antiquated and futuristic from Zaya’s mail box, country house and classic car pimped with rocket pipes to the giant floating liners, airships and spaceships and Zaya’s spaceship bathroom with its pumps, plumbing and small generator only partially hidden by chain-linked metal mesh! Also, coming back to the architecture, we’re not on Earth but a colonised planet so everything has been built afresh. When we do reach Earth you’ll discover the modern sits atop ground-level conurbations far more familiar. I love that either the writer or artist has thought of that.
This isn’t created in shorthand, either, so you won’t feel short-changed: plenty of extended scenes so you can soak in the eye-candy.
It’s opening night at Zaya Oblidine’s holosculpture exhibition. The centre piece looks like some tumour-ridden mammoth to me, but it’s being very well received. An over-entitled nitwit being pleaded with by the waiter is getting drunk and obnoxious. Zaya steps in. The drunkard “steps out”.
Meanwhile, a family car is being targeted by a top-heavy mutant of a man or machine that looks like it could have been designed by Zaya herself. With gigantic jetpacks armoured and weaponised to the max, she/he/it prefers an aerial assault and it’s devastating. The first strike takes out most of the mother’s face and only the father manages to crawl from the wreckage and scramble for cover. Pursued to a dead end, the man cuts off his own hand with a circular saw and jettisons it into a garbage chute so its signet ring can transmit into space, there to be detected by Spiral. Oh, and space has another useful property too…
It transpires that he’s not been the first former agent of Spiral to be tracked down. It also transpires that sculpture wasn’t Zaya’s first occupation. After twenty years working for the top secret agency called Spiral (she joined very young, as you’ll discover) she retired six years ago when she fell pregnant and has since raised the two daughters she dotes on as a more than capable single parent. Her younger sister Carmen visits often. This is not irrelevant.
Now Zaya’s being reactivated for what Spiral claims will be such a low-risk, safe and simple assignment that she won’t even need a gun: she’s to work for one day as a hostess on a yacht moored at Estrella del Mar. But if it’s such a low-level mission, why are there 341 other Spiral agents acting as crew members too?
So there you go: a summary of Act One. As you might infer Act Two goes postal with the most monumental all-out action you can imagine before Act Three takes a completely unexpected turn at the transdimensional traffic lights leaving Zaya confounded, distraught then devastated. Readers will be tearing their hair out under a deluge of dramatic irony. You know what’s happening: Zaya hasn’t a clue.
A final note on Estrella del Mar that made me laugh:
“Many beaches of the central island are clearly separated for naturists and other groups of religious thought, so that everyone can relax without having to face the gaze of others.”
“”Sorry” is really the last thing you should say to a woman after sex.”
My friend Cath found “Thanks for that” pretty shoddy too.
Corpse Talk Season 1 (£6-99, David Fickling Books) by Adam Murphy.
“I didn’t abolish the Senate, I just filled it with my guys who all did what I said.”
“Good idea, boss!”
“That made some people mad!”
“We need to do something about it…”
All education should be entertainment, and this was so entertaining that I learned more about history in these sixty pages than I did during six years of lessons at school. Moreover, I read so retained more than I did watching three seasons of Simon Schama. Studies have proved you retain more when reading; add in the visual cues a comic can connect in your brain and you have a Young Adult bursting with knowledge, having had a whale of a time in the process and so looking forward to more!
The cartooning is bright, gleeful and incredibly detailed as each interviewee takes you back in time to celebrate their crowning achievements and most moronic moments. Did you know, for example, that Florence Nightingale’s Crimean endeavours ended up killing more soldiers than they saved? Her Nightingale Rose diagram shows the number that died in battle was dwarfed by the thousands who died of infections caught and spread within the confines of the hospital.
Dick Turpin turns out to be a much less impressive loser than his enduring reputation would have you believe, while Queen Boudica (she of the multiple name spellings) almost had the Roman soldiers on the run…
“We had them trapped and outnumbered by twenty to one.”
“Uh, sir, I have to go. My wife’s giving birth…”
“My mum’s giving birth!
“I’m giving birth!”
… but her soldiers, so confident that some charged in nekkid, all came a cropper at the impenetrable end of the Roman Tortoise, a wall of shields as strong as its shell with swords and spears sticking out of it.
