The Brown Wedge

Comics as an instructional medium

I remember talking to comics giant Will Eisner a long time ago (1990 or so, I guess) about his experiences while working for the US army. He would produce instruction materials for soldiers in comic form. Every few years, a new boss decided he didn’t like that medium for such a purpose, and a new study was commissioned to prove that text and illustrations was the better approach - and every time it showed the exact opposite, that in fact comics were the best way to pass on information and instruction.

This point hasn’t been picked up an awful lot, but now we have as high a profile use of that idea as I’ve ever seen. Google has just launched a new browser, which looks pretty impressive. To explain it, they brought in the perfect choice for the job: Scott McCloud (who I happened to cover in the context of his great comic Zot! a few weeks back)(and he even responded!). I assume his Understanding Comics, a comic explanation of the medium, showed them how useful this approach was. He’s produced a lovely, clear and highly readable comic explaining and promoting it, explaining new features and elements of its internal architecture superbly. I have no idea if Chrome is as good as this makes it sound - new computer software is never bug free, and the potential problems from browser bugs can be huge, though it sounds as if they have taken sensible decisions to minimise the hazards - and this isn’t any kind of endorsement of the browser, which I haven’t tried, just an expression of delight that they chose this method, and the perfect person to execute it. I can’t imagine how many people will see this, but I hope it inspires others.

Comics: A Beginner’s Guide: Humour Comics

Although those who know it in recent years might be surprised at this, most of the best humour comic artists link back to Mad. Don’t let the formulaic banality of so much of the recent material deter you. Mad was started by EC Comics in 1952 - I’ve mentioned their horror, SF and war comics elsewhere in this series. The editor was Harvey Kurtzman, one of the greatest cartoonists ever, and featured art by EC regulars such as Wally Wood, Jack Davis and Will Elder. These early issues were terrific, with some extraordinary strips - there’s an unlikely and jaw-dropping appearance by Bernie Krigstein (who’ll come up again in a couple of entries).

Kurtzman’s humour material is almost all well worth finding: Hey Look! and Help! are erratic but never less than magnificently executed, but his best comedy is in Goodman Beaver (beautifully inked by Elder) and especially The Jungle Book, one of the all-time great comics, it comprises four parody tales - a private eye story, a business satire, a cowboy tale and a Southern sheriff strip. It’s genuinely funny, and, for me, a genuine masterpiece of cartooning. (I would recommend skipping Kurtzman and Elder’s long-running Playboy strip, Little Annie Fanny, lovely as it looks.) … read on …

Comics: A Beginner’s Guide: Adventure Comics

Who is the greatest comic artist ever? Obviously that is unanswerable, but my top choice would be Alex Toth. This is partly because he was magnificent in every style he used, and he did it all - superheroes, romance, horror, funny animals, war, SF, westerns, pirates and anything else you can think of. I think his heart was most in swashbuckling adventure, harking back to Flynn and Fairbanks. He did great work on various such comics, and his fine Zorro work is collected in a couple of volumes, but I guess the work to point anyone to is Bravo For Adventure, starring dashing aviator Jesse Bravo. This is collected in one mag, which you might be able to buy if you’re lucky. The first story is particularly astonishing - for 16 of the 17 pages Jesse is unconscious, and in pages with three tiers of two panels each, Toth shows off his mastery and brilliance with a series of breathtaking black and white compositions and the best grasp ever of where to put in detail and where to go minimal. It also features a small tribute to Hugo Pratt (see below). Absolutely anything by Toth is worth grabbing when you see it - even on the most throwaway pieces of work, his peerless craft and compositional ability is unmistakeable. I’ve never really been interested in buying original comic art, but if there is one page I would choose, it would be this from a car story in DC’s Hot Wheels. There are a couple of lovely art-book format collections of some of his work, if you can find them, but it’s not always his best. … read on …

Comics: A Beginner’s Guide: Westerns

I can’t say this is a genre that I think has seen many of comics’ great peaks - some of the best comes in bits and pieces here and there: old stories in comics by various publishers by Alex Toth and Jack Kirby and the like. Frankly, even then the stories are mostly inconsequential, and they aren’t terribly easy to find.

