Friday, Jan 28th, 2011
It's Always Lovelier the Second Time Around
Every day we receive emails from fans who want to know when we're going to release new editions of our books that are currently out-of-print. We don't blame anyone for not wanting to shell out $150-200 for a book on the secondary market. So, rest easy, friends. In March, all of our sold-out books will be available again.
They are: Terry and the Pirates 2-6 (Volume one has already been reprinted), Dick Tracy 8, Rip Kirby 1, Bloom County 2 and 3, Archie 1, and Bringing Up Father.
In his introduction to the second volume of Terry and the Pirates, Pete Hamill—one of our favorite writers, author of North River; Downtown: My Manhattan; and the memoir, A Drinking Life—had this to say about the greatest of all adventure strips:
"Here, in this sequence of daily strips and Sunday pages from the first day of January 1937 to the last day of 1938, we see Milton Caniff emerging as one of the most gifted writers of narrative in the American 20th century. Week by week, his drawing takes on a growing power, at once bold and subtle, a display of draftsmanship that was seldom seen before in the comic strip form. But it was as a writer that Caniff excelled.
"We see more clearly now that he was engaged in writing and drawing a picaresque novel, as full of adventures as Don Quixote, Tom Jones or Huckleberry Finn. There is no single plot to be unraveled, no Maltese falcon to be revealed, no butler who confesses to a detective in a crowded drawing room that yes, he did it. In Terry and the Pirates, one sequence gathers momentum, the heroes are trapped, or imprisoned, or face overwhelming odds, and ends with a culminating eruption of action and release. When all is apparently resolved, they move on to another adventure. Day by day, the reader is often left tottering on the serial-writer's cliff, anxious to learn what happens next."
posted by Dean Mullaney
Monday, Jan 24th, 2011
Gutsy Broads, Unite
I have worked as a designer for most of my life. You learn a lot about people this way. Sometimes you work with high-maintenance clients with whom you roll your eyes and try to give them the logo or billboard or brochure that is in their little minds. I am the hands that create what they are envisioning.
It has its moments, though. I enjoy meeting interesting people and I have lots of great stories to tell my children and grandchildren. As I wake up each morning, I approach my computer with a sense of adventure...which comic will I be working on today? Will it bring a smile or will it cause me to interrupt Dean and say, "Oh, my gosh, get over here, you have to see this!"?
Today is one of those days. I'm now working on the restoration of Miss Fury and am becoming more acquainted with Tarpé Mills's style. She loves to show a lot of skin, and the babes are always in furs and hats that look fresh off the runways of Paris. Her art is drawn very traditionally—no surprises, no ah-ha moments. But her storytelling is drawing me in more and more. What a gutsy storyteller: women pulled through car windows by their hair, Nazi swastikas branded to their foreheads...young children being told if they don't stop whimpering they'll get their heads bashed in.
No wonder she passed herself off as a male artist...in those days people would run if they knew these stories came from a woman. I wonder now if my mom ever read these strips or ones like them. Did she pump her fist and say, "YES," as the female villain was knocked down a few pegs, or is this just wishful thinking on my part? I hope she did. I hope that, after the dishes were done and all eight of us kids were tucked in bed, she poured herself a cup a tea and sat with a newspaper and read about women in fancy duds attending fancy parties.
As I work each day bringing life back to this strip, I think of that generation and how this was a huge part of their entertainment. I hope by bringing this strip to the audience of today, they will appreciate what it must have been like to anxiously wait every day for the paper to arrive. This is my pleasure and this is the story I tell to my children: slow down and learn from the craftsmen—and women—of yesterday. Slowly turn the pages and when you come across something that makes you stop and take notice, share it with a friend.
* * * * *
This full-color collection featuring the best Miss Fury strips from the 1940s will be on sale in April, edited by and with a biographic introduction by the one-and-only Trina Robbins.
posted by Lorraine Turner
Sunday, Jan 16th, 2011
Silence Is Golden
As I have stated before, I am new to the comic industry—but am very well aquainted with visual communication. Throughout my journey, I have been by surrounded by some of the finest teachers—some from this century and some from long ago. Yesterday, as I was browsing through the aisles in my local Borders (yes there is still one in Key West), I came across a small section entitled Graphic Novels. I picked up a few books and was quite honestly disappointed. I kept looking at one after another and they all said the same thing to me...noise.
