Story Written by Charlotte Perkins Gilman
Adapted by Jon Mosley
Self-Published
Some readers might have picked up on Gilman's name right away, but I have to be honest, I had to Google her identity to be sure this was a straight-up adaptation and not added flavor text to this psychological story of a woman's obsession with her new living quarters.
Gilman, it seems, had severe depression issues and they were magnified during the period of time that she and her husband, a doctor, were renting a cottage. Medical treatments for depression were even worse then than they are now, and the suggestion of rest--in a barred room!--slowly made Gilman convinced the room and its peculiar shade of yellow wallpaper held more sinister secrets.
Mosley's adaptation works very well at capturing this slowly rising sense of despair and mania as he builds the ongoing mental issues of Gilman in a way that is both able to move the story but remains respectful to the protagonist. It reminded me a bit of Rick Geary's work, not in art style but in theme and atmosphere, and that's certainly a good thing.
Another artist might have chosen to let her mania run free, but instead, Mosley keeps her mostly in check until the ending scenes. He draws her visions just as realistically as the rest of the story, and spatters the pages with just enough yellow to keep us focused on the recurring theme.
While Mosley's art is not perfect (this was a school project, after all), he does a nice job with the material, with each panel clearly showing the action. I would have preferred he stay away from script handwriting, even if it was to mock the diary, as it's hard to read this scaled down.
A fun little read from SPX, and I would be happy to read more from Mosley in the future, especially if he does more adaptations in this vein.
Saturday, November 28, 2009
Kurosagi Corpse Delivery Service Volume 1
Written by Eiji OtsukaIllustrated by Housui Yamazaki
Dark Horse
I read all three volumes of Yamazaki's great series Mail before starting this series, which has some links to Mail. It came pretty highly recommended for those who like horror manga, of which I am a fan.
If you can imagine the idea of the Scooby Doo gang having mystical powers and chasing after dead people instead of phantom ghosts, you'll have a bit of the of the Corpse Delivery service.
A campus volunteer group is reorganized to utilize the talents of a mediocre buddhist who can speak to the dead, a water witch who can only find corpses, an embalmer in a country where it's rare, and even a man who claims to channel aliens via a puppet. Rather than just bury the unwanted dead--they're going to seek out the dead who need a little extra closure.
The setup is a bit clunky, but that seems to be a common theme with first chapters in manga. One things get rolling, the team is up to their arms in creepy cases that see them dealing with incestuous parents, serial killer service workers, and a man carrying on an ancient tradition in a most unorthodox way. Heck, you even get a bit of mathematical theory--try finding that in your average horror story!
Otsuka's plots are very well done, giving the right balance of humour, suspense, and gore for the stories he is trying to tell. Each character gets their own voice as well, which is hard to do with an ensemble cast. The main focus is on Kuro Karatsu, because of the nature of his power. Being able to talk to the dead in a way that's actually interesting, Kuro can tell the rest of the team what a dead body wishes from them. However, the rest of the team gets their fair share of time, adding quirky comments or comic relief, depending on the need. Otsuka also has a nice sense for dark comedy, giving even the dead or the criminal some good one-liners.
But the real key to the success of this is Yamazaki's art. As with Mail, he has the ability to alternate between perfectly normal scenes and terrifying horror, yet manages to make it work without being all gory. There are long-dead corpses, mutilated bodies, and almost zombified creatures running around, and all of them are rendered perfectly by Yamazaki. He also does a really nice job with the little tricks, such as eye rolls or posture. A lot of the material works because of the combination of a good script and well-drawn art.
If you like the idea of an oddball cast getting together and solving macabre cases, give this a try. I know I will be back for volume two to see where Otsuka and Yamakazi take us next.
Black Cat Volume 2
Written by Kentaru YabukiIllustrated by Kentaru Yabuki
Viz
This second volume continues the adventure of our stray cat bounty hunter, finishing off the story of the first volume and leading into new adventures.
While Train fights his enemy Creed, he must make a great sacrifice, but will it be enough? Well, that would be telling.
This manga is still a lot of fun and very different from what I usually read. It's still a bit derivative of Cowboy Bebop, but that's not really a bad thing, at least for me. Definitely recommended.
Black Cat Volume 1
Written by Kentaro YabukiIllustrated by Kentaro Yabuki
Viz
I am so very blessed by having a local library system that buys new manga like it was going out of style. As a result, I get to sample manga of all kinds like this nifty little entry that's a part of the Shonen Jump family. I generally tend to read shojo stuff, but it's always nice to have a change of pace.
