Category: News

Sixty years ago next year, the remnants of the Fleischer Studio teamed up with the folks at St. John Comics (Tor, Three Stooges, and the original 3-D comics) to create Casper The Friendly Ghost #1. It lasted five issues. Paramount, owners of the Fleischer operation, took the license over to Harvey Comics and a legend floated off the ground.

While children’s comics have been largely ignored in the American marketplace for the past decade or two, Casper stayed alive in movies and on DVD. His present owner, Classics Media, has big plans for the ghost’s 60th.

They’ve got a major Halloween push coming this fall, including clothing and music and games and toys and greeting cards and tattoos.

They’ve also got a new teevee show which already has been sold in 60 markets, including France, Britain, and Japan.

As for comics, well, Dark Horse recently released a nifty reprint anthology, mostly in black-and-white but still a great value.

Not bad for a small child who’s been dead for 60 years.

Dash Shaw has a strange habit of defining things, of explaining all the elements of his world in minute detail.

In his new 700-plus page graphic novel Bottomless Belly Button (Fantagraphics, $29.99), that microscopic focus takes on monumental scope as Shaw relates the foibles and piccadiloes of the Loony family when the patriarch and matriarch announce a divorce after decades of marriage.

The family (the parents, their three children, one spouse, two grandchildren) gather at the family’s beach house, and Shaw begins by explaining “there are many types of sand” before giving an eight-page summary of these types.

We’re then introduced to the family through a sequence of diagrams, charts and vignettes, quickly establishing their characters and relationship dynamics. In short, their behavior is befitting of their name.

Shaw told me recently that he uses such definitions to orient readers, and from this point [[[Bottomless Belly Button]]] truly takes off in a story that mirrors The Squid and the Whale while never falling into that film’s cold, intellectual trappings.

(more…)

According to USA Today, DC Comics is going to break its long-standing tradition and actually commit to a new series based on a teevee show before it goes on the air. 

J.J. Abrams, instigator of the series Alias and Lost and director of the upcoming Star Trek: The Next Damn Movie, has a new show going up on the Fox Network called Fringe, which is supposed to be in the X-Files vein. The show debuts August 27th; DC’s book – which reportedly is without writer or artist — is supposed to ship the first issue August 13th. We’re not taking bets on that.

Fringe stars Charlotte Rampling (Zardoz), Mark Valley (Boston Legal), Blair Brown (Altered States) and a bunch of others. Abrams’ writing posse of Roberto Orci and Alex Kurtzman, who huddled over Mission Impossible 3 and the aforementioned Alias and Star Trek: The Next Remake, have hooked up for the new series.

Maybe they’ll knock out the comic book while they’re at it.

I don’t know when I first saw an English edition of Barefoot Gen. It was probably sometime in the mid 70s, when I was editing for the modest enterprise that has become the mighty Marvel Entertainment. In those days, a lot of stuff crossed editorial desks and we read most of it, if not all. So: Japanese comics? Sure, I’ll give it a look. It was probably my first experience with manga and I remember feeling a mild taste of cognitive dissonance – a perceived disconnect between subject and form. (I am choosing to ignore, because it’s a bit off-subject, the hybrid of cartooning and illustration that’s most superhero art.)

The subject was grim. Barefoot Gen is the autobiographical tale of a child who witnessed and survived the atomic bombing of Nagasaki. But it was presented in a visual style I would have described as “cartoony.” Like most American pop-cultch consumers, I associated bright, simple, exaggerated drawings – cartoons – with material that was at least supposed to be humorous, and there was nothing remotely funny about Barefoot Gen. It was, and is, a powerful anti-war document and, because it is that, deeply humane.

It’s creator, who did both art and copy, is named Keiji Nakazawa, and Barefoot Gen is his story. He had this to say about it: “People should be told what happened. If you live through something like the A-bomb, you know that war is too horrible not to be avoided at all costs, regardless of the justifications offered for it.”

The work first appeared in 1972 as a serial in a mass market Japanese publication, Shukan Shonon Jampu (and perhaps some kind reader will translate that for us). Later, it migrated to smaller magazines, and later still, it was published in English as a paperback book series. The most recent English iteration appeared in 2004, with an introduction by Art Spiegelman.

(more…)

Well, that headline ought to cause some Google searcher meltdown. But the fact is, right wing poster child Little Orphan Annie has a lot in common with mega-leftie songleader Pete Seeger.

This dawned on me because of the confluence of recent events. IDW released the first volume of The Complete Little Orphan Annie last week. American Masters ran its documentary about Pete earlier this month and, yes, it’s PBS so it’ll be rerun forever. Which is fine; both are absolutely first rate. Both are American legends.

Little Orphan Annie was created by Harold Gray, a man who fit in nicely with his boss, the contemptible isolationist Col. Robert McCormack, a man so far to the right when he disagreed with the politics coming out of Rhode Island he removed their star from the American flag that was raised right above his office atop Chicago’s Tribune Tower. Until he was told he could go to jail for desecrating the flag, McCormack and his employees – including Gray – worked right under America’s only 47 star flag. Both Gray and McCormick loathed Franklin Delano Roosevelt to the point of histrionics. Gray’s comic strip fully represented those values; Annie’s Daddy Warbucks even did a little jig on FDR’s grave. (more…)