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London Bloggers [Comic Blogs][Other Blogs] | 25 February 2002
[comics] Professor X And Marvel Boy — gossip about Grant Morrison ghost writing Authority #28 for Mark Millar … ‘recently things have not gone too well for the “we’re not a couple” couple. They haven’t spoken for almost a year now and there seems to be a rift based around Grant Morrison ghost writing the original script for Authority #28 as a favour when Mark Millar was being treated for suspected cancer early last summer. ‘ [via Neilalien]
22 February 2002
[comics] Get Your Voltr On … ‘What the fuck is Voltron talking about? Is this some religious thing? Am I fucking being baptized by Voltron?’ [via Lukelog]
20 February 2002
[comics] The Unh! Project … ‘A collection of guttural moans from comics’ [via RACM]
19 February 2002
[comics] Do Not Underestimate the Power of the Dark Side — Sequential Tart interview with Gary Groth … ‘I’m a romantic and a cynic and, in fact, I don’t think you can be one without being the other: a romantic because you want the world to change for the better and a cynic because you know it won’t.’ [Related: The Comic Journal Website]
18 February 2002
[comics] Charles Shultz Speaks! — MP3 downloads of an interview between Gary Groth and the creator of Peanuts … ‘Schulz discusses, among other things, the relationship between gag cartooning and strip cartooning, the blurring of fantasy and reality in Peanuts, Al Capp, Umberto Eco, and how Schulz brought existential despair to the funny pages of the 1950s.’ [via Bugpowder]
14 February 2002
[comics] Batman Valentines Day Card from The Cap’n’s Unfortunate Valentine’s Cards … ‘I fight a war that can never be won. I strive toward a goal that can never be reached. I am haunted. I am relentless. I am tortured. Won’t you be my valentine? ‘
 13 February 2002
[comics] The Religious Experience of Philip K. Dick — comic strip by Robert Crumb … ‘It is an interesting graphic interpretation of a series of events which happened to Dick in March of 1974. He spent the remaining years of his life trying to figure out what happened in those fateful months. You will find all 8 pages of this story here.’ [via Bitstream]
12 February 2002
8 February 2002
7 February 2002
[comics] What’s Your Comic Book Ideology? Mine Were: ‘#1 Dave Sim. #2 Steven Grant. # 3 Warren Ellis. # 4 Gary Groth. # 5 Scott McCloud. # 6 Neil Gaiman. # 7 Stan Lee. # 8 Grant Morrison. # 9 Kevin Smith. # 10 Joe Quesada/Bill Jemas.’ [via WEF]
4 February 2002
[comics] Moore’s murderer — yet another profile / interview of Alan Moore … ‘Magic is now at the centre of his life, he admits, but he knows where all this can lead. He has heard of David Icke, and he’s aware that he’s already off most people’s scale when it comes to sanity. “I’m not a millionaire but I’m very comfortable doing what I do, and I’m more productive now than I was in my mid-20s. It’s all down to functionality eventually. If you’re functional it doesn’t matter if you’re mad.”‘ [via Robot Wisdom]
1 February 2002
[comics] Classic banned Judge Dredd strips — the Burger Wars and Jolly Green Giant stories from the Cursed Earth Saga… ‘Don’t worry, Folks. Everythin’ in MacDonalds is Disposable — includin’ th’ staff.’ [via The Haddock Directory]
29 January 2002
[wtf?!] The Heroes in Spandex Gallery! … ‘Everybody likes to dress up in costume, especially if there’s lots of spandex and superheroes involved! This is the place to show the world your new outfit! ‘ [via Metafilter]
 28 January 2002
[film] Jack the Rip-Off — Iain Sinclair looks at the From Hell movie … ‘What Moore proposes, and what the film necessarily refutes, is the belief that the past is unknowable. ‘In all our efforts to describe the past, to list the simple facts of history,’ he wrote in his introduction to the From Hell scripts, ‘we are involved in fiction.’ There can be no anachronisms when time is a plural concept. Nobody knows, or will ever know, or should know, who Jack the Ripper was. Jack is. Sustained and incubated by tour guides, crocodiles of sombre or giggling pilgrims processing around the locations where the bodies were found, the Ripper lives on. An invisible earner. A waxwork vampire.’
