The Complete Eightball 1-18: Issues 1-18

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I wavered between 4 and 5 stars for this one. Much of it IS 5 star material (especially the perfectly surreal and creepy Velvet Glove), but a lot of the satire in the shorter strips haven’t aged well, at least for me. Some of the humor just comes across as overly self righteous and mean-spirited, which I suppose is more digestible when you’re reading one issue every few months or so. But it becomes a bit exhausting when consuming the entire run in a short span of time. Still, this is essential for any fan of 80s/90s Clowes. And it was cool seeing his art style and unique brand of cynicism slowly evolve, as was seeing the occasional famous name (in the indie comics world, anyway) like Crumb and Woodring in the letters sections. In The Hearth’s Happy Life, Kathy Ng Morphs Octopus Porn into Visions of Destruction—and Renewal By Kally Patz Ice Haven (Pantheon, 2005, ISBN 978-0-375-42332-1) – A reformatted version of the contents of Eightball #22 Clowes is a genius storyteller and artist, but his gifts include design as well [As with every other aspect of comic-crafting, however, Chris Ware has long since surpassed -- in terms of popularity -- his friend and laissez-faire mentor as a book designer. In 2000, when David Boring and Jimmy Corrigan: The Smartest Kid On Earth were released simultaneously by Pantheon, Ware was a still just a distant rumble on the horizon, and Clowes was in the ascendant. Ghost World was being filmed by Clowes and Terry Zwigoff, and his (in my opinion) masterpiece was being published as a beautiful hardcover. Along with Ghost World, Caricature, and the book that would immediately it, Ice haven, David Boring represented the peak of Clowes' creative output to date. Within a few months, Ware's Jimmy Corrigan was being hailed as one of the greatest examples of sequential art ever created, and David Boring was largely overshadowed].

This is a two-volume, slipcased facsimile edition of the Daniel Clowes comics anthology; it contains the original installments of Ghost World, the short that the film Art School Confidential was based on, and much more. Edward Gorey devised suitably Victorian-sounding pseudonyms for his morbidly wry stories from the letters of his own name (Ogdred Weary, Regera Dowdy, et al.). Vladimir Nabokov inserted Vivian Darkbloom into some of his books for an enigmatic, anagrammatic cameo. For Ghost World, Daniel Clowes, a serial employer of pen names, rearranged himself, lending his most enduring and endearing heroine his letters. By the end of the book, Enid Coleslaw’s destiny is unclear, but she’s equipped with all the wisdom and love her creator has to offer. 7 4. This is a masterwork in its ability to stay with stories, telling them over years, or simply telling a fantastic story that touches on something in the reader's core. The stories within vary so much there's bound to be a gem in here that will capture your imagination.--David Brooke

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but I was sure that he was right and that I’d been crazy all along…. To read that many in a row, this overwhelming tidal wave of Christianity coming at you—it’s an amazing experience. Here was this comic dealing with life and death. The absolute most important thing. I mean, he was pulling out all the stops, there was no soft-pedaling, he was just ramming it down your throat. Never before had I been affected like that by comics. Daniel Clowes writes either the funniest sad comics or the saddest funny comics in the world.--Sam Thielman Like a Velvet Glove Cast in Iron, Devil Doll, The Laffin' Spittin' Man, Young Dan Pussey, What is the Most Important Invention of the Twentieth Century? The cornerstone stories of Eightball are, of course, the eerie, oddball comics noir of “Like A Velvet Glove Cast In Iron” (running from issue #1 to #10) and the “best friends” story of “Ghost World.” The former is a dark-hued tale of paranoia, religious cults, sexual fetishism and, ultimately, bloodless violence. The story’s protagonist, Clay, is ostensibly searching for his lost wife after catching a glimpse of her in a porno film, and his sojourn drops him into a disturbing wonderland of adventure and perils inspired by Clowes’ dreams.

Comics] are in a sense the ultimate domain of the artist who seeks to wield absolute control over his imagery. Novels are the work of one individual but they require visual collaboration on the part of the reader. Film is by its nature a collaborative endeavor… . Comics offer the creator a chance to control the specifics of his own world in both abstract and literal terms.

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Clay lodges across the street from his quarry: Interesting Productions, the secretive entity behind the tawdry film. Through binoculars, he spies a small, pipe-smoking girl at a desk, perpetually writing. (Going through her trash, he later discovers she’s simply drawing the same picture of a horse head, over and over.) When he gets inside, his fate is sealed.

