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The Forecast for July 21st 2004
Welcome to The Forecast. Every Monday, Ninth Art's core team of comment writers, the Ninth Eight, will be your guides to the best, worst, weirdest and most noteworthy books on the shelves of your local comic shop. BOOK OF THE WEEK: EIGHTBALL There was a piece in The New York Times Magazine this past week by Charles McGrath about how the first novels were disregarded as some kind of avant-garde silliness, because people didn't know what to make of the form. McGrath suggested that the comic book has been maligned for the same reasons, but comics may be the most exciting literary form to come around in a long while. (You can read more about McGrath's piece in this week's Comment.) There's really no more obvious assertion of this claim than in Daniel Clowes' most recent issue of EIGHTBALL, issue #23, published by Fantagraphics. Since completing GHOST WORLD, DAVID BORING and LIKE A VELVET GLOVE CAST IN IRON, Clowes has turned the focus of EIGHTBALL away from an anthology of his small pieces and towards crafting short stories. The latest issue is the story of a young man named Andy who gains superpowers whenever he smokes a cigarette, and if that's not the biggest paradox thrown right in the face of Truth ads shoved in Marvel comics then I don't know what is. Rather than use his powers for good, Andy takes out his frustrations on people who essentially disappoint him. People who litter or are unkind to animals or make light of someone's emotional trauma. Like most of Clowes work, 'The Death Ray' is concerned with the ambiguity of friendship between teenage misfits, and like any work of postmodernism the story is fragmented and incomplete, leaving the reader to assemble it at will and draw their own conclusions. EIGHTBALL #23 tickled my brain like nothing since David Foster Wallace's INFINITE JEST or Thomas Pynchon's GRAVITY'S RAINBOW. EIGHTBALL has always combined pop culture with angst and alienation, but 'The Death Ray' manages to mix in superheroes, punk rock, teenage bullies and sexual frustration (nothing new to comics, I suppose) within a structure that's completely refreshing. This isn't Grant Morrison shoving his coolness at you, and it's not the work of some pompous art school student trying to remake the world; instead Clowes disassembles the comic book narrative and reassembles in such a way that he asks the reader to draw their own conclusions. He turns the narrative into a puzzle and shuffles the pieces up on a tabletop, then leaves the reader to put it all back together. If he thinks you're doing it wrong, he may turn a piece the other way for you, but he gives the reader enough credit to do it for himself. And that's a brilliant way to write comics. [Frank Smith] BETA BROWSER Writer Damon Hurd continues to expand his repertoire of self-exploratory stories with THE WHITE ELEPHANT from Alternative Comics this week. Illustrated by newcomer Christopher Steininger, whose style has touchstones in the works of Dave McKean and Teddy Kristiansen, THE WHITE ELEPHANT is a stage play in comic book form, the waking dream of a man named Gene caught in a "surreal therapy session," as the ad copy puts it, struggling with depression and anxiety and his tenuous grip with reality. Hurd's writing has rapidly gained him recognition and acclaim that several small-press veterans can only dream of. Unlike the majority of small-press and indy artists, Hurd never bothered with minis or anthology stories to find his place, instead jumping straight into the alternative fray with his first two original graphic novels, MY UNCLE JEFF and the serialised A SORT OF which may have come too early. A SORT OF HOMECOMING and MY UNCLE JEFF were both the sort of stories that seem too familiar and blasé to be deemed unique, but Hurd is young and talented, the type of creator who seems willing to take risks, telling the stories he wants to tell rather than the stories readers want to read. He also seems aware of his own shortcomings; so far all of his graphic novels have been released under what he calls his "beta" line, those stories that come early in his development, before whatever