Tagged: strip

Martha Thomases: Disappearing Doonesbury

Doonesbury is going on an open-ended hiatus. Boo.  Hiss.

In the link above, creator Garry Trudeau says, “I’ve done the strip for 43 years — 45 if you include the college edition [at Yale] — and I’m ready for an extended break.”  He wants to spend his time writing Alpha House, his brilliant series on Amazon Prime that stars John Goodman and Clark Johnson.

But what about me?  What about my needs?

I’ve written before about how much I love Trudeau’s brilliant newspaper strip.  I’ve been reading it almost as long as it’s been running in syndication.  Back before the Internets, my mom would cut each strip out of the paper and mail them to me when I was away at school.  That started when I was in high school.  The Beatles were still together.

Since then, I think I’ve read the strip every day it’s run.  Trudeau took some time off over the years, to take a break, to recharge  his creative batteries.  At first, this caused something of a scandal, since no other syndicated cartoonist had done that before.  The risk of losing income through losing audience and subscribing papers was too high.

Trudeau showed it could be done.  These days, cartoonists take breaks when they need them.

I get that intellectually, and politically I’m with them.  No one should be burned out by over-work, whether that work is drawing Pulitzer Prize-winning comics or making fries.  We each deserve to live a life balanced among responsibilities, joys, family and community.  If we’re going to talk about the “dignity” of work, we should treat all workers with dignity.

Having said that, I really resent this break he’s taking.  He made me fall in love with these characters, to watch them live and grow, and now he’s taking them away.  I’ve loved B.D. and Joannie and Mark and Duke and Mike and especially Zonker as much as — no, more — than some people in my own family.

Trudeau promises they will be back on Sundays, at least for the foreseeable future.  I can read my old collections, and the archives online.  It will be like going off to college, where, instead of seeing your folks every day, you call them once a week.  They are still part of your life, just not as much.

Don’t forget to come home for Thanksgiving, Garry.  We’ll save you a seat at the table.

AIRSHIP’S LATEST RELEASE DEBUTS! GHOST BOY!

  • News
  • February 17, 2013

Airship 27 Productions announces the release of their second title for 2013, GHOST BOY. 
ghost-boyb-7224839
The during the 1960s America was locked in a tense Cold War with the Soviet Union, Ian Fleming’s James Bond unleashed a spy craze and the Beatles swept across American shores with their version of new pop-rock and roll.  Meanwhile American comics had entered into the Silver Age with the birth of Marvel Comics.  Every week new titles seem to proliferate drug store magazine racks. 
Now Airship 27 Productions has dug deep into those long forgotten comic vaults to revive Jigsaw Comics’ odd-ball hero, GHOST BOY.  Created in 1964 by writer Art Croxton and artist Ric Sippo, the short lived series starred young Alex Conroy as the top agent of S.O.S (Science Operational Security) who is possessed with strange superhuman abilities. His best friend was an eight foot robot called P.O.P.S (Photoelectric Optimal Protection Sentry). 
Writers Terry Alexander, Micah Harris and Andrew Salmon recapture the fun and magic of this 60s forgotten character and offer up four brand new adventures. As an extra bonus, Ron Fortier and artist Gary Kato recreate the origin tale of GHOST BOY in a special 9 pg strip which kicks off this thrilling collection all gathered under a gorgeous cover by Laura Givens.
Comics fans rejoice, GHOST BOY is back! 
“Actually he never left,” explains Airship 27 Productions’ Managing Editor Ron Fortier with a mischievous grin in his eyes.  “That’s because there never was such a title and this particular project is in reality our homage to those wonky Silver Age comics we all grew up loving.”  Fortier goes on to explain the idea came about when the company looked into adapting an authentic 60s comic series only to discover the property was still under license.  “That’s when we collectively had this idea to make-up our own comic hero from that decade and see if could recapture the odd-ball exuberant charm those books contained.  We will let our readers judge if we’ve succeeded or not.”
AIRSHIP 27 PRODUCTIONS – PULP FICTION FOR A NEW GENERATION!

