FANTAGRAPHICS BOOKS – @fantagraphics
[This review was originally posted on Patreon.]
CARTOONIST: Gilbert Hernandez
EDITOR: Eric Reynolds
COVER: Gilbert Hernandez with Paul Baresh
24pp, B&W, $3.99 U.S. (January 2016)
Gilbert Hernandez is the cartoonist, comic book creator, and graphic novelist best known for being one-half of the duo known as “Los Bros.” along with his brother, Jaime Hernandez. Together, the two Eisner Award (Will Eisner Comics Industry Awards) winners have produced the seminal, alternative comic book series, Love and Rockets, for more than 30 years. As a “solo act,” Gilbert (a.k.a. “Beto”) has also produced numerous original graphic novels and several comic book miniseries for publishers Dark Horse Comics, DC Comics, and Drawn & Quarterly, as well as for his original publisher Fantagraphics Books.
In 2015, Fantagraphics launched Beto's latest solo offering, entitled Blubber. This black and white comic book series offers short stories and vignettes featuring a cast of misfits, monsters, and anthropomorphic types. Beto also presents his usual mix of bizarre characters and strange stories, a hallmark of his comix going back to the beginning of his public work.
Blubber #2 (which debuted in late 2015) opens with an inside front cover comic, “XXX Superstar Pupusi and Her Pals!” which is sprinkled with masturbation, fellatio, cock-sucking, and anal penetration. The opening story is “T.A.C. Man vs The Pollum.” T.A.C. (Tactical Advanced Commando) Man wears pro wrestling briefs and is kind of like the T.H.U.N.D.E.R. Agents' Dynamo. T.A.C. Man's boss, Mr. Hippy, orders him to fight “The Pollum,” a yeti/Bigfoot-type creature. T.A.C.'s rival, Marshman, however, has his own plans versus the Pollum. Penises and the various uses of them take center stage.
Also, it's the Froat versus the Loo in “Who Fears the Froat?” Centurions (each one having what is essentially a micro-penis) arrive in a strange locale and use the local fauna to help them climax in “Sweet.” Temperamental “Tamper” fights the Skrull-like “Junipero Molestat” in the story, “TAMPERRRRRR.” In “Padre Puto,” the Padre and a few of his pals learn the dangers of using zombies for sexual pleasure. And in “The Marsh Man's Folly,” T.A.C. Man and Marshman engage in a strenuous contest.
I gave a rave review to Blubber #1 about two years ago. I wrote that it fascinated me and how I re-read much of it and that the one issue was not enough for me. I even wrote that Blubber #1 reminded me of the ethereal and beautiful explorations contained in Moebius' Une jeunesse heureuse (released as a small leather-bound notebook, published in the 1990s).
I don't feel like raving about Blubber #2, but not because it isn't good. I love it, but I might lose control and end up writing a piece that is the review equivalent of “spewing my goo.” This is a fantastic comic book, a true heir to the freedom and ballsy attitude cartoonists and comix creators displayed in the classic Underground Comix of the 1960s and 1970s.
I often praise the stellar art of Beto's brother, Jaime Hernandez, but Beto is also a master cartoonist. The figure drawing of Padre in “Padre Puto” suggests some incredibly precise inking, especially in the depictions of Padre's face, head, and hands. Also, Beto can draw a pretty stout and firm erect penis, to boot, and his T.A.C. Man and Marshman battles are presented with excellence.
Yeah, I have the two issues of Blubber published since the second issue, and I am sure I will have something to say about them. As I wrote of the first issue: this crazy little comic book proves once again that not only is Gilbert Hernandez the best American comic book writer of the last four decades; he is also one of its essential visionaries.
A+
Reviewed by Leroy Douresseaux a.k.a. "I Reads You'
The text is copyright © 2017 Leroy Douresseaux. All Rights Reserved. Contact this blog for syndication rights and fees.
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