Alternative Visions
Alternative Visions |
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Page 17 of 29  Advert for videos by 'grunge' bands on the Sub-Pop label (1993). Punk's influence was always evident in the artist's work, and he was often asked to produce illustrations like this. Finally, it's impossible to talk about humour comics without mentioning the titles being put out by the 'first wave' of underground creators who had continued to keep working when that movement had died down. Foremost among them, as ever, was Robert Crumb, who used his new comics to delve ever deeper into his psyche. They included Hup (Last Gasp, 1987), ID (Fantagraphics, 1990) and Self-Loathing Comics (Fantagraphics, 1995). More successfully from a sales point of view, Gilbert Shelton continued to produce stories starring the Freak Brothers, who after twenty years of social change did not look a day older, and who remained obsessed with drugs. In the extended 1985 story Idiots Abroad (Rip Off), the brothers go to Colombia to score an entire bale of top-quality weed: even in the 1980s, it seemed (to adapt their catchphrase) dope could get them through times of no money better than money could get them through times of no dope. Finally, British madman Hunt Emerson experimented with a number of comedy graphic novels based loosely on works of literature: they included a slapstick version of the banned DH Lawrence novel, Lady Chatterley's Lover; The Rime of the Ancient Mariner, a full-colour homage-cum-send-up of the Coleridge poem; and Casanova's Last Stand, based on the great lover's diaries (all Knockabout, 1986,1990 and 1993 respectively). The soap-opera genre was also a lively area, and produced one stone-cold classic: Love and Rockets (Fantagraphics, 1982). Produced by two brothers, Jaime and Gilbert Hernandez, it featured two continuing main stories, one set in post-punk Los Angeles (by Jaime) and one in a mythical village called 'Palomar' in Mexico (by Gilbert). Although their drawing styles were very different (Jaime's economic outlines were a world away from Gilbert's curvy kinetics), the brothers' work had much in common, and they certainly borrowed ideas from each other. For example, both stories featured a large cast of characters, and both featured women in central roles: similarly, the depth of characterization in both was outstanding, with constant shifts in perspective and timeframe (flashbacks and fast-forwards) adding believability. Although early plot lines had fantasy elements (hence the 'rockets' in the title), these gradually evaporated in favour of a more naturalistic approach, and subject matter tended to focus increasingly on the minutiae of love affairs. Like all good soaps, the effect was that the comic became unmissable, and it developed a healthy cult following.  Pages from 'The Bradleys', Neat Stuff (Fantagraphics, 1989). About a suburban family who spend their time finding out each other's psychic pressure points, and poking at them with a metaphorical sharp stick.  Detail from Neat Stuff (Fantagraphics, 1985). Art: Peter Bagge. The distortion of characters into wild shapes became a Bagge trademark. |