INFINITY #1 | Digital Graphic Novels and Digital Comics by Russell Willis | INFINITY

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ON AND ON AND ON RUSSELL WILLIS • EDITOR

WELCOME! … to the first issue proper of INFINITY. Our Preview was well-‐ received and we’ve had around 2,000 downloads at the Gme of wriGng, with more people subscribing every day. We’ve got a great issue, I think, with some fabulous arGcles and strips, not least among which is the first part of an in-‐depth and extremely entertaining arGcle on the 70s underground classic Arcade by Alan Moore. This piece first saw print in INFINITY’s 80s predecessor (see our Preview issue for details) but Alan was kind enough to allow us to reuse it here. There are no digital versions of Arcade, but an omnibus ediGon for the iPad would surely be a thing of wonder… (So the Arcade arGcle is a good example of the ‘and More’ in the ‘Digital Graphic Novels and More’ of our tagline.) I’m also delighted to include some great strips… there’s a preview of David Lloyd’s Kickback, which should give you a taste of what to expect in the full graphic novel app. We’ve also got a really neat four-‐pager by Jessica Abel, featuring a Who’s Who of comics arGsts, from Art Spiegelman to Chris Ware. Eddie Campbell is interviewed in the iPad ediGon of Dapper John and here we have an excerpt from that interview which I think you’ll find entertaining. Add to this a great secGon on Winsor McCay, your leJers, a news roundup, and columns by PM Buchan, PJ Holden, and yours truly, and I think we’ve got something quite nice… But get in touch to let us know how we can do beJer – or contribute something yourself. Our next issue is out on November 15th. SPECIAL FEATURES Don’t forget that blue text in the app signifies a link, and tapping will take you to some extra content, such as a web page. Pictures with yellow borders can be seen full-‐screen if you tap on them. And if the ‘Play Audio’ buJon is lit up then you can listen along… This issue we have audio to accompany the preview of David Lloyd’s Kickback app. Enjoy! ENDS ∞

Cover Eddie Campbell Editor Russell Willis contact@ienglish.com Contributors PJ Holden Rob Salkowitz David Lloyd Eddie Campbell Alan Moore Chloë MarGn PM Buchan Hayden Hughes John GraJan Publisher Panel Nine

∞

Published bi-‐monthly. Contents © the respecGve copyright holders. This app © iEnglish.com Ltd. Volume 2 • Issue #1• September 2012. This is issue #1 of the new INFINITY, a magazine about digital comics and more. Contents © individual copyright holders. Please email inquiries about contributions to the address above.

INFINITY #1 • September 2012 • 1 of 77

RADAR A ROUNDUP OF THE TOP DIGITAL COMICS NEWS ACES WEEKLY TO LAUNCH END SEPT. David Lloyd’s new web-based digital-only ‘comic art magazine’ Aces Weekly is due to launch on September 30th. As reported last issue, Lloyd has secured the agreement of a wide range of well-known comics professionals to produce work for the series. ‘This is not like normal publishing,’

said Lloyd, ‘this is an all-for-one, one-forall situation where the publication is designed from the beginning to benefit the creators.’ Long-time British comics editor

Bambos Georgiou is managing editor for the series. More information can be had at the Aces Weekly Facebook page. MONKEYBRAIN LAUNCHES DIGITALFIRST COMICS LINE Chris Roberson and Allison Baker launched a new creator-owned digital comics line, Monkeybrain Comics, distributed through Comixology’s comics app. Creators include Kurt Busiek, Steve Lieber, Dennis Culver, and Colleen Coover. The full lineup can be found at the Monkeybrain website. 2000 AD LAUNCHES NEWSSTAND APP August saw the release of the 2000 AD Newsstand app for iPad and iPhone. The app comes with a free 69-page sampler, and issues become available on the same day as their print counterparts. Subscribers CONTINUES ➤

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NEWS ROUNDUP can sign up for one month, three months, or a year – and will get a selection of free back issues – or issues can be bought individually. As part of the major PR campaign for the upcoming Dredd 3D movie, released this month, 2000 AD has also created a special prologue to the film which is given away free in the app. The short story, titled Top of the World, Ma-Ma, tells the story of the film’s main baddie, MaMa. Wired has the full report. DESPERATE DAN GOES DIGITAL The Dandy, the UK’s oldest children’s comic, is soon to cease weekly print publication and go online only. Publisher DC Thomson has confirmed that the final printed issue will be released on The Dandy’s 75th birthday in December this year. ! The classic comic is being pulled from shelves following a drop in circulation in recent years. Circulation peaked at around two million copies a week in its heyday, but had slumped to under 7,500 by last year. ! Ellie Watson, chief executive of DC Thomson’s newspaper and magazine operations, said that the 75th anniversary edition on December 4th will include a reprint of the first ever issue, which went

Desperate Dan will be online-only from December

on sale in 1937. Watson commented, ‘It’s what comes online then that will set the tone for the next 75 years. Dan has certainly not eaten his last cow pie. All of The Dandy’s characters are just… days away from a new lease of life.’ ! The Cartoon Museum in London is currently preparing an exhibition marking the 75th anniversary of the The Dandy. The first issue went on sale in 1937, priced at 2p with a free whistle. ! The Dandy also has an app for iPad and iPhone, released last year. PANEL NINE TO RELEASE HUNT EMERSON ANTHOLOGY APP A new iPad app, due for release in late September, will collect together the work of underground comix master Hunt Emerson. ! The Certified Hunt Emerson will be released CONTINUES ➤

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NEWS ROUNDUP by Panel Nine, the company behind INFINITY. Panel Nine have created the app

Hunt Emerson, creator of Firkin and Calculus Cat and a master of the British underground comix scene

using material specially selected by Emerson, who is known for his unique and eccentric illustration style. ! The app gathers together over 200 pages of material including 27 different comic strips, a collection of covers and artwork, audio commentaries recorded by Emerson exclusively for the app, a

Pages from Hunt Emerson’s famous ‘Leviticus’ and ‘Freak Brothers’ strips

lengthy interview about the 80s underground comix scene, and much more. Emerson’s famous Outrageous Tales From the Old Testament collaboration with Alan Moore is featured, along with his ‘Furry Freak Brothers’, ‘Firkin’, and ‘Phenomenomix’ strips. ! Subscribe to the Panel Nine newsletter to be notified when the app goes on sale. BEN ABERNATHY JOINS MADEFIRE Former digital editor at DC Comics, Ben Abernathy, has joined Madefire as their new editorial director.