Although the expertise used in rendering the work may have been quite superb, the overall content was crashing as if an orchestra's cymbal player had run amuk, instead of waiting for his cue. Louder is not better, and without the subtleties of a soft melody, the music is just a dull tone. Perhaps I am becoming spoiled working daily restoring strips by artists such as Cliff Sterrett, Milton Caniff, Al Capp, Alex Raymond, and Alex Toth. As I placed the graphic novels at Borders back upon their shelves, I was struck by the fact that their covers looked no different then their "inners." It was as if that special piece of work that used to adorn the outer covering was now all-encompassing.
I walked along the rows of other books and kept wondering why I had found this so disturbing; I guess I was still processing what I had just uncovered. I think storytelling can be muddied by over-embellishment, leaving your eye no place to rest. Many contemporary comics artists are doing a fine job of giving the reader absolutely beautiful work, but are they all beginning to look alike? This is what they need to ask themselves. I wish they would get out of the studio and wander down the aisles of the bookshops and see the work as it lines up like uniformed soldiers along the shelves—all standing at attention wearing identical attire, saying pick me, pick me—I'm really different, just give me a look!
I do not give this thought as a collector or even a person who has been in the publishing industry. I give you my thoughts as one who enjoys a good story, who likes to blend my mind within the pages and let it carry me away. I may not be an expert in this world of graphic novels, but I do know one thing. Artists of today should take time to pause, pick up a collection of any of the masters listed above, and study it. And if they are quiet and really look with intent, perhaps they will discover the secret that was known to the artists who walked before them—to learn to say more with less. Learn the art of silence.
posted by Lorraine Turner
Thursday, Jan 13th, 2011
Talkin' Toth: Part Three
Alex Toth was the master craftsman of comics. He was outspoken, gifted, studious, prolific, and uncompromising. He drew a lot and he said a lot - more than we can comfortably fit into our upcoming three books devoted to this great artist. But we can share some of that additional material with you in this space, so - here is our latest in a series of Talkin' Toth:
ALEX ON ANIMATION, EXCERPTED FROM A 1981 LETTER -
I wonder why it is that the best of any artform is found at its very beginnings? Before the worst of organized commercialism throttles it of its originality, joy, freshness - Disney, the Fleischers, Harman-Ising, Chuck Jones/Friz Freling/Bob Clampett's WB Studios, Tex Avery, etc.—all refined and expanded the animation form (Hanna+Barbera at MGM, too)—true! WW II crimped most of 'em—I guess TV did the rest—the '50s left only Disney doing features, thriving to the '60s -
Bakshi's outrageous excursions, rotoscopy and all—banality, sheer shock, noise, insult and injury—still manage to pump fresh blood into the medium—where he goes from here is an unknown—but he'll always provoke interest—and box office!
I'm admiring of Winsor McCay's solo films (Lusitania/Flying House in particular—beautiful straight-ahead animation, self-taught, original, so well-drawn)—as I am of his Nemo Sunday page artistry—
And corny or not, I get a kick out of Fleischer's Out of the Inkwell live/cartoon combination films—as, too, Gulliver and Mr. Bugs/Hoppity Goes to Town—especially the rotoscope work! Still held charm and warmth—old-fashioned virtues, worthy…
A Koko the Clown model sheet from the Fleischer Studios
Despite exiting animation and its care-killing TV schedules, I love its storytelling medium (as I do adventure strips)—its ability to give life to any story form (and/or personal statements)—surprisingly, during our current space-film craze, it was overlooked as an alternative to $30-$40 million dollar live-action epics - but its many forms were tapped as SP/FX inserts in those films—All I've heard is that Canada's film board talents are at work on a Heavy Metal animation feature—a mix of fantasy/sci-fi, etc., and styles of art based on original strip art—Am curious to see the results…
* * * * *
Genius, Isolated: The Life and Art of Alex Toth will be on sale in March.
