§ In Ho Chi Minh City, Vietnam, innocent teens are at risk from racy comics, in a news story inexplicably illustrated with UNDERSTANDING COMICS, and authorities are promising decisive action!
Nga explained that the lifestyles of Vietnamese teenagers are typically quieter than those of foreign teenagers, including those who live in developed Asian countries like Japan.
“Our teenagers find it difficult to distinguish between the good and the bad in foreign comics. They are also unsure of which stories are suitable for their age. Meanwhile, local publishers are keen on printing similar books to foreign comics without warning because of the high profits.”
§ At Blogcritics, Bill Sherman reviews the Swedish comics anthology FROM THE SHADOWS OF THE NORTHERN LIGHTS:
If you didn’t have the subtitle on its front cover, you might readily assume that From the Shadows of the Northern Lights (Galago, distributed by Top Shelf) was a collection of North American alt comics. Marcus Nyblom’s gloopy industrial nightmare image has more than a whiff of that old underground comix primitive Rory Hayes to it, while Sara Grenér’s back shows the punkish influence of Gary Panter.
Inside, the book tackles themes and subjects not unfamiliar to devotees of American alternatives: autobiographical stories, dour animal funnies, surreal visual exercises, stories of alienation and disaffected youth. At least three pieces in the collection center on young adults going out nights for a “good time” – showing, if nothing else, that a dull party is a dull party no matter where it’s being hosted.
§ In Dubai, expat Iranian cartoonist Ardeshir Mohasses (above) is the subject of an art show:
Over the past 40 years, Mohasses has become synonymous with a particular strain of satire, social commentary and driven, impassioned artistic accomplishment. Best known as a political cartoonist whose eloquent and forceful cartoons have appeared in a multitude of periodicals, papers, books and exhibitions, he has emerged as a sort of social conscience amid Iranian society, reflecting the conflicting eras of the Pahlavi and Islamic regimes and drawing on universal themes of oppression, brutality, corruption and hypocrisy.