Reasons Why I’m Scared To Love You

by Philip Spence

Self Published

This is a beautiful handmade and bound comic by Philip, each one a unique piece of art. It’s one of those lovely, hand crafted individual things that only just clings onto the edges of the definition of comics, but comics is a big medium and grown up enough to be flexible. It’s an utterly beautiful object, with every aspect of the comic adding to it’s handmade uniqueness; the laced binding, the cut out front cover heart, the mix of page stock (card, tracing paper, fold outs and more). It even extends to the back cover, with a tiny envelope containing “15 Things About Me I Wish You Didn’t Know, But I’ll Tell You Anyway”, an A4 page of Philip the talking head telling you about those 15 things: ballet as a child, music snob, lightweight drinker, hung up over an ex for the last 3 years.

Reasons Why I’m Scared To Love You is Philip Spence’s beautiful love letter to a lost love, started when the relationship was full of potential, finished in the throes of their breakup. Or as he puts it on one of the first pages:

That double page spread above gives you an idea of both the incredibly personal content and the meticulous hand made nature of this lovely comic, with the pale cream card on the left leading into the tracing paper contents page over the brown, textured heavyweight paper underneath.

The whole comic is a tactile, visual delight and such a personal and heartfelt look at lost love that it’s actually quite painful to read, with every page practically dripping with regret. At times it feels like an invasion of his life; uncomfortable and voyeuristic yet fascinating to read:

A great little object and a touching bit of autobiography, Reasons Why I’m Scared To Love You is only available direct from Phillip – email him through his websites (portfolio site or Ninja Bunny site) or pick one up at a show.

Richard Bruton.

British International Comics Show’s Shane Chebsey tells us that they are all excited over the publication of the first winner of their BICS Got Talent writing contest: ” The lucky winner John Howson has had his Future Shock story “9 to 5” illustrated by the talented artist Ben Willsher in the latest issue of the infamous science fiction anthology magazine 2000ad which is available now in all good newsagents.”

“Last year two artists where also picked up by DC Comics when Editor Mark Chairello visited the show, and this year the organisers plan to keep helping to establish that career path from creator to publisher by working with artists, universities and publishers very closely. This year –once again – artists will have the chance to show their work to DC Comics editor Michael Wright and other editors who will be attending the show.”

Shane also tells us that this year’s BICS will also see Howard Chaykin as a special guest, while Pasqual Ferry, Alan Davis, Paul Cornell, Doug Braithwaite and others will be helping celebrate seventy years of Marvel Comics. This year’s show will be at the Think Tank in Birmingham over the weekend of the 3rd and 4th of October 2009.

As we swelter under the unusual (for Britain) hot and humid conditions here’s Alex Fitch with a cooling, refreshing jug of comics and SF related audio goodness; as ever check the Panel Borders site for more details and archived podcast versions of previous shows:

Strip!: There’s no time like the present, tonight at 5pm on Resonance FM, podcast after transmission on Panel Borders

Starting Sci-Fi comics month on the show, Alex Fitch talks to small press creator Paul Rainey about his serialised graphic novel There’s no time like the present which he has been self publishing as individual comic books over the past five years. TNTLTP tells the story of a group of friends from Milton Keynes who suffer from the usual concerns of our generation – niche interests, unfulfilling jobs, difficulties with dating etc. – but in a world where time travel exists and the UK in the present day is a holiday vacation for patronising visitors from the future. Alex and Paul talk about the latter’s influences from Alan Bleasdale to Doctor Who, Kurt Vonnegut to Coronation Street, how the opening of a new memorial in Milton Keynes is best attended by a Dalek and the process of telling a long form narrative with an unusual structure.

(frames from early There’s No Time Like the Present by and (c) Paul B Rainey)

I’m ready for my close-up: Kenneth Anger, Friday 3rd July at 5pm on Resonance FM

Virginie Sélavy talks to infamous experimental film maker Kenneth Anger about his career, from ground breaking shorts such as his Magick Lantern Cycle and Scorpio Rising in the 1960s, to his recent return to the medium after a twenty year break.

