Word: feiffer
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Benjamin’s adventures begin when he signs up for Cletus Fest, the best young fantasy writers’ convention in the state. En route to the convention by schoolbus, he meets Tabatha (Halley Feiffer), just back from Belgium, who claims to write French mysteries about a stable hand named Pierre. Tabatha sees potential in “Yeast Lords,” and with the help of her friend Lonnie Donaho (Héctor Jiménez), who has a speech impediment, a bowl haircut, and most importantly, a production company, she decides to turn it into...
...Aryan describes most of the southern and eastern European and Asian immigrants that crossed the oceans with the Siegels, Shusters, Kahns and Kurtzbergs in the late 19th and early 20th century. For the Pulitzer-prize- winning cartoonist Jules Feiffer, World War II-era superheroes embodied the American dream shared by the countless foreigners. "It wasn't Krypton that Superman came from; it was the planet Minsk or Lodz or Vilna or Warsaw," wrote Feiffer in his essay The Minsk Theory of Krypton. "Superman was the ultimate assimilationist fantasy...
...Jules Feiffer Little Nemo in Slumberland Richard Corliss: Harvey Kurtzman TIME: Al Feldstein TIME: Peanuts in the Gallery Masters of American Comics The Spirit Archives ABSOLUTELY...
...week's story might be a melodrama, the next a comedy, the third a parable. But beyond the variety of stories was a striking visual consistency: the tone was bold, dark and mature - a grownup vision, compared to the adolescent world-view of the standard superhero strip. To quote Feiffer: "Will Eisner was an early master of the German expressionist approach in comic books - the Fritz Lang school. ?Muss 'Em Up' was full of dark shadows, creepy angle shots, graphic close-ups of violence and terror. Eisner's world seemed more real than the world of other comic book...
...draftsmanship was up to the level of the vision. Here's, I promise, my last Feiffer quote: "Eisner's line had weight. Clothing sat on his characters heavily; when they bent an arm, deep folds sprang into action everywhere. When one Eisner character slugged another, a real fist hit real flesh. Violence was not externalized plot exercise; it was the gut of his style. Massive and indigestible, it curdled, lava-like, from the page." As does Feiffer's prose...