Black Cat is the story of two bounty hunters, called Sweepers in this particular world. The title character (a former hitman turned good, or, as he puts it, a black cat that's turned into a stray) and his partner, Sven, go after bounties and get themselves into trouble. It's the same idea as Cowboy Bebop, the more I think about it. The big bounty jobs go bad, they're always in need of food, and the female character is a thief that gets taken along for the ride after offering to get them involved in a caper. I like the premise of Bebop (by far my favorite anime), so it's not a big shock that I like it here, too.
However, while the basic plot is pretty familiar, the way its executed is different enough to keep me interested and not feel like I'm reading a re-themed Bebop. For instance, Black Cat has some pretty awesome powers, which I'd like to learn more about. How did he meet up with Sven? And where does nano-technology fit in to all of this?
I'll warn you in advance that the first chapter is pretty lame--it sets the stage that Black Cat has a lot of powers, but there was probably a better way to do it. Still, this is a good series and I should read more of it soon. [Editor's note: You know, like 3 years later.] If you're looking for a shonen manga to try, give this one a shot.
Thursday, November 26, 2009
Manga Gift Guide 2009
In response to the fact that Onion didn't think any manga made for notable comics and the New York Times left manga out of their holiday gift guide, the Precocious Curmudgeon came up with the idea of having us do our own lists.
I am not nearly the manga fan and expert that he is, but I'm going to give it a shot anyway. I'm going to go with the tried and true method of recommending by the type of person you're considering. My goal was to make selections based on what this person might like, so it's not so much as best-of as a "good starting point" list.
Keep in mind that I read almost all of my manga from my library, which works very hard to have a solid collection of comics of all kinds for its readers. What that means for me is that my list is probably least likely to be current books. I did try, however, to go for things that should still be in print. Let me know what you think!
For the person who doesn't want to read right-to-left:
Just about anything from Fanfare would do, but I am going to go with 2009's "A Distant Neighborhood" by Jiro Taniguchi. A soft sci-fi story about a man who's unhappy with his current life gets sent into his past and given a chance to prevent his greatest tragedy--the sudden disappearance of his father. Split into two volumes, making it pass the other manga objection ("They're too long! Now pass me that copy of Amazing Spider-Man 611!") at the same time, Taniguchi draws in a basic style that provides what the reader needs without being too flashy. His protagonist, Hiroshi, faces a problem common to all of us--what do you do when your life isn't what you want it to be? Would getting to do that life over again make a difference? The answer Hiroshi receives is not what you might think. Not only is this a great read, it's a good gateway book as well.
For the person who likes a book like "Fun Home" or the work of Jeffrey Brown:
I'm not all the way through the series because I had some issues getting them from my library, but I feel confident in recommending this for people who like autobiographical comics. "Barefoot Gen" is the story of a survivor of the nuclear bomb attacks on Japan. Starting off by showing life before the bomb, the manga has an almost comic feel at times before portraying some of the most horrific things imaginable--which writer/artist Keiji Nakazawa does not shy away from drawing. Not for the squeamish but I think it provides a strong representation of what manga can bring to the table.
For the Fan of Kung Fu Hustle:
Gotta go with one of the books that drew me into manga, "Ranma 1/2"! This might even be a book that your potential reader might have heard of, as Rumiko Takahashi is probably about as well known to a non-manga reader as anyone could be. It's the story of people who practice anything goes martial arts and can't help but keep falling into cursed springs and getting changed into all kinds of things, from girls to pandas to pig. A love-hate relationship drives the "plot" of the book between the changing Ranma and an independent girl that his father wants him to marry. Everything about the book is silly and should work well for people who like slapstick martial arts comedies.
For those who miss Twilight Zone:
"Mail", another short series, features a 4th wall breaking protagonist who hunts malevolent ghosts and purifies them with a mystical bullet. He tells a cautionary tale ala Rod Sterling and then gets into the mix. Drawn with equal parts restraint and shocking horror by Housui Yamazaki, I was hooked on this one from the start. It does bog down a bit when we start to learn about the character's history, but overall, this was one of the best series I read in 2009.
For the Anglophile in your life:
I don't remember who suggested I read "Emma", but I am betting it was the Curmudgeon. I'm glad of it, because it may be one of the best-researched (sometimes to the point of distraction, which is why an anglophile will love it) period pieces I've ever read. I could easily see it as a Victorian novel. The narrative voice that author Kaoru Mori created, even if it doesn't speak per-se, would fit well with James or Wharton. Emma is such a wonderful chracter to root for despite the fact that Mori is not afraid to make her life difficult. This is also another series that has a fairly small number of volumes.
