I’ve said it before, but I think these three-dimensional Family Circus strips by Bil Keane are very under-appreciated for their innovative use of space and time. This one was originally published by the Register and Tribune Syndicate, August 23, 1981.


Immediately, we see that the Marvel bullpen has not a motherfucking thing on Saitō Pro. Takemoto was the first-ever layout man on Golgo 13, from back in the ’60s when Kazuo Koike was turning in scripts, so we might surmise from his dual art/layout credits (to say nothing of his seniority) that he’s working as a supervisor for the rest of this chapter’s team. There’s a hint of Crepax to Doll herself, particularly in the final panel on page one; no idea what kind of access Takemoto (or anyone in Japan) might have had, but he’s old enough to have seen Valentina in its prime. I love every drawing of that creepy dude, especially the first and the last.

(Doll: The Hotel Detective, ch. 2, Saburo Takemoto, Risuke Chiba, Wataru Tomobe & Rio Toshio, from layouts by Takemoto & Takao Saitō, written by Saitō w’ Mitsuo Aimono, c. 1980)


Good news: Crunchyroll is rolling out some old stuff by the creator of Golgo 13, as previously seen on JManga. GREAT NEWS: full credits are provided for this heroine-driven mystery/crime/espionage series, chapter by chapter, so that monoglots can finally appreciate the oft-anonymous hands working the Saitō Pro assembly line! Ishikawa is an oooold-school gekiga dude who dates back to Saitō’s association with Yoshihiro Tatsumi in the 1950s, while Aimono seems to have scripted a smattering of late ’70s/early ’80s Lupin III anime episodes before vanishing into the industrial seinen machinery.

(Doll: The Hotel Detective, ch. 1, Fumiyasu Ishikawa & Takao Saitō, written by Saitō w’ Mitsuo Aimono, c. 1980)


The art in Devilman Grimoire is fantastic, which is kind of dumbfounding to me, because this is what the artist’s other work looks like:

So…. yeah, really bland. I don’t know what it is about Nagai aesthetics that unleashes some kind of untapped brilliance in Rui Takatou, but it’s clear that Devilman Grimoire’s art owes its greatness to the artist having a very genuine love of the source material and Nagai’s style.

There are modern anime/manga references, sure, but they don’t harm the style at all; in fact, they add to it. There’s just so many stylistic quirks that he got so very right in this manga.

Also, note: this is mostly just a “badass pages” post. There’s other art relevant to my interest that I might share in a bit.

(via snubpollard)


Oldies again, it helps me to go to the next step with the new year…

here’s a try for a comic book project with Aurelien Ducoudray, (sorry Aurelien to be such a newsless boy v_v) anyway, I won’t only try to be better nxt year, I can say for those who are following there are good stuff coming on the way.