Leroy Douresseaux on THE SIGNIFIERS #1

THE SIGNIFIERS #1
M.R. NENO PRODUCTIONS

CARTOONIST: Michael Neno
48pp, B&W, $4.95

The Signifiers is a new comic book series from self-publisher, cartoonist, letterer, and comic book creator, Michael Neno. The Signifiers #1 takes me back to the ancient days of my first encounters with comic books.

One of the first things that captured my imagination about comic books was that the pictures they held within their flimsy covers were strange and were full of weird looking things. What has kept me reading comic books for pretty much every year of my life since I was seven (except for about three or four years) is that they are fun to read – even when I don’t completely understand what they are trying to tell me or sell me.

The Signifiers #1 embodies that. Even after two readings, I don’t quite understand it all, but I want more. This old-school, black and white comic book is set in a whacked out universe. The focus is a character named Splash, a Summer of Love-type black youth who must either obey or fight a mysterious force called The Voyst. In another story, Establishment gadfly/advocate, Landlark, the Heat-Seeking Dwarf, must escape his captors, the Polution Pioneers. What awaits him if he gains his freedom is even stranger.

If Jack Kirby and Paul Pope had gotten drunk together and produced a comic book, The Signifiers would be it. Of course, what would also be needed was Stan Lee trippin’ on something so that he could add his obtuse, sometimes fumbling dialogue. In another way, The Signifiers also seem like something that David Lynch and J.J. Abrams would have cooked up with Jack Kirby in mind.

Beyond Kirby, I can’t say for sure who or what influenced The Signifiers, but it has a free spirit and a willingness to go on a journey into the imagination without the weight of other comic books’ expectations and rules. Reading The Signifiers #1 reminded me of the first time I read Love & Rockets (either #8 or #9 of the first volume) in that, like early L&R, The Signifiers has a look that is old, but also new in a strange and exotic way.

This first issue also offers two backups. One of them features Landlark, the Heat-Seeking Dwarf. It is a lovely mixture of Jack Kirby’s New Gods with a funky take on counterculture. The story is strange, but Neno builds that story with thoughtfully drawn graphics and compositions. It is beautiful art. I could see every page of it in a gallery show.


Copies of The Signifiers can be ordered by sending a check or money order for $7.20 ppd. ($7.53 for Ohio residents), $4.95 for each additional copy, to M.R. Neno Productions, P.O. Box 151303, Columbus, Ohio 43215.

Copies can also be ordered via PayPal: http://www.nenoworld.com/The_Signifiers_No.1.html

http://www.nenoworld.com/
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Natsume's Pal of a Water God

I read Natsume's Book of Friends , Vol. 6

I posted a review at the Comic Book Bin (which has FREE smart phone apps).

Fantagraphics Books to Publish Two Guy Peellaert Graphic Novels

FANTAGRAPHICS ACQUIRES RIGHTS TO TWO LEGENDARY BELGIAN CLASSICS: PEELLAERT’S THE ADVENTURES OF JODELLE AND PRAVDA

Fantagraphics Books has signed a deal to release two groundbreaking graphic novels from cult Belgian artist Guy Peellaert (1934-2008): The Adventures of Jodelle (1966) and Pravda (1967). The remastered editions will be produced in collaboration with the late artist’s estate, which will contribute previously unseen material for extensive archival supplements.

Both albums were originally released in France by Eric Losfeld, the controversial publisher who passionately defied censorship in the lead-up to the cultural revolution of 1968; along with Jean-Claude Forest’s Barbarella, Peellaert’s Jodelle and Pravda were among the earliest of European adult-oriented graphic novels.

The Adventures of Jodelle, whose voluptuous title heroine was modeled after French teen idol Sylvie Vartan, is a satirical spy story set in a Space Age Roman-Empire fantasy world. Its then-revolutionary clashing of high and low culture references, borrowing as much from Renaissance painting as from a fetishized American consumer culture, marked the advent of the Pop movement within the nascent “9th art” of comic books, not yet dignified as “graphic novels” but already a source of great influence in avant-garde artistic circles. Visually, Jodelle was a major aesthetic shock. According to New York magazine, its “lusciously designed, flat color patterns and dizzy forced perspective reminiscent of Matisse and Japanese prints set a new record in comic-strip sophistication.”

Released a year later and first serialized in the French counter-culture bible Hara-Kiri, Pravda follows the surreal travels of an all-female motorcycle gang across a mythical American landscape, led by a mesmerizing cold-blooded heroine whose hyper-sexualized elastic anatomy was this time inspired by quintessential Gallic chanteuse Françoise Hardy. Pravda’s eye-popping graphics pushed the psychedelic edge of Jodelle to dazzling new heights, further liberating the story from narrative conventions to focus the reader’s attention on the stunning composition and glaring acid colors of the strips, with each frame functioning as a stand-alone cinematic picture.