For those who like Feudal Japan or Wolverine-as-Samurai:
"Lone Wolf and Cub" by Kazuo Koike and Goseki Kojima was another early manga read for me that hooked me into reading more of the genre. (It's also another series I need to finish some day.) A loyal solider is wronged by those who covet his position with the Shogun and he ends up striking out on his own as a hired sword. That would be interesting enough, but on top of it, he does this with his young son in tow, leading to situations both horrifying and amusing by turns. The narrative weaves in and out from past to present, giving a nice contrast to the story. It's gritty without being overly dark, something modern American comics have trouble grasping, it seems.
Yes, I have one for Twilight People:
Never thought I'd use this as a category, but I'm sure most people have a Twilight fan in their life, so if they are looking for a vampire-themed manga, I'd point them to "Lament of the Lamb". Kei Toume hits the angst button fairly hard on this story of a family cursed with a mysterious disease that's pretty easily recognized as being vampirism. Our protagonist is not very happy with his condition, but the idea of tortured vampire love should give Edward fans something to sink their teeth into.
For Your 40 Year Old Friend Who Likes 1980s Sci Fi:
"Akira" is another one that might even be known by your potential reader. With a new printing by its original publisher, it should also be pretty easy to find. Akira is the story of a dystopean future where people are reduced to their most barbaric levels and some children have special abilities that can affect the course of the world. Hitting just about every 1980s trope you can think of--a bleak future, human cruelty, exploitative secret governments, huge guns, humans turned into monsters, and betrayal--this is a classic that your middle-aged friend who still remembers the original "V" series should enjoy quite a bit.
For Those Who Like Romantic Comedy:
"Love Roma" by Minoru Toyoda is set in a high school, which is pretty typical for manga and has a similar love conflict to Ranma 1/2 but the pacing is completely different. Written as a series of set-piece jokes (not unlike a sitcom), Love Roma features a romantic lead with no inner censor and a girl who gets flustered at the drop of a hat. Set everywhere from a haunted house to a baseball diamond, the characters romp through playful fun and team up in the most unlikely ways. My only knock on this one is that the art's a bit simplistic for my taste, but it's still a lot of fun.
For Those Who Love Halloween:
I have become quite a fan of horror manga, as I think that it's better than its American counterparts. Therefore, I am going to cheat like mad here and recommend three!
Want psychological horror? Go for "The Drifting Classroom" by Kazuo Umezu, about a school transferred into some time of time warp by forces unknown and reduces its occupants to desperate measures.
Want some aliens instead? Try "Parasyte" by Hitoshi Iwaaki and see a new predator stalk the earth, with only a few humans prepared to stop the threat!
Want just plain weird? Gotta go with "Uzumaki", which features so many batshit insane moments it's not even funny. Junji Ito must have some really interesting nightmares. Watch as a town goes crazy bit by bit as more and more people spiral down the drain of insanity. There's even a movie version, for when you want to see the same things in live-action!
That's a good set of starting places, but if you want the opinion of those who are better at this than I am, check out this post which is keeping a list or hit up my twitter feed, as we're hashtagging this puppy as #gmgg!
This is probably my only post today, so Happy Thanksgiving everyone!
I am not nearly the manga fan and expert that he is, but I'm going to give it a shot anyway. I'm going to go with the tried and true method of recommending by the type of person you're considering. My goal was to make selections based on what this person might like, so it's not so much as best-of as a "good starting point" list.
Keep in mind that I read almost all of my manga from my library, which works very hard to have a solid collection of comics of all kinds for its readers. What that means for me is that my list is probably least likely to be current books. I did try, however, to go for things that should still be in print. Let me know what you think!
For the person who doesn't want to read right-to-left:
Just about anything from Fanfare would do, but I am going to go with 2009's "A Distant Neighborhood" by Jiro Taniguchi. A soft sci-fi story about a man who's unhappy with his current life gets sent into his past and given a chance to prevent his greatest tragedy--the sudden disappearance of his father. Split into two volumes, making it pass the other manga objection ("They're too long! Now pass me that copy of Amazing Spider-Man 611!") at the same time, Taniguchi draws in a basic style that provides what the reader needs without being too flashy. His protagonist, Hiroshi, faces a problem common to all of us--what do you do when your life isn't what you want it to be? Would getting to do that life over again make a difference? The answer Hiroshi receives is not what you might think. Not only is this a great read, it's a good gateway book as well.