26 January 2002
[comics] Newsarama talks to Alan Moore about Marvel Comics, ABC and Watchmen 2. On Watchmen 2: ‘That wouldn’t be interesting at all. It would be really fucking boring. I’ve got no interest in re-creating the 1980s. […] With all respect to the fan audience, I’m sure that Charles Dickens never got people writing, asking when he was going to do A Tale of Three Cities. That’s not how I work. It may be how the industry works, but I’m not really interested in revisiting things that are fifteen years old.’
25 January 2002
[comics] Interview with Dan Clowes … On Young Dan Pussey the “nerdish cartoonist superstar”: ‘I was telling my publisher that I wanted to take that book out of print because it’s so mild compared to the reality of the situation. At the time I did it was supposed to be a caricature of the business. Now there are so many more stories that are so much worse that I hear on a daily basis about the comic book business. It just seems pointless to have that book in print.’ [Related: Clowes Bio, link via the WEF]
24 January 2002
[comics] Lego Spider Jerusalem … ‘Being a Lego bastard WORKS’ [via WEF]
23 January 2002
[comics] Yet another long interview with Alan Moore covering pretty much all aspects of his career …. On writing From Hell: ‘Ten years wading through the material, the literature, not just Jack the Ripper but all of these fuckers. All these miserable little apologies for human beings. They’re not supermen. They’re not supermen at all. They’re not Hannibal Lecter. You know, they’re Peter Sutcliffe, they’re a bloke with a dodgy perm. And some horrible screw-up in his relationship with his mother or something. They’re little blokes.’ [via Ink Stains]
22 January 2002
[comics] Larry Young looks at how many comic book publishers feel about internet users … ‘Many comic book publishers hold you in disdain. It’s true. Secretly (because, really, how would it look if this got out?), many of the folks who toil daily to bring you your comic books really could not care less about what you think. And by “you” I don’t mean the “audience,” because entertainers need an audience to entertain. Almost by definition. If you’re producing something for public consumption, chances are you wouldn’t mind hearing some applause now and then. No, by “you,” I mean “Internet users.”‘ [via Neilalien]
19 January 2002
[comics] John Buscema Obit from The Independent … ‘His professional career was launched in April 1948 at Timely Comics, later better known as Marvel Comics, home of Spider-Man. Hired as an artist at a salary of $75 a week by the editor Stan Lee, he joined a small army of artists and writers churning out a stream of five-to-eight-page stories. In 1950 disaster struck: a forgotten storage cupboard disgorged a mountain of unpublished stories and artwork in the Timely offices, whereupon the entire artistic staff was sacked. Over the next eight years, as a freelance comic artist, Buscema was to turn his drawing hand to stories in every genre (except, ironically, superheroes) for a legion of comics publishers.’
17 January 2002
[comics] Vertigo PR on Morrison’s ‘The Filth’ … ‘[The Filth is a] twisted super-thriller in which Morrison takes the reader on a psychedelic roller coaster ride through a maelstrom of extra-dimensional espionage, disease pathology, sex and violence, prosthetically-equipped dolphins, indolent nano-technology, co-opted reality and the notion of identity itself. Loaded with febrile imagery and Byzantine plot twists, The Filth is a mind-wrenching journey where nothing is exactly what it seems.’ [via Newsarama]
16 January 2002
[comics] DC Comics have put Batman: The 10-Cent Adventure online … ‘The 10-CENT ADVENTURE follows a night in the life of Batman, a night that ends with terrible finality. When Batman responds to a series of crimes, little does he know that a crime is occurring in the one place in the world he considers safe.’