Available now at Create Space –
(https://www.createspace.com/4176057)
As a PDF download from our website for only $3.
(http://robmdavis.com/Airship27Hangar/index.airshipHangar.html#ghostboy)
Within another week on Amazon proper and Kindle.
And within two weeks at (www.IndyPlanet.com)

MARS MCCOY BLASTS OFF INTO COMICS!

  • Uncategorized
  • January 9, 2013
marsmccoycomic-4095274
Art: Eric Hurley

New Pulp Publisher Airship 27 Productions has announced their 2013 Mars McCoy Space Ranger plans. The second volume of the pulp prose anthology series featuring the character will be available in early 2013 as well as in comic books. There is an 8 pg. Mars McCoy comic strip in development written by Mike Baron with art by Eric Hurley, as seen above.

REVIEW: Dick Tracy

Today, comic book fans may recall Warren Beatty’s adaptation of Dick Tracy as a memorable misfire. When it was released in 1990, it was met with, at best, mixed reviews and while it performed respectably at the box office, missed Walt Disney’s estimates so the hoped for franchise was stillborn. Blame could be squarely placed at Beatty’s feet since he had a strangle hold on the film as its director, producer, and star. It got so crazy that poor Kyle Baker had to use only three approved head shots for the 64-page comics adaptation, which stretched even his considerable skills.

We have a great opportunity to reconsider this film now that Disney is releasing it tomorrow on Blu-ray.  One of the things about the production is that Beatty wanted to recreate Chester Gould’s strip as faithfully as possible, which meant he limited the color palette to a mere seven colors, predominantly red, blue, yellow, and green – all the same shade. Surrounding himself with a veteran crew consisting of production designer Richard Sylbert, set decorator Rick Simpson, cinematographer Vittorio Storaro, visual effects supervisors Michael Lloyd and Harrison Ellenshaw, and costume designer Milena Canonero, Beatty got the best looking film possible. The translation was so faithful that mainstream audiences took issue with the look.

What Beatty seemed to forget is that adapting from one medium to another requires certain accommodations and this experiment just didn’t work. In vibrant Blu-ray, after a digital restoration, its sharply garish and not necessarily for the better. What did adapt better were the makeup designs that replicated the grotesque Gould rogues gallery thanks to the ministrations of prosthetic makeup designers John Caglione, Jr. and Doug Drexler.

Only someone as major as Beatty could have corralled the roster of stars to don the latex, including Dustin Hoffman (Mumbles), William Forsythe (Flattop), James Tolkan (Numbers), Mandy Patinkin (88 Keys), R. G. Armstrong (Pruneface), Henry Silva (Influence), Paul Sorvino (Lips Manlis), James Caan (Spuds Spaldoni), Catherine O’Hara (Texie Garcia), and Robert Beecher as (Ribs Mocca). In fact, there are probably half-a-dozen too many of Gould’s creations in the mix, diluting the impact of any one foe especially when they were all under the influence of Al Pacino’s Alphonse “Big Boy” Caprice.

On the side of good there’s Glenne Headly as Tracy’s longtime love, Tess Trueheart; Charlie Korsmo as The Kid, Charles Durning as Chief Brandon, and Dick Van Dyke as District Attorney John Fletcher. Headly’s little girl voice has always annoyed me and she really didn’t have much to do, which meant she was easily eclipsed by the film’s real femme fatale: Madonna as Breathless Mahoney.

The script from Jim Cash and Jack Epps, Jr. is remarkably faithful to the golden era of the strip, with the blood-soaked streets of the big city, and a cops and robbers vibe. The main story involves the Kid witnessing a mob hit from some of Big Boy’s enforcers and the crime lord wants him silenced before a possible trial. And Breathless is the only witness to a kidnapping so Tracy spends quality time with her, where she does her best to seduce the square-jawed hero. And pulling the strings from the shadows is a criminal known only as The Blank, whose true identity is revealed late in the film and may surprise a handful of viewers.