A new interview about the book with editor Dean Mullaney is on the Westfield Comics blog.
posted by Bruce Canwell
Sunday, Jan 9th, 2011
Talkin' Toth: Part Two
Alex Toth was the master craftsman of comics. He was outspoken, gifted, studious, prolific, and uncompromising. He drew a lot and he said a lot—more than we can comfortably fit into our upcoming three books devoted to this great artist. But we can share some of that additional material with you in this space, so—here is our latest in a series of Talkin' Toth:
A Ludwig Hohlwein advertising poster from the 1920s for Leibniz-Keks biscuits.
FROM A 1981 LETTER - TOTH ON PAINTS AND FINISHES:
I've had my ups/downs, love/hate bits with acrylics—and, at present, am keen on the wonders of opaque tempera—forgiving as it is of brushes, very workable, paint-over capacity, nice texture when working, paints don't dry out/up in cakes (always semi-moist), etc.—I find school-grade brands as acceptable as the higher-priced "Liquitex."
Am collecting old books on the subject and re-reading my old tomes on its use by my hero illustrators/painters back in the old days of the '40s, etc.… I'm just doing an occasional small rough, no big deal finished paintings, as it's all I can do to meet b&w deadlines, the stuff that pays the rent! But I'm daydreaming painting, all the while—my question about tempera is, how and with what does one fix a painting - as the stuff does chip, dust, rub off, etc.—crack, too, I suppose… Do regular spray fixes, varnishes, etc. do the job? Acrylic clear varnish brushed on? I've got a C.C. Beck Captain Tootsie poster paint piece that I'm spooked to touch with a fix until I know I won't screw it up using the wrong stuff!
* * * * *
Genius, Isolated: The Life and Art of Alex Toth will be on sale in March.
Thanks to our (and Alex's) good pal Bill Peckmann for letting us scan some pages, including the above, from his rare 1920s collection of Ludvig Hohlwein's art. Hohlwein was THE great German poster artist in the modern school and had a huge influence on Alex's use of negative space and composition in general.
Meanwhile, over at SCOOP, Jeff Vaughn expressed his anticipation for the first book:
"With Scorchy Smith and the Art of Noel Sickles, IDW Publishing's Library of American Comics imprint redefined the standards for art retrospective books. Now it looks like they're out to do it again with Genius, Isolated: The Life And Art Of Alex Toth by Dean Mullaney and Bruce Canwell."
Aw, shucks. We just love talkin' Toth.
posted by Bruce Canwell
Tuesday, Jan 4th, 2011
2010: The LOAC Year in Review (part two)
Welcome back to our curtain call for 2010. While the weather outside is frightful (a blizzard is pounding New England as I type), in this feature it's so delightful, with summer in full swing as we look at…
LOAC was in attendance at the San Diego Comic-Con and was humbled (but mightily pleased) to receive the Eisner Award for "Best Archival Project—Newspaper Strips" for Bloom County, Volume One. Bloom prevailed over another LOAC project, Bringing Up Father: From Sea to Shining Sea, which I edited—but a win for one is a win for all, so I was cheering Bloom wildly through my tears.
LOAC Assembled celebrates the 2010 Eisner win: Dean Mullaney, Lorraine Turner, Berkeley Breathed, and Bloom County editor Scott Dunbier, displaying the award. Alas, I was back East, on monitor duty.
Hardly willing to rest on our laurels, as the month waned, our collection of Bob Montana's Archie dailies hit the shelves.
We caught our collective breath in August, even as the rest of the world caught up to us, just a bit. It was highly gratifying to have noted reviewer Charles de Lint praise our inaugural volume of King Aroo in the pages of The Magazine of Fantasy & Science Fiction; scroll to the bottom of his "Books to Look For" column and there they are. The San Diego Tribune also gave LOAC front page coverage as an outgrowth of Comic-Con.
Things were popping on several front in LOAC-land during this month. Here's the rundown:
Beau Smith joined the LOAC family circus as our very own Director of Marketing. One of Beau's missions is to increase LOAC's visibility in school libraries and university bookstores.
Bill Griffith dropped a mention of King Aroo into the September 10th installment of his own strip, the immortal Zippy. Thanks, Bill!
Dean appeared as Chris Marshall's guest on a Collected Comics Library podcast. Through the magic of the Internet, you can listen to the entire program.
X-9: Secret Agent Corrigan Volume 1 went on sale.
