Tags: sunday comix

Snoop dogg

eight strip sunday week seven

all ones I scanned personally this time, most of them clippings from 2000, when President Clinton was winding down, I worked for a lobbying firm, livejournal was a year old, Osama bin Laden was a B-list villain, a gallon of gas cost a buck-fifty, and Sparky Schulz had just left us. Click pictures to embiggen.

Richard Thompson, just announced winner of The Reuben (for Outstanding Cartoonist of the Year) by the National Cartoonists Society:
same cat, different catbox


Patrick McDonnell:
wings get chicks


Kaz:
eleven years of browning


Lynda Barry:
Everyone will lie to everyone's face


Bill Griffith:
forgot to floss, too


Ben Katchor:
I like soccer


Aaron McGruder:
Fearless Iranians from Hell


Derf:
zniff


Chester Brown's going to be @ SPX -- let's go pay him (a compliment) for it (his comix).
Snoop dogg

eight strip sunday week six

hope you're having an adventurous, hilarious Sunday or, failing that, a productive one, at least. (Click through for sources.)



Adam Meuse, 2011 (no website):
love this place


Bill Murphy, 1959 (from Esquire):
... Gretzky rebounds, Gretzky scores!


Justin Green, 2010:
LEARN SOMETHING


Johnny Ryan, 2011:
4ever hold yr piece



Anthony Clark:
channel surfing


Jeffrey Catherine Jones -- rest in peace:
I love this strip, wish ah coulda found a bigger scan


Jim Behrle + appropriated Archie, 2011:
sugarwalls


David Lasky, 2006:
Get respected
alone

eight strip sunday week five

not a lot of jokes this week. Mostly eye candy and eye crossword puzzles. I have been thinking about how odd the relationship is between comix and its own past. No other art form has spent so much effort distancing itself from its immature origins, and also stubbornly embracing and celebrating those origins. No avid comix reader denies that some of the most advanced practitioners of the form (Barks, Kirby, Toth) were producing work mainly for children, and yet we find ourselves in the awkward position of reserving for these masters the same sort of reverence readers of English literature reserve for Shakespeare and Faulkner. It seems like a recipe for neuroses. What if the world's greatest artist is a children's artist? How would I go about recommending Milt Gross to somebody who stopped watching Looney Tunes 20 years ago? Well, none of these questions are new for comix, and I'm not about to solve the public relations dilemmas of comix history in a paragraph. But I will suggest that it's nice not to have to choose between one kind of comix and another. I like every kind -- children's comix, weird comix, science fiction comix, porn comix, journalistic comix, psychedelic comix, none of the above comix, and comix that are all of these at once. One of the selections below is an excerpt from a Hot Wheels toy tie-in.

Click through for sources.


Gerry Conway, Sal Buscema, Vince Colletta, Al Wenzel, & Charlotte Jetter (excerpt from Marvel Team-Up #36, August 1975):
Spider-Man is an alcoholic


Alex Toth:
NEED 4 SPEED


Mort Walker:
in bed fucking yr wife


Kevin Huizenga:
Click through a few times to see this one BIG.


Doug Wright:
Canada, Friendly Giant to th North


Ernie Bushmiller:
Mulholland Dr


Aidan Koch:
'I have no dream.  I couldn't remember my dream.'  --MLK


Richard McGuire, excerpt from "Untitled" (2004):
Everything's a vehicle


Read anything good lately?
drinky

eight strip sunday week four

rajon Rondo's mutant healing factor, Ben & Jerry's Boston Cream Pie, Jay Cantor & James Romberger's Aaron and Ahmed, planning a trip to my favourite American city, pledging allegiance to the dark side, and the Sunday funnies: a nice, normal week-end. (Click through for sources.)

Nate Beeler, Washington Examiner:
2008 asshole



Richard Thompson, Washington Post:
late 2001 ninja


Mike Peters, Dayton Daily News:
May 2011 dead man


Creig Flessel, Young Romance #203:
Jan/Feb 1975



Gary Davidson, Grey Worldwide for MTV Switzerland:
more than blumpkin



Jaako Pallasvuo:
slacker


Tony Millionaire:
Lines on paper were harmed.


Clifford McBride:
... and his dog Napoleon


Happy made-up holiday with no day off ......!
Huizenga

eight strip sunday week three

oatmeal with almond butter and honey, strawberries, sparkling water, Celtics versus Heat, Bill Evans, and a fresh Sunday comix page. As usual, click through for sources.

