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Guido Crepax //Fantagraphics

The 4 Most Interesting Comics of the Week

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Guido Crepax //Fantagraphics

Every week I write about the most interesting new comics hitting comic shops, bookstores, digital, and the web. Feel free to comment below if there's a comic you've read recently that you want to talk about or an upcoming comic that you'd like me to consider highlighting.

1. THE COMPLETE CREPAX: DRACULA, FRANKENSTEIN, AND OTHER HORROR STORIES

By Guido Crepax
Fantagraphics

Guido Crepax // Fantagraphics

The late Guido Crepax was one of the most influential comics artist to work in erotic graphic literature. Crepax pulled elements of 1930s German Expressionist films, 1960s French New Wave, Art Nouveau design, BDSM, and the keen eye of figurative artists such as Egon Schiele. His kinky and surreal comics could be appreciated even more for their elaborate, psychedelic compositions and slightly exaggerated anatomy than for their eroticism. His influence is apparent in the work of contemporary cartoonists like Frank Miller, Paul Pope and Kevin O’Neill.

Most of the Italian artist’s work has been unavailable in the States, but U.S. publisher Fantagraphics has begun an ambitious endeavor to collect and translate his complete oeuvre over the course of 10 hardcover graphic novels. The first book hits stores this week, and rather than collect his work chronologically, the publisher has opted to release them by theme, with this first volume focusing on erotic horror. It begins with a number of Valentina stories from the 1960s that showcase Crepax at his best. Originally intended as a love interest for a super-powered hero named Neutron, Valentina quickly captured the attentions of both Crepax and his readers, even inspiring a 1973 Italian-French film. With a look drawn from silent film actress Louise Brooks and Jean-Luc Godard muse Anna Karina, Valentina is a strong, sexually liberated heroine.

This volume ends with two adaptations—one of Bram Stroker’s Dracula and the other of Mary Shelley’s Frankenstein—produced later in Crepax’s career. While they lack many of the distinguishable stylistic characteristics that make his earlier work so recognizable, they still take the original material and add a number of erotic flourishes.

2. BATMAN #50

By Scott Snyder, Greg Capullo and Danny Miki
DC Comics

DC Comics

Typically, comics have always loved celebrating issue number milestones (#25, #50, #100), but these days, with most series relaunching every couple of years, longevity is no longer celebrated. DC helped start the relaunch trend in 2011 when they reset all their titles back to #1, but they’ve managed to stick to that sequencing for 50 issues. To mark that milestone, they are publishing some extra-sized issues this month. Of all the #50s, none will be as worthy of being treated as a milestone as Batman #50.

Batman has been, without a doubt, DC’s best title these past few years, and that is all because it has maintained a consistent creative team since issue one: Scott Snyder and Greg Capullo. They approach Batman with a post-Christopher Nolan edge and add some nice elements of comic book hyper-realism to the dark, grounded tone of the films. In their 50-issue run, they have retold Batman’s origin, physically deformed the Joker, introduced new mythologies to Gotham, and killed off both Batman and the Joker. That brings us to this issue where, of course, Batman returns from the dead. The beauty of this story is that Snyder and Capullo never tried to make us think that Bruce Wayne was actually dead; it’s been one of the best “Batman dies/someone else takes over” arcs ever.

This June, DC will be renumbering most books back to #1. However, for two of their oldest titles— Action Comics and Detective Comics—they will restore the legacy numbering in order to hit the mother of all milestones: issue #1000.

3. CANCER OWL

By Matthew Paul Mewhorter
cancerowl.com

Matthew Paul Mewhorter

Cartoonist Matthew Paul Mewhorter is a survivor of colorectal cancer (or as he calls it: “ass cancer”). When he was first diagnosed in 2014 at the age of 35, he began journaling about it using a little cartoon owl, called “Cancer Owl,” as a stand-in for himself. He created dozens of cartoons that, in a touching and effective way, poke fun at situations cancer patients can probably relate to: getting unsolicited treatment advice from strangers, trying to hold it together while talking with fellow patients, and of course dealing with the pain and suffering of chemotherapy. After Mewhorter beat his cancer, he was determined to continue the comic in hopes of using it as a form of therapy to help others.

