phantom-kiss

A trip to New Zealand and the publication of Dick Frizzell-The Painter (2009) by Random House gave me a chance to appraise the Kiwi artist’s work. Last time I was in the country, I wanted to buy his diptych of panels inspired by the original origin of Batman – a work titled (I recall) Crying Boy & Dead Parents by Frizzell, but I was too late.

More from the Vault after the jump

How great is this?

April 29th, 2010

This is the work of my good friend Paul O’Connell, ably abetted by the terrifyingly talented Lawrence Elwick. It’s a little animation of their excellent ‘Charlie Parker: Handyman’ comic.

This should be on TV in the wee hours of the morning, the perfect tonic for all the alcoholics, insomniacs and late night dreamers the world over….

Lovely stuff.

Go check out more of Paul’s work at the Sound of Drowning website.

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I was brought up on the comic books of the eighties, when colours were flat and negative space was in high demand, when digital meant computer games suffering from colour clash, and when today’s smooth colour gradations were the holy grail of the demo scene. On the whole I don’t want naturalism from my colouring and I definitely don’t demand some early 90s bedroom coder’s version of it. Which leads me, kinda, to my point.

Ever since mindless pal David Uzumeri compared the colouring of Batman & Robin #1 to a badly rendered GIF, I’ve been promising a response. I was troubled by David’s reaction because I thought the blotchy, banded, fuzzy colour gradations added immensely to the atmosphere of the issue, and because I believe David’s objections to only have a tenuous grip on the critical centre. It’s an understandable way of reading the colouring, but I’m of the opinion that with some prodding its dominance can at least be partially undermined and other readings more readily admitted.

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John Hicklenton RIP

March 24th, 2010

Sad news reaches Mindless HQ – a truly superb, and extremely underrated artist is no longer with us. John Hicklenton passed away recently, and the world is short one more unique, incandescent talent.

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Lost again

February 5th, 2010

It’s been a long time coming but at 8 o’clock tonight the UK finally gets to see the Season 6 premiere. In an effort to get into the mood, Zomina and I sat down to rewatch the Season 5 finale last night. I was a little worried going in, as the last time I’d seen it I’d come away dissatisfied, in fact the whole season with its proliferation of sci-fi and fantasy trappings, has shaken my faith a little. It has all started to feel a bit too arbitrary, a bit too incoherent. Lost has trod the fine line between enjoyable absurdity and the irredeemably ridiculous since the beginning, but until Season 5 I thought it had always been on the right side of that line, or at least on the right side most of the time.

lost-last-supper-promo

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Well this. It’s a review of Joe the Barbarian #1 a new Vertigo comic by Our#1 Squeeze and Sean Murphy (who did that Hellblazer story with Jason Aaron a while back, the one with the bloke fucking a dead dog in it. I knew there was promise in that one.) It’s a funny bit of thing, the CBR review, vintage webstuff. Favourite by Mindless consent are the comments ‘holy shit you are a sad man in the internet’ and ‘Bendis could have done it in ten’.

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It’s a slow one for us, so we have joined forces like Voltron, whatever Voltron is (I know what Voltron is because I bought a very cheap Voltron DVD the other week. It was a ripoff – Voltron is a load of old shit). This could get more like one of those old Sugarhill Gang tracks that goes on for ever actually, on eof those ones where they’re just talking about their socks, what they had for dinner, and, most rivetingly, about how their neighbourhood has got, like, a really cool bridge or some shit like that…

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These are the comics that have hit us in our brainless brains this week.

& babble on & on & on & on

December 24th, 2009

Articles of the Shame of a Common Man ~ #1 ~ Things I’m Glad No-one Knows About

A long time ago Laura, who I mentioned in the review of Phonogram 2.1 a year ago and is in no way like the character who once reminded me of her so,  set me a challenge to which I was too weak to rise. She said: ‘If you love Dexys Midnight Runners so fucking much, come into our trendy metropolitan university one morning dressed as one of them circa Come On Eileen. Dungarees, kerchief, hat, the lot. And I will give you fifty English pounds.’ Scared stupid, and unwilling to give her the satisfaction of pissing herself laughing at me while I got stabbed by less tolerant fellow students, I declined, without so much as a too-rye-aye.