For the person who likes a book like "Fun Home" or the work of Jeffrey Brown:
I'm not all the way through the series because I had some issues getting them from my library, but I feel confident in recommending this for people who like autobiographical comics. "Barefoot Gen" is the story of a survivor of the nuclear bomb attacks on Japan. Starting off by showing life before the bomb, the manga has an almost comic feel at times before portraying some of the most horrific things imaginable--which writer/artist Keiji Nakazawa does not shy away from drawing. Not for the squeamish but I think it provides a strong representation of what manga can bring to the table.
For the Fan of Kung Fu Hustle:
Gotta go with one of the books that drew me into manga, "Ranma 1/2"! This might even be a book that your potential reader might have heard of, as Rumiko Takahashi is probably about as well known to a non-manga reader as anyone could be. It's the story of people who practice anything goes martial arts and can't help but keep falling into cursed springs and getting changed into all kinds of things, from girls to pandas to pig. A love-hate relationship drives the "plot" of the book between the changing Ranma and an independent girl that his father wants him to marry. Everything about the book is silly and should work well for people who like slapstick martial arts comedies.
For those who miss Twilight Zone:
"Mail", another short series, features a 4th wall breaking protagonist who hunts malevolent ghosts and purifies them with a mystical bullet. He tells a cautionary tale ala Rod Sterling and then gets into the mix. Drawn with equal parts restraint and shocking horror by Housui Yamazaki, I was hooked on this one from the start. It does bog down a bit when we start to learn about the character's history, but overall, this was one of the best series I read in 2009.
For the Anglophile in your life:
I don't remember who suggested I read "Emma", but I am betting it was the Curmudgeon. I'm glad of it, because it may be one of the best-researched (sometimes to the point of distraction, which is why an anglophile will love it) period pieces I've ever read. I could easily see it as a Victorian novel. The narrative voice that author Kaoru Mori created, even if it doesn't speak per-se, would fit well with James or Wharton. Emma is such a wonderful chracter to root for despite the fact that Mori is not afraid to make her life difficult. This is also another series that has a fairly small number of volumes.
For those who like Feudal Japan or Wolverine-as-Samurai:
"Lone Wolf and Cub" by Kazuo Koike and Goseki Kojima was another early manga read for me that hooked me into reading more of the genre. (It's also another series I need to finish some day.) A loyal solider is wronged by those who covet his position with the Shogun and he ends up striking out on his own as a hired sword. That would be interesting enough, but on top of it, he does this with his young son in tow, leading to situations both horrifying and amusing by turns. The narrative weaves in and out from past to present, giving a nice contrast to the story. It's gritty without being overly dark, something modern American comics have trouble grasping, it seems.
Yes, I have one for Twilight People:
Never thought I'd use this as a category, but I'm sure most people have a Twilight fan in their life, so if they are looking for a vampire-themed manga, I'd point them to "Lament of the Lamb". Kei Toume hits the angst button fairly hard on this story of a family cursed with a mysterious disease that's pretty easily recognized as being vampirism. Our protagonist is not very happy with his condition, but the idea of tortured vampire love should give Edward fans something to sink their teeth into.
For Your 40 Year Old Friend Who Likes 1980s Sci Fi:
"Akira" is another one that might even be known by your potential reader. With a new printing by its original publisher, it should also be pretty easy to find. Akira is the story of a dystopean future where people are reduced to their most barbaric levels and some children have special abilities that can affect the course of the world. Hitting just about every 1980s trope you can think of--a bleak future, human cruelty, exploitative secret governments, huge guns, humans turned into monsters, and betrayal--this is a classic that your middle-aged friend who still remembers the original "V" series should enjoy quite a bit.
For Those Who Like Romantic Comedy:
"Love Roma" by Minoru Toyoda is set in a high school, which is pretty typical for manga and has a similar love conflict to Ranma 1/2 but the pacing is completely different. Written as a series of set-piece jokes (not unlike a sitcom), Love Roma features a romantic lead with no inner censor and a girl who gets flustered at the drop of a hat. Set everywhere from a haunted house to a baseball diamond, the characters romp through playful fun and team up in the most unlikely ways. My only knock on this one is that the art's a bit simplistic for my taste, but it's still a lot of fun.
For Those Who Love Halloween:
I have become quite a fan of horror manga, as I think that it's better than its American counterparts. Therefore, I am going to cheat like mad here and recommend three!