Mewhorter posts new Cancer Owl comics every week and has just launched a Patreon campaign to raise money for supplies, advertising costs, and other projects. You can read all the Cancer Owl comics to date at CancerOwl.com and go to the Patreon page to support the campaign.

4. CARPET SWEEPER TALES

By Julie Doucet
Drawn & Quarterly

Julie Doucet // Drawn & Quarterly

Julie Doucet was one of Drawn & Quarterly’s early finds when the prestigious indie comic publisher first launched 25 years ago. Her Dirty Plotte anthology was picked up by D&Q in 1991 and made her an important name in late 20th century indie comics and a feminist icon. Doucet soon retired from making long-form comics and became a fixture in the Montreal arts community, but now she is back with a new graphic novel that is very different from her previous, hand-drawn autobiographical comics.

Carpet Sweeper Tales can best be described as an avante-garde remix of Italian fumetti (photo novels) from the 1970s. Cutting up those vintage magazines, she repurposes them into absurdist scenes of men and women speaking in stilted advertising slogans and typographical nonsense. It’s like revisiting how memes must have been made before there were ever GIFs and Tumblr.

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Hulton Archive (left), Bruno Vincent (right) // Getty Images
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How Superman Helped Foil the KKK
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Hulton Archive (left), Bruno Vincent (right) // Getty Images

The Klansmen were furious.

Dozens of them had congregated in a nondescript room in Atlanta, shaking cloaked heads at the worrisome news that their sect leader had just shared: An act of gross subterfuge had transpired over the airwaves. Millions of Americans had now become privy to their policies, their rankings, their closely guarded methods of organized hatred.

All of it fodder for some comic book radio show. Their mission had been compromised, sacrificed at the altar of popular culture. Kids, one Klansman sighed. His kids were in the streets playing Superman vs. the Klan. Some of them tied red towels around their necks; others pranced around in white sheets. Their struggle for racial purity had been reduced to a recess role play.

Stetson Kennedy listened, doing his best to give off irate body language. He scowled. He nodded. He railed.

The covert activist waited patiently for the Klan to settle down. When they did, he would call radio journalists Walter Winchell and Drew Pearson, offering the results of his infiltration into the group for public consumption.

He’d also contact Robert Maxwell, producer of the Superman radio serial. Maxwell, eager to aid the humanitarian mission of the Anti-Defamation League, would promptly insert the leaked information into his show’s scripts. In between fisticuffs, his cast would mock the KKK’s infrastructure, and the group’s loathsome attitudes would be rendered impotent by the juvenilia.

The Klan roared, demanding revenge on their traitor. “Show me the rat,” their leader said, “and I’ll show you some action.”

Kennedy cheered, just as they all did.

And when he returned home, his Klan robe would be traded for a cape.

The cover to the first issue of Superman
Hulton Archive/Getty Images

Kennedy, born in 1916, was an unlikely undercover operative. After a back injury kept him out of World War II, the Jacksonville, Florida native decided he wanted to combat anti-American forces on the home front. With Klan members alleged to have assaulted his family’s black maid when he was a child, the Klan—once again gathering steam in an era of segregation and racial divisiveness—was a favored target.

Having convinced a “Klavern” in Atlanta, Georgia that he shared their bigoted views, Kennedy donned the ominous attire of a Klansman, attended cross burnings, and covertly collected information about the group that he would then share with law enforcement and media. Radio journalist Drew Pearson would read the names and minutes of their meetings on air, exposing their guarded dialogues.

Revealing their closed-door sessions was a blow—one that Kennedy didn’t necessarily have to confine to nonfiction. In 1946, Maxwell, who produced the Superman radio serial broadcast around the country, embraced Kennedy’s idea to contribute to a narrative that had Superman scolding the racial divisiveness of the Klan and airing their dirty laundry to an enraptured audience.