The movie crackles along but even in the rewatching, just lacks a vital spark to make us care or cheer. The story and performances almost take themselves too seriously and when set against the uniquely colorful setting is more jarring than anything else. It’s not a bad film in the end, just not a very exciting one.

The digital restoration needs to be seen to be appreciated and Disney did a lovely job, The Blu-ray comes with a digital copy but neglects to include any extras to strongly recommend its acquisition.

TARZAN GOES ON THE AUCTION BLOCK [UPDATED WITH HI-RES ART]

  • Uncategorized
  • November 22, 2012
7401_28header-9394878

As part of the upcoming November 29th sale of Pop Culture merchandise at Christie’s Auctions are two pieces of original artwork for the syndicated Tarzan comic strip from the series Tarzan Against Dagga Ramba and Tarzan And The Barbarians by legendary Tarzan artist Burne Hogarth.

PRESS RELEASE:

POP CULTURE
London, South Kensington
Nov 29, 2012
Sale 7401

7401_27-6179827
Art: Burne Hogarth

Lot 27
Tarzan, 1942
Burne Hogarth (1911-1996)
Original art work for the syndicated Tarzan comic strip from the series Tarzan Against Dagga Ramba, watercolour, pen and ink on paper, the story titled Beseiged, published 15 March, 1942, the artwork signed and dated 575 3-15-42, Hogarth, additionally signed and inscribed For Danton Burroughs – warm regards, Burne Hogarth, July, 4, 94, the reverse of the frame also signed and inscribed For Dan Burroughs, A nice turn of story on this page with modern military accents putting TARZAN into a different focus, All best! July 4, 1994, HOGARTH
28½x21¾in. (72.5×55.5cm.)
Estimate 10,000 – 12,000 British pounds
  

7401_28-7954595
Art: Burne Hogarth

Lot 28
Tarzan, 1943
Burne Hogarth (1911-1996)
Original art work for the syndicated Tarzan comic strip from the series Tarzan And The Barbarians, watercolour, pen and ink on paper, the story titled The Foe Aroused, published 10 January, 1943, the artwork signed and dated 618 1-10-43, Hogarth, additionally signed and inscribed For Danton Burroughs – best thoughts, Burne Hogarth, July 1, 94, the reverse of the frame also signed and inscribed Dan, Compositionally, an interesting page – The ‘design flow’ moves in angular verticals and horizontals thrusting through the panel grid. The setting is mostly rocks and stone and makes a wonderful consistency of concatenating forms. Do you like it? all best, Burne Hogarth, July 1-94, HOGARTH
28×21½in. (71×54.5cm.)
Estimate 10,000 – 12,000 British pounds

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STRIP TEASE

  • News
  • September 17, 2012
Art: James Burns

Here’s a sneak peek at the upcoming Lance Star: Sky Ranger weekly web strip from New Pulp creators Bobby Nash and James Burns, the same team that brought you the Lance Star: Sky Ranger comic book “One Shot!” “We’re still early in the process of creating the strips so it’s not quite ready to show off,” says writer Bobby Nash. Nash also added that he couldn’t resist a good tease when he released the image above.

Keep watching All Pulp and www.lance-star.com for more details as they become available.

THE PHANTOM UP FOR GRABS!

  • Uncategorized
  • June 24, 2012

Terry Beatty, artist of the Phantom Sunday newspaper strips is offering some of his Phantom artwork for sale in order to raise the funds to replace the computer he uses to digitally pencil, letter and color the strip.

From Terry’s blog:
The process here is that I print the pencils (done in Manga Studio) in blue (a 50% cyan usually), along with the lettering and borders in black, on 11 x 17 bristol board, and then ink the art traditionally by hand with brush and pen. Some of the blue “pencil” lines can show through — but it’s usually rather subtle and doesn’t detract from the art at all.