Pravda, with its themes of female empowerment and beauty emerging from chaos, became an instant sensation on the European underground scene, inspiring various tributes and appropriations from the worlds of film, literature, fashion, music, live arts, advertising or graphic design. Over the years, it has acquired a rarefied status as a unique and timeless piece of Pop Art defying categorization or trends, and has found itself exhibited in such unlikely “high culture” institutions as the Musée d’Orsay or the Centre Pompidou. An early admirer of Peellaert’s radical vision—along with luminaries as diverse as Jean-Luc Godard (who optioned the film rights to Pravda) and Mick Jagger—Frederico Fellini praised Jodelle and Pravda as “the literature of intelligence, imagination and romanticism.”

The Adventures of Jodelle was published in the United States in 1967 by Grove Press, whose legendary editor-in-chief Richard Seaver (the man credited with introducing Samuel Beckett, William Burroughs and Henry Miller to America) also provided the translation; Pravda has never been released in English, despite its lead character transcending the long out-of-print book where she originated to become a peculiar iconic figure, the maverick muse of a few “au courant” art and design aficionados from Paris to Tokyo.

Refusing to cash in on the phenomenal success of Jodelle and Pravda (he viewed the former as a one-time graphic “experiment” of which the latter marked the accomplishment) the reclusive Peellaert abruptly left cartoons behind after only two albums at the dawn of the 1970s to pursue an obsessive kind of image-making which painstakingly combined photography, airbrush painting and collage in the pre-computer age. His best-known achievement in America remains the seminal 1973 book Rock Dreams, a collection of portraits which resulted from this distinctive technique and was hailed as “the Sistine Chapel of the Seventies” by Andy Warhol’s Interview magazine, eventually selling over a million copies worldwide, influencing a generation of photographers and earning its place in the pantheon of rock culture. Other well-known creations include the iconic artwork for David Bowie’s Diamond Dogs album cover (1974) as well as The Rolling Stones’ It’s Only Rock ‘N’ Roll the same year. Peellaert also created the indelible original poster for Martin Scorcese’s Taxi Driver (1978), the first of many commissions from renowned auteurs including Wim Wenders, Robert Altman, Stephen Frears, Alain Resnais and Robert Bresson.

As the original negatives and color separations for Jodelle and Pravda are long lost (interestingly, Peellaert never reclaimed the original ink-on-paper pages from Losfeld) Fantagraphics will be re-coloring both books digitally. “The original Books were colored via hand-cut separations from Peellaert’s detailed color indications,” said Fantagraphics co-publisher Kim Thompson, who will be editing and translating the new editions. “Since the Losfeld editions were printed quite well and Peellaert’s linework is thick and simple, we’re going to be able to generate crisp black-and-white versions of the line art to start from which should duplicate the original ‘look’ exactly. Although actually our edition of Pravda should be better than the original, which had some pretty erratic color registration.”

The Adventures of Jodelle is scheduled for release in May 2012, and Pravda in November 2012, both in deluxe oversized hardcover editions. Each will feature an extensive original essay discussing the works and their historical context, accompanied by numerous archival illustrations and photographs.

“I am terrifically excited to bring these two landmark books to American audiences especially Pravda, which has never been published in English,” said Thompson. “They are some of the most graphically jaw-dropping comics ever put to paper. They remain both quintessentially 1960s in attitude and look, and utterly timeless.”

I Reads You Review: NEGIMA, VOL. 28

Creator: Ken Akamatsu; Alethea Nibley and Athena Nibley (translation and adaptation)

Publishing Information: Del Rey Manga, paperback, 186 pages, $10.99 (US), $11.99 CAN

Ordering Numbers: ISBN: 978-0-345-52160-6 (ISBN-13)

Rating “OT for Ages 16+”

Negi Springfield is a ten-year-old wizard who dreams of becoming a Magister Magi (a “Master of Magic” or “Master Mage”), a special wizard who uses his powers to help normal people. Negi’s primary reason for becoming a Magister Magi is to find his father, Nagi Springfield, the legendary mage also known as the “Thousand Master,” who is believed to be dead. After graduating from the Merdiana Magic Academy in Wales, Negi becomes an English teacher at Mahora Academy in Japan, where he deals with 31 older girls, each very special in her own way.

Negima!, Vol. 28 opens post-Ostia Festival. Negi has managed to free his enslaved friends. As Negi and company prepare to leave Magical World for their homeworld (Earth), they discover that they have been branded as outlaws. That is when Negi encounters Kurt Goedel, the Governor-General of Ostia, who plans to arrest all of them.