15 January 2002
[comics] Warren Ellis’ Artbomb Launches… From the FAQ: ‘ARTBOMB is about broadening the appeal of diverse comic books and graphic novels. We hope to demonstrate that comics can offer an entertainment value that many people currently enjoy in film or television or prose. This a storytelling medium that has a lot of dynamic voices with mainstream and adult appeal. It’s our mission to help promote their works to new audiences.’ [Related: WEF, Ellis Website]
14 January 2002
[comics] Love That Hate — interview with Peter Bagge. ‘The odd thing is this: Buddy is always a reflection of where I was ten years ago. And for some reason that went over really well when `Buddy’ was in his early 20’s, but as `he’ gets older comic readers become more resistant to him or bored of him, which poses a lot of questions, such as: 1 Do my readers-or comix readers in general-simply move away from comix as they get older? and 2 Do people simply not want to read about the adventures and concerns of an older and more mature character?’ [Related: Girl Talk with Lisa and Valerie]
10 January 2002
[comics] Marvel’s ‘Nuff Said … and the script for Grant Morrison’s New X-Men #121. ‘Frame 4. Jean has been swept into the ultimate original memory – Xavier’s DNA recall. Surprised, she’s diving down towards us through a 3-D explosion of swimming seed as it heads for destiny. The sperm in foreground have intricate delicate glass heads filled with coils of information. Jean looks like she’s diving with some exotic species of incredible luminous deep-sea jellyfish.’
8 January 2002
[comics] Q & A with Grant Morrison from the Spinner Rack … ‘Q: What would you like to see happen in comics in the next 12 months? A: I’d like to see Alan Moore get his kit off for the front cover of the ‘Ain Soph’ issue of Promethea. Him and J.H. Williams could symbolise the journey of consciousness into the realm of naked apprehension and do a knowing homage to John and Yoko’s Two Virgins album cover at the same time. It would look really good. And who here hasn’t lain awake wondering what the award-winning creator of Watchmen’s tadger looks like?’
6 January 2002
[comics] Who Watches Dave Gibbons? — interview from Sequential Tart … On Working with Alan Moore on an ABC project:‘I can’t tell you much right now, although we have had extensive creative discussions about it. It’s not Watchmen 2, but I think we’ve identified what we do best together and I think those who enjoyed Watchmen will enjoy it.’
5 January 2002
[comics] The Rational Shaman — great interview with Alan Moore concentrating on magic and comics … ‘After Watchmen, I felt that I was perhaps coming to a limit as to what I could further understand about writing rationally. If I was going to go any further into writing, I had to take a step beyond the rational. Magic was the only area that offered floorboards after that step. And it also seemed to offer a new way of looking at things, a new set of tools to continue.’ [via I Love Everything]
2 January 2002
1 January 2002
[comics] Cat Yronwode’s website continues to fascinate… The Mojo Car … ‘As this 2001 picture of the Ford Escort shows, we have progressed greatly in our willingness to abandon functionality for aesthetics. Godzilla is still top and center, but he no longer dismounts — and he is surrounded by other tall items — a Menorah, a Black Pocahontas-like Guardian Angel, the Virgin of Los Lagos, the Statue of Liberty, a head-nodding El Diablo, Merlin with his raven, two large Santas — and a host of smaller figures, including the Devil and his Grandmother, Glinda the Good Witch and the Wicked Witch of the West, large crowns, pyx and chalice, altar boy and altar girl, Buddy Christ, Visnu, Chango Macho, Santissima Muerte, Pikachu, and about a dozen Buddhas’ [Related: Yronwode Bio]
31 December 2001
[comics] January 2002 Previews from Comics Worth Reading … On The Copybook Tales: ‘What joy! This series, one of my all-time favorites, is coming back into print in an omnibus volume. Contrasting modern-day young men with their earlier teenage selves, this series explored growing up and the conflicts it brings, including the conflicts between dreams and realism and enthusiasm and discouragement. J. Torres (ALISON DARE) wrote; Tim Levins (GOTHAM ADVENTURES) drew. If you can only order one book this month, get this. It’s a must-read for any comics fan.’
