Valentina on the phone
A while ago I called the ten-volume project to bring all of Guido Crepax’ comics output into the English language a cultural intervention, and that still looks like the right label. Crepax’ artistic treatment of an internal fantasy life is vivid enough on its own to make most erotic comics look stuck in tar, but the more of the stuff that Fantagraphics reprints, the clearer it gets that Crepax was trying to get actual tactile sexual sensations down in an ink-on-paper form—critic Matt Seneca wrote about it in those terms, and he was spot on. And it works so well in the Valentina stories that the character—even though she’s always naked or in bondage or just letting it all hang out—never seems to be on the receiving end of male gaze at all. The strips are piled high with sexuality from floor to ceiling, but it’s all Valentina’s view of Valentina’s own, and there’s nowhere for a reader’s voyeurism to fit. It’s simply irrelevant. This is quite the cultural moment to discover that Crepax wanted to achieve that decades ago and worked out how to get the job done.
Every story also has some piece of visual storytelling from Crepax’ 1960s and 1970s output that seems to bubble up from a broad impressionist tradition and inform something more recent. The first volume had a bunch of Frank Miller faces; the latest one has some very Bill Sienkiewicz demon bears. An entranced Valentina receives hypnotic instructions from the witch Baba Yaga via the telephone several nights in a row, worshiping the handset in different poses, and eventually she does the same thing with a wind-up gramophone playing some satanic 78 vinyl. It’s an erotic reverie that Dario Argento would appreciate, but could not match.