! Abernathy spent over a decade at DC Comics, starting with WildStorm before eventually handling editorial duties for DC’s digital comics. He has also worked with Dark Horse and Marvel. ! The news comes at the same time as Madefire announces it will soon deliver content on a weekly basis. On the Madefire website, founder Liam Sharp commented, ‘Having Ben join the Madefire team is a huge step forward for the company. Releasing this many original new titles and episodes within a CONTINUES ➤

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NEWS ROUNDUP three month period is virtually unheard of in the comics space. Ben’s experience and vision will be vital as Madefire continues to deliver original, highquality, episodic content to readers on a weekly basis.’ ! Comic Book Resources has the full story. CEREBUS NEGATIVES DESTROYED IN HOUSE FIRE The negatives for Cerebus: High Society have been destroyed in a fire. The apartment building that was home to Sandeep Atwal, communications director for Dave Sim’s Aarvard-Vanaheim Inc, caught fire on August 24th. Atwal escaped from the building unharmed, but 130 film negatives were lost.

Cerebus is set to become a major digital publication

! Cerebus: High Society is a huge project aiming to turn over 300 issues of the acclaimed comic into ‘the world’s longest audio book’ by creating digital versions of each page and supplementing them with recordings of dialogue, audio-visual

commentary, and extra artwork. ! The Cerebus: High Society team, including George Gatsis and Dave Sim, have been posting updates about the project on their Kickstarter page. As a result of the fire, the project has been unable to keep to its original September 12th launch date, but the team are working hard to meet the new date of October 10th. Cerebus Fangirl has a site collecting donations for Atwal, and Dave Sim’s Cerebus Art Collection page is on the lookout for anyone with original pages who can send in a scan. Everyone at INFINITY wishes the team the best of luck getting back on track with the project. COMIXOLOGY CALL FOR CREATOR INFO At Baltimore Comic-Con this month, Comixology launched a 26-week initiative to collect photographs and information about 6,000 comic book creators, from artists and writers to inkers, letterers, and editors. The company is collecting this information via their Twitter account, to eventually create a huge database of comic book creators for users to browse through. CEO David Steinberger said, ‘Creators are the lifeblood of the comic industry and having the most complete info about creators will create a fuller experience for our customers. In 26 weeks we plan to cover everyone from Aaron to Zuzelo.’ ! The company hopes to do one letter ENDS ∞

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NEWS ROUNDUP of the alphabet a week. More details are available on Comixology’s blog. IVERSE LAUNCHES COMICS CROWDFUNDING SITE Publishers Weekly reports that iVerse, the company behind ComicsPlus, is to launch a new platform for raising money for comics-based projects. Looking to muscle in on the territory that has been owned almost solely by Kickstarter up until now, ComicsAccelerator will offer users a crowdfunding platform for anything comics-related – print titles, digital projects, merchandise, and so on. ! ComicsAccelerator will charge 5% of the project as project management fee, and unlike Kickstarter, they will cap the total project fee at $2,500. Kickstarter also charges a 5% processing fee but has no cap – however, this means ComicsAccelerator users will only make a saving if a project draws $50,000 or above. ! The ComicsAccelerator service is currently in beta, with the formal launch scheduled for later in September. iVerse CEO Michael Murphey said, ‘This whole thing is an experiment for us. We like experimenting with new ways to do things, and it looks like crowdsource funding has a huge future in changing the way creators make their comics.’

! In the same article, Publishers Weekly also noted iVerse’s move into DRM-free content. iVerse will be offering DRM-free PDF versions of a selection of comics, starting with creator-owned titles. More news as we get it. JMANGA LAUNCH SPINOFF SITE October will see the launch of a spinoff from JManga, the digital manga site that is home to content from almost 40 publishers.

JManga7 will offer free content updated daily

! The spinoff site, JManga7, will be updated daily with new content. It will serialise manga titles one chapter at a time, allowing readers to stay current with a series. When all the chapters in a volume have been released, the volume will be removed from JManga7 and become available for purchase on the main JManga site. Some titles will be available for free, and a monthly subscription will give access to further content. ! See Publishers Weekly for the full story. ∞ INFINITY NEWS DESK ∞

Have you got news for us? If so, please send a press release to contact@ienglish.com.

ENDS ∞

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Verbatim

THE WORD ON DIGITAL COMICS ZANDER CANNON

MARK WAID

CREATOR OF DOUBLE BARREL

CREATOR OF THRILLBENT

‘What we have set out to do on Double Barrel is not to undervalue digital comics but to place them in line with other digital media such as TV, novels, and music, in terms of money for time (approximately $2/hour by our reckoning). Comics were once one of the most inexpensive options for entertainment, and now they’re virtually the most expensive.’

‘99 cents… because 99 cents is the point at which even the most casual readers will… try something they have not tried before… 99 cents is the price you’d pay for an app from the App Store… We’re not competing with other comics and we’re not competing with print comics, we’re competing with other things that cost 99 cents.’

– in the FAQ secGon of Double Barrel #3, available from Comixology

– quoted widely from a panel at San Diego Comic-‐Con 2012

DAVID STEINBERGER

MICHAEL MURPHEY

CEO OF COMIXOLOGY

CEO OF IVERSE

‘[Physical] comics stores are like vinyl [record] stores. It’s where people who truly love the books come together to hang out. Everybody had access to DVDs, but not everybody had access to comics stores. There’s no Best Buy or Tower Records of comics.’

‘Comixology, it seems to me, is trying to recreate the direct market in digital form. That’s not where iVerse has ever been. We have always thought of ourselves as a newsstand rather than the direct market. We do better than most people think because most of our customers are not direct market customers. We sell a ton of children’s product through ComicsPlus Kids, we have Archie Comics, and we have Pocket God comics.’