29 December 2001
[comics] Excellent interview with Joe Matt … ‘The scene in The Poor Bastard where the squirrel’s on my lap, I’m feeding a squirrel in the park and it climbs right up into my lap, and I’m yelling, `Get it off!’ It’s something that really happened, and I know it can be funny because my character’s part of me, but the only reason I would put something like that in there is, it sounds pretentious, but to me that’s symbolic of a relationship forcing itself onto me, and me not wanting it, or something.’
28 December 2001
[comics] Ultimate interview Team-Up — interview with Brian Michael Bendis and Jim Mahfood … Bendis on the Internet: ‘I’m sick of these cowardly little weasels on the Internet, that are spewing hate towards books that they probably haven’t read in the first place, or have some agenda. That shouldn’t part of our job to deal with this. [..] We are the first generation of comic book creators that have the Internet to deal with. Could you imagine the shit that Watchmen would had to have taken if the Internet was around then? All the nonsense and whining about the series, when in reality it would have been only twelve guys saying those things…’
24 December 2001
[quote] “What’ll it be next? Choice extracts from the Oxford Dictionary of Quotations? Trotting out the Nietzsche and the Shelley to dignify some old costumed claptrap? Probably. Sometimes you wonder, in an interconnected universe, who’s dreaming who?” — Grant Morrison (1989)
20 December 2001
[comics] Reining in a Dark Horse — long, interesting interview with Diana Schutz … On Dave Sim: ‘What do I believe? I believe that Dave is an extraordinary human being, extremely talented and that means that he deviates from the norm. Is he fucking nuts? Any more than any other artist? I don’t know. I think he’s very, very serious about his interests and his beliefs. When he focuses on something, it tends to consume him. […] Even back in the day when I was talking to Dave on a regular basis, his thoughts moved in very different ways from most people. Not necessarily wrong, just differently. Which is often a sign of genius. I’m not a psychologist. I have no idea. I think he’s a remarkable person, extremely different from the norm, which makes him both unusual and interesting. Is he fucking nuts? Got me.’ [via Cerebus Mailing List]
19 December 2001
[comics] Moore and Hayter Talk About Watchmen — brief mention of discussion regarding a proposed Watchmen Film … Moore: ‘Watchmen was designed as a showcase of things that comics are capable of but aren’t so easy to achieve in any other medium. […] With a comic, you can take as much time as you want in absorbing that background detail, noticing little things that we might have planted there.You can also flip back a few pages relatively easily to see where a certain image connects with a line of dialogue from a few pages ago. But in a film, by the nature of the medium, you’re being dragged through it at 24 frames per second.’
18 December 2001
[comics] Time Magazine on the Best Comics of 2001 … On The Golem’s Mighty Swing: ‘Astonishingly, the book feels like the best baseball games: a seat-gripping drama made up of little dramas, all of which add up to something greater than just a game. Nostalgic without being saccharine, the art has the look of old baseball cards put together to tell a story.’ [via Warren Ellis Forum]
[comics] The Canny ‘X’ Men ‘”Was he not an alcoholic?” Morrison interjects. “I always thought he was called Iron Man because he had an iron liver. But that’s what I’m doing with the X Men. Taking them back to the basics. For example, Cyclops, Wolverine, you can tell what these people are just by their names.” Millar agrees. “That’s all I’ve tried to do is make things what they were. I’ve tried to strip them back…” “Naked X-Men!” says Morrison. “Eww. Would Cyclops’ eye beam out of anywhere else?” ponders Millar. “His arse? Arseclops?”‘ [via I Love Everything]
17 December 2001
[wtf] John Walker — American Taliban and Comic Collector … ‘Everything is mint condition except for the What If 23, and Daredevil 318 which are slightly bent in the lower right corners. These are the asking prices, but I will consider any reasonable offers.’ [Related: DD #318 and What If #23 on GCD]
16 December 2001
