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Zap Comix #16, by R. Crumb, Gilbert Shelton, Robert Williams, S. Clay Wilson, Spain Rodriguez, Victor Moscoso, Paul Mavrides, Rick Griffin
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The final, previously-only-available-in-a limited/collector's-edition issue of the the most important comic book series of all time!
This blowout issue not only includes work by all eight Zap artists (plus a collaboration with cartoonist Aline Kominsky), but also three double-page jams by the group. Plus: Zap’s first-and-only color section, featuring comics by R. Crumb and Gilbert Shelton (his final Zap Wonder Wart-hog episode, no less). Paul Mavrides provides an alternately embellished version of Gilbert Shelton’s and his Fabulous Furry Freak Brothers episode, “Phineas Becomes a Suicide Bomber” (originally inked in the Complete Zap by Shelton). Front cover by R. Crumb. Back cover by Moscoso. Black & white with 16 pages of color
- Sales Rank: #245631 in Books
- Published on: 2016-02-22
- Original language: English
- Number of items: 1
- Dimensions: 10.00" h x .40" w x 7.10" l, .0 pounds
- Binding: Paperback
- 96 pages
From Publishers Weekly
An iconic anthology bows out in a long-unpublished final issue featuring all of its premier artists, showcasing the differing styles that made each creator famous. Crumb's self-reflective comics (often published alongside those of Aline Kominsky-Crumb, the first woman ever to appear in Zap) are strong, with his distinctive griminess and nervous faces cowering under piles of looming word balloons. Kominsky-Crumb's thin lines contrast well against her husband's dense drawings, and their discussions are often touching in their bald honesty. Shelton lampoons the 21st-century need for all heroes to kill in the last Wonder Wart-Hog strip. His lines in this and another story, about a loser who becomes a terrorist to get laid, have a Mad magazine feel. Wilson's shock comics are the weak link for today's readers now that nudity is common in mainstream monthly books. While many have fond memories of Zap as one of the first to break the rules, much of the transgression is now common or unnecessary. (Feb.)\n
About the Author
Born in Philadelphia, R. Crumb is the author of numerous comic works and one of the pioneers of underground comics. His books include Kafka, The Complete Crumb Comics (17 volumes), The R. Crumb Sketchbook (10 volumes), R. Crumb Draws the Blues, The Book of Mr. Natural, The Book of Genesis Illustrated by R. Crumb, and many more. He lives in the south of France with his wife, the artist Aline Kominsky-Crumb.
Robert Williams’ influence on alternative art is immeasurable. From his endeavors to broaden the possibilities for young artists to gain exposure sprang the well known art chronicle, Juxtapoz magazine. His books include Conceptual Realism and Hysteria in Remission. He lives in Los Angeles, CA, with his wife, Suzanne.
S. Clay Wilson, one of the founding members of the Zap comics collective. (Zap is a seminal underground comic book anthology, with contributors like R. Crumb.) He lives in San Francisco.
Spain Rodriguez is one of the most well-known artists in the comix underground. He (along with Robert Crumb) was one of the founding members of Zap Comics and has a reputation as an outstanding political artist. He is the author of several graphic novels, including Cruisin' With the Hound and the highly acclaimed Nightmare Alley. His work is prominently featured in BLAB!, an annual comic anthology that has also featured Charles Burns, Mark Mothersbaugh, Daniel Clowes, and Chris Ware.
Victor Moscoso is one of the defining stylists of the psychedelic culture of the 1960s, and one of the original Zap Comix artists (with R. Crumb, Robert Williams, Gilbert Shelton, Spain Rodriguez, S. Clay Wilson and Rick Griffin). He lives with his wife Gail in San Francisco, California.
Most helpful customer reviews
14 of 14 people found the following review helpful.
Ah, well...
By Sean Burns
So here we are, almost 50 years after ZAP 1 appeared, with a sorta lackluster "farewell" from the old radicals that blew so many minds back in the day. But it's been a tough 50 years for many, they have nothing to prove and can rest on their laurels, and if they can make a little for their golden years, that's fine by me.
ZAP 16 resembles an old comic fanzine more than anything. Lots of stuff out of sketchbooks, rough and unfinished. Moscoso's art has none of the tight draftsmanship or kinetic movement that were so trippy then. The Rick Griffin piece is a blotchy scribble, but he's been dead for 25 years and it's understandable- there probably isn't much work remaining unseen by him.
Clay Wilson's work is mostly first draft sketchbook stuff, not labored over, but it is great to see some of the work he did after his terrible accident in 2008 in any event. And "Last Call at the Pirate Pub"- almost undecipherable at first look, you have to really study it to see it- can stand as the apex achievement in his pirate-drawing career.
Not showing their age or any decline AT ALL, Gilbert Shelton's WW and FFFB strips are wonderful. He hasn't lost a step! More! Encore!
Spain continued to evolve as an artist up to his death. The 2 stories here are especially interesting- one isn't totally inked, and in both you get a good look at his pencil art and how disciplined his line had become. Beautiful stuff- he is missed.
Lots of Crumb, mostly (again) sketch book stuff. One nicely finished color 2-pager, but no classics like "Uncle Bob's Mid-life Crisis!". Or even Flakey Foont. Lots of 1-pagers with Aline, as they continue to hone their Burns and Allen routine. But R. says "I don't draw comics anymore, except with you...", so if that's the price to see Crumb panels, oh well.
The jam sessions look good and are very much akin to the old ones, a pleasant surprise. My single favorite drawing in the whole book is the beehived, weary-looking Long Island siren (panel 1 page 3- "Sins of Johnny Donuts"). That Crumb sure knows the human condition!
Front cover- colored nicely, no great shakes. Back- a muddy Moscoso.
People who weren't there to experience the sea-change that ZAP and the UG's brought about, or were part of, in the 60's, will have NO IDEA of their impact on the counter-culture and society in general back then.
It is hard to believe, in this age of "everything goes" on the internet, that there were people in power, worried that underground comics would destroy the fabric of society and lead to anarchy and sex in the streets. Ah, those were the days!
ZAP 16 cannot really show that impact- nothing can.
It can serve as a pleasant reminder of those days for us old fogies, of going to the Head Shop for the newest UG's while waiting for the Revolution, and having our minds pulled open by the ZAP crew.
I hope that the proceeds will go to those that need it most- mainly S Clay Wilson. You can google sclaywilsontrust to find or help out with his special needs.
1 of 1 people found the following review helpful.
Thank you all.
By T. W. Rich
Wonderful and sad - I've read every issue as it was released - from # 0 to this one (over five decades...? Man ...) Sad to loose Spain - Glad the editors decided to leave his work unfinished- Wilson, Crumb, Sheldon .... All the rest ... Thanks and Goodnight.
1 of 2 people found the following review helpful.
Nice to see the artists and their work all together ...
By Dennis Shain
Most of material in this "latest" issue is approaching 10 years old. Crumb and his wife dominate most of it with their dreary rants about how pointless their cartoons are and why are we even bothering to read them? The Wonder Wart Hog story, though quite plain, is the only saving grace ---..It actually has a story line.No other pieces in this comic have the slightest clue what a plot is all about. Nice to see the artists and their work all together again, but it is a hopeless mishmash. I have to confess that I skipped the last two or three senseless, grueling, tiresome "Robert and Aline" episodes and was thankful to reach the end. Zap is dead..rest in peace.
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