– in an interview with CNET in July

– in an interview with Robot 6 of Comic Book Resources in May

ENDS ∞

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Creating Digitally

TOOLS OF THE TRADE GETTING STARTED For comics artists with iPads there are a number of useful apps that can really help get the job done. Here are three to get going with: L’Ecorché is a terrible (if absolutely accurate) name for a great bit of software for the iPhone/iPad (best on the iPad3, I’m afraid). Its single function is the display of an anatomically accurate human body, which can be rotated, pinched, and zoomed and moved around at will. It’s a great way to understand how the muscle structure works, and it’s a tool that artists have used (in model form) for generations. I’d count it as absolutely essential to anyone who wants to learn to draw. The full-featured version is here, and there’s a free Lite version here. Procreate (another awful name) is hands down the best drawing app for the iPad. Works as smooth as silk, and features various ‘natural’ media, but the killer feature is that the ‘canvas’ can be pinched and zoomed and, more importantly, rotated – allowing you to sqwoosh it this way and that, like a bit of paper. Can’t recommend it enough (it’s $4.99 with sets of natural media at 99 cents each). Developed by Savage Interactive. Get it here. Pinterest has a website of course, but it also has a great iPad app. Think of it as an old fashioned picture morgue. It allows you to build up various boards with pictures, links, and other media. And it’s all free. Get it here.

PJ HOLDEN PJ’s ﬁrst published work was with Fantagraphics in 1997 (Holy Cross #3) with Malachy Coney, and he provided art for a story with Mike Carey from Caliber in 1997. He started working for 2000 AD in 2001 (Judge Dredd ‘Sino-‐Cit’) and has been working professionally since. His subsequent work has included further sGnts drawing Judge Dredd and The 86ers. He has also drawn Rogue Trooper, Johnny Woo, and Tharg’s Future Shocks. Holden broke into the American comic book market with the Image Comics mini-‐ series Fearless. Prior to his comics career he spent 20 years in the IT industry. PJ is on TwiJer and has a blog.

That’s all for this issue. See you next time.

ENDS ∞

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The First Time...

GOING DIGITAL A NEW WORLD I never imagined a world where I’d want to read digital comics. As a reviewer, I’ve reluctantly accepted PDFs from creators that can’t afford to post out free physical copies. I’ve even bought Ben Templesmith’s back catalogue directly through his app on the iPhone to prepare for an interview with him. And I’ve read thousands of comic pages on my desktop PC – but this has never been more than a means to an end, a necessary evil of my job. It wasn’t until my iPad arrived a week ago that I saw the myriad possibilities for digital comics. PM BUCHAN TRYING OUT COMIXOLOGY What jumped out the first time I turned on the iPad was the brightness and clarity of image. The screen is crystal clear and almost perfectly shaped for comics. Everybody knows that Comixology is the biggest player, so I downloaded their app to try it for myself. Scalped by Jason Aaron and RM Guéra just finished its run, so I

Scalped published by Vertigo

PM Buchan is the lead comic-‐ book columnist for Starburst magazine and considers himself to be a vocal advocate for the BriGsh comic book industry. When not culGvaGng his obsession with comics he writes novels about the end of the world, watches horror ﬁlms, and reads books about the Manson family. He now sincerely hopes that all his favourite comic creators will announce their plans to create work with the iPad in mind so that he can ditch his colossal collecGon of gradually-‐ decaying printed material.

bought the final issue. This is the best that Scalped has ever looked. The colours are more vibrant than I knew they could be. The pages swipe effortlessly and the Guided View mode is a nice touch, even if it blows up CONTINUES ➤

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GOING DIGITAL • PM BUCHAN some panels bigger than they were ever intended to be viewed. If I want mainstream American comics then Comixology has me covered. IBOOKS AND EMANATA For comparison I headed to iBooks to look at some of the PDFs I should be reviewing. The interface is considerably easier than reading hunched at a desktop, but after Comixology the inability to do more than scroll and zoom feels clumsy, merely functional. This does not feel like the future of comics, this feels utilitarian. I hunt for more apps. Emanata boasts that they offer a platform for independent comic creators to promote their work. I like it because the comics fit the page beautifully, so there’s really no need to zoom and scroll around. What bothers me is that I don’t recognise any of the creators and I don’t know where to start. IVERSE Moving on, Comics+ from iVerse seems to occupy the middle ground between the mainstream and the smaller independents. The reading experience of their previews is basic but still better than iBooks. The quality of the comic files vary, with brilliant clarity from one of the bigger publishers but real fuzziness on an independent title that I’ve read before. If I paid money for comics that looked this bad I’d ask for a refund. Are iVerse vetting the quality of their content?

Free indie comics on Emanata

“If I paid money for comics that looked this bad I’d ask for a refund. Are iVerse ve?ng the quality of their content?”

MADEFIRE To prove to myself that digital comics really might be the future I try the Madefire app and am not disappointed. Even the loading and menu screens crackle with animation, colour, and exciting sounds. The two free comics that I read allow me to dictate the speed that the story progresses, a sequence of static images disguised as CONTINUES ➤

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GOING DIGITAL • PM BUCHAN animation by flashy swipes, reveals, and fades. Dialogue appears on the screen timed, brought to life by equally scripted dynamic soundtracks that add an extra layer to the experience. This is NOT a traditional comic, but it captures the vibrancy and energy that so many western comics strive towards. I wonder at the longevity of an app like this, at how financially viable it can be to pack so many features into such a short experience, but mostly I just feel like I want them to announce that my favourite writers and artists are developing stories for Madefire. I always hated the idea of ‘motion comics’, I’ve openly scoffed at Marvel’s attempts in the past, but this is something new and somehow it validates my decision to read comics on the iPad. MAKE IT FOR DIGITAL I think I’ll struggle to convince myself to spend the same amount of money on digital comics as I would for physical comics that I can keep indefinitely, but I’ll have no qualms about shelling out for an experience that I could only get on my iPad. This, I have decided, is the future. But if you want me to pay a comparable price for a virtual product then sell me something designed specifically for this medium. Now that I have some idea what I’m willing to spend money on, all I need are recommendations from reviewers that I respect. Easy reading experiences might draw me to these apps, but content is what will keep me there. ∞

ENDS ∞

The Madeﬁre storefront

“I’ll have no qualms about shelling out for an experience that I could only get on my iPad.”