“The law offices, state, county, FBI, House Un-American Activities Committee, they were all sympathetic with the Klan,” Kennedy said later. “The lawmen were, ideologically at least, close with the Klansmen. The court of public opinion was all that was left.”

Ostensibly aimed at children, Superman’s daily radio dramas were often broadcast to assembled nuclear families; one phone poll showed that 35 percent of its audience was composed of adults.

But regardless of whether parents listened, the activist believed the younger demographic was worth attending to. “Even back in the ’40s, they had kids in the Klan, little girls dressed up in Klan robes at the cross burnings," Kennedy said. "I have photos of an infant in a cradle with a complete Klan robe on. It seemed like a good place to do some educating.” 

In “Clan of the Fiery Cross,” a 16-part serial airing in June and July of 1946, Superman opposes an organized group of hatemongers who target one of Jimmy Olsen’s friends. Exploring their network, Clark Kent uncovers their secret meetings and policies before his alter ego socks the “Grand Scorpion” in the jaw. The idea, Kennedy wrote in his account of his work, The Klan Unmasked, was to made a mockery of their overblown vernacular.

When traveling, for example, Klansmen might identify one another by asking if they “knew Mr. Ayak,” an acronym for “Are You a Klansman?” Although Kennedy may not have actually shared their code words on air—a longstanding myth that was debunked in Rick Bowers’s 2012 book, Superman vs. the KKK—their histrionics were perfect for dramatization in the breathless structure of a radio drama. Given shape by actors and sound effects, all the clubhouse tropes of the Klan seemed exceedingly silly.

The cover to the first issue of Superman
Hulton Archive/Getty Images

As Kennedy continued to serve up Klan secrets to Superman, he watched as Klan morale dipped and membership enrollment ebbed. Desperate, the Klan tried calling for a boycott of Kellogg’s, a new sponsor of the show, but racial intolerance was no match for the appetites of post-World War II homes. Rice Krispies and Corn Flakes remained breakfast table staples, and Superman’s battles with the close-minded continued. Emboldened by his success against the Klan, Superman took aim at Communism, a favorite target of the show’s anti-Red star, Bud Collyer.

Kennedy would go on to burden the Klan using proof of uncollected tax liens, and eventually convinced the state of Georgia to revoke their national corporate charter.

Kennedy died in 2011 at the age of 94. While some of his accounts of subterfuge in the Klan later came under fire for being embellished, his bravery in swimming with the sharks of the organization is undeniable. So, too, was his wisdom in utilizing American iconography to suffocate prejudice. Fictional or not, Superman may have done more to stifle the Klan’s postwar momentum than many real people who merely stood by and watched.

Portions of this article were excerpted from Superman vs. Hollywood: How Fiendish Producers, Devious Directors, and Warring Writers Grounded an American Icon by Jake Rossen with permission from Chicago Review Press. Copyright (c) 2008. All Rights Reserved.

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Courtesy of Highlights for Children
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7 Engaging Facts About Goofus and Gallant
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Courtesy of Highlights for Children

For well over 60 years, the preadolescent readers of Highlights for Children magazine have gotten regular lessons in morality from Goofus and Gallant, a pair of kids of indeterminate age and relation who offer sharp contrasts in behavior. Gallant is prone to exhibiting perfect manners; Goofus is selfish, thoughtless, and has even been seen torturing small animals. (Honest: He has stoned birds and once subjected a frog to some disturbing cruelty.)

The two-panel strip has become so ubiquitous that warring ideologies are often described as “Goofus and Gallant” types. If you’ve ever wondered whether there’s more to Gallant than being a goody two-shoes or whether Goofus is flirting with juvenile delinquency, check out our round-up of the pair’s storied history.

1. THEY USED TO BE ELVES.

Goofus and Gallant

Goofus and Gallant were the creation of Garry Cleveland Myers, a child psychologist and popular syndicated parental advice columnist. Myers debuted the strip, then known as the The G-Twins, in Children’s Activities magazine in 1938. While the twosome were already displaying their radically different approaches to life, Myers depicted them as fanciful creatures with pointed ears and curly-toed shoes. No one is quite sure why Myers opted for the fairy tale aesthetic, although one theory is that he wanted to depict bad behavior rather than bad children.