That Adam Murphy chose conversations with cadavers is essential to the merriment: a long list of facts would have been so, so dull, and besides, kids love corpses. Instead the pun-prone man with the microphone really engages, aggravates and occasionally runs away from his guests in outright terror. It’s a performance like Kermit the Frog’s.
He’s also done his research like any smart interviewer and carefully constructs each episode around the most salient scenes, thus distilling but not distorting the stories, putting them firmly into perspective (especially Joan of Arc’s) and so really making you think! Just as education should be entertaining it should also be engaging: not just force-feeding students facts, but making them think about what they’re learning.
Marie Curie discovered radiation: hurrah! It killed her: hurr-oh! Her notebooks are so radioactive they still can’t be handled safely. Leonardo Da Vinci was a true Renaissance Man (he was both an all-rounder and had a slight helping hand in the Italian Renaissance) so studied the anatomy he painted so well. He then went on to design flying machines and weapons of war – lots of them including a robot! – but bought caged birds to free them and was possibly the only vegetarian in Italy. Unusual in those days. Pirate Anne Bonny initially cross-dressed to fool her crew but then got fooled too when the man she fell in love with turned out to be playing the same game. If you think Murphy could resist “What a drag!” you are very much mistaken.
Almost every conversation is curtailed with a similar pun, begins with a tombstone decorated according to the subject’s most iconic object or association, and is introduced to viewers with a big Kermit flail.
“This week, my guest is a truly timeless classic! It’s the piano prodigy, violin virtuoso, king of composers Wolfgang Amadeus Mozart!”
You can almost year the Muppets’ applause.
Like Andi Watson in GLISTER, Adam Murphy does not shy away from deploying what may be new words to young readers like “appellation” and quite right too: if you don’t encounter new words, how can you learn them? You can even learn a little Latin (“Ave!”) and where Crossing the Rubicon came from (clue: crossing the Rubicon).
The book begins with a chronological rabbit warren of graves, tombs and catacombs each denoting a key note in history, crucial for context, dating back from 1969 (Moon landing) to circa 3000 BC when writing was invented and I was aged five.
I leave you with a King Tut titbit in which we learn why the genetically disadvantaged Tutankhamun was a bit rickety on his pins and almost always ill: his dad married his own sister! And so did he!
The End (Silver Edition) signed & sketched in (£6-00, Thingsbydan) by Dan Berry.
Well, this will give you pause for thought.
Bound within a luxurious, rough-grained, card-stock cover which had been screen-printed with scarlet, black and silver ink are some of the most sobering pages I’ve read from Dan Berry. Such is the beauty of the cover you might not register at first that the objects which the gold [now silver] adorns are skulls.
It’s closer to CARRY ME in tone that the comedy of CAT ISLAND, THE SUITCASE, HEY YOU! and THROW YOUR KEYS AWAY, but in execution it’s yet another departure. The washes are in a wet, inky black and blue whose sheen is picked up beautifully on the crisp, white, satin paper.
A lot of this takes place at night, which doesn’t always bring out the best in us. We don’t like it when we can’t see what is happening. We don’t like it when we don’t understand what is happening. We don’t react well to that which we cannot control.
Time in particular we feel the need to control: we measure it out in years divided into months or weeks, which we decided should have seven days composed of twenty-four hours each housing sixty minutes and they, sixty seconds. A day makes solar sense, as does a year, but boy we don’t half attach a lot of importance to some of the more arbitrary measurements and a countdown sure gets the adrenalin rushing.
When the numbers first appeared overnight – all of them “14” – they did so on walls and billboards and buses: the sort of places you’d expect from a marketing campaign. So we shrugged because that’s what we assumed it was.
“Thirteen came and went the next day with a chorus of “I told you so” and eye-rolling from the people who kept up with this sort of thing. The progression from 14 to 13 was predictable and had been done to death, they said. If this was to be a truly effective ad campaign, we’d need to given a reason to car and we didn’t have that. 6 /10, must try harder.”
Love the smug, supercilious pundit there in his turtleneck sweater, brandishing a cigarette and tut-tutting with his fingers.