Want psychological horror? Go for "The Drifting Classroom" by Kazuo Umezu, about a school transferred into some time of time warp by forces unknown and reduces its occupants to desperate measures.
Want some aliens instead? Try "Parasyte" by Hitoshi Iwaaki and see a new predator stalk the earth, with only a few humans prepared to stop the threat!
Want just plain weird? Gotta go with "Uzumaki", which features so many batshit insane moments it's not even funny. Junji Ito must have some really interesting nightmares. Watch as a town goes crazy bit by bit as more and more people spiral down the drain of insanity. There's even a movie version, for when you want to see the same things in live-action!
That's a good set of starting places, but if you want the opinion of those who are better at this than I am, check out this post which is keeping a list or hit up my twitter feed, as we're hashtagging this puppy as #gmgg!
This is probably my only post today, so Happy Thanksgiving everyone!
Monday, November 23, 2009
Antique Bakery Volume 2
Written by Fumi YoshimagaIllustrated by Fumi Yoshimaga
DMP
It's rather refreshing, though admittedly for an American a bit unusual to see, that the slutty protagonist is a gay man. That's probably what keeps me attracted to Antique Bakery, the story of three (now four) men running a bakery that's quite popular.
The story itself is appropriately sugary, as the characters pretend not to be nice to each other, and our amorous baker tries not to sleep with every man he sees. A lot of this volume is spent watching him try to control himself, as he starts to fall for the bodyguard of his boss. Meanwhile, the boss, who's really been rather mean, starts to show his human side as we learn more of his past. In fact, part of that past may be returning, though that's for another volume.
Antique Bakery is cute fun, and scenes like the boss trying to play Santa Claus without much success while his inept bodyguard tries to fill in at the bakery is part of that cute fun. But do be sure to check your blood sugar after reading.
Antique Bakery Volume 1
Written by Fumi YoshinagaIllustrated by Fumi Yoshinaga
DMP
I have to admit, I was getting a little bored with the tried and true trope of unrequited gay manga love. I'd really like to see the library branch out a bit from this, as I'm sure there's a lot of good new manga out there that don't have that as a plot.
Still, if treated a bit differently, the idea still has some life in it...
While this starts out with the familiar tune of a gay school student and his straight love, then follows it up with an apparent wanna-be lesbian and her straight former school mate, we know we're in for a change when the supposed lesbian announces she has to get back to her husband and kids.
Yay for doing something different!
The rest of the story is about a bakery in an old antiques store, its owner (the reluctant server), and his two employees, a gay cook with a fear of women (and a magnet for guys) and a former boxer with an obsession for pastries.
They don't really get along, but the store does well enough, and we learn that there's more to their roles than initially meets the eye.
My only issue with this is that it starts as something that it's not and the humour takes a bit long to get to the reader. I expect I'll enjoy Volume 2 a lot more than 1, now that we know what's going on.
Sunday, November 22, 2009
Sunday Readings 11-22-09
A few things here and there...
Kevin Huizenga does some wonderful panels about Holmes' nemesis, Professor Moriarty.
The gang from Family Style did some Marvel character challenges.
Everything you ever wanted to know (and probably more) about Brother Power the Geek, courtesy of Gorilla Daze. Part Two is here. JMS, did you really need to bring this guy back?
Kevin Huizenga does some wonderful panels about Holmes' nemesis, Professor Moriarty.
The gang from Family Style did some Marvel character challenges.
Everything you ever wanted to know (and probably more) about Brother Power the Geek, courtesy of Gorilla Daze. Part Two is here. JMS, did you really need to bring this guy back?
Tales of the Multiverse: Batman--Vampire
Written by Doug MoenchIllustrated by Kelley Jones, John Beatty, and Malcolm Jones III
DC
One of the nifty things about DC's decision to have more than one universe again is their reprinting of this set of three Elseworlds stories featuring a world in which Batman fights vampires.
I could probably just end the review here and most folks would know right away if they were interested in reading such a story. Those who like their Batman purely grounded in reality will hate seeing him blend into supernatural horror while those who enjoy seeing familiar faces in strange roles will revel in some of the twists and turns Moench employs.
And then of course, there's Kelley Jones, a lightning rod in and of his own right. You either love the guy or hate him, it seems, as he morphs the human form and defies reality with his desire to add visual effects to stories. He is in fine form here, crafting demons for the Dark Knight to fight and creating some absolutely horrific images that manage to capture the feel of Moench's script in ways a more traditional artist could not.