Reality Check: Female action heroes, online at SciFi London on July 3rd

To coincide with the release of updates of the Terminator franchise and Blood: The last Vampire, Alex Fitch talks to actress Linda Hamilton about her career, working with Arnold Schwarzenegger and becoming a feminist icon. Alex also talks to anime expert Helen McCarthy about the various incarnations of Blood: The Last Vampire, the Japanese version of Buffy which has moved from TV animation to manga, video games and now live action cinema.

Previous podcasts:

Panel Borders: The art of Rutu Modan, part one, part two

Concluding cross cultural comics month on the show: In an interview conducted live at the Jewish Community Centre in North London, Roehampton University Illustration lecturer Ariel Kahn interviews award-winning graphic novelist Rutu Modan about her work from the acclaimed Exit Wounds to her new collection Jamilti and Other Stories. Rutu and Ariel talk about her influences, the difficulties in depicting a city as rich and diverse as Tel Aviv in print and adjusting to life in England.

Reality Check: For all Mankind, online at SciFi London now

To coincide with the 40th anniversary of the Moon landing, we’re looking at space exploration in fact and fiction. Alex Fitch talks to Sir Patrick Moore about the Apollo 11 mission in July 1969, which saw man first take a small step onto another world, and about entering his sixth decade as presenter of The Sky at Night. Also, Chris Patmore talks to NASA advisor Dr. Kevin Fong about current research into keeping men and women alive on future space missions and how this is reflected in the depiction of such science in Battlestar Galactica.

This morning saw the arrival of a brand new bouncing baby Badham, I’m delighted to say. Edward Michael arrived on Planet Earth courtesy of the exertions of mother Leanne and father, our regular contributor, Matthew Badham. Matt tells us that early naming suggestions included Barry Renshaw suggesting ‘Rico’ since Ed’s big brother is Joe (Dredd fans will get the thrust of this) and Matt himself fancied ‘David Ross’ until Leanne tumbled that this was a sneaky way of calling his child ‘Davros’. So Edward Michael it is. Huge congratulations and hugs to Leanne and Matthew and to little Ed, welcome to the world. I’m sure your dad is already thinking on the best comics for young children. Mother and baby are both doing fine.

Scamp asked members of Illustrators Ireland for an artistic response to last week’s shock news of Michael Jackson’s sudden passing and has posted up some of the resulting artwork. I especially liked this Afro-glitter ball combo by Brian Fitzgerald:

Another old series looks like being resurrected in the wake of the success of the revamped Doctor Who and Battlestar Galactica (I’m still pondering the ending of the latter), this time its Alien Nation, which came from the pen of Rockne S O’Bannon, later to endear himself even more to science fiction fans with his work on the brilliant Farscape. Tim Minnear, who has excellent SF credentials having worked on Angel, Firefly and the X-Files, will be developing the back history and myth for the new show.

Alien Nation originally appeared as a movie with James Caan and and Mandy Patinkin, before spawning a short-lived TV series, books and comics. It still has cult appeal to many SF fans and with the inclusion of the police procedural element to the science fiction of alien refugees living among us SciFi are hoping that it will have that ‘broader appeal’ that the channel is looking to as part of their rebranding. According to Variety its thought the new show will be set around twenty years after the original alien refugees landed, so there is now a much larger population of them and, as with the original film and series, this will lead into exploring (sadly) topical problems like racism:

“You can take (the original ‘Alien Nation’) a step forward and really do a show that encompasses the clash of civilizations, and the idea of a ghettoized minority. You can touch on racism, terrorism, assimilation, immigration. And there’s room for satire,” Tim Minnear. (from Variety, via ICV2)

(Cover to Alien Nation: the Skin Trade, by Cunningham, Kirk and Pallot, published Adventure Comics)

Batwoman in Detective Comics 854

by Greg Rucka and JH Williams III

DC Comics

There’s only one reason I picked up this issue of Detective Comics: J H Williams’ artwork. Even just the preview pages were enough to show me this one looked perfectly gorgeous. It’s well worth it just for the art but as almost an added bonus Greg Rucka’s turned in a really good story to go with the oh-so pretty pictures.