This sinister man also claims to be well-acquainted with Negi’s parents, especially Negi’s mother, Arika Anarchia Entheufushiaa, the Queen of Calamity. Goedel offers to pardon Negi and company if they attend his party, the Governor’s Ball. Also, Negi and his friends make a shocking discovery about Magical World and its location.

I always find Negima a difficult read whenever I receive a copy for review, as I have with Vol. 28. There are so many characters, and the story seems (at least to me) to be too busy. Still, I’m a sucker for team books, and this is essentially a team book or the shonen manga equivalent of one. Such a large cast is always bound to yield many interesting and engaging characters, and out of all those sub-plots, surely some of them will capture the imagination.

This time around, Negima offers something to keep readers interested and me coming back – at least for a while. Negi’s parents, their connection to Ostia, Goedel’s part in these mysteries, and the truth about Magical World are the kind of storylines that grab you. I must also admit to enjoying the dynamic of Negi and all those girls – some with romantic feelings for him. It’s like a gift that keeps on giving.

Archaia to Publish "Planet of the Apes" Novel

Archaia Entertainment Targets a July Launch for Conspiracy of the Planet of the Apes

Features 30 Full-Color Illustrations From The Industry’s Most Acclaimed Artists

CHICAGO (May 23, 2011) – Archaia Entertainment has set July 25th for the release of Conspiracy of the Planet of the Apes, its first illustrated novel, through its new book trade distributor Publishers Group West (PGW).

Written by celebrated author, artist, and digital producer Andrew E.C. Gaska, and adapted from a story by Gaska, Rich Handley, Christian Berntsen and Erik Matthews, Conspiracy of the Planet of the Apes recounts what happened between the scenes of the classic 1968 Twentieth Century Fox film, centering on the astronaut John Landon, Chimpanzee scientists Dr. Milo and Dr. Galen, and Gorilla Security Chief Marcus. The book contains 30 full-color paintings and another 19 black-and-white illustrations, including a cover by legendary artist Jim Steranko (Raiders of the Lost Ark, Bram Stoker's Dracula, Nick Fury: Agent of S.H.I.E.L.D.) and interior art from some of the top talent in the industry, including renowned book cover painter Ken Kelly (Conan, KISS), Joe Jusko (Savage Sword of Conan, Tarzan), Sanjulian (Eerie, Vampirella), Mark Texeira (Ghost Rider, Wolverine), Leo Leibelman (Heavy Metal), Matt Busch (Star Wars, Battlestar Galactica), Brian Rood (Indiana Jones, Star Wars), Tom Scioli (Godland), David Hueso (G.I. Joe: Storm Shadow) and newcomers Dan Dussault (Critical Millennium) and Dirk Shearer (Mice Templar).

Conspiracy of the Planet of the Apes marks an expansion of Archaia’s successful collaboration with Gaska, following up on his science fiction comic epic, Critical Millennium: The Dark Frontier, which has received early critical acclaim.

“It means a lot to have this project be set for release and we cannot think of a better partner to have than Archaia with their outstanding production value,” said Gaska. “It’s been a great working partnership with 20th Century Fox and an honor to contribute to this legendary franchise.”

Conspiracy of the Planet of the Apes also marks Archaia’s first venture into prose books.

“We’re very excited about our first foray into prose fiction publishing, particularly being able to work with a brilliant creative talent in Drew Gaska and a storied franchise like Planet of the Apes. I’m a huge fan of the original film and Conspiracy is a great example of an author playing successfully in an established narrative canon. We are very excited to introduce this extraordinary science fiction release across the book trade and genre markets and look forward to Conspiracy emerging as one of the year’s most talked-about titles,” said Mark Smylie, CCO of Archaia.

The original Planet of the Apes was an immediate pop-culture phenomenon, spanning decades with several film and television sequels, including the 2001 remake starring Mark Wahlberg and the latest, Rise of the Planet of the Apes, starring 127 Hours star James Franco, Harry Potter’s Tom Felton and Immortals’ Freida Pinto.


About Archaia Entertainment
Archaia is a multi-award-winning graphic novel publisher with more than 50 renowned publishing brands, including such domestic and international hits as Mouse Guard, Return of the Dapper Men, Gunnerkrigg Court, Awakening, The Killer, Days Missing, Tumor, Syndrome, Artesia, Engineer, and an entire line of The Jim Henson Company graphic novels. Archaia has built an unparalleled reputation for producing meaningful content that perpetually transforms minds, building one of the industry’s most visually stunning and eclectic slates of graphic novels. Archaia was named Graphic Novel Publisher of the Year according to Ain’t it Cool News, Graphic Policy, and Comic Related, and was honored with nine 2011 Eisner Awards nominations. Archaia has also successfully emerged as a prolific storyteller in all facets of the entertainment industry, extending their popular brands into film, television, gaming, and branded digital media.

