Monthly Archives: June 2009

Caught Up in Capes

I would feel quite remiss in my librarian duties if I did not talk about a superhero comic book within the first few months of this blog! While checking in new books one day, I flipped open the Secret History of the Authority: Hawksmoor. My pupils dilated to take in the extreme beauty of Fiona Staples panels. Intrigued, I read the graphic novel that night, cover to cover. While I personally enjoy caped stories, team comic books do not provide me with a lot of enjoyment because new members are always popping in, popping out, getting together, putting out, reincarnated-well, you get the idea.

Hawksmoor is undoubtedly a story worth reading as it is not just a story about struggle for power and balance but a detective story redressed. John Hawksmoor IS the King of Cities, he can feel the energy running through the power grids and command the concrete of the sidewalks to do his bidding. Terrifying if you think about urban jungles we live in but he uses his powers for good (like telling dumpsters to break muggers’ legs) all the while trying to figure out the why he is so city-friendly.

Mike Costa and Staples work well together in this short series by Wildstorm/DC. Hawksmoor’s costume is a black suit, an Everyman outfit, and one of the few stark darks in the entire book. Where a less accomplished artist would use retina-burning gradients to splash-E-fy their pages, Staples employs the grace of more muted color palettes and produces a cohesive book to be thoroughly enjoyed.

-Jen Vaughn

Cartoon Libraries, Unite!

Here at the Schulz Library, we are big fans of The Schulz Foundation and the Ohio State University Cartoon Research Library. Both have been generous donors over the years – The Schulz Foundation helped fund our first steps as a library, back when were nothing more than empty room.
The Schulz Library, back in the summer of 2005.

And the OSU Cartoon Research Library has donated boxes and boxes of quality books to CCS. We have them to thank for our near complete run of Wash Tubbs and Captain Easy (we’re only missing volume 18 of the NBM collection).

Now Jean Schulz and and the Cartoon Research Library have joined forces to create a new home for OSU’s collection. You (yes you!) can help make it happen. Mrs. Schulz is offering a matching fund of up to 2.5 million dollars for this project.

Go here to learn more about the Schulz Challenge and donate.

– Robyn Chapman

Ed Emberley’s Drawing Book: Make a World

Ed Emberley's Make a World

Ed Emberley’s Drawing Book: Make a World was first published in 1972. If you can draw basic shapes and a few letters and numbers, you can draw almost anything the Ed Emberley way. Make a World is packed with drawing instructions on how to create over 400 different things, from airplanes to sea serpents, all using a handful of basic shapes and lines.

Looking at this newer edition it’s hard to believe Make a World was created 37 years ago. The objects are iconic and the design of the page and book is timeless. A real classic.

Ed Emberley's Drawing Book: Make a WorldEd Emberley’s drawing books for children teach aspiring artists to draw by combining a series and sequence of simple shapes, lines, and dots, to create countless objects and pictures. He’s created many books that apply this method to a variety of subject and themes.

This past semester I invited Ed to The Center for Cartoon Studies to talk to students about his work and process. He lectured, talked shop with students, and gave his famous Chalk Talk workshop. It was pretty amazing to see it in person! Something we didn’t expect…Ed announced it would be his last ever.  Although I’m still not convinced, the retired chalk hang proudly on my office wall ready for you to use next time Ed.



About Ed Emberley

Emberley is an award-winning children book author, artist, and instructor. He has illustrated over 80 books. Over 80 books!  His books are praised by many: The Wing on a Flea (1961) was a New York Times Best-Illustrated book of the year, and many of books have been selected by the American Library Association (ALA) Notable Book list. He is the recipient of the prestigious ALA Caldecott Medal for Drummer Hoff,  written by his wife Barbara. Ed Emberley’s Drawing Book: Make a World, has maintained #1 on Amazon’s bestseller list for children’s drawing books. His latest work, There Was an Old Monster (Scholastic), produced with his daughter Rebecca Emberley is due out fall 2009. Ed lives with his wife Barbara in Massachusetts, in a historic 1690 saltbox house. You can buy Ed Emberley’s books on Amazon.