Dan’s put an enormous amount of lateral thought into this, a study in human behaviour under unusual circumstances extrapolated from how we do react to numbers and time. Also, I love the core conceit and where Dan ran with it right to the end.
Hip Hop Family Tree vol 2 (£20-99, Fantagraphics) by Ed Piskor…
Ha! I do love Ed’s portrayal of Russell Simmons, and I am pleased he gets the props here – to use the street parlance – that he so richly deserves, for his huge part in the explosion of Hip-Hop and its subsequent introduction to the club-going and record buying masses. He remains a fascinating bloke to this day, actually: a staunch vegan, transcendental meditation practitioner, and long-time supporter of gay rights, inter-faith dialogue and social activism. But, back in the day, his interests were somewhat more focused on getting paid by finding new musical talent, and having a good time.
That he kept his younger brother out of the studio for so long, despite his ever more vocal protests, is all the more amusing when you know his brother is Joseph Simmons, or as he soon became far better known, Rev. Run of iconic hip-hop grandmasters Run-D.M.C. When he finally let his brother and his mate into the studio, ostensibly to shut them up, Russell quickly realised he had struck not just gold, but multi-platinum. Their first few gigs as a lyrical duo, though, were something of a trial by fire, getting ridiculed for their check jackets and flares stage outfits. Cue one typical flash of Russell Simmons’ genius later, as he spied a casually dressed, hat wearing, sneaker pimped, ghetto blaster toting Jason “Jazzy Jase” Mizell entering the studios whilst debriefing the boys, and the fresh and fly trio of Run-D.M.C. that we know and love today were born. In an era of ever more surreal and outlandish performers’ costumes, their laidback street attire was exactly what was required to appeal to the masses.
The little nugget I have just described above takes up barely a couple of pages of this magnificent second volume, which explores 1981-1983, detailing the continuing, burgeoning public acclaim of the early pioneers like Grandmaster Flash, Melle Mel and Arika Bambaataa, whilst revealing the childhoods and very early days of future legends like Run-D.M.C., the Beastie Boys, Public Enemy and NWA. This series of books, for I assume Ed is going to continue onwards past 1983 which is where this volume concludes, is vital reading for anyone wanting to know more about this era of music. His knowledge of his subject is truly encyclopaedic, but the piecing together of all the various insane anecdotes to produce a coherent and engaging narrative is magnificent craft, and he captures the raw charisma and sheer chutzpah that many of the performers, who had polished their skills on the mean streets the hard way, possessed in abundance. Confidence, usually, was the one area they were not lacking in. Naivety in dealing with record labels, on the other hand…
Just going back to sartorial elegance, or the lack thereof, it takes some believing these days, the outfits some of the early pioneers used to wear. There is a great little scene where someone gets extremely excited over Ice T’s first proto-single simply because he looks like he is straight out of Mad Max. And I am talking Beyond Thunderdome, not Road Warrior… In fact when you look at how Afrika Bambaataa and his acolytes dressed around this period, you can perhaps understand how it wasn’t that big a stretch to someone coming up with the Village People…
I think the connections and friendships Ed details, between various apparently very disparate elements of the wider music and arts scene, particularly in New York, are absolutely paramount to understanding the fast-moving morphology of music at a time where public exposure was also exploding exponentially through MTV, which launched in August 1981. There are some bizarre friendships, occasionally of complete convenience, which you would never expect, yet in retrospect make perfect sense, both musically and indeed fiscally. So when a certain ginger, wild-haired chancer called Malcolm McLaren starts to take an interest in how he can export Hip-Hop to the UK, he insinuates himself into the scene like the veritable social and musical chameleon we now know he was, glad-handing and appropriating everything he needed for his next sonic experiment. Whether the tracks Buffalo Gals and Double Dutch deserve to be mentioned in the same breath as the canon of truly great hip-hop records isn’t for me to decide, but we can’t dispute they certainly played their dancefloor-filling part in helping to bring hip-hop to the UK.