This is then scanned for color, which is done in Photoshop. In some cases, repeat panels are digital printouts as well — and the logo panel is always printed — the modern equivalent of a “paste-up” — but without the eventual rubber cement stains or faded photostat! Sound effects lettering — and once in a while, some of the more mechanical background lines, are digital as well.

As an incentive to buy now, I’m going to include with each Phantom page purchased, a randomly chosen page of original artwork from my files of comic book pages inked by me. I’ll also toss in a few surprise extras just to sweeten the deal. Prices include shipping in the US — overseas shipping will have to be calculated and added in, as that can add up a little too much. I’m also dropping some of the prices a little from the prices I’ve had on these at comic book shows.

Art here is all from Sunday strips that have seen print, starting with the first page from the current Power House gang story (sorry, all but one “Shadows of Rune Noble” pages are gone — and I’m keeping that one). I do have pages that have not seen print yet — but can’t show them publicly, for the obvious reason.

Check out the pages and prices at http://terrybeatty.blogspot.com/2012/06/original-phantom-art-up-for-grabs.html

Review: “The Curse of the Masking-Tape Mummy” by Scott Meyer

the-curse-of-the-masking-tape-mummy-by-scott-meyer-2162889The Platonic ideal of the comic is precisely balanced between art and words, each as exquisite and precise and lovely as the other. And there might actually be one or two comics that come within spitting distance of that, but not much more: it’s an ideal because it really doesn’t happen. Every comic, like every work of art in any medium, has its strengths and weaknesses, and what good cartoonists do is to work to their strengths.

Scott Meyer’s strength is his writing: he’s witty, writes great dialogue, and has a enviable eye for the situations in his own life that can be turned into comics. His art is serviceable but a bit bland: he rotoscopes (or “traces”) over photographs, reusing the same poses (and, one suspects, the same art) repeatedly, and this means his cast is inherently limited and their poses equally limited. (It’s not a coincidence that the primary characters of Myer’s strip, Basic Instructions, are the Meyer stand-in, his wife, and his best friend.)

Meyer clearly knows what he does well: Basic Instructions is a deeply wordy comic, a four-panel newspaper-style strip crammed full of captions, explanations, dialogue and repartee, with just enough art to hold it all together. And the third collection of Basic Instructions, The Curse of the Masking Tape Mummy, has just been published by the wonderfully named Don’t Eat Any Bugs Productions, bringing together 136 comics (just shy of a year’s worth at Meyer’s three-times-a-week posting schedule) between two dark-blue covers.

This year’s worth of strips does see Meyer extending the strip, moving out from his original office and home locations (it’s not coincidental that Basic Instructions got a big boost from a laudatory post from Dilbert‘s Scott Adams; Basic Instructions is one of the heirs of Dilbert in many ways, from that office focus to its snarky tone to the balance of art and writing) into superhero parody, with the introduction of Omnipresent Man, the Knifeketeer, and more to complement the original could-have-been-a-one-off-joke of Rocket Hat. That also gives Meyer a way to extend his cast without getting more models — he reuses himself and his friends (I assume that his models, whatever characters they turn into in the strip, are actually his friends, because otherwise it would be difficult to get them to do multiple poses) as those superheroes as well as “themselves.” (And even the names and powers of two of those heroes — Omnipresent Man and Mr. Everywhere — have a secondary joke in their re-use of the art for “Meyer” and “Rick”.)

Basic Instructions is a mature strip at this point; it has a solid cast with well-defined relationships, and Meyer is free to use that to just make his jokes and commentary — which range from the usual “my office-mates  have idiosyncrasies that horrify and disgust me” and “my spouse is vastly smarter and more in touch with the real world than I am” to the more particular nerdy complaints about Star Wars‘s AT-AT and to explorations of the odd psyche of “Rick.” Humor isn’t as universal as it should be — which is one way of saying that too many people don’t find the right things funny, the way I do and the universe intended — but Basic Instructions is nearly always quite funny, and always at least mildly funny. If you haven’t read it before, you should check it out — unless you’re some kind of un-American type who doesn’t like to laugh.