[comics] Grant Morrison talks about his plans for the New X-Men in 2002 … Morrison on issue #121 : ‘As you probably know, this sees Jean and Emma venture together into the brain of Cassandra Nova… where Charles Xavier’s consciousness is imprisoned in a symbolic landscape. Frank’s work is breathtaking… some sequences are like watching animation unfold on the page. Frank has an early-Disney-gone-bad element to his style which I love and this issue was written to really highlight that. Every page is a masterpiece of design and drawing. PLUS: Emma’s naked in this ish! AND Jean Grey is covered in sperm. And before the inevitable outcry, I hasten to add that Jean’s immersion in semen is entirely tasteful and essential to the storyline…’ [via Barbelith]
14 December 2001
[comics] Following on from an earlier post… the official transcript of the Newsnight Review on Jimmy Corrigan … Miranda Sawyer: ‘I like the pictures.’ [via Bugpowder]
[comics] Reefer madness — The Furry Freak Brothers Strike Back … ‘…they live in a state of blissful torpor relieved only by bursts of paranoia or stimulant-induced frenzy. As such, theirs is a world as edenic as anything imagined by Wodehouse, albeit with references to the Birch Society, Richard Nixon, and other 1970s cultural signifiers. They age at one-fifth of the rate the outside world does, yet by the end of this volume they are already dinosaurs, grumbling with distaste at the punk rockers who mock them as stupid old farts.’
13 December 2001
[comics] Scott McCloud’s 24 Hour Comic Site — an old comic project finds a home on the web … ‘To create a complete 24 page comic book in 24 continuous hours. That means everything: Story, finished art, lettering, colors (if you want ’em), paste-up, everything! Once pen hits paper, the clock starts ticking. 24 hours later, the pen lifts off the paper, never to descend again.’ [via WEF]
11 December 2001
[comics] Warren Ellis on Friends Reunited [login required] … ‘Just got back from San Francisco on a speaking gig, narrowly missing 9-11 (decided to head straight home via Chicago instead of heading into NYC to see some people — touched down at Heathrow just as the first airliner hit the WTC).’
10 December 2001
 [comics] First there were storTroopers… then blogTroopers… now comes various Micro Heroes and Villians. [via Neilalien] More:8 December 2001
[reading] DK2 … ‘Kids, these days. Can’t tell the difference between just plain old and classic.’
7 December 2001
[comics] I still have overwhelming doubt about my ability — an interview with Chris Ware from The Guardian today… ‘Purposelessness. Ware likes this, the fact that the art-school snobs think his work is trivial. It strengthens his faith in the crooked path, the unorthodox way. For example, in the book, the story is interrupted by cute little sections to cut out and make into 3-D sets. Ware doesn’t imagine that anyone will actually do this. But he put them in anyway. “They hold the promise of enjoyment through lonely activity, which I like. And I’ve always thought there’s something very delicate and innocent about paper assemblage.”‘ [Related: ACME Novelty Toy Gallery]
[comics] Graphic novel wins First Book Award — Chris Ware wins the Guardian First Book Award for 2001 with Jimmy Corrigan: The Smartest Kid on Earth. ‘Claire Armitstead, chair of the judges and literary editor of the Guardian, said: “Jimmy Corrigan is a fantastic winner, because it so clearly shows what the Guardian First Book Award is about – originality and energy and star quality, both in imagination and in execution. Chris Ware has produced a book as beautiful as any published this year, but also one which challenges us to think again about what literature is and where it is going at the start of the 21st century.”‘
5 December 2001
[comics] Great Frank Miller interview from the Onion AV Club … ‘I remember opening up this Batman comic and just basically falling into it. I can’t tell you which one it was or anything, but I just remember, the way the city was drawn, and the fact that this guy was dressed like a bat, just took my breath away. When I was doing Dark Knight, I was essentially trying to evoke that same feeling, but to an older and more sophisticated audience. Of course, the guy dresses like a bat — what kind of guy would do that? He’s got to be kind of strange.’ [via I Love Everything]
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