I really do hope Ed continues with this work, not least because his still has a few years to go before hitting my own personal era of getting into rap and hip hop, circa 1988. That all began with catching the Public Enemy video for Don’t Believe The Hype on Top Of The Pops one Thursday night and simply thinking, “What on earth is this?” I did already like a bit of Chicago House at that point, probably had heard some of the Grandmaster Flash and Melle Mel stuff, but one purchase of “It Takes A Nation Of Millions To Hold Us Back” later the following Saturday and a lifelong love with that genre had well and truly begun.
Fish (£6-50, Nobrow) by Bianca Bagnarelli.
Rarely has lilac been employed so effectively (inside – I know the cover’s black cherry), and young Milo’s skin positively glows under the Mediterranean sun.
It’s quite a short piece so I’ll say very little. It’s also the second story about drowning I’ve read in two days.
Milo’s parents drowned and now he is burdened with a sense of loss he finds difficult to express. When he tries, he fails and so he falls silent. His mouth is tiny.
When a girl is washed up on a beach, his curiosity will only make matters worse. Milo has questions which can never be answered.
There’s a stillness here which will leave you staring at each carefully composed page for quite some time. Who knew a prawn would prove so entrancing?
I liked the way Milo wiggles his toes when his legs are dangling over a bridge.
As to the titular fish… no, I’m not going there.
Jim h/c (£22-50, Fantagraphics) by Jim Woodring.
Oh, that happens to me. All. The. Fucking. Time.
Don’t get me wrong, I’m not neurotic: I’m deliriously happy at work and with most of the work that I’ve done, but we all have our doubts.
Jim Woodring’s not neurotic, either. He’s a thinker and a visionary and a craftsman with the visual skill and verbal dexterity to express his visions and, here, thoughts and dreams. He understands dream logic: its surreal segues, odd settings and reconfigured cast combinations. I have, before now, shared an apartment with our Mark, Jo Brand, Warren Worthington III (X-Men’s Angel), an old flame and a couple of strangers we found in the bath.
Because Jim Woodring is best known for the silent FRANK fables (there are many volumes now, each extensively reviewed, so please pop “Jim Woodring” in our search engine) what you may be unaware of until now is that the man also has a way with words. Also, an obsession with frogs whose explanation is revealed in a rather dramatic anecdote in Jim’s introduction which touches on his early experiences with Oz and the history of these earliest works in the magazine-sized JIM which Fantagraphics’ Gary Groth had so much faith in that he published them for years at a loss. What Woodring doesn’t do is explain the contents. You know, apart from that giant frog with its permanently arched eyebrow. Anyway, words:
“Once I had a little trust…
“Its burnished head nattered at me in a voice as wild and sullen as my own and led me to walls that sulked and raged and trees that blared fantastic music.
“I stole something poor in those days and everyone cared, for every leaf was seen not merely as green, but all-fulfilling, peaceful, the soul that sustains the whole universe.”
The images that accompany those words show Woodring playing with a puzzle in the countryside while being inspected by his ubiquitous (censorious? certainly serious) two-toed frog, one eye wide-open in judgement.
Woodring was Page 45’s co-creator Mark Simpson’s favourite comicbook craftsman. Both his imagination and introspection spoke to Mark, as well as – oh, how shall I put it? – the wonder of a reality as conceived and conveyed by its shaman. Along with the comics here you will find many a Jimland Novelty advertised in the back which Woodring hand-crafted and sold direct to the likes of our own visionary, Mark: recipes, recordings, sets of postcards and an Escaped Convict Weathervane with prices ranging from two bucks to two hundred dollars.
“One of the very worst nightmares on my entire life reproduced just as recorded on p.35 of my dream journal. Not recommended. Quickly but tellingly drawn. Tiny book, 12 pp. $3.00”
Thank god it wasn’t page 45!
“Impromptu bedtime stories unspooled on demand for our two-and-a-half-year-old son, Maxfield. Sprawling sagas intended to bemuse and sedate, delivered in droning, fibreless voice. Some crying. Half-hour tape… $7.00”
There is the odd silent short included like Trosper, which lingered long with me and – I’ve just consulted – Dee. Painted in full colour (most of this book’s black and white), it starred a baby elephant whose trunk was coiled up like a snail shell. He’s happily absorbed in joyful, solitary play with a ball while protected by a three-eyed fellow whose skin is the colour of peach flesh (yellow with flecks of red towards its centre) and who wields a green scimitar bobbled with berry-like beads all shiny red. A hooded, would-be assassin in ornate robes strikes and Trosper flees in terror. The trauma’s short-lived. Another ball presents itself.
