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For over four decades, erotic comics have flourished around the world. Erotic Comics 2 examines how this budding art form exploded from the California comix scene to become an international publishing phenomenon.
Beginning with an exploration of newly liberated American artists in the '70s, this overview examines the gay and lesbian comics scene, current artists and publishers in Europe, and Japanese erotica. After delving into the sexual mores of Japanese Hentai: from tentacle sex to Yaoi, the book looks to the future, where erotic comic creators are sidestepping legal issues by producing work solely for the Internet.
Filled with rarely seen art from international forerunners such as Dave Stevens, Jordi Bennet, Frank Thorne, Tom of Finland, Ralf Kšnig, and Milo Manara, Erotic Comics 2 is perfect for fans of adult� comics, art history, and erotic illustration. As Alan Moore urges in his foreword: "Absorb the contents of this book, and do so shamelessly."
- Sales Rank: #1035525 in Books
- Published on: 2009-03-01
- Original language: English
- Number of items: 1
- Dimensions: 10.13" h x .75" w x 10.13" l, 2.37 pounds
- Binding: Hardcover
- 192 pages
About the Author
Tim Pilcher is the co-author of The Essential Guide to World Comics, and has contributed to numerous other books. He was an assistant editor at Vertigo Comics and an associate editor on Comics International. He lives in Brighton, England. Gene Kannenberg, Jr., is a respected historian of comics and the director of ComicsResearch.org. He serves on the board of the International Journal of Comic Art, and lives in Hudson Valley, New York. Alan Moore is the author of the acclaimed graphic novels Watchmen, V for Vendetta, and From Hell. His long-awaited erotic graphic novel, Lost Girls, was published in 2006. He lives in Northampton, England.
Most helpful customer reviews
9 of 9 people found the following review helpful.
An Illustrated History of Hardcore 'Toons
By Roochak
The most intelligent question I've ever known anyone to ask about sexually explicit comics comes from writer Alan Moore, who's spent his professional career leading the way for his peers. "Is there a way," Moore asked in 1993, "of doing pornography that is sexually arousing, is not offensive politically, aesthetically, or in all those other ways, that can speak to women as well as men, that can have characters, meaning, and a story the same way as ordinary literature?" The answer is yes, but proving it in a finished comic is another matter entirely, which is why most artists don't try and most readers don't seem to care. (Moore and artist Melinda Gebbie may have accomplished that difficult task in their epic porn comic, Lost Girls Hardcover Edition, which I plan on reading now that it's in an affordable edition.)
The second volume of Tim Pilcher's history of erotic comics covers the mid 'seventies to the present, and the theme that emerges in this survey is that while depictions of hardcore sex have become commonplace, the average sex comic is as stupid and boring as the average porn video; only the fetishes have become increasingly fractured, and more extreme in their presentation.
Chapter one covers the USA from the deathblow that Stan Lee, with the backing of the Nixon administration, dealt to the Comics Code Authority, through the mid 'nineties, when competition from the internet made it increasingly difficult for erotic comics publishers to make a living. In those years, nothing was off limits, unless you made the mistake of drawing or selling porn comics in the Bible Belt, which necessitated the birth of the Comic Book Legal Defense Fund. Elsewhere, things were going so well that even mainstream publisher DC Comics got into the act with such pioneering Vertigo titles as ENIGMA and THE EXTREMIST.
Chapter two covers the rise of gay and lesbian comics, from Howard Cruse and Tom of Finland to Alison Bechdel. The next chapter celebrates European erotica, a class act in terms of its draftsmanship, at least until we get to Spain: for some reason, Spanish porn comics look amateurish next to their French, Italian, and Argentinian competition.
Chapter four is Pilcher's ambivalent look at Japanese hentai, which he seems to find disgusting and/or boring in equal measure. (Curiously, the yaoi [gay male] panels are better drawn than anything else reproduced in this chapter.) The book concludes with a brief look at erotica online, a field in which we are all experts.
The front dust jacket illustration, a typically gorgeous nude by Giovanna Casotto, is worth the price of the book by itself.
2 of 2 people found the following review helpful.
Erotic comics
By Kurt Geeraerts
Interesting overview of this matter, although I expected more a critical analysis on the history of erotic comics. I'm very happy I met Giovanna Casotto in this book. She's amazing: she's a woman herself, she masters her drawing skills and she's not vulgar, but very ... erotic.
0 of 0 people found the following review helpful.
Nice-looking but silly mistakes in the Japanese section
By Caitlin
I ordered this book because I am working on research Japanese pornographic comics and I thought it would be a nice gift to myself to learn a little bit about Western erotic comics. The book is large, well-printed, and it would make an excellent coffee table book, if you are the sort of person (like me) known to all your friends to be a fan of porn and comics.
But, having read the sections on the Japanese side, I'm not sure if I can trust the info on the European/American side!
Maybe that's not fair. The issue with the Japanese section is not quite the information: a lot of the copy is okay, simplified and exoticized, but that's what I would expect. Some of it is wrong or silly, but I'm sure if I made a list of specific complaints, I would be accused of academic quibbling.
The bigger problem is, hilariously, the pictures! First of all, the lolicon page doesn't show any examples of lolicon, which is not surprising given the sensitivity of the material and the difficulty it poses to publishers, but putting artists like Mizuno Junko on a page explicating lolicon seems disingenuous and confusing -- she's a ladies' mangaka or a cute-horror artist, not in lolicon at all AFAIK. Even the Yui Toshiki and Kondom examples aren't lolicon, though they're at least primarily pornographic artists; I'd put them in a section on monster/animal or general weird body erotic manga. Still, it makes sense that the publisher would hesitate to publish lolicon, even in non-erotic examples.
More surprising, however, are the pages on shounen ai and yaoi: there's one image of a cover of June, an appropriate example, but all the other images are of gay manga, a separate and very distinct genre! Gay manga are comics about gay men written by/for gay men and generally emphasize size and masculinity; shounen ai and yaoi (really, BL) are about gay men but written for women and usually feature feminized men or boys. If you've ever seen Kaze to Ki no Uta, an example of 70s shounen ai mentioned in the description, you would be shocked to see it illustrated with images by Tadame Gengoro, a prominent gay manga artist: the characters in Kaze are young beautiful boys and the sexuality is more suggestive than explicit, while the illustrations by Tadame here show hairy, muscular men engaged in explicit penetration. Gay manga is a very interesting and underpublicized genre (in the West and in Japan!), so it would have been great to see a section on it in this book, but using it to illustrate shounen ai is strange and shows that Pilcher wasn't really interested in researching shounen ai/yaoi/BL enough to find good and interesting examples of erotic art within the genre(s).
Anyway, I'm still looking forward to the rest of the book, but I just wanted to warn everyone else not to rely on the info or the images too much. I know it's not an academic text, so I was ready to laugh off simplifications/mishaps in the writing, but the image mistakes are just silly and unfortunate.
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