This is one of books I’ve used to teach comics over the years. Published in 1991, On Directing Film is based on a series of classes that Mamet taught at Columbia. Mamet believes that the heart of visual story telling “is a succession of images juxtaposed so that the contrast between these images moves the story forward in the mind of the reader.”

This thin volume is loaded with Mamet’s unequivocal takes: “a piece is moving in proportion to how much the author can leave out” and “the audience is only going to look at the most overriding thing in the frame. You must take charge and direct their attention… That’s basically what film is; it is design.”

Students have strong reactions to this book and it is a great way to get a conversation started about cartooning.

— James Sturm

Video Tour

Music: Swamp Dog


Steve Ditko’s Konga — The Lonely One

FantasticGiantsIt’s amazing what the ongoing romance between academia and comics continues to offer.

Case in point, this week saw the publication of writer Christopher Hayton‘s in-depth ode to a group of comicbooks I dearly loved as a kid, but never ever thought I’ve see get their due. Hayton’s excellent “Fantastic Giants: Charlton Comics’ Monster Movie Adaptations” was four years in the writing, and was just published in the online arts journal SCAN:

  • click this link and give it a read, now or later — it’s a terrific piece.
  • The title for Christopher’s essay is lovingly lifted from one of the great Charlton specials Fantastic Giants (1968), an all-Steve-Ditko one-shot that reprinted the Joe Gill/Steve Ditko first issue adaptations of the venerable early 1960s monster movies Gorgo and Konga, along with two original Ditko stories.

    Hayton spotlights this fascinating chapter in ’60s comics history and Ditko’s career with an eye toward providing a proper context for these curious creature comics: “The history of comic books views the early 1960s largely in terms of the superhero revival, which certainly eclipsed Charlton’s monster movie adaptations, then and in the minds of historians today. But while superhero comics continue to be a mainstay of the mainstream comic book industry, an important corner of the modern market owes its origins to Charlton’s experiment with creature features. …A number of comic book industry greats worked at Charlton early in their careers, and the monster movie books showcase pencil work and inking by artists recognized today for their distinctive styles. Moreover, the extensive body of work of the books’ writer, Joe Gill, offers a rich field for analysis, as this article’s look at his monster movie adaptations will illustrate. The present article, then, seeks to draw the readers’ attention to Gill’s work as a source of natural social commentary, and also to the illustrative work of Charlton artists, particularly Steve Ditko, to be found in the monster movie books, in addition to the innovation that the books themselves accomplish in terms of genre founding.”

    KongaOne major oversight in Hayton’s otherwise comprehensive overview of movie comics that predate the Charlton monster comics of the ’60s must be noted: Dick Briefer‘s long-running Frankenstein comics (debuting in Prize Comics in the 1940s and landing it own title — two series! — through to the mid-1950s), which certainly owed a debt to the ongoing popularity of the bastardized Mary Shelley Frankenstein cinematic adaptations, spin-offs and endless procession of family members (Bride of, Son of, etc.). Briefer’s Frankenstein began as a straightforward horror series, then metamorphosed into a bizarre humor comic, returning to action-horror during the Pre-Code horror comics boom of the early ’50s.

    In this, Briefer’s series also anticipated the Charlton monster comics; though the Charlton’s never became out-and-out cartoony, Joe Gill’s scripts did shift from sf/horror to absurdist humor, including an interspecies romance for Reptisaurus (successor to Reptilicus)!

    KongaDitko2Steve Ditko gleefully embraced the humor elements Gill introduced to the pages of Konga in particular, including a running gag in one issue (featured in The Lonely One; see below) involving a photograph of an attractive couple seen reacting to the action of the story. It’s a bit like Gyro Gearloose‘s lightbulb-headed robotic assistant in the Carl Barks Donald Duck /Uncle Scrooge comics (particularly the Gyro Gearloose comics themselves) — you can follow their comedic interaction like a little ‘mini-movie’ hidden inside the panels.

