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Palookaville #20 di Seth
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Palookaville #20 (edizione 2010)

di Seth (Autore)

Serie: Palooka-Ville (20)

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574460,363 (3.68)Nessuno
Palookaville #20is the first volume of the seminal comic book series to be published in book form. The expansion into hardcover from pamphlet is a parallel that illustrates Seth's growth into an award-winning cartoonist, book designer, hobbyist, editor, essayist, and installation artist. Seth's first autobiographical comics sincePalookaville #2and#3will be featured in#20. Drawing in his loose sketchbook style, similar to his bookWimbledon Green, Seth details his trip to a book festival and his awkward struggle to overcome isolation and communicate with the people around him. Seth continues the serialization of his acclaimedClyde Fansstory line, about whichThe New York Times Book Reviewaptly noted, "Seth truly believes in his wares--the little meanings of regular lives." This is, perhaps, nowhere more apparent than in the cartoonist's ongoing three-dimensional rendering of his fictional Dominion City, most recently featured in his bookGeorge Sprott. Using sketches, photographs, and an essay, the cartoonist explains why the need to conceptualize the fictional city in sculptures was a natural extension from comics storytelling, and how if he had his way, it would have stayed in his basement forever.… (altro)
Utente:CBUArtGallery
Titolo:Palookaville #20
Autori:Seth (Autore)
Info:Drawn and Quarterly (2010), 88 pages
Collezioni:La tua biblioteca
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Palookaville #20 di Seth

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Mostra 4 di 4
I like Seth's work, but this volume is not much fun. The Clyde Fans installment is okay, but really, I first began reading that saga eighteen years ago and have pretty much lost interest at this point. The section about his hobby of building cardboard buildings turning into an art installation is sort of interesting but overly long and detailed. The autobiographical section is just too harsh to enjoy despite being well executed. ( )
  villemezbrown | Jul 28, 2018 |
I ( )
  librarybrandy | Mar 30, 2013 |
Seth pulled me into the mystery behind the Clyde Fans factory closing, leaving me waiting for the next installment of this story to find out how this is connected to the father of the narrator.

This hardcover also includes photos of a gallery show featuring Seth's detailed models of the buildings in Palookaville. ( )
  kivarson | Apr 16, 2011 |
While Palookaville #20 is not a major milestone in Seth's career, it's nonetheless an entertaining chapter in the continuing story of the Clyde Fans company. This main narrative is accompanied by a wealth of other material from the author's desk, and most impressive of all is a series of photographs of Dominion, a fictional city brought to life as a series of cardboard building models that have been exhibited at various venues in Canada. If all of this seems to further identify Seth as Canada's answer to Chris Ware, there's no harm in that - Seth has his own unique vibe, and it remains absorbing even when he's not doing his absolute best work. ( )
  dr_zirk | Oct 16, 2010 |
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Palookaville #20is the first volume of the seminal comic book series to be published in book form. The expansion into hardcover from pamphlet is a parallel that illustrates Seth's growth into an award-winning cartoonist, book designer, hobbyist, editor, essayist, and installation artist. Seth's first autobiographical comics sincePalookaville #2and#3will be featured in#20. Drawing in his loose sketchbook style, similar to his bookWimbledon Green, Seth details his trip to a book festival and his awkward struggle to overcome isolation and communicate with the people around him. Seth continues the serialization of his acclaimedClyde Fansstory line, about whichThe New York Times Book Reviewaptly noted, "Seth truly believes in his wares--the little meanings of regular lives." This is, perhaps, nowhere more apparent than in the cartoonist's ongoing three-dimensional rendering of his fictional Dominion City, most recently featured in his bookGeorge Sprott. Using sketches, photographs, and an essay, the cartoonist explains why the need to conceptualize the fictional city in sculptures was a natural extension from comics storytelling, and how if he had his way, it would have stayed in his basement forever.

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