You might have gathered by now that I too am declining to explain. I’m not being coy or evading the risk of being declared wrong because I am on most days the most opinionated bastard I know. But as I wrote on reviewing Jim’s WEATHERCRAFT, these things are better left for readers to interpret for themselves (yourselves, I hope). You get out what you put in – what you bring to the table. Anything I say risks polluting your personal experience just like some music videos used to set in stone so much of a song which could have meant much more to you.
I will only add that the first comic offered in JIM, Seafood Platter From Hell, indicates that Woodring had first-hand knowledge of catching a skate or a ray as have I, for oh my god those devilish mouths and their prodigiously well-hung wangers!
Also, that Big Red will show you another side of your household cat you would rather not know.
Beyond that there are whimsical advertisements for the likes of Niffers which I am 100% positive Alan Moore must have encountered before emulating / adapting them – no doubt subconsciously – in his LEAGUE OF EXTRAORDINARY GENTLEMEN comics. Niffers were otherworldly, invisible life forms you could invite into your household confident that they could be seen thanks to “a specially patented fluorescent dye-and-medication treatment” and which you could film in stop-motion to render their barely perceptible movements visible. And thereby lies a satori of sorts. “Proof Without Passion” it proudly declares.
Lastly, “Don’t Hit Your Child!” screams a headline for an institution you instinctively suppose to be both benevolent as well as ahead of its day. But its proposed alternative for spoiled brats acting up and so infuriating their parents to their wits’ ends is draconian, to say the least.
“Don’t delay – send ‘em away!”
Possibly effective if they’re ever returned, or damaged beyond repair.
Jellaby vol 2: Monster In The City (£9-99, Capstone) by Kean Soo.
Also a lesson in never abandoning your pet, even if it’s an axolotl. Particularly if it’s an axolotl.
New word: axolotl.
Young Portia and Jason have taken infant dragon Jellaby to a daunting city in search of a door they believe will take him home. Even if they don’t really want to lose him. Unfortunately for all concerned they find that door and what lies behind it finds them… attractive.
More grape colouring and big-eyed cartooning for all ages.
For more, please see my review of JELLABY VOL 1
“Jellaby will win your heart”
Loki: Agent Of Asgard vol 1: Trust Me s/c (£14-99, Marvel) by Al Ewing & Lee Garbett.
If Loki is the Norse God of Mischief, then Al Ewing is his British counterpart.
Yay for gratuitous shower scenes! Lee Garbett’s teenage Loki is hot! Also wet. And steamy.
Yay for a pair of Seven League Boots enabling Loki to dash up waterfalls, over rainbows and scale Avengers Tower! Yay for stolen Shadow Thread and Cheshire Cat grins! And yay for trouble-magnet Clint Barton AKA Hawkeye with his perpetually plastered nose, who can get himself into the unlikeliest of muddles even when playing console games.
“I know – “
“You have the army after you and no health and you’re falling out of a crashing plane.”
“I know, Nat – “
“It’s a bass fishing simulator, Clint.”
“I know! It just – it just happens!”
Oh, this is a most worthy successor to Gillen and McKelvie’s YOUNG AVENGERS towards the end of which Loki enjoyed a sudden growth spurt and now wears black nail varnish. Teenagers! Also, like Fraction and Aja’s HAWKEYE, it kicks off right in the middle when it’s already gone horribly wrong with Loki stabbing Thor in the back with a very big energy sword. I thought they were getting along so much better these days?
But if Loki is the God of Lies, Mischief and Deceit, it probably stands to reason that all is not as it seems. For a start, there is the little question of this series’ sub-title, but who precisely is he working for? Also, how will he get on with Verity Willis whose preternatural skill is to see through lies and illusion? You’d be surprised.
This is fast, fresh and funny as hell with wit-ridden wordplay and plenty of action to boot. IT is, above, great entertainment and that’s what I want from a comic.
Gone is the old, predictable God of Evil with his crooked nose, his goblin eyes and nasty row of teeth. Gone, I say, gone!