But back to the art.  J H Williams just does things with layouts that make me want to make “oooh” noises each time I turn a page. because every page needs at least 5 seconds to stare at the overview, the structure, the way Williams’ panels drag the eye almost physically around the page in ways few mainstream artists really try to do anymore. Yet he does it in such a way that it doesn’t really feel like he’s showboating. And whilst pages might be incredible, kinetic eye exercise, the actual panels themselves, the actual art is something quite marvellous as well. He masterfully shifts his style to look completely different in the three settings of the story. There’s the ever so dark and ever so red and incredibly angular design of the pages with Batwoman in costume. But once out of the costume Williams adopts two different styles around an almost clear line look. Quite beautiful stuff.

With no prior knowledge of the back story I initially worried that I’d find Batwoman a mess of continuity and mystery. But that’s when Greg Rucka’s tight story really works well. Every important aspect of Batwoman is here, laid out carefully and with enough detail to make it an enjoyable read yet never losing the correct sense of mystery and intrigue that comes with the character. There’s no need to know the Bat-universe inside out here, Rucka is telling us a cracking self-contained story.

He carefully yet quickly introduces Batwoman’s world; chats with Batman on Gotham’s rooftops; a new villain leading the Religion Of Crime, a group with an near deadly obssesion with Batwoman; the potentially soon to be ex-girlfriend who makes the obvious assumption about Kate’s sleepless nights and her partner in crime father, ex-colonel by the sounds of things, running the background tech and fully aware of his daughter’s nightime activities. There’s stories to tell in both of Kate Kane’s lives it seems.

(if you didn’t know, Batwoman is DC’s most high profile gay character – it’s big news outside of the book, but Rucka writes it without hype, almost without comment, it’s just an aspect of the character and no more. Credit to him for making it so.)

Perhaps the key moment for me, the moment I knew Greg Rucka was onto something here besides giving Williams something to draw came early on with Batman’s final advice to Kate before taking off. A small thing, but so well done it leaped out from the page:

“I’ll be watching if you need help.”
“Do something about your hair.”
“One pull, the fight’s over for you.”

“I’ll take it under advisement”

And with a narrow smile flashing across blood red lips Kate heads home where the first thing she does is slip off the flame-red wig to reveal the close crop. That moment was enough on it’s own to see Rucka had got the character right. That it all took place on Williams’ incredibly laid out page was icing on the cake. Look at the way the page flows across, eventually slowing and breaking as Batwoman becomes Kate once more. Sublime work that has only gotten better each time I’ve looked at it writing this.

I’d have recommended this for J H Williams’ artwork alone. But it’s a wonderful surprise to realise that Greg Rucka’s story may well be just as strong. Together I think we may have a Batman book I’ll be picking up each month – and I haven’t been able to say that for many years.

Richard Bruton.

As part of the charity Oxfam’s Book Festival some of the comics crew, including Rufus Dayglo, will be doing their bit for a very good cause: “As part of the inaugrual Book Fest for Oxfam, Rufus Dayglo and friends will be signing copies of 2000AD, The Megazine and IDW’s Tank Girl to raise funds and awareness for Oxfam. Also they’ll be creating a jam piece which will be later auctioned off on Ebay. Sketches will be avalible in exchange for either donations of comics or small purchases from the store on the day.” The gig will be at the Oxfam charity store on 22 Park Road,  Crouch End on Saturday 11th July from 2 to 5pm – Rob Deb (who will be doing some comedy on the day too) tells us that the easiest way to get there is via the “Piccadilly line to Finsbury Park, then W3 up to Crouch End.”

