Wally Wood: Strange Worlds of Science Fiction
Vanguard Publishing, Trade paperback, 224 pages. $24.95
Introduction by J. David Spurlock
A friend of mine owns the original art to a page of what he (and I) consider the zenith of Wally Wood’s creative genius, “The Mad ‘Comic’ Opera” (Mad #56, July 1960, written by Frank Jacobs). It is a lush piece of work, a cartooning tour de force that causes wide eyed disbelief on the printed page and gasps of astonishment when viewed in its larger, original form. “The Mad ‘Comic’ Opera” is an amazing moment in time, a moment that offered Wood a piece of work which allowed him to show off everything he had learned in his preceding dozen or so years as a comic book artist.
There is not a false note or creative misstep in a single panel of this six-page feature, not in layout or story telling, not...
Vanguard Publishing, Trade paperback, 224 pages. $24.95
Introduction by J. David Spurlock
A friend of mine owns the original art to a page of what he (and I) consider the zenith of Wally Wood’s creative genius, “The Mad ‘Comic’ Opera” (Mad #56, July 1960, written by Frank Jacobs). It is a lush piece of work, a cartooning tour de force that causes wide eyed disbelief on the printed page and gasps of astonishment when viewed in its larger, original form. “The Mad ‘Comic’ Opera” is an amazing moment in time, a moment that offered Wood a piece of work which allowed him to show off everything he had learned in his preceding dozen or so years as a comic book artist.
There is not a false note or creative misstep in a single panel of this six-page feature, not in layout or story telling, not...
- 2/7/2012
- by Glenn Hauman
- Comicmix.com
As I grow older, I become exhausted by the need to show ever more explicit violence – in cinema and journalism
Whenever the cry goes up about the desensitising effect of violence in the media, it is usually the trashy or the trivialising that ends up in the dock. But there is another kind of sensory corrosion, less easily foreseen or condemned, that can result from encountering even that material which was conceived with noble intentions.
Last week I saw The Killer Inside Me, Michael Winterbottom's film of Jim Thompson's 1952 novel about an outwardly agreeable but psychopathic sheriff. Somewhere around the point where we see, in unprecedented detail, the main character punching a woman until her face caves in, it hit me that I'd had enough. Not of the film exactly – it is unimpeachable in its effort to render violence as properly disgusting. Rather I felt exhausted by the...
Whenever the cry goes up about the desensitising effect of violence in the media, it is usually the trashy or the trivialising that ends up in the dock. But there is another kind of sensory corrosion, less easily foreseen or condemned, that can result from encountering even that material which was conceived with noble intentions.
Last week I saw The Killer Inside Me, Michael Winterbottom's film of Jim Thompson's 1952 novel about an outwardly agreeable but psychopathic sheriff. Somewhere around the point where we see, in unprecedented detail, the main character punching a woman until her face caves in, it hit me that I'd had enough. Not of the film exactly – it is unimpeachable in its effort to render violence as properly disgusting. Rather I felt exhausted by the...
- 5/5/2010
- by Ryan Gilbey
- The Guardian - Film News
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.