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Sequential Art

JESSICA ABEL

Jessica Abel is an award-‐winning (Harvey, Lulu, and Xeric) graphic novelist, whose works include La Perdida and Life Sucks. She teaches at New York’s School of Visual Arts and has authored two textbooks about making comics, Drawing Words & Writing Pictures and Mastering Comics, written with her husband, the cartoonist Matt Madden.

CHICKEN FAT The Comics: Philosophy and Practice conference at the Logan Center for the Arts drew 17 cartoonists and hundreds of observers, in person and online, for three days in May of intense discussion of the field. PANEL MODE ENABLED.

In the pages that follow, Jessica Abel documents in comic strip form some key discussions at the conference. Participants included Art Spiegelman, Alison Bechdel, Joe Sacco, Charles Burns, Seth, Chris Ware, Lynda Barry, Aline Kominsky, Carol Tyler, and Justin Green.

Double-‐tap a panel on the comics pages following to view the strip panel-‐by-‐panel.

CONTINUES ➤

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Archive

ALAN MOORE ON ARCADE

Alan Moore is the renowned British writer behind A Small Killing (with Oscar Zarate), Lost Girls (with Melinda Gebbie), and From Hell (with Eddie Campbell). In the 80s, whilst writing Swamp Thing for DC and a host of other professional comics, Moore was also a proliﬁc contributor to small press magazines and fanzines. In 1984 he submitted this piece to the ﬁrst incarnaXon of INFINITY. It is reprinted here with Alan’s permission. There is, as yet, no digital version of Arcade.

Arcade #1 • 1975

TOO AVANT-GARDE FOR THE MAFIA? Alan, Thanks for the entertaining letter. Seeing as it was of such a high intellectual calibre, we’ll most likely print it in our next issue… You almost found us too late. No 7 is just out and No 8 (out in 6-10 months) will be our last as a magazine. After that we go annual, in paperback form. I’m afraid we’re a bit too avant-garde for the Mafia. Tally ho, Griffy

“Arcade was swiGly elevated to the Olympian reaches of my Three Favourite Comics Ever In The History of The Universe.”

I received the above letter in the late September of 1976 after coming across a handful of issues of Arcade at the comic shop Dark They Were & Golden Eyed. I’d originally CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE picked the magazine up on impulse after being attracted by a cover line that promised the unlikely combination of William S Burroughs and S Clay Wilson, apparently to be found within. What I discovered was a collection of comic material that swiftly elevated Arcade: The Comics Revue to the Olympian reaches of my Three Favourite Comics Ever In The History Of The Universe. As is usually the way when I encounter something I’m really fond of, my condition escalated rapidly from good natured boyish enthusiasm to an embarrassing display of slobbering hysteria. I wrote a long and love-struck letter to the magazine swearing that in order to ensure the continued publication of this Pulp Paragon I would be prepared to have sexual intercourse with a Komodo dragon or kill my family with a blunt butter-knife (or words to that effect). A few weeks later I received the above reply from Bill Griffiths. I reprint it here partly because I really like the bit about my high intellectual calibre, and partly because of its historical interest: The last issue of Arcade was issue 7. There was no annual paperback. The Mafia obviously got them after all.

Arcade #2 • 1975

“Arcade published some of the only truly worthwhile material produced during the 1970s…”

During its brief lifespan Arcade published some of the only truly worthwhile material produced during the 1970s, and for a short time seemed almost capable of revitalising the near-extinct genus of the Underground Comic. This dream was truncated suddenly when Bill Griffiths woke up one morning to find Zippy the Pinhead’s pointed, severed head in bed with him, or whatever way it was that those ruthless pinstriped Sicilians put the frighteners on him. The fact that Arcade folded is a shame; the fact that it has been pointedly ignored ever since is a tragedy… at least on the effete scale with which we aesthetes evaluate tragedies. CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE In an effort to address the balance a little I’d like to attempt a brief and necessarily inconclusive rundown on the magazine. To understand Arcade you first have to understand a little of its historical context, so I hope you’ll bear with me as I do my best to lubricate the dry facts. Arcade #1 was published in the spring of 1975 as a quarterly black and white magazine of around fifty pages, sporting beautiful full colour covers, many by Robert Crumb, printed on card. It appeared at a time when the Underground Comic had started to cough up blood after several years of looking pale and ill. The initial wave of energy provided by ZAP Comix had reached its high water mark, broken, and fallen back. The busts and court cases had taken their toll, and the only undergrounds that seemed to be breaking even were those that tended towards sex and horror: Skull, Slow Death and lesser titles seemed to appear with some regularity while the more adventurous and experimental books fell by the wayside. One gets the impression in retrospect that the underground market was slimming itself down and getting rid of its social conscience in preparation for its metamorphosis into the Heavy Metal audience of some years later. Whatever the situation, things looked bleak for the underground.

Arcade #3 • 1975

“It appeared at a Tme when the Underground Comic had started to cough up blood aGer several years of looking pale and ill.”

In 1975 then, Arcade served as a rallying point for those cartoonists who were more concerned with their art than their bank balances. In the process it brought more concentrated intelligence to bear upon the comix strip medium than has been experienced since the balmy heyday of the Great American Newspaper Strip. So what was it all about? As a package it was delightful: Nice printing on white CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE paper and card covers aside, it had a sort of garish pulp charm that latterday descendants such as RAW can’t really hope to capture. Arcade wasn’t hard edged and intimidatingly intellectual. It was approachable, and everything from the style of the masthead lettering to the gallery of self-portraits on the contents page reflected this somehow. Entertaining as the package might have been however, it didn’t hold a candle to the contents. The contents of Arcade had a pleasing regularity, considering how diverse the actual material was. Most of the early issues opened with a full page illustrated text feature by Jim Osborne on the inside front cover, similar to the Loathsome Lore features that the late Roy Krenkel did for Warren’s early run of Creepy. These were historical items centreing upon some famous real-life monster from history, such as baby-butchering Caterina Sforza or Peter Kurten the Düsseldorf vampire. Lovingly illustrated in Osborne’s delicate stippling, these catalogues of genuine atrocities became so numbingly terrible as to be almost funny, leading the reader in to the uneasy no-man’s-land between the disturbing and the amusing that was to become almost a trade mark for a number of the most prominent Arcade artists, and the nearest that the magazine ever got to a distinctive House Style.