(Tank Girl from the from the Megazine, borrowed shamelessly from the blog of Rufus Dayglo)

Digital radio station BBC 7 has two good science fiction books being read on air this week, one modern, one classic, with Anton Lesser reading from Aldous Huxley’s dystopian novel Brave New World while the station is also running an adaptation of Stephen Baxter’s alternate history take on the US space programme, Voyage. Both started on Monday, but the earlier episodes are still available for a few days on Listen Again.

With the new Torchwood approaching rapidly outgoing Doctor Who big cheese Russell T Davies talks to BBC Radio 4’s Front Row about his time on Doctor Who, Torchwood and the Sarah Jane Adventures and his own hopes and fears for his future career as he takes the huge step of moving to America and trying his luck there. The show went out on Monday but is still available for several days via the magic of Listen Again on the Front Row site – what did we do before that, eh? (via Doctor Who Podshock’s Twitter)

(Ianto, Jack and Gwen strike a pose in a publicity shot for Torchwood: Children of the Earth, (c) BBC)

Meanwhile, sticking with a Torchwood theme, John Barrowman told the BBC site that he felt that the new Torchwood: Children of Earth  being only a five-part season instead of the usual thirteen was “like a punishment.” The man behind Captain Jack explained that the first season of Torchwood was the most successful audience puller on the digital channel BBC3, then moved successfully to terrestrial channel BBC2 where again it did very well prompting the promotion to BBC1, but with a shorter run. Other shows have made similar moves across the BBC network without having their seasons cut, causing Barrowman to say he felt like they were being punished in some way, before commenting “I’m going to get a little political and I’ll probably get into trouble for it” although he also said that the five-part show (which is covering one long story arc this time round) was “incredible”. Russell T Davies said that they had done two thirteen episode series and changing formats was something to try out and that he thought audiences would buy into it.

Personally I can see why the actors might have preferred to have a longer season as they had before but on the other hand they’re getting much more exposure doing one giant epic this way, so I think they’re doing pretty well from it.Torchwood starts on July 6th on BBC1 at 9pm and to warm you up there’s more from Radio 4 with Torchwood drama Asylum on the airwaves again, from 2.15 pm this afternoon.

The nominees for this year’s Harvey Awards have been announced and while there are some very fine works in contention with one another it does seem to me on first glance that several titles seem to repeat in a large number of categories (not unusual of course). Good works, I should add – I’m not having a go at highly enjoyable and successful works like All-Star Superman or any of the others that crop up numerous times, but still, there were a lot of other works published last year and it might have been nice to see more of them nominated in some of the categories instead of the same titles cropping up in every second category; it felt a little like I had to skim down to the Best Graphic Album – Original to find a little more variety. But then awards shortlists by their very nature usually provoke comments and criticisms because none of us are ever totally happy with them (although on the flipside there usually are some parts we think yes, good choices!), so let the opinions flow forth! The Harveys will be announced at the Baltimore Comic-Con in October.

BEST WRITER

Kyle Baker, Nat Turner, Abrams Books
Ed Brubaker, Captain America, Marvel Comics
John Gallagher, Buzzboy: Sidekicks Rule!, Sky Dog Comics
Jeff Kinney, Diary of a Wimpy Kid, Amulet Books
Grant Morrison, All-Star Superman, DC Comics

BEST ARTIST

Gabriel Ba, Umbrella Academy, Dark Horse Comics

Kyle Baker, Nat Turner, Abrams Books
Jimmy Gownley, Amelia Rules, Renaissance Press
Jason Kruse, World of Quest, Yen Press
Frank Quitely, All-Star Superman, DC Comics

BEST CARTOONIST

Lar deSouza, Least I Could Do, www.leasticoulddo.com
John Gallagher, Buzzboy: Sidekicks Rule!, Sky Dog Comics
Al Jaffee, Tall Tales, Abrams Books
Jeff Kinney, Diary of a Wimpy Kid, Amulet Books
Thom Zahler, Love & Capes, Maerkle Press