Or is he?
As Loki and Lorelei dive-bomb off a passenger jet to break into the most secure cell in Asgardia while Thor provides a ridiculous distraction to avert Heimdall’s ever-watching eyes, the levels of deceit are revealed. Young Loki has played a long game getting where he wants to be, which is access to another cell entirely. But then so has someone else…
The Heroic Legend Of Arslan vol 1 (£8-50, Kodansha) by Yoshiki Tanaka & Hiromu Arakawa…
A new series from the creator of FULL METAL ALCHEMIST which so far seems to be a straight high fantasy caper starring the young prince Arslan, son of the undefeated and borderline psychopathic warrior King Andragoras of Pars. Arslan seems a rather more civilised sort than his father, so when he is dragged out onto the battlefield at the tender age of fourteen for his first taste of combat, it would be fair to say it’s an eye-opener.
When disaster inevitably strikes Pars, many wonder whether Arslan will be up to the task of reclaiming and rebuilding the kingdom, but of course pledge their loyalty and support – to his face, at least.
I quite enjoyed this, I must say. Given FULL METAL ALCHEMIST‘s melding of fantasy and sci-fi, I kept waiting for the weirdness to kick in, but it does in fact appear this will be a straight period yarn. It has therefore much in common with THE VINLAND SAGA, and from this first volume, is on a par with that excellent series in terms of story and art.
Arrived, Online & Ready To Buy!
Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews as reviews. Neat, huh?
The Monologuist: God And The Devil At War In The Garden (£11-99) by Anders Nilsen
The Fuse vol 1: The Russia Shift s/c (£7-50, Image) by Antony Johnson & Justin Greenwood
Tomboy (£11-99, Zest) by Liz Prince
How To Be Happy h/c (£18-99, Fantagraphics) by Eleanor Davis
Invincible Days h/c (£14-99, NBM) by Patrick Atangan
The New Wipers Times (£5-00, Nottingham City Museums) by various
Sisters (£8-50, Scholastic) by Raina Telgemeier
The Star Wars: Lucas Draft s/c (£14-99, Dark Horse) by J. W. Rinzler & Mike Mayhew
Even More Bad Parenting Advice s/c (£9-99, Drawn & Quarterly) by Guy Delisle
Fables vol 20: Camelot (£14-99, Vertigo) by Bill Willingham & Mark Buckingham, Steve Leialoha, Russ Braun, Barry Kitson, Andrew Pepoy, Gary Erskine
Green Lantern – New Guardians vol 4: Gods And Monsters s/c (£12-99, DC) by Justin Jordan, Robert Venditti & Brad Walker, Geraldo Borges, Andrei Bressan, Sean Chen
Avengers Undercover vol 1: Descent s/c (£11-99, Marvel) by Dennis Hopeless & Kev Walker, Timothy Green, Francesco Mattina
Deadpool Vs. Carnage s/c (£12-99, Marvel) by Cullen Bunn & Salva Espin
Fantastic Four vol 1: The Fall Of The Fantastic Four s/c (£11-99, Marvel) by James Robinson & Leonard Kirk
ITEM! Video of Dan Berry sketching in copies of THE END which you will find reviewed up above. All of our copies are sketched in, yes!
ITEM! Sean Phillips interviewed about THE FADE OUT! Which has SOLD out! Review more likely when a second printing arrives. There is a reason it’s sold out, so grab one wherever you can as soon as you can!
ITEM! Eleanor Davis diary comic days one (see HOW TO BE HAPPY in new arrivals).
ITEM! New Tom Gauld cartoon. Funny! Also: guilty!
ITEM! Farel Dalrymple interviewed about THE WRENCHIES – coming soon – which looks utterly phenomenal!
ITEM! Beautiful and tender new comic by Sally Jane Thompson called SCARS free to read online.
ITEM! Publisher First Second’s article on the importance of creator fanbases.
ITEM! David O’Connell’s incisive article on the organisation of comicbook conventions: the bare minimum of what should be happening when quite clearly it’s not.
ITEM! Page 45’s signings past and future revealed in a lavishly illustrated Pulp 365 article by Lynda Clark. Thank you, Lynda, so very kind!