It always depresses me to see the stuff that hipsters have on display in their apartments," he broods, surveying a collection of kitschy toys. "It always seems so childish and unoriginal, but it's really not much different from my stuff." He might as well be talking about psychic baggage. Clowes is as hard on himself as he is on everyone around him — or most people around him. The exceptions are bullies and people who buy into the American consumerist mythos. Ghost World was adapted by Clowes and director Terry Zwigoff into a 2001 feature film of the same name, for which Clowes and Zwigoff were nominated for an Academy Award for screenplay writing. Additionally, the 2006 Clowes/Zwigoff film Art School Confidential was loosely based on a short story of the same name which appeared in Eightball #7. Clowes offset cynicism with sympathy as he cast an outsider's eye on members of society some might classify as 'the dregs.' As the anthology developed, Clowes proved himself a master of the short story in comics form…" — Jake Austen - Chicago Tribune Like a Velvet Glove Cast in Iron, I Love You Tenderly (Lloyd Llewellyn), The Future, Dan Pussey's Masturbation Fantasy, Sexual Frustration, What Do You Do for a Cold?Clowes parodies his own work with the clever issue #11 story “Velvet Glove,” which uses his previous story as a reference point in the tale of a movie based on “Like A Velvet Glove Cast In Iron,” a shabbily-made commercial bomb that shares little with the original story and includes disparate elements of the hard-boiled detective and science-fiction genres. Clowes even appears as himself in the story, talking with ignorant Hollywood producers sniffing around for an easy dollar. By contrast, “Ghost World” (which ran from issue #11 through #18) is a story of interpersonal relationships that is as realistic as “Velvet Glove” is absurd. “Ghost World” follows the daily lives of fictional high school grads Enid and Rebecca in the late 1990s, both young women unmoored from “straight” society, alienated, witty, pseudo-intellectual, precocious, and cynical beyond their years. I'm looking forward to this release, another excellent idea from Fantagraphics, and the first book Daniel Clowes has released through his original publisher for several years. This is a deluxe boxset of hardcovers collecting facsimile's of the entire 'anthology'-run of 'Eightball' -- issues 1 - 18. Even though most if not all of the work has been collected in various editions over the years, the earliest issue of Eightball I've ever owned is 19, the first of three issues dedicated entirely to 'David Boring'.

Once you finish your current project—the one you said you didn’t want to discuss—is there anything you’re looking forward to doing? Do you have some wish like, “I want to go play the kazoo in a band,” for example? With that criticism aside, Clowes is a master of the comics form. His art is astounding and somehow gets better throughout the collection. I also think his plots are mundane in the best way possible (aside from Velvet Glove which I’ll get to). Ghost World is the pinnacle of Clowes in this period of his career. It’s mundane and relatable in the best way possible with great humor and a dash of angst that makes it such a joy to read. The more introspective elements of Ghost World evoke a self reflection not many other pieces of media incite in me. Ghost World hits its demographic where it hurts which is 100% it’s intention. It displays growing up and not knowing what to do with yourself better than any other piece of art. Ghost World captures that weird feeling after high school where you realize to become your own person you need to shed what other people think about you, you need to get rid of some things that make you happy too.Impressive later works like “Caricature” and “Gynecology” distill the earlier misanthropy into compulsively readable noir-tinged narratives. They have the meandering magic of a Cheever story like “The Country Husband” or “The Day the Pig Fell into the Well”: populated with curious characters who enter and exit without fanfare, told in a voice bursting with regret yet also ecstatic with the sheer talent expended in the telling. Features new covers by Clowes, and ‘Behind the Eightball’: the author’s annotations for each issue, heavily illustrated with art and photos from his archives. Well, now the work certainly seems to reflect a very cohesive world view. But, yes, some things did shift. At the time, I was trying to figure out what I felt about things, but also say what I knew about the world; all my little pronouncements, which I was doing facetiously. I knew that I didn’t really know anything, but on some level I felt like I did. And then, over a certain amount of time, I realized I truly didn’t know anything, and at a certain point I realized I didn’t even want to go out on that limb and make any kind of statement—just look at questions and not deliver any answers. Can you talk about one of the cohesive elements you see now in your work that you may not have seen at the time?