After Myers and wife Caroline started Highlights for six- to 12-year-old readers in 1946, they were eventually able to acquire the rights to the strip. Goofus and Gallant debuted in their magazine in 1948; by 1952, they had morphed into two regular kids. Their parents lost the elf ears, too.

2. THEY MAY HAVE BEEN BASED ON REAL KIDS.

Highlights turned into a family enterprise, with the Myers’s children and grandchildren having a hand in its publication. In 1995, Kent Brown Jr., the Myers’s grandson, told the Los Angeles Times that he was the inspiration for Goofus and that his cousin, Garry Myers III, was the model for Gallant. Myers III denied the accusation. “Kent gets great glee out of claiming to be Goofus," he said. Brown later stated that all of Myers's 13 grandchildren helped inform the characters.

3. ONE ARTIST DREW THE STRIP FOR 32 YEARS.

Goofus and Gallant

Once Myers secured the rights to the two characters for Highlights, he enlisted illustrator Marion Hull Hammel to draw their adventures (and misadventures), taking them from the elfin creatures of the early days to the human boys of the 1950s and beyond. Hammel wound up drawing it for 32 years; Sidney Quinn took over when she retired and worked on it through 1995. Current artist Leslie Harrington has been on the strip since 2006. 

4. GALLANT GETS HATE MAIL.

While the recurring theme of Goofus and Gallant is to exercise the Golden Rule, not all juvenile readers are on board with Gallant’s impeccable manners. "I got a letter from an attorney who'd grown up with the feature," Rich Wallace, the magazine's then-coordinating editor, told the Los Angeles Times in 1995. “He had something he wanted to get off his chest: 'Gallant was a wussy.'" Other readers have expressed similar disdain for Gallant, observing that they identify more with Goofus.

5. GOOFUS IS NOT A SOCIOPATH.

Goofus and Gallant

In the absence of any in-panel clinical diagnosis of Goofus’s reckless behavior—including but not limited to playing with fire, being unkind to peers, and vandalizing school books—we’re left with the editorial directives of Highlights. In a 1993 interview with the Chicago Tribune, magazine publicist Tom White admitted that Goofus is a “surly, uncooperative, ill-mannered child” but that "he is not a sociopath.” Good to know!

6. THEY’VE BEEN FEATURED IN ROUGHLY A BILLION ISSUES.

Discounting the two years they were absent from Highlights from 1946 to 1948, the antics of Goofus and Gallant have appeared without fail in every subsequent issue. In 2006, the magazine celebrated its 60th anniversary by shipping its one billionth copy. The magazine went from selling 20,000 copies of its first issue to averaging 2.6 million readers a month in the 1990s.

7. ONE EDITOR’S THEORY WILL BLOW YOUR MIND.

Goofus and Gallant

When Goofus and Gallant began their broadly-drawn moral plays in the 1950s, they were depicted as identical twins. Later on, editors for Highlights indicated the two were brothers, but not twins. By 1995, they were simply two unrelated boys. But according to former coordinating editor Rich Wallace, the two might actually be part of a Fight Club-style twist. “I’ve theorized they’re two sides of the same kid,” he said.

We were so awed by this possibility that we asked Highlights editor Judy Burke if it held any water. "We show the boys with different parents in the panels and they look slightly different from each other," she says. More recently, the two have seemed to become aware of the other's existence. "In April 2016, we had them breaking through their respective art panels and pranking each other for April Fools’ Day, which they couldn’t have done if they were the same child."

That doesn't mean that readers can't have an existential crisis of their own. "Each time we run Goofus and Gallant, we include the line, 'There’s some of Goofus and Gallant in us all,'" Burke says. "When the Gallant shines through, we show our best self.  We also include a few 'Goofus and Gallant Moments' from kids, where they tell us about times when they felt like either Goofus or Gallant. These two aspects of the feature support the theory that both characters reside within the same individual, and it’s up to that person to choose how to behave."

All images courtesy of Highlights for Children and used with permission.

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