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Smirking lke a Cheshire cat, she christens me. ‘Your Phonogram name will be, ‘ she says (except she didn’t of course, it’s just how this could have played out if you were writing the scene like that now… The bit about the bet’s true though, and the name:)

<i>Princess Dexy</i>

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Criminal: Sinners #1
Icon
(Ed Brubaker & Sean Phillips)

Well, I didn’t think it’d be the case, but I’m glad Incognito is over. Something about that series didn’t quite click for me. Don’t get me wrong, Brube and Philips always produce quality work, but Incognito just felt a little…uninspired. It didn’t say anything about supervillians and heroes that the infinitely more sophisticated Sleeper did (God, that was such a good comic).

So seeing Criminal back in it’s place was a winner for this Beast. Criminal feels like it’s the comic Brubaker really wants to write, and there ain’t nothing like an A-grade writer bringing his A-game to the table to put a smile on the face of a discerning comics fan (that’s me by the way, you peasants). This issue takes up with tracy Lawless from the second arc. Still plugging away as a heavy hitter for sebastian Hyde, but he seems to have developed more of a conscience about what he’s doing. Add to the mix a hardnut CIA operative on the trail of Tracy (who’s a deserter), and some upstart vigilantes with an as-yet unspecified agenda, and you’ve gotthe usual ingredients for another hardboiled twisty tale. Part of the pleasure of Criminal is the way that Brubaker plays with absolutley familiar plots and characters, but invests them with the right amount of pep and originality to keep the comic ticking over. Whilst Sin City is a bezerko quasi-parody of noir tropes and themes, Criminal is content to carve out a more convincing, believable style. It’s still a world of permanent night, sleazy neon bars and dangerously horny brunettes (yes Ed, we know you have a type…), but we the reader can relate to Tracy, or Leo in a way we could never hope to with a gonzo caricature like Marv.

Sean Phillips does such sterling, exemplary work that you can take him for granted. But here’s the fact: he’s one of the very best artists workimg in comics and Criminal would be a tenth of the comic it is without his input. He and Brubaker have a powerful creative synergy that many comics would benefit from.

Add the fact that you’ve got a nice interview with Darwin Cooke about his Stark adaptation, an essay on a lesser known Peckinpah movie, and no ads, and there’s really no reason for you not o be buying Criminal. And if you’re buying Captain America and not buying Criminal – naughty!

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Strange Tales #2
Marvel
(various)

Hot damn, it seems like every week is ‘indy creators take on established corporate property’ week don’t it? Let’s see what they’ve come up with…

Well, mostly lighthearted pastiches of Marvel characters! I’ll be danged! I’m a big fan of projects like these, but there’s always something a little…bollockless about them. I mean don’t get me wrong, seeing Tony Millionaire take on Iron Man in his usual drunken style is something I want to see (is it me or is that a perfect fit – big ol’ drunk creator writes big ol’ drunk superhero?) And the talent show on display in this issue and the last is pretty impressive – ‘Red Meat’s’ Max Cannon take on the Fantastic Four is something I genuinely didn’t think I’d see come to pass. But nontheless there’s always something a bit cutesy and tame aout this stuff. Bizarro Comics suffered from a similar slight lack of imagination.

Don’t get me wrong – I’m definitely just grousing here. I’d rather read a comic like Strange Tales than 90% of Marvel or DC’s current output, but I’d really like to see some creator’s go apeshit with their strip, rather than the nudge-nudge wink-wink stuff on display here. The recent Fin Fang Four stuff by Roger Langridge as waaay cuter than most of the stuff in Strange Tales. More often than not you’re left with a watered down version of both the character and the creator, which is a shame. That said I loved Brian Maruca and Jim Rugg’s Brother Voodoo strip, with it’s obvious nod to the duo’s own Afrodisiac character.