I’m not a big fan of Moebius’s SF, but I do like his art on the Lieutenant Blueberry series (pictured). It’s written by Jean-Michel Charlier, and drawn under Moebius’s real name, Jean Giraud, and the feel is more like a classy late Clint Eastwood than any earlier US or European westerns. The angle is interesting: our protagonist is a Southerner who fought for the North in the Civil War due to his conversion to anti-racist beliefs, and the stories focus on this. They are compelling and muscular, and Giraud’s art matches this - none of the flash of his SF, just superb comics art. There are lots of volumes in English - the series names are varied (Lieutenant, Marshall, Young…), but the word Blueberry is your clue. … read on …

the 2012 london olympics opening ceremony

question: who should create and direct it?

preamble: the chinese capitalised (er haha) on A: a known gift for fireworks, B: a known gift for people prettily running with flags, C: spectacular oriental spectacle, D: a population as numberless as the pixels in the ocean — and the Brits limp far behind on all counts; my suggestion is that we should make a virtue of necessity and scrobble our counter-spectacle up round the sense of grumpy, lumpy, stubborn, dry-witted, weird-crop SMALLNESS, the aesthetic legacy of a small crowded windy greenfield crag dropped into the north sea

hence my answer: … read on …

Comics: A Beginner’s Guide: Underground Addendum

One of the greats of underground comix, mentioned in the post you’ll see linked at the right, is Gilbert Shelton, creator of the Fabulous Furry Freak Brothers, among other things. I wanted to put up this extra post for two reasons:

1. The Fabulous Furry Freak Brothers Omnibus comes out on September 20th, a real bargain at 624 pages (over a third in colour), featuring all the stories ever. I recommend it very highly.

2. Gilbert Shelton will be at Gosh Comics (39 Great Russell St, London, almost opposite the British Museum) on Saturday, September 13th, 2-4pm, to sign copies (so you can also get yours early). It’s very rare for there to be a signing by a veteran artist of his calibre , especially one not UK-based - well, except he will also be in OK Comics, Leeds, the day before (3-5pm),  and Dave’s Comics, Brighton, the day after (don’t know the time).

Comics: A Beginner’s Guide: Recent Superheroes

I covered Grant Morrison a few entries ago, but there are some other terrific talents producing superhero stories these days.

The other writer I follow most faithfully is Mark Millar. Again, I should declare a bias, as many years ago I gave him his start in comics, with Saviour (i.e. I had enough sense to recognise an obvious genuine talent when it showed up in my mailbox). In recent years he’s been one of mainstream US comics’ biggest stars, and deservedly so. His Ultimates series, with Bryan Hitch art, was particularly superb. Marvel’s Ultimate line is a fresh universe, starting from scratch with new versions of their biggest characters; The Ultimates is that world’s equivalent of the Avengers, and they are wonderfully reimagined. His Ultimate X-Men was also excellent. He does a lot, mainly for Marvel, and it’s all at least worth a look. I particularly recommend, from their regular universe, his Wolverine story ‘Enemy of the State’, in which the character, who I’ve always been much less keen on than most, is brainwashed into a deadly assassin; and the current ‘Old Man Logan’ story, set in a future after the supervillains have won, which is exciting me as much as any superhero book in years. There is plenty more - he’s currently writing an astonishing number of comics, and I’m enjoying them all.
… read on …

furrealism

—:0

Comics: A Beginner’s Guide: Indie Comics

Don’t let any perfectly sensible distaste for indie music let my terminology here deter you. I’m using it to collect a few creators I want to mention who can’t be pegged into a genre easily, perhaps more akin to modern underground comics than anything else.

Daniel Clowes gained fame when Ghost World was made into the best comic book movie ever. His work generally focusses on odd outsider characters, alienated and often kind of grotesque, written and drawn with a cool clarity, with a huge enthusiasm for pop culture. I find his work compelling and often shocking (he edges towards horror at times), with genuinely memorable characters. As well as Ghost World, any of his collections (mostly previously serialised in his Eightball comic) are worth reading - I’d particularly recommend David Boring and Like A Velvet Glove Cast In Iron.
… read on …

Comics: A Beginner’s Guide: Koike & Kojima

If you like Kurosawa’s samurai movies, it’s a very good bet that you’ll like Kazuo Koike and Goseki Kojima’s comics - it’s the closest movie/comics match this side of Sin City, which is kind of cheating given Frank Miller’s involvement in the movie too.

Koike is as superb a craftsman as you’ll find writing comics anywhere. You get very substantial characters, thematic content, motif and strong stories. His knowledge of Japan’s history has immense breadth and depth - he gets at the motivations and circumstances of the times with genuine insight, as well as doing his research thoroughly. Best of all, he creates some extraordinary characters, and drives the story from them.

Kojima was a world class comic artist, immensely powerful and exciting - think of the battle climax of Seven Samurai. His work is gritty and flowing, fast and as muscular as it gets, with exceptional control of the very different pacing Japanese comics offer. He also provides great moments - there’s a shot of a pair of eyes in one Lone Wolf & Cub story that I’ll never forget. … read on …