    Konga was among Ditko’s most playful comics work ever, a stark contrast to the somber nature of Ditko’s most popular (Spider-Man, Dr. Strange) and most controversial (Mr. A) comics creations.

    For the first time anywhere, Hayton analyzes the sales figures for the Charlton monster comics, and tallies their relative longevity in the marketplace by comparing Charlton’s annual sales figures for their three monster comics with sales figures from other major comics publishers, including those key titles Ditko made his mark in: 

    “The numbers reported are quite impressive. For Konga, the figures quoted were 187,778 (March 1963, average copies per issue in previous year), 112,700 (March 1964, average circulation per issue in previous year), and 234,331 (April 1965, average print run in previous year). For Gorgo it was 143,818 (February 1963, issues sold to paid subscribers in previous year), 231,676 (February 1964, average print run in previous year), and 184,778 (September 1965, average per copy distribution in the previous year). While interpretation of these figures is not necessarily straightforward, some comparisons can be made with other publishers from the same time period. Average paid distribution for issues of Superman (DC) in 1962 was 740,000, and for issues of Amazing Spider-man (Marvel) in 1966 was 340,215 (Miller 2009). However, a more realistic comparison would be with titles from similar genres: Mystery in Space (DC, 1962) averaged 190,000 copies, Unknown Worlds (ACG, 1963) 143,468, Turok, Son of Stone (Gold Key, 1963) 276,550, and Strange Tales (Atlas/Marvel, 1963) 189,305 copies per issue (Miller 2009). While distribution of the Charlton monster movie books did not reach the levels of the popular superhero books, their print runs compare well with comics of similar genre from the time period.”

    KongacvrThis kind of scholarly work is welcome, particularly for such previously-ignored (and indeed reviled) eddies in comics history. Growing up in Vermont, I was geographically close to Charlton’s base of operations (Connecticut), and Charlton titles had solid distribution even in the northern Green Mountain hinterlands. Hayton provides evidence of the wider popularity of the Charlton titles, and goes the extra mile to connect the Charlton 1960s monster movie comics with the contemporary industry standards, where their successors are popular fixtures of the comics market. Primary among those successors to Konga and Gorgo are the Dark Horse Aliens, Predator, and Aliens vs Predator, which indeed played a vital role in how the parent studio 20th Century Fox rebooted the film franchises themselves.

    “The three Charlton movie monster adaptations appear to have been the first substantial examples of comic book series grounded in a sci-fi movie plot but then taken off in their own directions, in this case by prolific comic book writer Joe Gill, who admitted to having enjoyed working on Gorgo and the other movie comics… These titles set a successful precedent for later attempts by Marvel and other companies, who also created series based on sci-fi movies such as Logan’s Run, Planet of the Apes, Star Wars, Godzilla, 2001 A Space Odyssey, Alien, Predator, etc.”

    Kongacvr2[Above, right: Dick Giordano cover art for the original Charlton Konga #1, interior art by Steve Ditko; left: one of Ditko’s own Charlton Konga covers, finding Konga typically taking on a communist country’s ‘weapons of mass destruction’]

    Alas, the 1960s comics Hayton writes about have long been collector’s items, and it’s almost impossible to find affordable individual issues, much less complete sets, of these vintage four-color fantasies. 

    Fortunately, we have in the Schulz Library a collection of the Gill/Ditko Konga comics stories, compliments of publisher Robin Snyder (by way of yours truly).

    Beginning in 1989, Robin Snyder and Steve Ditko launched an ambitious series of modestly-formatted black-and-white volumes composed of vintage Ditko reprint and an abundance of brand-new original material from Ditko’s drawing board. We have a number of these collections in the Schulz Library, including an invaluable binder of Robin Snyder’s The Comics newsletter that offer the entire multi-chapter book by Steve Ditko detailing his years of freelance activity at Marvel Comics

    LonelyOneThe Joe Gill/Steve Ditko Konga collection Robin Snyder published in 1989 was The Lonely One, and it’s an excellent introduction to this oddball genre.

