Thursday, 10 February 2011

Michael DeForge gets animated

I don't know what it is with animation lately, but I've been stumbling over some odd stuff in the past week or so. Like this disturbo bit of animation from Toronto tour-de-force cartoonist Michael DeForge. Set to an old Elvis track, I think the characters in this have something to do with Wet Cough, his fine 2010 mini-comic. I can't get enough of this guy:   




 
Michael is doing something special for this year's Doug Wright Awards that I can't really reveal yet --but I am really excited about.

Wednesday, 2 February 2011

Batman Anime circa 1960 (plus "Batboy and Rubin")


No other title can really describe this inspired bit of animation from the under-appreciated kids' cartoon Batman: The Brave and the Bold. What other big-budget show would have the gumption to: 1) introduce Bat-Mite as a recurring character and 2) then use him as a way of exploring different incarnations of Batman?

In this case, that means they made an animated version of "Bat-Boy and Rubin", the classic Mad magazine parody written by Harvey Kurtzman and Will Elder, and -- AND --  an animated version of Jiro Kurwata's 1960s Japanese manga interpretation of the Caped Crusader (which features his Lord Death Man villain character).

It's pretty remarkable, and a lot of fun to watch (while it lasts) on YouTube:   





Sunday, 30 January 2011

The many (weird) faces of Curt Swan's Superman

If you know me at all, you know I like my superhero comics old and boring. As in Wayne Boring, Kurt Schaffenberger or, best of all, Curt Swan. Thanks to those Blue Ribbon cheapo reprints of old DC comics that were around in the 1970s, these guys defined Superman for me, as he should be: lantern-jawed, broad-chested and incapable of expressing human emotion.

There was something about the 1950s-era Superman of Swan that was almost right. Just-about-perfect, yet somehow charmingly stilted. So imagine how pleased I was as I was flipping through this behemoth of a book called DC Comics Year by Year: A Visual Chronicle and came a cross this wonderfully odd two-page spread of what looks to be character studies (or maybe an artists' guide?) of Kal-El by Mister Curt Swan himself:      




What a great find, right? More than two dozen head shots of Supes in various states of awkwrad emotional distress. But, like any good 1950s Superman artist, some of the emotions are hard to parse.

Take this one for instance:




Is the Last Son of Krypton shocked here? Surprised? Without a story or word balloons, the mind struggles to pin it down, right?

Then there's this pair:



Is that a knowing jovial wink, or something more -- ewww -- flirty? GROSS! And what's he doing on the right?? I odn;t even want to think about what's happening off frame....

But my fave head shots of the bunch has to be this trio:




I know that first look! That's the unmistakable look of someone who's just eaten at a Taco Bell, Number Two could be a whole host of things, but it looks to me like the Man of Steel's heart is getting just a little crushed (Jimmy Olsen probably got a real job in a better city). Then there's that last one, which is probably supposed to be Supes soaking up the life-giving rays of Earth's yellow sun. Yes.

Er.....

   

Best not to ponder this one too much. I imagine Swan didn't, so you shouldn't either.

What was my point again? Yes, Curt Swan is the Greatest Superman Artist Of All Time, Period; in part because his art was just slightly off. He was 90 percent there most of the time, but there were plenty of times that Big Blue just looked kind of odd. Which is a better batting percentage of most artists these days, who seem to have two or three standard expressions. Maybe this was intentional! Perhaps Swan figured that Superman was an alien, and would therefore never be fully at ease with humans. Thus, the weird expressions. (It coulda happened!) 

Whoever your favourite Superman artist is you owe it to yourself to give this book a look. It takes 75 years of DC Comics history and spends a few pages on each exploring the important characters, events and creators that marked that particular period. (It starts with New Fun #1 in February 1935.) As it suggests in the intro, flip to the year you were 13 and read those pages first -- since this is supposedly the age that most kids get into superheroes.

It's a hell of a lot of fun -- and worth a look.    


Wednesday, 26 January 2011

David Collier covers The New Yorker

Never let anyone say David Collier isn't up for a challenge.

Apparently cheesed-off at criticism that his cover design for his just-released graphic novel Chimo was lacking, the great Hamilton cartoonist worked up his own cover design for The New Yorker and submitted it to the magazine's 2011 Eustace Tilley contest. I have to say, I'm pretty impressed:

 
The design is great, the art is controlled and precise, and the details (like the puck replacing the butterfly) really make it sing. The whole thing seems fitting for the subject matter; the Rangers (who have a reputation for being an over-priced, under-performing team) would naturally have a fop like Tilley on their team, plus it allows Collier to draw something that manages to have one foot in  Canada and the U.S. The only thing I can't figure out is who the coach in the background is supposed to be:



Dave provides a bit of commentary about his unique take on the iconic Rea Irvin character on The New Yorker website.