Gahan Wilson's Out There
Gahan Wilson
(Author)
Description
Gahan Wilson is probably best known for his macabre Playboy cartoons--filled with charming monsters, goofy mad scientists, and melting victims--and his cutting-edge work in National Lampoon, but in 1964, he brought his brilliantly controlled wiggly-but-sophisticated pen line to the Magazine of Fantasy & Science Fiction. Wilson's freaks and geeks found a home among the stories of the best fantasy and sf writers of the day, offering a welcome, if sometimes macabre or existentially imponderable, graphic break from the magazine's otherwise straightforward prose. Wilson's playfully black sense of comedy was on full display in these cartoons, delineated in his trademark roly-poly, sensual, delicately hatched line.Product Details
Price
$29.99
Publisher
Fantagraphics Books
Publish Date
January 11, 2016
Pages
304
Dimensions
6.8 X 0.9 X 10.2 inches | 1.45 pounds
Language
English
Type
Paperback
EAN/UPC
9781606998458
BISAC Categories:
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About the Author
In his ninth decade as a human being and his sixth as a master cartoonist, Gahan Wilson (born dead in 1930) continues to produce cartoons for a variety of magazines including Playboy and The New Yorker.
Reviews
Gahan Wilson is a master cartoonist with a long and distinguished career and everything he does is of interest. This one looks fun.--Tom Spurgeon
Creepy hilarity is Wilson's métier, and his slightly wobbly line is the perfect medium for bringing out the terror and madness in the people and critters he portrays as he shows them confronting the ridiculous and dire eruption of the fancies of popular culture.
Wilson's misshapen mind's eye, in which every figure and prop and setting looks like it's made of the same stuff as those watches by Dalí, has remained unblinking and interested to this day. ... Wilson was the antithesis of the one-panel, one-gag cartoonist he appeared to be... Whole dystopian novels detached from their illustrations were sensed in [his] cartoons...--Adam McGovern
Creepy hilarity is Wilson's métier, and his slightly wobbly line is the perfect medium for bringing out the terror and madness in the people and critters he portrays as he shows them confronting the ridiculous and dire eruption of the fancies of popular culture.
Wilson's misshapen mind's eye, in which every figure and prop and setting looks like it's made of the same stuff as those watches by Dalí, has remained unblinking and interested to this day. ... Wilson was the antithesis of the one-panel, one-gag cartoonist he appeared to be... Whole dystopian novels detached from their illustrations were sensed in [his] cartoons...--Adam McGovern