    The Lonely One reprints four issues of the Charlton title — Konga #8 and #11-13 — and it remains the only in-print collection of any title from this body of Charlton work.

    In the context of its era, and of today, The Lonely One is unabashedly goofy reading. But given the John Stanley revival we’re enjoying, I honestly rank the Gill/Ditko Konga right up there with Stanley’s Melvin the Monster, though there’s a serious side to the Gill/Ditko work that sets it apart from Stanley’s satire.

    Like Melvin the Monster, these were most definitely children’s comics — and I was just the kind of kid they were targetting — but Ditko’s artwork never condescended or ridiculed the narratives: in fact, the speed with which much of this was obviously executed fuels its primal immediacy and crude appeal. Gill and Dikto had their fun, but they were doing a monster comic — and when Konga was supposed to look formidable, he was as outsized and magnificent as any Jack Kirby monster! Springboarding directly from three iconic 1960s big-screen creature features, these were the true successors to the beloved Atlas/Marvel monster comics Ditko and Kirby labored over in the late ’50s and early ’60s, working with Stan the Man (Lee) and fellow pros Dick Ayers, Don Heck and others.

    As already noted, Konga and The Lonely One also showcases some of Ditko’s most inventive and playful comics work to see print. There’s some truly antic work here, which always made Konga consistently the most fun ‘read’ in the entire Charlton stable. Though Gill and Ditko were always working against tight deadlines — they clearly full-tilt boogied through some of these issues, which sometimes determined how the stories and art would be executed (among my favorites: an entire issue of Konga in which the great ape spent most of the panels buried up to his neck in snow!) — Ditko always gave 100%, and some of the pen, brush and ink work in The Lonely One is still mighty sharp. It’s a treat to see it in black-and-white, evidently shot from the original art; it looks better than it did in the original Charlton comics (Charlton’s printing was infamously haphazard and often slipshod, sporting limited palettes of color).

    Slim and compact as The Lonely One package is, it’s ideal for a summer afternoon. The intro by the late Pat Boyette is a treat too — Pat worked for Charlton from the mid-60s to Charlton’s demise in the ’80s, contributing to many of the same horror/mystery titles Ditko regularly appeared in — and there’s a Ditko checklist at the back of the volume.

    Check out the other Steve Ditko/Robin Snyder volumes in the Schulz collection, while you’re at it… they’re all unique, to say the least!

    – Stephen R. Bissette, Mountains of Madness, VT

    Reptilicus1cvr[If you want to read more about this strange period in Charlton Comics history, check out the Myrant multi-chapter essay on Charlton, their paperback division Monarch Books, and the incredible story of Reptilicus — the movie, the comic, and the sex (!) spiced paperback novelization that launched lawsuits and changed Reptilicus the comic series to Reptisaurus the comics series! Warning: saucy reading!:]

  • Monster Memories: Intro;
  • Monster Memories: Part 1;
  • Part 2;
  • Part 3;
  • Part 4;
  • Part 5;
  • Part 6;
  • Part 7;
  • Part 8 — the Conclusion!
  • The One Percent Man

    I always pick up JP Coovert‘s latest mini comics, and not just because he’s a CCS grad (class of 2008!) I admire JP’s dedication to the craft, and I know he will be drawing comics when he is an old, old man.

    At MoCCA I stopped by One Percent Press and purchased Simple Routines #10 and #11. For those of you anticipating a CCS thesis review, or who are curious about the process, JP shares his experience in SR #10.


    JP had little reason to be nervous, the work he produced during his senior year showed a great deal of growth. I was especially impresses by JP’s Press Start.

    JP arrived at CCS a competent cartoonist and self-publisher. However, his work bore a strong resemblance to John Porcellino’s (a resemblance that I found, at times, uncomfortably strong). In Press Start, JP broke from his standard cartooning approach and really stretched his drawing muscles. In doing so, he developed a voice that was uniquely his own.


