jokingofcourse

August 16, 2020 1:44 am Re: Dr. Strange The current era began with Jason Aaron / Chris Bachalo back in 2015 and then Donny Cates took over leading to Damnation mini series and then relaunched with Mark Waid’s just ending run. If you haven’t read any Dr. Strange, definitely start with the Ditko Strange Tales #110-#168 (also includes Marie Severin art) as it introduces all of the main characters/villains that you need to know. From there, pick and choose whatever collections of the Roger Stern or Steve Englehart written issues from the 70’s early 80’s that you can find. But “Dr. Strange & Doctor Doom Triumph and Torment” graphic novel, the “Dr. Strange Shamballa” graphic novel, and the Brian K Vaughn / Marcos Martin “Dr. Strange The Oath” are all excellent stand alone stories.

August 6, 2020 9:33 pm I was just giving you the business. I’d love to feign outrage, since I love comics that evolve or play with the formal art form of comics, but I’ve only read it once and looked through it another time, so I’m not a good one to judge... Unless. You did recycle though right? Dear god tell me you recycled.

August 4, 2020 6:50 pm Did you toss “One Soul” by Ray Fawkes in the trash? ... Well, at least the seagulls and rats will have something good to read as they drift off to sleep after a long day of trash combing. Sweet dreams lil rodent. You earned it.

July 7, 2020 2:15 pm Jordan Crane’s “Uptight” (published through Fantagraphics or all digitally on comixology) it’s quarterly. it’s a one man anthology of short or serialized stories, with an impressive range of different styles and techniques matching the wide variety of story genres. (Issue #5 has a couple short sci-fi and twilight zone-esque tales with top of his game storytelling and design) If you want a comic that’s not “just more of the same” or mindless check out distraction. This is it.

June 30, 2020 10:43 am I will acknowledge Josh’s “Boogie Nights” Buck selling in the stereo shop quote, for the sake of acknowledgement. Conor- where’s your LA cake spot? As an ex- fifteen year Glendalian of days long ago, Porto’s was always the cake default go-to. and just as I’ve now learned to let go when people say “comic book movie” when they actually mean “ super hero movie”, I now must start my journey to acceptance that when you guys say “comics” you actually mean just “ comic book store comics“ (ie. monthly comics) and ignore half of all the other comics being created out there.(book trade graphic novels, webtoons, small press, zines)...but apparently that journey begins tomorrow since I just mentioned it now... I’d say Jacob Phillips art is more Sean Phillips circa “My Heroes Have Always Been Junkies” light and slightly cartoony(with Jacobs art being slightly more so). Sean Phillips Art on “Kill or Be Killed“ and most “Criminal” arcs is a bit angular and blocky with dark and moody heavy inks with stiffer character poses, and only in the loose school as Jacobs art there. My guess would be that Jacob Phillips Art moves towards the more cartoony side, but only time will tell.

June 21, 2020 6:56 pm First...Bravo for a Carmen Herrera name drop. You had to pass by Frank Stella, Ellsworth Kelly, Josef Albers, Victor Vasarely and Bridget Riley to land on that one, unless art history classes highlight different artists now since a couple decades back. I would say, in reality, it’s more nuanced than any binary (good/bad) mindset would make it and the comparison to the artists you mentioned is not straightforward. Most of the mentioned artists forged a new aspect of art in their 30s, then proceeded to investigate that same newly discovered aspect for the remainder of their careers, instead of continually inventing even more new aspects. The result was those artists making some of the best versions of their work later in their lives. Like one honing a craft of their own making, but resulting in a practice that may seem repetitive and limiting. (Artists who spent careers in continuous reinvention would be more like David Hockney or Bruce Nauman) Kirby, as an illustrator, relies more on eye hand coordination and technical proficiency, which can diminish with age. Also the actual Kirby hand is obscured by his reliance on inkers, who influence the finished work, making it difficult to judge accurately. My observation would be that the subtlety and variation in Kirby diminished over time, as he relied on previously invented techniques all the while his creativity blossomed, but that it depends upon the comic and the page and the panel. Kirby’s creativity and inventiveness surely did not diminish in his later years (submit evidence: Marvel Treasury Edition of 2001 A Space Odyssey; just pandemic-splurged an original copy and it’s amazing, a must own) However, also on evidence are his reliance on techniques invented years prior (people become more blocky and similarly shaped, including heads, body types and facial expressions; reuses story telling techniques e.g. the canted close up shot of the eyes, foreshortened figures falling in into corner of panel) I’d love to be on topic and detail his New Gods work, but I library read it last summer and, boys, I empathize, as it was touch and go to finish the book by the due date, so I don’t have it handy to flip refresh through. So, of course. Of course, people are still vital and creative in their 50s and 60s and beyond. Of course people rely on established techniques to create (especially in a production medium) as it’s difficult create new artistic world views constantly. Of course an accurate assessment of Kirby’s work is difficult due to his collaborators Of course the New Gods are worth reading. And of course I wrote an indulgent too long didn’t read post.