BEST LETTERER

Jimmy Gownley, Amelia Rules, Renaissance Press
Rob Leigh, The Spirit, DC Comics
Doug Sherwood, Local, Oni Press
John Workman, Marvel 1985, Marvel Comics
Thom Zahler, Buzzboy: Sidekicks Rule!, Sky Dog Comics

BEST  INKER

Rich Faber, Buzzboy: Sidekicks Rule!, Sky Dog Comics
Jamie Grant, All-Star Superman, DC Comics
Jeff Kinney, Diary of a Wimpy Kid, Amulet Books
Mark Morales, Thor, Marvel Comics
Ryan Winn, The Darkness, Image Comics

BEST COLORIST

Frank Cammuso, Otto’s Orange Day, Raw Junior, LLC
Jamie Grant, All-Star Superman, DC Comics

Laura Martin, Thor, Marvel Comics
Wil Quintana, The Mice Templar, Image Comics
Dave Stewart, Umbrella Academy, Dark Horse Comics

BEST COVER ARTIST

Frank Cho, Buzzboy: Sidekicks Rule!,  Sky Dog Press
James Jean, Fables, Vertigo Comics
Jay Lynch, Mineshaft #23, Mineshaft Publishing
Ken Rocafort, Pilot Season: Core #1, Top Cow
Alex Ross, Justice Society of America, DC Comics

BEST NEW SERIES

The Dreamer, IDW
Echo, Abstract Studios

High Moon, www.zudacomics.com
Night Owls, www.zudacomics.com
Supertron, www.zudacomics.com

BEST CONTINUING OR LIMITED SERIES

All-Star Superman, DC Comics
Captain America, Marvel Comics
Diary of a Wimpy Kid, Amulet Books
Mice Templar, Image Comics
Umbrella Academy, Dark Horse Comics

BEST BIOGRAPHICAL, HISTORICAL OR JOURNALISTIC PRESENTATION

Draw!, edited by Mike Manley, TwoMorrows Publishing
How to Make Webcomics, Brad Guigar, Dave Kellett, Scott Kurtz, and Kris Straub, Image   Comics
Kirby: King of Comics, Mark Evanier, Abrams Books
Scorchy Smith and the Art of Noel Sickles, edited by Dean Mullaney, IDW
Wordless Books: the Original Graphic Novels, edited by David A. Berona, Abrams Books

BEST SYNDICATED STRIP OR PANEL

Brewster Rockit: Space Guy!, Tim Rickard, Tribune Media Services
Get Fuzzy, Darby Conley, United Features Syndicate
Mutts, Patrick McDonnell, King Features Syndicate
The Norm, Michael Jantze, Uclick Gocomics
Pearls Before Swine, Stephan Pastis, United Features Syndicate

BEST ANTHOLOGY

Comic Book Tattoo, edited by Rantz Hoseley, Image Comics
Flight Volume 5, edited by Kazu Kibuishi, Villard
Mome Volume 10, edited by Eric Reynolds, Fantagraphics Books
Pixu #1, edited by Gabriel Ba and Fabio Moon, Self-Published
Popgun Volume 2, edited by Joe Keatinge and Mark Andrew Smith, Image Comics

BEST GRAPHIC ALBUM – ORIGINAL

Bottomless Belly Button, Fantagraphics Books
Diary of a Wimpy Kid: Rodrick Rules, Amulet Books
Essex County: the Country Nurse, Top Shelf

Skim, Groundwood Books
Too Cool to be Forgotten, Top Shelf
World of Quest: Vol. 2, Yen Press

BEST GRAPHIC ALBUM – PREVIOUSLY PUBLISHED

Amelia Rules!: Funny Stories, Renaissance Press
M, Abrams Books
Nat Turner, Abrams Books
The Mice Templar: Vol. 1, Image Comics
Queen and country: Volume, Oni Press
Skyscrapers of the Midwest (Hardcover), Adhouse Books