    Visual style served a distinct purpose in this book: it distinguished the real world (drawn and composed in JP’s Simple Routines style) with the fantasy world he encounters when he (literally) gets sucked into his video game.
    JP used Press Start as a platform to explore popular video game concepts on paper. He experimented with the comics page, leading the readers eye in unusual way. He does this with a sense of playfulness and energy.

    JP hasn’t been idle since he graduated. In addition to his mini comics, JP illustrated the novel The Last Invisible Boy, by Evan Kuhlman. Check out this video trailer!

    – Robyn Chapman

    Dada Little Magazines – A Precursor to Zines

    Before there were fanzines, there were little magazines. Little magazines are small periodicals devoted to serious literary writing, art, or social theory. Often their contributors are unknown talents, and their content is experimental, avant-garde and noncommercial.

    Starting in 1912, the Dada movement used the little magazine format to fight the enemy as they saw it: the nationalistic and bourgeois culture in Europe.

    Le Coeur à Barbe. Edited by Tristan Tzara. Paris, 1922

    291. New York, 1915

    Techniques such as collage, détournement and experimental typography were common in these little magazines. These techniques are quite familiar to today’s zine reader.

    Craphound by Sean Tejaratchi, the world’s best cut and paste zine.

    To learn more about Dada little magazines, visit the Digital Dada Library at Iowa University. They have an incredible collection, with many publications available to read online.

    – Robyn Chapman

    What About Cartoonists?

    This from the Vermont Arts Council’s  new classified section. It looks like it could be the coolest thing in the world or a dystopian horror:

    5/19/09: CAMP MEADE FORMING WORKING ARTISTIC CAMP – Working artist camp forming at Camp Meade, Middlesex, VT exit 9 at Rt. 89 (30 minutes South of Burlington). This former Civilian Conservation Corps. camp offers 7 acres of land backed by the confluence of the Mad and Winnoski Rivers. You will have access to a community garden, horseshoe pits, shared commercial kitchen and gallery. The site also offers a cafe, bakery, weavery and chocolate shop. Starting May 1st these 17 individual cabin studios will be available for $245 a month or a discounted rate of $1200.00 for 6 month commitment. Welcoming writers, painters, poets, barbers, stylists, welders, spinners, potters, gardeners, herbalists, craftistas, fortune tellers, musicians, ect. Call Jaquelyn Reike at (802) 279-3726 for details.

    — James Sturm

    24-Hour Comics Across the World

    CCS is fortunate to have a comics history teacher who has played a key role in contemporary comics history. Steve Bissette’s collaborative work helped launch the DC Vertigo Line, he helped shape the Creator’s Bill of Rights, and his anthology Taboo was the first to serialize From Hell and Lost Girls (among other titles). But, did you know he also prompted the invention of the international phenomena, the 24-hour comic?

    Scott McCloud created the 24-hour comic to challenge Steve to produce comics faster. Steve’s work is lush and painstaking, and his approach to cartooning is difficult to rush. As Steve has put it “It took me six weeks to draw a monthly issue of Swamp Thing – you do the math”.

    Scott McCloud did the first 24-hour comic on August 31 1990, to prove it could be done. Steve met the same challenge a week later.

    In the last 19 years, cartoonists all over the world have met this challenge. On May 23rd, Grand Papier coordinated an international 24-hour comic event. Cartoonists from Brussels, Beirut, Paris, Montreal, and yes, White River Junction simultaneously drew for 24 hours.

    Cartoonists hard at work. Photo by Penina Gal.

    Check out the fruit of their labors, including Don’t Hate, Menstruate by CCS student (and librarian at the Schulz Library!) Jen Vaughn.



    And don’t miss Max de Radiguès’ 24-hour comic, Punk is Dead. Max is a member of Grand Papier, and he helped coordinate the event from Brussels. Max is also CCS’s 2009 fellow! We look forward welcoming Max to America and White River Junction’s blossoming comics community.



    – Robyn Chapman