- Hello To All That

I wasn’t too worried about the new Dan Nadel/Tim Hodler revamp of, but it’s off to an even better start than expected. Now, I’m not offering anything close to a comprehensive review; one nice thing here is that there’s quite a bit to dig into and most of the articles, columns, interviews and reviews are relatively lengthy. Just a few thoughts on the ones I read first:

Tucker Stone on Johnny Red - Tucker’s a good reviewer, but it seems like he exposed a soft spot here. This sounds like a raft of formulaic, derivative old sub-Enemy Ace bollocks–why not let rip with some anti-aircraft fire? I realize he knows one of the other three people (Grant Goggans) in America who might be getting this book, but still. (Note: I just realized I wrote this after a loving review of a book of Adam Hughes’ T&A covers. My daughter was embarrassed by Power Girl’s cleavage.)

Sean T. Collins interviewing Blaise Larmee. Jaunty Sean T. is a thoughtful interviewer and Larmee is an exciting young talent. But while Larmee isn’t insulting, I wasn’t really into the games he was playing here. Which is fine. Maybe from now on I’ll just focus on his lovely comics. (Note: sometimes we shouldn’t interview artists we like. For me it was Kevin Huizenga, but it didn’t ruin my affection for his comics.)

R. Fiore’s Funnybook Roulette. Hey, Fiore’s one of my favorites and I’m glad he stayed on. The line about Toy Story 3’s characters exchanging one god for another is brilliant. Still, call me a dick editor but if I was Nadler I’d want to launch this new webmagazine edition of “Funnybook Roulette” with something about actual funnybooks. Not cartoons. (Note: this kind of attitude may be why nobody lasted very long with me editing them at Comic Book Galaxy.)

Bob Levin on the Frank Frazetta stolen artwork case. This is the best piece I read yesterday, and it’s not even in my top 20 Levin pieces (never mind his full-length books). It was sad/funny to see commenters on the piece ripping him for a) not appreciating Frazetta’s artwork the way they do, and b) practicing an un-tabloid reporterlike restraint by not intruding further into the lives of the hurting, feuding Frazetta kids (Bob could get another good piece about how we consume Art while not really caring about the artists themselves and the pain that results in or from their art). There’s a kindness in his method, and in not pressing too hard on what seems pretty clearly an opinion that Frazetta’s work was simplistic, didn’t evolve, and even suffered some technical failings in the classic sense of believable light sources and the like. He also maybe thought Frazetta was kind of a loudmouth, if only judging by the TCJ Gary Groth interview years earlier. 

While the piece offered no new revelations in the story (and even missed one or two recent developments), I appreciated the psychological insight of it. If your world-famous Pops moved your family out to the boondocks, that might feel a little stifling, might cause some resentment. I liked Levin’s problem-solving here; lacking juicy quotes or an obvious hook for the story (he hitches a ride on the Art of the Steal/Van Barnes story, but it’s not enough of a parallel with Frazetta to get him very far), he turns inward, seeing in the aging lion Frazetta and the void his passing left for his survivors his own struggles and obligations with his elderly, stroke-surviving mother. That’s more of a fiction writer’s technique, feeding off one’s own life when inspiration ebbs. It works nicely here. (Note: I just really like Bob Levin’s writing).

Good luck, Glad to have you back.

–Christopher Allen