BEST SINGLE ISSUE OR STORY

Acme Novelty Library #19, Self-Published
First Born: Aftermath #1, Top Cow
Love and Rockets, VOL. 3 #1, Fantagraphics Books
M, Abrams Books
Nascar Heroes #5, NASCAR Comics
Nat Turner, Abrams Books
The Amazing Remarkable Monsieur Leotard, First Second
Y: the Last Man #60, Vertigo Comics

BEST DOMESTIC REPRINT PROJECT

Astounding Space Thrills, IDW
Complete Peanuts, Fantagraphics Books
Complete Terry and the Pirates, IDW
Scorchy Smith and the Art of Noel Sickles, IDW
Wacky Packages, Abrams Books

BEST AMERICAN EDITION OF FOREIGN MATERIAL

Gus and His Gang, First Second
Pocket Full of Rain, Fantagraphics Books
Red Colored Elegy, Drawn and Quarterly
Solanin, Viz
Witchblade Takeru Manga #’s 11 & 12, Top Cow

BEST ON-LINE COMICS WORK

Black Cherry Bombshells, Tony Trovarello and John Zito, www.zudacomics.com
High Moon, Scott O. Brown, Steve Ellis, and David Gallaher, www.zudacomics.com
Least I Could Do, Lar deSouza and Ryan Sohmer, www.leasticoulddo.com
Night Owls, Bobby & Peter Timony, www.zudacomics.com
PvP, Scott Kurtz, www.pvponline.com

SPECIAL AWARD FOR HUMOR IN COMICS

Lar deSouza and Ryan Sohmer, Least I Could Do, www.leasticoulddo.com
John Gallagher, Buzzboy: Sidekicks Rule!, Sky Dog Comics
Al Jaffee, Tall Tales, Abrams Books
Jeff Kinney, Diary of a Wimpy Kid, Amulet Books
David Malki, Wondermark, www.wondermark.com

SPECIAL AWARD FOR EXCELLENCE IN PRESENTATION

Complete Local: Hardcover Edition, Ryan Kelly and Brian Wood, Oni Press

Kirby: King of Comics, Mark Evanier, Abrams Books
Queen and Country: Volume 3, Greg Rucka, Mike Norton, Steve Rolston, and Chris Samnee, Oni Press
Tall Tales, Al Jaffee, Abrams Books
Wondermark, Vol. 1: Beards of our Forefathers, David Malki, Dark Horse Comics

BEST NEW TALENT

Matt Cassan, Nascar: Heroes, Nascar Comics
Bryan J.L. Glass, The Mice Templar, Image Books
Laura Innes, The Dreamer, IDW
Tim Sievert, That Salty Air, Top Shelf
Bobby Timony, Night Owls, www.zudacomics.com

Rejoice, for Knockabout have a huge omnibus collection of the great Gilbert Shelton’s Fat Freddy’s Cat coming out this August. Spliff papers for a roll-up not included.

According to SudPresse, Michael Jackson was a big fan of Belgian illustrator Marcel Marlier’s art for the  Martine books he created together with writer Gilbert Delhaye.   These books, which have been published by Casterman in their immensely popular Farandolle series since 1954, tell the daily adventures of an ordinary girl in a world populated with lovely fluffy animals, happy friends and sunshine after (light) rain.

Marlier’s art has always been loved by young girls and loathed by their parents for their combination of almost photo-realistic rendering and sugar-coated sweetness.  The stories themselves are typically non-threatening and quite sociologically conservative and conformist in nature, placing them, along with Barbie, right in the firing line of many a generational class in so-called progressive households in the 70’s.

(one of Marcel Marlier’s illustrations so beloved by Michael Jackson; in the interests of our reader’s health we must warn you this image contains 125% of your RDA of sugary goodness)

In the SudPresse interview, Marlier tells how he and his wife met Michael Jackson a couple of times.  The first time, he received a phone call late at night, and neither of them actually knew who Michael Jackson was.  But they listened to his music and watched some of his video’s, and the couple met the King of Pop in Paris, where they were greeted as old friends.

