As a contemporary example of this tradition, Rotman’s comic is especially notable and moving. Over the last few decades, other comics have included various combinations of words, pictures, and music, from Tim Truman’s flexi disc soundtrack for Scout #19 (1987) to John Porcellino’s multiple references to post-punk band Hüsker Dü in Perfect Example (2000). Each comic included a 45 rpm record with actors performing the roles of the main characters, plenty of sound effects, and atmospheric music. S., Peter Pan Records released numerous adaptations of comics featuring characters ranging from big names like Superman and Spider-Man to more obscure (and scary) creatures like Man-Thing and Werewolf by Night. I should pause here to explain what a book-and-record set is for those of you too young to remember them.
Rotman points out that she and Youngs have reimagined the tune as “an old-timey lesbian witch ballad.” A kind of modern day book-and-record set, Long Black Veil raises questions about the role that rituals-family or otherwise-might play in the comics medium. ” In that tradition, singer, songwriter, and guitarist Jenny Owen Youngs recorded a version of the song to accompany the comic. The comic, which earned Rotman a 2017 Ignatz Award nomination for Promising New Talent, includes a brief introduction in which the artist pays tribute to her “favorite part of any family holiday,” the moment “when three generations of women would gather together to sing murder ballads. Isabella Rotman’s Long Black Veil -her comic adaptation of the Danny Dill and Marijohn Wilkin song first recorded in 1959 by Lefty Frizzell -begins with a dedication: “For the women of my family.”
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