Ach, Mist!: Cartoons by Ingmar Decker

By Ingmar Decker

„Ach, Mist!“ Das ist der Grundton der Cartoons und comedian Strips in diesem Buch. Mal in Moll, mal in Dur, mal in Farbe, aber meistens in Schwarz-Weiß und tristem Grau.

Ärger, Frust, Angst, Enttäuschung, Sorge, schlechte Laune, Gejammer, Genörgel, na ja, used to be es halt so alles gibt im Leben.

Ganz normaler Wahnsinn additionally, der hier zeichnerisch dargestellt ist.

Eine heitere und illustre Auswahl an Cartoons und comedian Strips zum Thema aus den vergangenen Schaffensjahren des Zeichners.

Mit 113 Zeichnungen – davon sixteen in Farbe. Mit Seitenzahlen. Ohne sonstigen Schnickschnack.

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The success of The Saga of the Swamp Thing and Daredevil gave Moore and Miller celebrity status among American readers, and DC gave both creators the opportunity to try longer, complete stories. They responded with narratives that would define the parameters of the graphic novel. In Miller’s Batman: The Dark Knight Returns (1986), Batman emerges from retirement at fifty to rescue a Gotham City-turned-war zone by its criminals and villains. Published in four high-gloss installments, Miller’s Batman was a vigilante whose actions were publicly questioned, driven by profound childhood trauma, and barely more stable than the villains he fought—DC collected the issues into the graphic novel format in 1986.

He really showed that you could do comics that were literary, but modern and popular, but could really stand next to a great work of fiction, of prose fiction, and that really changed everything. There 21 22 JULIA ROUND was no going back after Alan did Swamp Thing”—which went on to be one of the core Vertigo titles, although Moore’s run was long finished by this time. Other books such as Grant Morrison’s Animal Man and Doom Patrol (although the latter was written by Rachel Pollack at the time of the Vertigo launch) picked up on the literary trend by breaking down the fourth wall and incorporating a heavy dose of metafictional commentary.

The use of technology is also emphasized by its content, which owes much to films such as Blade Runner. Shatter illustrates how the early days of computer-generated comics were not only limited by the tools available, but also by the preconceptions attached to the process and software. By contrast, John Totleben was one of the first artists to use collage and paint for his 1980s The Saga of the Swamp Thing covers and this type of aesthetic experimentation was embraced in the Vertigo stable. DC VERTIGO AND THE REDEFINITION OF COMICS The Sandman, whose covers declined to show the title character and instead featured Dave McKean’s idiosyncratic and abstract artwork, is the best-known example of this process.

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