About Drew Gaska
For the past decade, Gaska has served as a freelance consultant for Rockstar Games on such hit titles as Grand Theft Auto, Red Dead Redemption, the Midnight Club series, and all other major releases. He is the founder and creative director of BLAM! Ventures, a guerrilla design studio that produces print and digital media for the comic book and science fiction industry. Gaska is currently writing and directing a Space: 1999 revival graphic novel and digital media series - continuing the legacy the show started thirty five years ago - as well as working on various new graphic novel projects.

About Twentieth Century Fox Licensing and Merchandising
A recognized industry leader, Twentieth Century Fox Licensing and Merchandising licenses and markets properties worldwide on behalf of Twentieth Century Fox Film Corporation, Twentieth Television and Fox Broadcasting Company, as well as third party lines. The division is aligned with Twentieth Century Fox Television, one of the top suppliers of primetime entertainment programming to the broadcast networks.

The Return of Bagge and Hernandez's YEAH!

YEAH! #1
HOMAGE COMICS/DC COMICS

WRITER: Peter Bagge
ARTIST: Gilbert Hernandez
LETTERS: Rick Parker
COLORS: Joanne Bagge
32pp, Color, $2.95 U.S., $4.50 CAN

Yeah! was an all-ages comic book co-created by two legends of alternative comics, Peter Bagge (Hate) and Gilbert Hernandez (Love and Rockets). Written by Bagge and drawn by Hernandez, Yeah! ran for nine issues from late 1999 to 2000 and was published by Homage Comics, a DC Comics imprint via Wildstorm Productions.

Fantagraphics Books has reprinted the series in a black and white trade paperback (Yeah!; 224-page black & white 7" x 10.25" softcover • $19.99; ISBN: 978-1-60699-412-2). The book is scheduled to be available to comic book shops and bookstores this week, as well as being available through www.fantagraphics.com.

Yeah! was a girl-centered comic book and was probably meant to appeal to girls. Still, fans of Bagge and Hernandez, regardless of gender, probably liked it. I was a fan of both men, and I liked Yeah! a lot.

Yeah! was like a comic book version of two early 1970s Hanna-Barbera Productions, Josie and the Pussycats and its follow-up, Josie and the Pussycats in Outer Space. These Saturday morning animated series were based on the long-running, Archie Comics title, Josie and the Pussycats (initially known as She’s Josie and later as Josie). Gilbert Hernandez’s art for Yeah! does have some similarities to the work of the late Dan DeCarlo, the creator of Josie and whose work has reportedly had a strong influence on Hernandez.

Yeah! is about an all-girl band called Yeah! Krazy, a lanky blonde, is the lead guitarist. Thick, curvy Woo-Woo is the keyboardist and a practical type. With her thick braids, Honey is Yeah!’s brown sugar and drummer. Believe it or not, Yeah! is the most popular band in the universe, and as the series begins, they are wrapping up their 50-planet intergalactic tour.

Now, the girls are ready to conquer Earth, where they are simply nobodies. Their manager, a skid-row bum type named Crusty, isn’t doing anything to help them become rich and famous rock stars. The trio turns to an industry power player and all-around shady guy named Mongrel Mogul. Surprisingly, Mongrel is ready to make the girls stars, but the cost may be too high. Well, at least most of the group seems to think so.

There were many things that I liked about Yeah! For me, it helped that this comic book was created by two of my all-time favorite cartoonists, Peter Bagge and Gilbert Hernandez, who are also two the most acclaimed comics creators of the last 30 years. What I liked most was that Bagge and Hernandez somehow mixed the playfully screwy nature of the Saturday morning cartoons that appeared on ABC, CBS, and NBC in the 1960s and 1970s with the Underground Comix sensibilities of the alternative comix and independent comics of the 1980s. Like Saturday morning cartoons, Yeah! was about a kind of science fiction that embraced weirdo aliens rather than science fact. From alt-comix came characters that were outcasts, lived on the margins of society, or had outsider personalities. Instead of being offensive and edgy, this unusual comic book series was imaginative and inventive. That it was approved by the comics industry watchdog group, the Comics Code Authority, testifies that this is an all-ages comic book.

Well, it was an all-ages gem, and I’m glad that its back, even in reprint form as a trade paperback. I still hold onto the fantasy that someday, Yeah! will return with new stories.


Yeah!

Kekkaishi 1-2-3

I read Kekkaishi (3-in-1 Edition) Volume 1.

I posted a review at the Comic Book Bin (which has FREE smart phone apps).