leap he's been searching for to advance him to the next level. THE WHITE ELEPHANT, an intriguing concept with an intriguing approach, may be that leap he's looking for. [John Parker] DARK HORSES THAT PASS IN THE NIGHT I'm on the road right now, and have managed to miss two great Dark Horse comics that came out recently. It's a mistake I intend to rectify. First up is STAR WARS TALES #20. No, stay with me. I haven't lost my mind. Dark Horse may have lost theirs, however. Inside this unassuming licensed-property comic is a 64-page who's-who of indie creators going nuts on poor, innocent STAR WARS characters. There's Peter Bagge channelling the hate of millions of movie-goers towards Jar Jar Binks! Gilbert Hernandez (LOVE & ROCKETS, PALOMAR) writing and drawing "Young Lando Calrissian"! James Kochalka (AMERICAN ELF) doing Boba Fett's slightly less competent cousin, Melvin Fett! Tony Millionaire drawing a drop-dead gorgeous sea story about Jar Jar Binks' ocean-going father! Bob Fingerman laying in to the Ewoks! And much more. Run to your nearest comic shop to buy it. While you're there, grab a copy of FIERCE #1, the Love Brothers' new action/thriller miniseries, which I can only describe as SHAFT meets ROGUE TROOPER. I love BLAMs (Big Loud Action Movies), and FIERCE is just that, in comic book form: no spandex, all attitude. FBI psychic profiler Jonathan Fierce's team, the Razor, are killed in a mission gone wrong, and only Fierce is left to track down those responsible. The minor hitch? Fierce is the dude who stays in the van during missions, and radios in what he can psychically "see" to the operatives facing the real danger on the ground. But with the voices of his dead teammates still in his head, Fierce is ready to step out of the van and into the Jamaican underworld to show that no-one messes with the Razor. [Alex de Campi] IN THE MIX I love anthologies. The stories can be hit and miss at times, but there's a diversity of voices at play that makes anthologies intriguing. But the anthologies I read tend to be prose; it's sad to say that I don't read enough comics anthologies. I plan on rectifying this. The first ROSETTA anthology (Alternative Comics) was nominated for a Harvey and an Eisner, and editor Ng Suat Tong got together an impressive list of contributors. James Kolchalka, Renee French, Danijel Zezelj, Dave Choe and Megan Kelso were only the tip of the iceberg. This time around, Tong has outdone himself. Along with the return of some of the same names, like Kolchalka and Kelso, there are contributions from international talent like Filipe Abranches, Martin Tom Dieck and Edmond Baudoin (with some of these stories translated into English for the first time). The mix also includes, but is hardly limited to, Craig Thompson, Jason Lutes, Peter Kuper and Paul Pope. It's an impressive line-up. I'll admit the thing that grabbed me about this is Pope's contributions: a "poem-story" and unseen art from his days at Kodansha (with commentary from the artist). Alternative Comics publisher Jeff Mason recently put out the call for help, asking readers to pick something up from the company's back catalogue to help them out of a cash crisis. If we want to see more work of this calibre, it would be wise to pick up the second volume of ROSETTA and do both the publisher and yourself a favour. [Ben Wooller] THE SHIPPING LIST FOR JULY 21st 2004: Shipping details come courtesy of Diamond. Visit the Diamond website for the latest information, as the list is subject to change. DARK HORSE MAY040021D NAIL #2 (Of 4) (MR) $2.99
DC COMICS MAY040286D ADVENTURES OF SUPERMAN #630 $2.50
IMAGE MAY031259D SPAWN #136 $2.50
MARVEL MAY041671D CABLE DEADPOOL #5 $2.99
OTHER PUBLISHERS MAY042158F 24 HOUR COMICS DAY HIGHLIGHTS 2004 TP (MR) $24.95
The Ninth Eight are Matthew Craig, John Fellows, Kieron Gillen, Alistair Kennedy, Zack Smith, Andrew Wheeler, Ben Wooller and Bulent Yusuf. Ninth Art endorses the principle of Ideological Freeware. The author permits distribution of this article by private individuals, on condition that the author and source of the article are clearly shown, no charge is made, and the whole article is reproduced intact, including this notice. Back. |