Arcade #4 • 1975

“Arcade wasn’t hard edged and inTmidaTngly intellectual.”

After an imaginatively designed contents and editorial page, the main contents unrolled. As the issues passed, some of these emerged as Arcade’s equivalent to continuing features. As an example, there seemed to be a sort of unofficial biography spot, in which one of Arcade’s regulars would produce a comic strip biography of the character of his choice. These included George Kuchar’s darkly comic CONTINUES ➤

INFINITY #1 • September 2012 • 20 of 77

ARCHIVE • ALAN MOORE ON ARCADE piece on HP Lovecraft and a brilliant study of the life of Henri Rousseau by Bill Griffiths but the very best was a portrait of Stalin by Spain Rodriguez (Arcade #4). Within a limited number of pages, Spain created a convincing picture of the brooding and psychopathic ‘Red Monarch’ and the strange abstracted landscape in which he lived. The use of heavy block shadows and Rodriguez’s powerful sense of composition give a real atmosphere and weight to the story, with an abrupt and brutal pace to the storytelling that matches the chilling nature of the subject matter quite adequately. A scene in which Stalin’s wife is Arcade #5 • 1976

“The use of heavy block shadows and Rodriguez’s powerful sense of composiTon give a real atmosphere and weight to the story…”

reported a ‘Suicide’ (whatever that meant in Stalinist Russia) is portrayed as a severe downshot, looking straight down from near the ceiling of an elegant bathroom at the woman sprawled upon the floor like a stringless puppet, hard lines of black ink radiating from her slashed wrists and trickling off across the white tiles. And the final images are perfect: The narrative caption CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE boxes relate how, during his final years, Stalin would travel by car along highways built for his solitary personal use across Russia. Wherever he stopped along the way there would be a room waiting for him specially constructed so as to be an exact duplicate of his room in the Kremlin, right down to the book lying open on the bedside table. While this is sinking in, we see three pictures, showing a simple side elevation of a sparsely furnished, neat-looking bedroom. Each picture is identical to the others except that they get progressively smaller. In effect, we get the impression of an endless series of identical rooms stretching away into the empty distance, proving an unnerving glimpse into the mind of someone who once controlled half of the world.

Arcade #6 • 1976

Another high-point of Arcade was Justin Green’s Classics Crucified series, in which Green, the undisputed Nabob of Neuroticism and creator of the remarkable Binky Brown Meets The Holy Virgin Mary, took the concept behind Classics Illustrated to its logical and bloody extreme. Whereas Classics Illustrated somehow managed to maintain an air of false dignity all the time it was sawing Captain Ahab’s other leg off in an attempt to fit Moby Dick into a comic-book, Green pulled out all the stops and deliberately vulgarised works of classic literature with all the delicacy of a PCP-crazed dog-sodomist. The best example is probably his three page reworking of Dostoevsky’s Crime & Punishment in issue 3 of Arcade. I won’t go into detail, but the final panel should adequately describe the reverence with which this greatest of Russian novelists has been approached. After tortured protagonist Raskolnikov has reached the point of self-revelation that has eluded him throughout this massive novel (‘Oh God! I just realised… I’m a shitty murderer and a terrible person!’) his persecutor, Inspector Porfiry Petrovich,

“Green… deliberately vulgarised works of classic literature with all the delicacy of a PCP-‐crazed dog-‐sodomist.”

CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE

strikes up a relationship with Raskolnikov’s loved one, Sonia. In the last panel, Green summarises Dostoevsky’s notion that the torture of one individual is somehow redeemed in the elevation of others to loving harmony, most adequately as Inspector Petrovich poignantly remarks, ‘Just think… if those two bimbos wasn’t knocked off, I never woulda met Sonia!’ Sonia gazes at him adoringly and says, ‘He is my Sugar-Father.’ End of strip. For my part I thought it was better than the original.

JusSn Green’s Classics Cruciﬁed series takes on Dostoevsky’s Crime and Punishment

Then there was Kim Deitch’s recountings of the stories upon his own pet theme: Famous Frauds. Filtered through Deitch’s Fleischer-esque sensibilities, the stories of such notable tricksters as Don Carlos Balmo-I, who was CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE LeX: Kim Deitch’s Ajeeb the chess-‐ playing ‘robot’ meets its match

A Kim Deitch self-‐portrait from the contents page of Arcade

actually a woman, and the chess-playing robot Ajeeb took on a new and surreal dimension. Ajeeb was particularly interesting: a huge and hollow ‘automaton’ concealing a small human operative, Ajeeb outlasted several operators – one of whom turned to drink and went mad after spending his entire working life sitting in the cramped interior of the stuffy and lightless pseudo-robot – before finally suffering the humiliation of defeat at the hands of CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE an 11 year old boy. The boy won a box of cigars, and that was Bobby Fischer’s very first chess prize. The stories are simply told and fascinating, and therein lies a lot of the appeal, both of Deitch’s work in particular and of Arcade in general: the stuff was well written and well constructed. It hung together well and it had a point. Would that there were four books like that around today. Most issues had a text feature written by some contemporary notable and illustrated by one of the Arcade crew. The idea worked well – the three page text features broke up the otherwise acres of comic strip and

The ﬁnal issue: Arcade #7 • 1976

“Most issues had a text feature wriZen by some contemporary notable and illustrated by one of the Arcade crew.”