Then, if that wasn't enough, things really got busy in…
How to follow up the release of our first collection of Blondie, running from Blondie Boopadoop's very first strip to the wedding (and subsequent disinheritance) of Dagwood Bumstead?
Dean and I swooped in on the New York Comic Con (NYCC) for three days, from October 8 - 10.
Move over, Laurel & Hardy! The LOAC editorial braintrust were on hand to hawk their wares and steer hopeful artists to the IDW portfolio reviews at NYCC.
Our feet grew heavy, standing on a thinly-carpeted concrete floor for nine hours each day, but our spirits were light as we talked to hundreds of fans about comics in general and classic comic strips in particular.
And when the fans weren't visiting with us, we were chatting with the pros. Melissa Singer of Tor Books shared her childhood memories of the great comic strips. James Robinson, Ken Steacy, Glenn Whitmore, Andrew Farago of San Francisco's Cartoon Art Museum, David Armstrong, Ryder Windham, and the one-and-only Don McGregor were some of our other visitors. Dean and I both took time to break away long enough to exchange pleasantries with the ever-amazing Jim Steranko. I was also lucky enough to catch Joe Kubert for a chat, and to meet irrepressible Nicky Brown (you can read her words of wisdom at her blog. My most devilish fun: stepping in amidst some of the IDW staff early Sunday morning to introduce myself to Darwyn Cooke after he arrived carrying a distinctive green briefcase bearing the shamrock logo of the NBA's most storied franchise. "Celtics, bay-bee!" was all I had to say to earn a grin from Darwyn.
Dean and I showed off several of the wonders we've accumulated as we prepare our Alex Toth biography, but few knew that we were also grabbing moments throughout the weekend to have serious discussions about the growth of the project, and the ultimate shape it might take…
Bloom County was one of the most popular items at NYCC—more than one fan was disappointed to learn Berkeley Breathed would not be at the show—but in the wake of the convention, Bloom Volume 3 went on sale.
Across the Atlantic, Bdartist(e) was releasing its French edition of Terry and the Pirates, Volume 1.
Finally, not to be outdone by Dean's September podcast, near the end of the month I was delighted to appear as a guest on Scott Katz's Internet radio program at US Townhall. Yes, Virginia, you can still listen to the interview.
Berkeley Breathed joined the interview Parade with a Q&A conducted by Mike Russell at Ain't It Cool.
Meanwhile, we took a second trip to Dogpatch to learn the origin of Sadie Hawkins Day in Li'l Abner Volume 2:
For days, Dean and I tossed e-mails back and forth using the language of the Mukoy! Yeh, ti desuma su…
Around Thanksgiving, Dean and Lorraine embarked on a junket that included visits with Beau and Beth Smith, as well as the hard-working caretakers of the Billy Ireland Cartoon Library and Museum at The Ohio State University and Randy Scott at Michigan State University, plus Dana Palmer (Alex Toth's eldest daughter) and Eric Toth (Alex's eldest son).
Beau Smith displays his Svengali-like charm over women, to Dean's bemusement.
The Great LOAC Road Trip paved the way for a pair of major announcements on our website. The visit to OSU was in preparation of 2011's Caniff, a visual biography of the creator of Terry and the Pirates and Steve Canyon.
With the endorsement of the Toth family, we also gave readers bad news and good news. The bad news: our original late-2010 solicitation for Genius, Isolated: The Life & Art of Alex Toth was pushed back to the first quarter of 2011. The good news: because we have gathered so much excellent material, the Toth project has expanded to fill three books! Genius, Isolated will be part one of our retrospective on Toth, to be concluded in the follow-up volume, Genius, Illustrated. A third book (plus slipcase for the entire set) will follow, with Genius, Animated focusing on Toth's brilliant career in TV cartoons.
Not only did we release information about some of our 2011 plans—yes, only some. We need to save a few tidbits for the new year, after all!—we stuffed readers' Christmas stockings with a fine pair of new releases: the third, penultimate volume in our reprinting of Alex Raymond's Rip Kirby…
…And the wonderful, must-be-seen-to-be-believed oversize Polly and Her Pals, Volume 1. My heart skips a beat every time I take down a copy of this beautiful collection and start turning the pages. Author Paul Di Filippo calls it: "A monumental object of comic strip bookmaking glory. Phenomenal!" Over at Newsarama, J. Caleb Mozzocco cracked us up in his review of Polly when he dubbed it, "…a perfect coffee table book—not one that you would put on your coffee table...but one big enough to be used as a coffee table."
