A panel from OMAC: One Man Army Corps, vol. 1 no. 2, 1974 by Jack Kirby (1917-1994). Inked by D. Bruce Berry (1924–1998). No colorist credited.
Illustration for Moby-Dick, 2014 by Christophe Chabouté (b. 1967)
Illustration for Raw #4, 1982 by Charles Burns (b. 1955)
“Pig,” from Zap Comix #2, 1968 by Victor Moscoso (b. 1936)
A panel from “Slow Dancer” by Bill Sienkiewicz (b. 1958). Published in Epic Illustrated #34, Feb. 1986.
RIP Gilbert Gottfried, 1955-2022
The Comics Journal’s lengthy write up of “The Best Comics of 2021” is up. Here’s my entry:
When I was a kid one of the greatest small joys of my short existence was reading the comics page in the morning newspaper, an experience that seems and quite literally is of another century. I loved Calvin & Hobbes, Bloom County,and The Far Side, but my favorite was Peanuts. While it’s not exactly the same as poring over the morning paper’s comics, I love to see Peanuts on this Day in my Twitter feed. So much has been written on Charles Schulz‘s genius, so I won’t wax more – I’ll just add that Charlie Brown’s strange defeated ever-reemerging optimism still brings me a weird dark hope.
I also continue to really dig Drew Lerman‘s Snake Creek series. Roy and Dav are perfect heroes for the 21st century, a new Vladimir and Estragon wandering through Weirdest Florida. Lerman publishes Snake Creek on Instagram. He collected the first few years of the strip in a volume that is now out of print. I hope he’ll reprint it and put out the latest strips in a paperback at some point soon.
Another artist I followed initially on a social media app (Tumblr) is Yvan Guillo, aka Samplerman. Samplerman’s collages initiate his audience into a new world of pop art surrealism where the Ben-Day dots of twentieth-century pulp transmute into a comic book you read in a dream when you were a kid. I picked up his 2021 book Anatomie Narrative (Ion Edition) and got lost in it again and again. The word narrative in the title asks the audience to understand story in a new way (or to take the title ironically, which I do not). The story here is pure aesthetics.
Another book I loved this year was Paul Kirchner‘s Dope Rider: A Fistful of Delirium (Éditions Tanibis), which collects the Dope Rider revival published in High Times from 2015 to 2020 (Dope Rider‘s initial run was in the ’70s). Great art, great jokes, great goofy fun.
I also spent way too much of the little free time I have going through old issues of The East Village Other. The scans I pulled from JSTOR are difficult to read, but the graphics are really what interests me. Initially I was looking for comix by folks like Bernie Wrightson, Art Spiegelman, Robert Crumb, and Kim Deitch – but I also love all the old ads for weird albums, concerts, films, and books. A digital scan of an old, weird paper with its own weird comix isn’t exactly the same as having the paper in your hand. But it’s better than nothing.