LeX: A Charles Bukowski text story illustrated by Robert Crumb CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE set off the work to its best effect by contrast. The better pieces in this category included two inspiring pairings: Charles Bukowski and Robert Crumb; and S Clay Wilson and William Burroughs. Crumb’s rubbery Terrytoon lines perfectly evoked the seamy nostalgia of Bukowski’s prose, while in Burroughs S Clay Wilson seemed to have found a match for his own abnormally horrid imagination. Jim Hoberman also contributed a text column, Space Age Confidential by name. Variously illustrated by Deitch, Robert Williams and Art Spiegelman, Space Age Confidential talked enthrallingly about such American icons as Coca-Cola, Disneyworld and President Calvin Coolidge. In doing so it underlined another prominent strand running through Arcade, a sort of determination to expose the dark and bizarre side of contemporary pop culture, starting with the comic strip and working outwards. Despite the heavy whiff of Dadaism in the material, Arcade displayed nothing but the greatest respect for the medium it was working within. Great moments in the medium’s past were recalled and re-examined in a feature called Arcade Archives. While at the moment we have an exemplary publication like Nemo to help us find out about strips of the past, in 1975 Arcade Archive’s four or five pages a quarter were the best thing on offer. It was here that I first discovered such glittering geniuses as Harrison Cady, and became convinced that a familiar name like HM Bateman might be worth a deeper examination. This concern for the past of the medium was matched with a concern for its future that was best reflected in a feature known as Arcade Sideshow, which rounded out the CONTINUES ➤

Robert Crumb in 2011

“Arcade displayed nothing but the greatest respect for the medium it was working within.”

HM Bateman

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ARCHIVE • ALAN MOORE ON ARCADE magazine. Sideshow consisted of numerous half-page strips by new artists, or occasionally by an older hand who simply wanted to experiment with the interesting restrictions of the half-page format. Aline Kominsky, Mark Beyer, Sally Cruikshank, Rory Hayes – I encountered them all for the first time in the sawdust and popcorn atmosphere of the Sideshow. The title seemed especially adequate in light of the freakishness of some of the art-styles on display. It was my first exposure to the idea of primitivism in comic art, and after my initial conditioned repulsion had worn off – about three months – I found myself approaching the work of people like the late Rory Hayes with a real and almost inexplicable pleasure. This is the edge of the underground that most comic fans balk at. When confronted by the painful amateurishness of an Aline Kominsky, the mind conditioned to Neal Adams and Mike Golden will probably recoil in stark terror and vomit mauve bile. The root of the argument seems to be, ‘But she can’t draw.’ In terms of standard comic art, this is perfectly true. John Byrne can draw and Aline Kominsky can’t. What you have to realise however, is that the drawing ability of the artist is not what art is about. Not all the time. And I for one would love to see Aline Kominsky do an issue of the Fantastic Four. CONTINUES ➤

A Fear of Froaks by Rory Hayes

“… The mind condiToned to Neal Adams and Mike Golden will probably recoil in stark terror and vomit mauve bile.”

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ARCHIVE • ALAN MOORE ON ARCADE LeX: Art Spiegelman’s ‘Real Dream’ strip was a recurring feature in Arcade

All of the above is an attempt to list just the continuing features of Arcade, and even so it is incomplete. I haven’t mentioned Art Spiegelman’s Real Dream spot, where readers were invited to send in dreams for Spiegelman to illustrate, or Yippie monument Paul Krassner’s exposé upon Timothy Leary and the grim facts behind the Lenny Bruce industry. This is largely because the most significant of Arcade’s contributions to the medium were one-off pieces rather than continuing features. However astonishing the material listed above might actually be it was really only the setting for the various pieces de resistance that Arcade was to present over its seven issue lifespan. There were so many good pieces, even in such a drastically curtailed run, that I can only hope to list a few in passing before tackling a couple of personal favourites in depth. There was Jay Kinney’s wordless and ominous Midnight, executed entirely upon scaper-board; the late Willy Murphy’s excellent Arnold Peck adventures, Diane Noomin’s Sultana of schlock Didi Glitz in a series of vacuous vignettes, the stunning colour work adorning the back covers by Spiegelman, Moscoso, McMillan, Robert CONTINUES ➤

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ARCHIVE • ALAN MOORE ON ARCADE Williams, Kliban and others, and so on and so on in an endless shopping list of extraordinary talent gathered in one place at one time. Quite genuinely, this was the most perfectly conceived and executed comic publication since Harvey Kurtzman’s MAD, and there has been nothing like it since. I think that without a doubt the three most consistent creators working at Arcade were the magazine’s editors; Bill Griffith and Art Spiegelman; and that cranky old misogynist Robert Crumb himself… Art Spiegelman

In part two of this article next issue, Alan Moore takes an in-‐depth, critical look at the Arcade work of Robert Crumb, Bill Griffith, and Art Spiegelman.

Bill Griﬃth

ENDS ∞

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Capsule Reviews

GONE DIGITAL Bo>om of the Ninth Creator

Ryan Woodward

Publisher Spinire Studios

ALEC: The Years Have Pants Creator

Cleveland

Eddie Campbell

Creator

Publisher Top Shelf ProducGons

Harvey Pekar

Publisher Top Shelf ProducGons

Price

$3.99

Price

$9.99

Price

$9.99

Device

iPad

Device

iPad

Device

iPad

RaGng

★★★★★★★★★★

RaGng

★★★★★★★★★★

RaGng

★★★★★★★★★★

Brieﬂy

An infuria)ng app. It combines some stunningly beau)ful artwork and anima)on with a distrac)ng and some)mes unresponsive user experience, including diﬃcult-‐to-‐read le@ering… There’s a longer review needed here because this has a WOW factor in the way it integrates comics, audio, and anima)on… but it’s almost unreadable. Worth $3.99 though.

Brieﬂy

Over 30 years of Campbell’s ‘Alec’ strips have been collected here in this massive tome, and there is new material too. At turns funny, erudite, poignant, violent, trivial – but always lifeaffirming. If you’re a Campbell fan you already have it. If not, what’s wrong with you? This is essential reading for anyone interested in the art form. It will change your view of what comics can be about.