And that's the way it was—fourteen books, a Free Comic Book Day special, appearances at major conventions on both coasts, a passel of interviews, a truckload of work—and several truckloads of fun.
If you enjoyed this website and the LOAC line of books in 2010, keep watching. We think you'll like what lies ahead in 2011!
posted by Bruce Canwell
Saturday, Jan 1st, 2011
2010: The LOAC Year in Review
While hardly an original idea, the thought of doing a "Year in Review" feature for this space struck me as time and effort well spent. After all, during the past twelve months Dean, Lorraine, Beau, and I have been busier than Santa's elves, ably abetted by Jeet Heer, Joseph Ketels, Brian Walker, and a long list of graphic artists, collectors, and writers who make such important contributions to our line of books.
As we greet the New Year, here's a look back over our collective shoulder at 2010, LOAC style:
The year began with a project near and dear to all our hearts: King Aroo, Volume 1.
It was a great pleasure to bring this gentle, long-overlooked classic back into print, and to help shine the spotlight on the King's talented creator, Jack Kent. We look forward to offering more Myopean Misadventures in 2011!
FEBRUARY & MARCH
Dean's joke is that we were "Closed for Repairs" during these two months, when in reality we were girding our loins for all sorts of activity in ...
We opened this month with a pair of aces and a pair of deuces. As the baseball season began anew (who dreamed it would result in a championship for the San Francisco Giants?), we emphasized the diversity of our line by releasing our second volumes of both Rip Kirby and Bloom County (the latter debuted at number four on the New York Times Best Seller list).
Not only did we serve up thick slices of Berkeley Breathed's increasingly-topical absurdist comedy and Alex Raymond's 1950s New York detective chic, we also launched this very website; Dean's "Welcome to the Digital Library!" posting is dated April 9th. Before the month ended, we were able to announce in this space Eisner nominations for both Bloom Volume One and Bringing Up Father: From Sea to Shining Sea, as well as listing our initial plans for Genius, Isolated: The Life & Art of Alex Toth.
Last, though hardly least, we launched another series in April: our reprinting of Al Capp's satirical masterpiece, Li'l Abner. For the first time, full-color Sundays were included along with the dailies.
There was a ripple of controversy surrounding our Abner reprint program as a segment of the readership expressed the wish for a series containing only Sunday pages, since they own the dailies in the earlier Kitchen Sink Press series. I'm sympathetic to that perspective - I have all twenty-seven KSP volumes on my bookshelves - and there was internal discussion about how to best reprint Abner. I campaigned long and loudly that we needed to re-publish the dailies with the Sundays; Capp's work is too important and too dang good not to be preserved for 21st Century audiences in comprehensive LOAC editions. We hope our inaugural Li'l Abner releases have changed the minds of any dissenters, but if not ... I still feel we made the right decision.
The first of May was Free Comic Book Day, and LOAC participated with a flipbook featuring our current and upcoming projects.
Our website worked in tandem with the FCBD sampler in announcing our plans for the Williamson/Goodwin Secret Agent Corrigan, as well as Polly & Her Pals in our oversize "champagne edition" format. In bookstores and on-line, we brought Little Orphan Annie into the mid-1930s with Volume Five of her series, featuring a variety of nasties including Charles C. Chizzler, Phil O. Bluster, and the Ghost Gang.
We arrived at the halfway point of 2010 with one of our most popular series reaching its tenth edition, as Dick Tracy squared off against the likes of Itchy, Gargles, and Influence.
The Influence saga remains one of my favorite Tracy storylines, as Gould does a fabulous job emphasizing the sadistic creepiness of the villain's mind-control powers.
On a lighter note, Bil Keane brought another ring to the Family Circus as a new baby was added to the mix.
All that and we're only halfway through the year! Watch this space for the concluding installment of this 2010 LOAC Year in Review…
posted by Bruce Canwell