29. marts 2010 er Hillbilly Dag, Dogpatch Dag, Sadie Hawkins Dag? “Li’l Abner” Dag er det i hvert fald, for endelig udgiver USA’s førende oldies forlag, vinder forlaget IDW Publishing, første flotte bind af det komplette genoptryk af pantheon tegneren Al Capp’s mesterværk, den mageløse samfunds-satire, hillbilly striben “Li’l Abner“, som Denis Kitchen måtte opgive at genoptrykke efter 27 fedeste soft- og hardcover bind, da Kitchen Sink forlaget gik konkurs i 1999. Siden da har vi fået fire flotte farve facsimile hc’er med Frazettas ghost-tegnede søndags-sider af “Li’l Abner” fra Dark Horse, og tak for det, Dark Horse! Også en nifty lille hc, “The Life and Times of the Shmoo”, er det blevet til. Og “Shmoo Archives” hc’en fra Dark Horse. Men ville noget forlag prøve kræfter med hele avis-serien igen? Og ville de starte efter Kitchen slap, eller gå tilbage til starten? Denis Kitchen nåede jo kun halvvejs igennem serien, da han kun genoptrykte ét år pr. bind. Men nu er vort ønske blevet hørt, og vi får serien komplet, 1934-77! Hvis I kun kender “Li’l Abner” fra de få historier i “Comics” og “Special-Comics” fra Carlsen tilbage i 70’erne, kan jeg sige, glæd jer! Det Århusianske tegneserie fanzine “Nørd Nyt” har engang bragt en hyldest artikel om mesterværket “Li’l Abner”, men denne vidunderlige samfunds-satire er også for et større publikum, for alle kan have glæde af Al Capp’s madcap historier! Al Capp er den amerikanske tegneseries Mark Twain!
“Li’l Abner” was a comic strip with fire in its belly and a brain in its head. – John Updike, 1991
One of the 20th century’s three greatest comic strips… In “Li’l Abner”, Capp mixed comedy and suspense in a daily cocktail that no one else has come close to duplicating. – Dennis Drabelle, Salon.com, 2002
Capp was master of every technique postmodernists celebrate: juxtaposition, parody, satire, irony, intertextual referencing, bricolage, chaos, the surreal, the carnivalesque, the tragicomic slapstick of differences. In Li’l Abner, systems of logic and morality clashed… and from the resulting dreamscape of discourses came satirical comedy. Like all satire, the real and the fictive combined to produce grotesque offspring.” – Roger Brown, The Road to Hokum, 1994
He doesn’t put his best foot forward always, but what foot he does put forward is one of his own. – Walt Kelly, 1971
[Capp] was far more an intellectual than he allowed the public to see. Li’l Abner was his joke on the dismal world around him. His humor welled-up from the melancholy pits of a strapping kid made an amputee at age nine… – Milton Caniff, 1985
He had ‘the touch’. He knew how to take an otherwise ordinary drawing and really make it pop. I’ll never knock his talent. – Frank Frazetta, 1985.
Frazetta ekspert David Winiewicz har beskrevet arbejds-delingen på Al Capp studio i Li’l Abner Dailies: 1954 Volume 20 (Kitchen Sink, 1994):
By the time Frazetta began working on the strip, the work of producing “Li’l Abner” was too much for one person. Capp had a group of assistants who he taught to reproduce his distinctive individual style, working under his direct supervision. Actual production of the strip began with a rough layout in pencil done by Al Capp, from Capp’s script or a co-authored script, and the page would pass to Andy Amato and Walter Johnson. Amato would ink the figures, then Johnson added backgrounds and any mechanical objects. Harvey Curtis was responsible for the lettering and also shared inking duties with Amato… In order to make sure that the work stayed true to his style, the final touches would be added by Capp himself. He enjoyed adding a distinctive glint to an eye or an idiosyncratic contortion to a character’s face. The finished strip was truly an ensemble effort, a skillful blending of talents…
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