By Tom Sellar
By Jennifer Krasinski
By Jennifer Krasinski
By James Hannaham
By Tom Sellar
By Tom Sellar
By Miriam Felton-Dansky
By Tom Sellar
Were sorry, but 2010 has been a dreary slog (Tea Party, anyone?), which is reflected in just about every graphic narrative that moved us this year. But we wont let darkness visible obscure the intense artistry found in our picks of 2010s best comics and other illustrated provocations.
For starters, we now know what 1930s anti-Nazi collagist John Heartfield would have done with the physiognomies of Hitler and Goebbels if only hed had Photoshop. In Repuglicans (Boom Studios, 128 pp., $14.99), Pete Von Sholly brings every right-wing potentate from Newt to Sarah to undead life with bloated pustular flesh, frothing fangs, black-oil eyes, and other colorful grotesqueries. Steve Tathams pithy commentary confirms that the policies of these demagogues are every bit as monstrous as their portraits.
Even more horrifying, Danzig Baldaevs Drawings From the Gulag (Fuel, 240 pp., $32.95) documents the phantasmagorical evil of the Soviet prison system. Female enemies of the people were thrown into cells to be gang-raped by thieves and murderers; children of imprisoned dissidents were given a ticket to a happy childhooda euphemism for a bullet to the head. One prisoner lamented that a human being survives by his ability to forget, but Baldaev (19252005), who served as a camp guard and risked his own freedom to create these unflinching, painstakingly crosshatched scenes, knew that forgetting only allows such horrors to be repeated.
The Sinister Truth: MK Ultra (Pop Industries, 102 pp., $11.95) exposes our own governments nefarious experiments with mind control and the CIAs 638 different plots to kill Castro (and you thought it was only exploding cigars). Jason Ciaccias tale of LSD-crazed assassins would seem ridiculously hyperbolic if it werent derived from the CIAs own files. With nods to Grosz, Bacon, and Steadman, Aaron Norhanians fervid ink drawings propel this witty hybrid of underground comix and the History channel right over the top.
Another aspect of Americas id gets probed in The Horror! The Horror!: Comic Books the Government Didnt Want You to Read!(Abrams, 304 pp., $29.95). Jim Trombettas exuberant prose posits that postwar visions of atomic Armageddon, combined with rebellion against the eras social constipation, inspired paroxysms of four-color mayhem. Bluenoses all around the country held comic books up as examples not only of why Johnny couldnt read but also why he was out raping, robbing, and killing. Copious color reproductions highlight the lucid lunacy of Basil Wolverton, the proto-psychedelia of L.B. Cole, and other inspired craftsmen of the macabre.
By 1955, Congressional pressure had driven horror comics out of business, but in less than a decade Creepy andEerie magazines resurrected the genre like some reanimated corpse seeking revenge on its own murderer. Darkhorses striking reprints (currently at 13 hardcover volumes, $49.95 each) reveal such industry giants as Gene Colan, Russ Heath, Jerry Grandenetti, and Alex Toth using ink wash, crosshatching, and swathes of Zip-a-tone to lend their murderers and monsters convincing presence. These always entertaining, occasionally brilliant storiessee Steve Ditkos kaleidoscopic time shifts in Collectors Edition (Creepy Vol. 2)gain force from the lithe black-and-white layouts.
Meanwhile, contemporary horror keeps coming at us like a zombie tsunami. Julia Gfrörers Flesh and Bone (Sparkplug, 40 pp., $6) features ardent line drawings of wan figures that might have escaped from an Elizabeth Peyton painting. This unearthly collision of witchcraft, gruesome love, and pathetic death dissipates into a truly poignant climax.
Equally absorbing, Charles Burnss Xed Out (Pantheon, 56 pp., $19.95) takes his obsession with the mating habits of teenagers to otherworldly planes. Burns allies luxuriant brushwork with an inspired palette that illuminates boho parties and mutant dystopias with equal conviction.
King of the Flies: 1. Hallorave (Fantagraphics, 64 pp., $18.99) manages to combine dystopia and partying in one particularly morose suburban nabe. Artist Pascal Mezzo Mesenburgs crisp scenes of druggy costume soirées and bowling-alley liaisons deftly complement writer Michel Piruss slyly interlocking tales of depraved jollies in suburbia.
No one, however, can transform the workaday into existentially bleak page-turners like Chris Ware. His tales of myopic relationships and enervated dreams shimmer with eloquent graphics, precisely tuned dialogue, and perfect-pitch body language. In Lint, Acme Novelty Library Vol. 20 (Drawn & Quarterly, 72 pp., $23.95), we see parents faces slowly come into focus through their babys eyes, watch the young Jordan Lint grow into an adult-scaled world, then follow his punctured ambitions and bumptious middle-aged affairs to the moment when everything contracts back down to that first dot of consciousness. Astonishing.
Also dazzling, Dirty Baby (Prestel, 160 pp., $125.00) begins with Ed Ruschas paintings of blurrily silhouetted sailing ships and foreboding tract homes overlaid with white bars implying censored phrases. Each of these mysterious images is counterpointed by David Breskins witty poetry (derived from such Ruscha titles as Be Cautious Else We Be Bangin' on You). Rather than explicate the pictures, the poems seek to metaphorically fill the blank areas with fresh interpretations. Nels Clines clashing musical harmonies (included on four inset audio CDs) further stitch poetry and canvas together into a mordantly funny, amorphously beautiful genre Frankenstein.
But if youre looking for the current gold standard in straight-up comic-book artistry, Darwyn Cooke is your man. The Outfit (IDW, 160 pp., $24.99), like last years The Hunter, sets one of Donald Westlakes crime thrillers against Rat Packera backdrops, where antihero Parker wages a profitable war on syndicate bosses who want him dead. Westlakes cynical characterizationsa thrill-seeking society girl pouts when a would-be hitman confesses before he can be torturedmerge with Cookes diverse layouts and visceral figures to keep the plot burning rubber from wire to wire.