Josh Cotter:
spare me


Tom Gauld, adaptation of Pretty Woman:
$♥


Jillian Tamaki:
Meanwhile, my father was not mysterious enough


Bill Ward, excerpt from Campus Loves #2, 1949:
'Go ahead, chum! She never says no!'


Anthony Clark:
stalkers


Jim Behrle + whoever's drawing Archie:
words words words words masturbate words words


Anders Nilsen:
He Got Game


Luigi Serafini, excerpt from Codex Seraphinianus, 1981:
multiple orgasms


+ + +


In unrelated comix-related news, I never knew that José Rizal, the Philippines' founding father, was a cartoonist, too. According to Dennis Villegas, Rizal's "Monkey and the Tortoise" is the earliest known Filipino comix strip. The scans at that second link are just big enough to hint at Dr Rizal's ease with the medium. His rough but fluid mark-making reminds me of Joann Sfar.

Speaking of the revolution, happy May Day, babbies.
drinky

eight strip sunday comix page week two

nearly forgot to post these. I'm in search of a good mix of the funny, ingenious, blunt, angry, elliptical, vulgar, wise, graceful, warm, cool, and ancient. Click through for sources.

John Campbell:
KATAMARI DEATH


Derf:
weakling


Michael Kupperman:
total man and a half


Marvel Comics (excerpt):
pussy w/ claws


Frank King:
reminds me of Mister Rogers


Richard Thompson:
Local Guy Does Good


R.O. Blechman:
walking lines


Josh Cotter:
good night, pets


Happy Easter, friends.
blues angel

self curated eight strip sunday comix page

if you're like me, you don't miss Saturday morning cartoons, but you do miss unfolding your newspaper's Sunday comix section and seeing all the characters who've been insect-size all week blown up to immensely satisfying small-rodent size. Now that print newspapers are going dodo, I reckon it's unlikely that that ritual will ever be part of my life again, or the life of my child, if I have one; yet comix strips of all kinds are thriving now in a manner I didn't imagine when I was loving the new Calvin & Hobbes, Peanuts, Doonesbury, Mark Trail, For Better or for Worse, Prince Valiant, and Tank McNamara. (I don't remember seeing Far Side in my newspaper on Sunday -- in my mind, it's forever black and white -- but it must have been there.) Now there are only something like a million billion webcomix, and another million nerds scanning and uploading the comix of old, and every one of the shrinking number of cartoonists who's still printed in daily papers and alternative weeklies also has a web presence. That's a lot of clicking. What's missing -- as usual, these days -- is the unspoken (and arguably fictional) sense of community I used to get when seeing the work of all these different artists in one place, every week. I'm aware that, as we speak, various subcultures of webcartoonists are busy over on Twitter telling me what's happening. That's not the same. I get enough different channels of the Internet telling me what's going on on the Internet. When it comes to comix I'm interested primarily in the work. And I miss the way Calvin used to live in the same house with Val, Lacey Davenport with Elly Patterson, etc. In that hodgepodge spirit, I have simulated a Sunday comix page that joins artists across various subcultures and styles. One of them, Crockett Johnson, is reaching our Sunday from the early 1940s. I haven't checked the licenses on these works; the amount of work I'm sampling is small and nobody will care, probably. Click through to sources.


Emmy Cicierega:



Tom Toles:



David Gaddis:



Kate Beaton:



Jon Adams:



Josh Cotter:



Richard Hahn:



Crockett Johnson:



+ + +


Unrelatedly, from a v. good interview with Austin English:


Unfortunately, what seems to happen a lot is after that initial burst of unique, eccentric creation, I see the standard being subtly imposed on these artists. I can’t count how many distinctive cartoonists I’ve seen ending up doing straightforward comics.

And there’s nothing wrong with that. I believe that if you admire an artist, you give them the benefit of the doubt and follow them where they want to go. But it still feels odd -- after Kramers Ergot #4 there seemed to be this moment where the tried and true ways of making comics wouldn’t be held so dearly anymore. Now, especially in avant-garde circles, they seem to be in a place of high regard again. I love genre comics, I like some corporate comics. But I don’t think they’re models that need to be followed. In film, the Cahiers du Cinema crowd loved George Cukor ... but they didn’t make movies like him. They admired Cukor for his originality, for making personal films. That’s what they took away -- not his commitment to the studio system or some such ideal. I think that Harlan Ellison quote is apt in a way: “Comics people choose the wrong heroes.” I’d change it to say “comics people tend to take away dubious lessons from their heroes.”


Hope y'all are having a good Sunday.