Brieﬂy

The late Harvey Pekar’s homage to the American splendour of his home. Beau)fully illustrated by Joseph Remnant, Pekar gives us a history of the development of Cleveland before taking us through some deeply personal recollec)ons of his experiences in the city and introducing us to more of its characters. A harsher tone than Campbell, it none the less aﬀects us with its honesty.

App Store Bo@om of the Ninth

Web page ALEC: The Years Have Pants

ENDS ∞

Web page Cleveland

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Digital Comics Sample

KICKBACK DAVID LLOYD’S CRIME-NOIR GRAPHIC NOVEL Kickback is the first graphic novel written and illustrated by the critically-acclaimed artist of V for Vendetta, David Lloyd. It’s a slick, stylish, fast-paced thriller that explores themes of corruption, consciousness, society, and selfrespect against a big-city film-noir backdrop. Joe Canelli is a corrupt cop in a tough city. Haunted by his dreams and confused by his past, when his partner is murdered and his colleagues betray him, how much can he take before he has to change direction? This year Panel Nine released Kickback as a deluxe app for the iPad. The app presents the full 92-page graphic novel plus audio commentaries recorded by David Lloyd, an exclusive interview, and a host of unseen extras. Pages are shown in stunning high-quality digital format, with a specially-designed user interface that gives the reader smooth swiping from page to page, flawless pixel-persecond movement, and effortless transition to Panel Mode to view enlarged panels one by one in beautiful detail.

KICKBACK • DAVID LLOYD Panel Nine • iPad • $9.99 Persian Cat Press raGng ★★★★★★★★★★

Here INFINITY presents an exclusive sample of Kickback for your enjoyment. PANEL MODE ENABLED. Double-‐tap a panel on the comics pages following to view the strip panel-‐by-‐panel.

CONTINUES ➤

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“A brilliant crime-noir graphic novel.”

KICKBACK

A CRIME-NOIR THRILLER FROM THE CREATOR OF V FOR VENDETTA

DAVID LLOYD CONTENTS

• All 92 pages of the original graphic novel • Audio commentary by David Lloyd • Production sketches • Production notes • Kickback covers collection • An exclusive interview with David Lloyd, discussing the origins of Kickback, the comics industry, V for Vendetta, and much more

PRAISE FOR KICKBACK ON THE IPAD

‘Fantastic! Buy it!’ – David Hine ‘The app works beautifully and looks gorgeous. It would be a crime not to buy it!’ – Comic Heroes Available for iPad, $9.99. Tap this page to view the app in the App Store.

PANEL NINE

Interview

EDDIE CAMPBELL

DAPPER JOHN • EDDIE CAMPBELL

SPECIAL DAPPER JOHN INTERVIEW EXCERPT Before Alec there was Dapper John, and the Panel Nine iPad and iPhone apps pull together all the ‘Dapper John’ strips and combine them with new material by Eddie Campbell including an overview of the small press scene of the 80s and a photographic record of the rock ’n’ roll scene in Southend in the 70s. It’s an amazing package with the equivalent of over 150 printed pages.

Panel Nine • iPad / iPhone • $9.99 Persian Cat Press raGng ★★★★★★★★★★ Contains the Dapper John graphic novel plus addiGonal stories, an overview of the 80s small press scene by Campbell, rarely-‐seen artwork and covers and a full-‐ length interview.

Neil Gaiman commented: ‘I read and really loved Dapper John for the iPad’. In the excerpt that follows, Eddie Campbell talks with Russell Willis about the context in which the original ‘Dapper John’ strips were created. CONTINUES ➤

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INTERVIEW • EDDIE CAMPBELL INTERVIEWER It’s 1978 and you’re working on In the Days of the Ace Rock ’n’ Roll Club… what was the situation like for a someone creating comics then? EDDIE CAMPBELL I was working in an idiom that didn’t exist yet. I’d create a comic as a book, and when that was finished I’d think about what my next book would be about. Doing a comic, never mind a whole big self-contained one, where you didn’t go to a big company and draw one of their characters, was inconceivable. I didn’t think of the Ace Club as belonging to the underground tradition, if it can be called a tradition, either. In fact I sent photocopies to Kitchen Sink Press, and Dennis Kitchen rejected it outright. He thought it was very rough and amateurish. In fact, later on when he fell into the position of publishing From Hell, I still had a feeling he thought my work was crap. Much later when I was having drinks with him at conventions – which I miss now that I haven’t been travelling so much over the last three or four years – I said to him, “I still think you don’t like my work.” He didn’t answer. We laughed. By then I’d done a couple of Spirit stories and other stuff for him.

“I WAS WORKING IN AN IDIOM THAT DIDN’T EXIST YET.”

I tried to sell one of the Ace Club stories to Knockabout when they were doing their underground comics here. They found it all a bit flat, so I chopped up xeroxes of one of the stories and tried to redo it as a a bouncy rock ’n’ roll thing in a Hunt Emerson style but they rejected that too. My god it was awful though. I tore it up. INTERVIEWER You were compromising there? EDDIE CAMPBELL I would have compromised if they’d let me, but compromise wasn’t getting me anywhere. I was in a situation where I was unable to sell anything to the fragmentary market that existed for self-made comics. There was nowhere else to go. Seriously. Even Fantagraphics didn’t exist yet. CONTINUES ➤

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INTERVIEW • EDDIE CAMPBELL Roughly at that point Paul Gravett serendipitously turned up with his Fast Fiction table. He’d seen one of my stories via the British Amateur Press Association, which was a big pompous name for a bunch of people exchanging their blatherings in the mail. The internet is the place for it nowadays. INTERVIEWER What led you to the creation of the Ace Club stories? EDDIE CAMPBELL Before I started The Ace Rock ’n’ Roll Club, I’d been reading the stories of Damon Runyon where every character had a nickname like Harry the Horse or Nathan Detroit or NicelyNicely Johnson, and the characters from one short story would turn up as background characters in another story or they might just be referenced, but they seemed to be used as though they were coordinates in a mappable environment. The entire opus of all his stories forms an environment, so to speak, where any of these characters might be encountered at any given moment, without a titular character to dominate the proceedings. I’d been thinking about all of this as I was trying to invent some characters of my own. I’ve got this tiny little sketch of some of them, included here somewhere, and I was giving them names like Chortle and Castro Smythe and there was another one called Icarus Ibbotson. It occurred to me that there was no sound reason for any of these people to know each other, which is why I started looking at this rock ’n’ roll club situation. I thought, what if I infiltrated this situation and got to know people? – because it wasn’t something that I was inclined to do by nature and I wasn’t into rock ’n’ roll music in a big way. I’ve long been a collector of old jazz music. But there was something about the obsessions and definitions that they imposed upon themselves that ensured that this would be the very narrow and limited environment that I was seeking. CONTINUES ➤