(My old review for the first collection, Help Is on the Way, is also still floating out there in the Internet ether.)

Martha Thomases on Neil Gaiman and Alison Bechdel

thomases-column-art-1206011-3995898As if to offer a bookend to last week’s column about Neil Gaiman and creativity, Amazon delivered Alison Bechdel’s new book, Are You My Mother? A Comic Drama. A companion to her harrowing and brilliant previous book, Fun Home: A Family Tragicomic, which was about her father’s life in the closet and eventual suicide, Are You My Mother is about her relationship with her mother, and the life of an artist.

I’ve been a huge fan of Bechdel’s work since I first saw her strip, Dykes to Watch Out For. The sense of humor on display here, making fun of the challenges facing those who aspire to change the world with their passion, fervor, and political correctness, mirrors my own. (If you, too, like Bechdel’s series, I can’t recommend The Complete Wendel enough because Howard Cruse is incredibly funny.) I know the people in the strip. I identified with these characters so closely that I would sometimes question my sexual orientation.

Are You My Mother isn’t funny. I mean, there are some laughs, but the story is about the struggle the artist faces when she tries to make art that is honest and meaningful and, with luck, lucrative enough to make a living. The struggle involves the women she loves, including her mother and her therapists. I’ve read some criticism of this book that centers on the sections about psychiatry, saying they are too literal, too heavy-handed. I didn’t find that to be true. I thought they reflected the artist’s zeal to find answers, to find ways to heal her pain.

Gaiman discussed the nuts-and-bolts of an artist’s life. He talked about what to do, what kind of jobs to take, how to deal with discouragement, and how to carry on. Bechdel describes the work, the really hard parts, where you have to dig and be honest, no matter what the consequences.

I don’t think these two perspectives are in conflict, nor do I think one is superior to the other. I think, in fact, both are saying the same thing: that to be an artist, one has to find one’s unique gift, and then one has to present it to the world. No one else has the same gift, so no one else can do your work for you.

For example, this week, I’ve been mesmerized by a begonia I planted on my terrace. It is red, with an orange undertone and a blush of rose. There is a gray spot on it, one that is probably the first bit of mortality. I cannot stop staring at it. Even when the sky is overcast, the petals seem to glow. I can’t tell you why this moves me so much. Perhaps, in a previous life, I was a queen in India, and my king presented me a jewel with the same tones. Perhaps I lost a beloved baby blanket with that color. It looks a bit like blood, thinned with lemon juice. I know that every writer I enjoy would find a different story to explain it.

As should I.

Gaiman and Bechdel are describing the same thing, but inside out from each other. Either way, it still fits.

SATURDAY: Marc Alan Fishman

 

REVIEW: “Bloom County: The Complete Library, Volume One: 1980-1982” by Berkley Breathed

bloom-county-vol-1-300x231-5139803The erstwhile “Berke” Breathed, who at some point in the last two decades learned what a “berk” was in British slang and decided to extend his professional name, presents one of the most interesting and stark success stories in the history of modern American strip comics: he lept to fame with Bloom County, almost from the moment it launched in 1980. [1] And then he ended that strip in mid-1989 (cementing its role as the quintessentially ’80s strip, for anyone with an axe to grind about that decade), partly for creative reasons and partly for overwork issues, to work on a spin-off, Outland, that never had the wide appeal or impact of its parent, even as it got more Bloom County-ish as it went along.

Every other major strip cartoonist before Breathed had a different reaction to success, creative unrest, and pressures of work: they all corporatized, bringing on gagmen and inkers and ghost pencilers to one degree or another, from the light end of G.B. Trudeau’s Doonesbury (inked by Don Carlton) to the high end of Jim Davis’s Paws, Inc. Garfield empire. But Breathed wanted to do it all all himself, and, if he couldn’t, he didn’t want anyone else to do do anything. So Bloom County remains entirely a product of the ’80s and of Breathed’s youth: exuberant, frenzied, full of more ideas and gags than it quite knows what to do with. (more…)

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