“Eightball” would be Daniel Clowes’ first real achievement, with cynical shorts like “Art School Confidential” and “Devil Doll” padding the serialization of “Ghostworld” and “Like a Velvet Glove Cast in Iron.” “David Boring” would be the on-its-own breakthrough, and the first graphic novel I read that truly impacted me in subtler, novelistic ways. (“Maus,” after all, was non-fiction; subtlety is not among the many attributes of “Watchmen.”)
But before “Eightball” and “David Boring,” before becoming one of the most important graphic novelists of our time, Clowes had some doodling to do for Fantagraphics, and “Lloyd Llewellyn” was his first experimental comic, a Mad-Magazine-influenced send-up of everything 50s:
Greasers! Hepcats! Squares! Flailing Robots! Barflies! B-Movie Space Punks! Everything to which exclamation points can be appended!
An average Lloyd Llewellyn detective tale starts much like a Lew Archer noir; but soon, Lloyd gives up all pretense at detection and devotes himself to keeping a straight face amid the increasingly surreal twists. Of course, straight faces are easy to keep when you’re this simply drawn. When Lloyd Llewellyn resurfaced in early issues of “20th Century Eightball,” the drawing technique was about 200 times better, and the lounge-noir gimmick was so gone that a “Lloyd Llewellyn Adventure” could simply involve vitriolic ranting. (I love when misanthropy is unleashed, as it is in Clowes’ classic “I Hate You Deeply” or in Ivan Brunetti’s ‘Schizo.’)
“If you aren’t either a) exactly like me only a little worse at everything, or b) a pathetic yes-man to my every changing values and shallow opinions, I HATE YOU DEEPLY!”
RATING: GOOD ENOUGH; the best was yet to come.