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Astro City Special: Astra #1 (of 2)
Wildstorm
(Kurt Busiek & Brent Anderson)

Well thank Galactus the Dark Age is over. I dunno…I really dug the first mini in the most recent Astro City epic (in particular it’s evocation of the streetwise, edgy 70′s strain of Marvel superheroes), but boy did it fucking drag towards the end. For every great idea, like the Apollo 11, there was reams of tedious plot about Charles and Royal’s mission to uncover their parent’s killer. I think the truth is that Astro City functions better with the stand alone stories. Kurt Busiek can often pull tremendously affecting meditations on superheroes out of the bag, but just isn’t served that well by long running story arcs.

Which is why it was nice to pick up the recent special focussing on Astra, youngest daughter in the Furst family (AC’s loose Fantastic Four analogues). Busiek neatly positions her as a kind of Paris/Lindsay Lohan figure, only with super powers and a deeply cosmic social life. It’s a cute idea, played out nicely. It’s exactly the kind of thing this comic does so well. By playing around in a universe of his own creation, one that nonetheless seems ever-so familiar, Busiek can do things he simply can’t in either of the Big Two’s continuity constipated clog holes. At it’s best Astro City reminds you why you fell in love with superheroes and their colourful complicated shared universes. Brent Anderson’s comfortably timeless artwork is a constant throughout evoking Neal Adams or Gene Colan to great effect. His art’s been a bit wibbly of late, but he’s an intrinsic part of Astro City’s appeal – you can’t imagine the comic without it. Even Alex Ross’s overused, bland style seems re-invigorated with his AC covers. Good stuff all round.

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King City #2
Image
(Brandon Graham)

2nd issue of Image’s lovely repackaging of Brandon Graham’s idiosyncratic and fresh King City. I love the expanded format – it gives Graham’s loose fluid artwork room to breathe and really emphasises his use of negative space and weird perspective. Truth be told not a great deal happens (part of the hindrance of chopping up Manga-style formats) but it’s all so charming and different that it’s hard to care. Much like Bryan Lee O’Malley or Taiyo Matsumoto Graham mashes together East and West in a gloriously uninhibited way, and the results are a blast. I could do with slightly less of the hipster angst – too bloody reminiscent of Brian Wood and Jim Mahfood – and more of the Cat, but really, no complaints. Do yourself a favour and pick this up. Gorgeous covers too – I’d dearly love to see some full colour BG stuff.

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Batman & Robin #5
DC
(Donna Tartt & Ernest Borgnine)

Well I can’t really be fucked to talk too much about this. Not because I disliked it – quite the opposite, I’m enjoying the sordid trashy vibe that Morrison & Tan are bringing to the table, in particular the gleefully stupid new characters being introduced and dispatched with giddy abandon. No, I just simply don’t want to fill up any more blogspace with writing about it.

Starstruck #2
(Elaine Lee & MW Kaluta)

IDW’s sumtuous repackaging of this lost and loved sci-fi epic from the 80′s continues at it’s glacial pace – I didn’t bloody realise it was bi-monthly! Difficult to gage the story at this stage. Lee employs all sorts of narrative tricks and quirks to keep things oblique, much like Robert Altman did with film in the 70′s. Characters talk over each other and interrupt each other mid-way through sentences, not to mention talking about vast, complex socio-political alien situations. The scope for the series is certainly ambitious, and the attempt to create a convincingly futuristic world is admirable.

The real draw, obviously, is Kaluta’s beautiful, beautiful artwork. It really is fantastic – delicate, complex linework and a truly marvelous sense of design. The recolouring is sensitive and luxurious and the whole package reeks of quality. Plenty of backmatter as well, not to mention brand new Kaluta artwork in the shape of the curious ‘Galactic Girl Guides’ strip. Starstruck is well worth sampling if you’re after something different