Marlier showed some of his original paintings to Jackson, who sat down caressing them and telling Marlier he was a true artist, “gifted by God”.  Jackson offered to buy all of Marlier’s art for an immense amount of money, but Marlier refused, having rigorously guarded all his artwork since the 1950’s.  Marlier’s wife remembers that, “when he was shown the Martine paintings, he was all over the room.  It was a bit of a childish reaction, – C’était une réaction un peu enfantine – but Michael was a very touching person, very close to the people he met.”

The Martine books are published in English by Ward Lock, with the title character rechristened “Mary” (two Nintendo DS games, based on the first and eighth book of the series, talk of Emma, however).

(via Belgian literary blog De Papieren Man)

Wim Lockefeer often confuses the ‘moonwalk’ with ‘cakewalk’, which has lead to a mess of flour and baking soda on the dance floors of Belgium;  you can read more from Wim on his Ephemerist blog.

Fools Errand

by Philip Spence

Self Published

You might know Philip from his very lovely comic and webcomic Ninja Bunny (reviews here, here and here). But you might not know that, as well as crafting perfect little comics about small battling ninja rabbits, Philip also makes his own autobiographical comics.

The first of Philip’s autobiographical comics is Fools Errand, 24 pages beneath a card cover and a lovely transparent inlay to add a little something special to the comic, which he helpfully describes as:

“A true story of friendship, love and loss. But mostly indecision and insecurity”

I don’t think I’ve read a comic quite so wistful in a long time.

The 24 pages of Fools Errand follows Philip and his friends through a few days in their lives. The main thrust of the story concerns Philip and his attraction for his friend Alicia, who’s back home to Australia soon. Except Philip can’t work out exactly what he wants; keep the friendship and wonder what might have been? Go for the relationship and risk losing the friendship after all? Try for sex and friendship and no relationship and really mess it all up? Anyway, one night he finally decides to at least do something about it:

In the movies, it would all end with them falling in love, her staying in England and everyone living happily ever after, but this aint the movies, this is real life, so Philip ends up making a complete mess of it and never getting around to saying what he wants to say:

(A perfect case of missing the one moment to say something wonderful. Welcome to real life. From Fools Errand by Philip Spence)

The problem with autobiography in comics is that it tends to become just another bunch of talking heads with the main protagonist moaning about their life, especially their love life. Which is exactly what Philip is doing here. Except he manages to do it in such a nicely conversational fashion that it doesn’t matter about it being a stereotypically autobiographical kind of autobiographical comic. The conversations between the friends are natural and free flowing, including the oft quoted little factoid of the impossibility of humming John Williams themes one after the other. (Try it, hum Star Wars, then Raiders, then Superman – John Williams’ just uses the same themes fro each). I suppose the real proof that Philip’s onto something here is how painfully real and true to life it all feels, this tale of friendship that might want to be something more. He nails the indecision, the uncomfortable moments, the wish that it would be a little more like the movies and a little less like tongue-tied teenagers all over again.

And there’s something about the art that I really enjoy. A simplicity of his line, a style all his own, even the interesting way he puts shadow down onto the page. It’s all very, very good.

Fools Errand is available from Philip’s shop on his Ninja Bunny webcomic site. There’s a lot of good stuff on there, take lots of money.

Richard Bruton.

Artist Jeff Koons has a solo show opening at the Serpentine Gallery in London, including works from his Popeye series. “I watched Popeye when I was younger… I always see a little bit of my father in Popeye,” the American artist commented. Obviously Koons is not the first from the fine arts world to use comics as inspiration – Roy Lichtenstein springs to mind for his pop art comics work, which remains controversial with some comics artists who thought he merely copied their work with no permission or credit. Wherever you stand on that issue it does beg the question of what is art? If another artist creates a work inspired by a mass medium like a comic strip and its in a gallery is it ‘proper’ art now and if so what does that make the original comics artist’s work? Or is it just knocking off someone else’s hard work? Opens can of worms and steps back rapidly… (via the BBC)