“I THOUGHT, WHAT IF I INFILTRATED THIS [ROCK ’N’ ROLL] SITUATION AND GOT TO KNOW PEOPLE? – BECAUSE IT WASN’T SOMETHING THAT I WAS INCLINED TO DO BY NATURE AND I WASN’T INTO ROCK ’N’ ROLL MUSIC IN A BIG WAY.”

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INTERVIEW • EDDIE CAMPBELL

INTERVIEWER It sounds like you were engaging in a bit of literary participant observation.

ENLARGED DETAIL FROM THE COLOUR VERSION OF AWAYDAY DELINQUENT, 1979

EDDIE CAMPBELL Like going into deep caves to study bats or something. It was whilst creating these stories I discovered the idea of being autobiographical in comics. I’m not saying I invented the idea, but I stumbled across my own version. And as such, looking back at them now I was finding it a bit cringeworthy. But in putting them together for this app I found myself rereading them. Sideways at first, because it’s difficult to look at one’s old work face to face. Around the fourth story, or chapter, I started laughing at it all. CONTINUES ➤

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INTERVIEW • EDDIE CAMPBELL Where it was a bit twee and silly at the beginning, an element of bitter satire creeps in when sex raises its head. Jeezis! What was I thinking? INTERVIEWER If you were a jazz fan, what possessed you to dress up in those clothes and join a group of teddy boys? EDDIE CAMPBELL I was a lost person. The rock ’n’ roll thing was a subculture that attracted lost people and social misfits and sensitive people playing at being desperados, because the 70s was such a bland place. Punk came along and was a nihilistic destructive ‘fuck you’ thing. Both the rock ’n’ roll scene and punk were a reaction to the mental blandness whose outward signs were taken to be flared trousers and fluffy hair. In such critical moments you tend to get two camps, one that sweeps the board clean and another that goes back to the beginning and attempts to perpetuate the first moment of inspiration. In jazz music in the late 1940s it was the moderns against the ‘mouldy figs’. Now it was Johnny Rotten proclaiming that “Elvis’ fat belly cast a shadow over rock ’n’ roll!”

“I WAS A LOST PERSON. THE ROCK ’N’ ROLL THING WAS A SUBCULTURE THAT ATTRACTED LOST PEOPLE AND SOCIAL MISFITS…”

INTERVIEWER Was the title In the Days of the Ace Rock ’n’ Roll Club meant to be ironic? It was in fact taking place in the present. EDDIE CAMPBELL Yeah, these characters that I’m drawing would walk as though they were walking in their own myth. They were already mythologising their walk down the street before they’d come to the end of it. The title was a sarcastic way of saying that. INTERVIEWER Not all of the stories seem to be based on your own experience. If Monkeys Learn to Fly… for example. EDDIE CAMPBELL That was based on a girl I was going out with and the loony things she told me… CONTINUES ➤

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INTERVIEW • EDDIE CAMPBELL And I couldn’t make that stuff up because I’d be too embarrassed to make it up, but I was transcribing things that I was hearing and I thought, ‘this is stupid, it ought to be in a comic’. But because I was really constructing this as a big singular story, I put her story in there because in the next one she has to meet Dapper John because Dapper John is the real protagonist of the thing. Alan [Moore] once told me and it’s in the interview in Disease of Language where he says that when he was creating John Constantine, ‘a working class wide-boy magician’ for Swamp Thing, he was partially thinking of Dapper John. INTERVIEWER Dapper John is certainly a charismatic character. I think you mentioned somewhere that he is actually not a single character. EDDIE CAMPBELL He is a composite. I was thinking in terms of characters, and using what I needed to make them work the way I thought fiction should work. There was a guy I was hanging around with at the time called John Martin. What have I called him? Dapper John Marvin? INTERVIEWER Yep. EDDIE CAMPBELL Because I was thinking of this guy, and this guy was so fussy over his clothes. I think he was only 19 but he was so fastidious about what he was wearing that he ought to be in a comic. There was a one time I was with him and he was trying to buy a pair of black suede chukka boots (like he’s wearing on our cover) but it was no good if they had little metal eyelets on the lace holes. They had to be WITHOUT the eyelets. And he was getting irritable in the shop because the salesperson didn’t get it.

“BUT I DIDN’T PUT INDIVIDUALS INTO THE STORIES COMPLETE. I THOUGHT IF SOME OF THESE PEOPLE KNEW I WAS DRAWING PICTURES OF THEM THEY MIGHT BEAT ME UP.”

For the full interview, get the Dapper John graphic novel app. Available for both iPad and iPhone.

But I didn’t put individuals into the stories complete. I thought if some of these people knew I was drawing pictures of them they might beat me up. ENDS ∞

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Art for Art’s Sake

WINSOR McCAY

Winsor McCay (1869–1934) was an American cartoonist and animator, best known for the comic strip Little Nemo (begun 1905) and the animated cartoon Gertie the Dinosaur (1914). A prolific artist, McCay’s pioneering early animated films far outshone the work of his contemporaries, and set a standard followed by Walt Disney and others in later decades. His comic strip work has influenced generations of artists, including creators such as Moebius, Maurice Sendak, Chris Ware, and Bill Watterson. Presented here are details from public domain Little Nemo ‘Sunday’ strips published in 1906. They are made available by the Digital Comic Museum. If you’d like to read these in full, head over to the Museum where you can download a wide variety of McCay strips along with lots of other superb material.

CONTINUES ➤

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