Tweet¶ In a review of Donald Duck; The Old Castle’s Secret, K.C. Carlson explains a bit about why the work of Carl Barks is such staying power”
I’ve read this story before, so I’m not surprised that I recall some ...
Tweet¶ In a review of Donald Duck; The Old Castle’s Secret, K.C. Carlson explains a bit about why the work of Carl Barks is such staying power”
I’ve read this story before, so I’m not surprised that I recall some things about it. But I’m remembering everything exactly as I read it before — not just dialog word-for-word, but details in the artwork (like the empty extra-large suit of armor that belonged to Sir Roast McDuck, who holds not a sword or a spear but a knife and fork). But here’s the thing — I’ve only read this story twice before. The last time was 30 years ago (when it was collected by Another Rainbow), and the time before that probably another 15 years back, when I read it as a child. Yet I remember clearly every detail about it. Such is the power of Carl Barks’ work. His storytelling is designed to appeal to youngsters as well as folk who are as old as Scrooge. And it has that way of burrowing into your brain, and staying there forever, once you read it. Which is great for people like me, who can barely remember the comics I read last week!
¶ I neglected to link to Secret Acres’s TCAF report, with bonus Breeders guest appearance, but now I did.
¶ Writer Brian Wood has some tips on avoiding the sedentary life of the writer, which involves grueling but effective cross-fit training. I know I’ve said this before, but just sitting down for hours at a time is bad for me you. Or as the great pitcher Satchel Paige, who pitched effectively in the major leagues until he was 59, put it, “Keep the juices flowing by jangling around gently as you move.”
¶ A nice interview with Youth In Decline publisher Ryan Sands, including why he calls his company Youth in Decline. The first issue of Frontier is slim but mighty.
¶ A report on the annual East Coast Black Age of Comics show :
Held in the city of Philadelphia, the site of the first independently produced black comic book, All-Negro Comics, created by Orrin C. Evans in 1947, for the last 11 years, ECBACC has paid tribute to this legacy promoting the work of both veterans and up and coming African American comics creators. Yumy Odom, founder and president of ECBACC, Inc., recalled, “I started a network back in 1990, ’91 when I put together a little compendium of about 15 or 20 comic artist who did not know each other and I liked them. And from there we started to meet and talk. And about 10 years later, in 2002, right here in Philadelphia we had the first convention.”
¶ Luke Pearson 101. The talented creator of the Hilda kids comics has also done a cover for The New Yorker recently.
¶ Speaking of the UK, The Guardian has discovered webcomics. I was too mentally frail to red this article, which espouses scientific theories about webcomics. Perhaps you can explain it to me.
¶ This is old but it’s really good: Jeet Heer explains why Gilbert Hernandez is finally getting his due— Beto 101 if you will.
Gilbert Hernandez, who this spring publishes two new books, is one of the great artists of the other America, the country that is only fitfully and incompletely acknowledged by cultural custodians. For more than three decades, he has been writing and drawing an epic cycle of comic-book stories that give us a new geography of American culture by showing us the waves of migration that tie states like California and Texas to their Spanish-speaking southern neighbours.
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