June 18, 2020 1:25 am Four points: Seems like the number of times The Joker appears in comics per year historically is something one could determine, if one were interested in knowing if this year is an actual increase over any year prior. Or one could just have opinions based on hunches. First issues, with their absence of fan letters to print, have always had essays in the back of the issues. Just was re-reading a two pager essay from issue one about how DC’s “Wasteland “ came to be from editor Mike Gold circa 1987 that could fit in the back of any Image number one today. I forgot, did anyone read Fraction & Elsa Charretier‘s “November “? Add that to your list of Fraction 80 pages later and you have no clue what’s happening or why you should read the next volume. Beautiful art and the story telling in any given section is inventive and interesting but by the end it just makes you feel like a dum dum for not “getting it” I think the concern with Diamond / DC is the possible fear of a Diamond collapse if there are any additional stressors to their company. I see no evidence that Lunar or UCS could absorb the entirety of comics distribution immediately so there could be many many months of disrupted comics distribution that could see even more store closures which could lower print run demands below where it would be profitable to print periodicals. Probably not likely, but a concern. That may have been a few points too many in hindsight...

June 13, 2020 1:00 pm I think the “salad”, in Josh’s “too many snacks analogy“, would actually be something like PBS Frontline episodes. “Sopranos” would be some high end snack (one I’m not hip enough in the moment to name. so won’t even try) amazingly tasty, made from quality ingredients, but still chock full of fat and salt...pink Himalayan salt albeit.

June 1, 2020 4:21 pm Excellent legal advice gentlemen. Always consult a legal professional. For those too dumb to follow that advice; a barely knowledgeable FYI: Pre 1998, yes, you had to register your expression of an idea with the copyright office to have any copyright protection. No longer, Post the Digital Millennium Copyright Act, your work has the lowest form of copyright protection at the moment of its creation. (this protects iFanboyers clever website musings from those evil hackers and thieves) However, it is always best to register “the expression of your idea“ (ie your comic) as not only is it relatively easy and cheap(look into a self help service such as LegalZoom) it also establishes your claim and makes you eligible for statutory damages against infringers if your lawsuit is successful, up to $150,000 per work, per infringement. Registering will also make it easier to find a lawyer as they will know that there may be a potential payout at the end. Summary: you are protected, but if you ever wish to gain compensation or stop a copyright infringer, you should register your comic. Go to copyright.gov check out their FAQ to learn more...or listen to the podcasts “This Week in Law”, or old episodes of “Barely Legal Radio“ or check out the Nolo Press book on Copyrights and Trademarks. After you’ve done that, you will know how dumb it was of you to read this post.

May 28, 2020 6:21 pm as James V. from Calgary’s question was recommendations for “acclaimed” Graphic novels I would recommend in similar vein to what was read (in addition to thirding the excellent Asterios Polyp”): “Black Hole” by Charles Burns “The Fixer” by Joe Sacco (or really any of his books) “Ghost World” by Daniel Clowes (again take your pick) newer works for those asking: “Sabrina” by Nick Drnaso “My Favorite Thing is Monsters “ by Emil Ferris “Spinning” by Tillie Walden Those books all have critical praise and are worth reading. happy to list more if needed. Good reading.