There's also the fact that a Moench script tends to be just a bit on the side of purple prose, which can be a bit of a problem in places, particularly when he ham-fists just a bit on the idea of good and evil. You can tell he cut his writing teeth in 1970s Marvel horror comics and never quite grew out of the habit of really hammering the point home, whatever that points happens to be. It can be a problem in places, particularly when Bruce is monologuing, but doesn't ruin the overall atmosphere of creepy, over-the-top horror running throughout these stories.
The first act features Batman plagued by dreams of a woman while Gotham faces a new mass-murderer that's being kept under wraps. Throats are being slashed amongst the lower classes, and it's up to Bats to save the day. But what happens when the foes you fight are stronger than you and seemingly can't be killed? It's time for a man of science to become a man of faith and accept a desperate transformation to stop the ultimate evil (which is saying something for Gotham, let me tell you) from taking over his city. Can even Batman stop Dracula?
I realize this was designed as a fun wromp, but I have to admit, I rather disliked the idea that Bruce gives up on science to accept that only by giving in to the myth of vampires can he save the day. He doesn't even really try for a technical solution, and that's not the Bruce Wayne I know. I also don't quite get why there's a stupid amount of acid rain on Gotham--it's like a lost political statement that didn't fit with the rest of the gothic horror elements. Neither are enough to stop me from enjoying the story, but it is a weird decision on the part of Moench.
Artistically speaking, Jones is a bit restrained in the first section, though a careening Batmobile with trailing Batman cape is probably my favorite "only Jones draws like this" moment. He does some amazing Batman shots, refusing to just allow him to stand there--Bats is always creeping, crouching, or using his cape to strike a pose. I really appreciate that Jones doesn't allow a pedestrian scene be pedestrian--he adds life to it. Along with the viscious features on the faces of the vampires, angled action shots, and impressive use of shadow, this is a visual treat for Jones fans.
It wouldn't be a Batman book without the Joker, and he shows up in Act 2, finding the remains Dracula's followers and turning them into an army of criminals, preying on the wealthy this time to live life large. Naturally he and Batman will cross paths, but not before another familiar player enters the scene--Selina Kyle, who ends up getting a makeover herself. The Joker plots and schemes while what's left of Bruce Wayne tries to catch up. In the end, it comes down to just the two of them, and despite all he's strived for as a "good" vampire, will it be the Joker himself who can finally take Batman down to his level--that of a killer?
This is by far the best of the three stories. Moench's tendency to overwrite the drama works perfectly as we see a Batman who's falling apart despite his best efforts. He can barely keep his vow not to kill together and every page tempts him further. His Joker lines are spot-on for the situation (humor in the juglular vein, as the Joker puts it) and show that he's still one of the most dangerous men in the DC universe, no matter which earth it is. Every character Bats faces taunts him and the final moments of the comic are a natural conclusion to all that Moench built from the beginning of this part of the trilogy. By the time we see Alfred and Gordon at the end, standing by their friend through everything, it all makes perfect sense.
It's just about perfect scripting, with Jones complimenting it every step of the way. His Joker calls back to Lon Chaney, Sr., an appropriate reference, and one of the vampire closeups is definitely patterned on Lugosi. He draws a Batman that's both amazed with his new powers and horrified by what he's becoming, at moments doubtful and at others wearing a leering grin that could put the Joker to shame. Jones also puts shadows to good use and does a bit more of his trademark living cape effects. His impact on the quality of the story should not be discounted, and given a great script from Moench, the results are a pleasure to look at.
By the time we get to the last of the trilogy, it's 1999 and being as violent as possible is all the rage. Unfortunately, Moench slips into this mode early and often for a story that's just not as good as the others. Gotham has slipped into total depravity in the absense of the Batman and all of his villains have taken to killing in ways they never did before. A callback to Gaiman's Secret Origins, story, perhaps? A commentary on a comic book world that lost its taste for subtlety? An attempt to stay relevent? It's hard to say which of these motivates the plot.
Loyal butler Alfred, who has seen Batman to hell and back, feels that only one man--dead or not--can save Gotham. The Dark Knight is back, but he's darker than ever. His only solution is to kill those that would kill others and try not to become as evil as those he preys upon. But is the disease worse than the cure, and can an unlikely group of allies stop the bleeding?
This is the final story and I'm glad for that, as the idea definitely gets played as far as it can go. Moench may have been playing with some meta concepts--the idea of Batman making a final solution to Gotham's villain problem, Bruce's no-kill pledge, and Alfred's faithful devotion--but in the end this just feels like a bloody romp without the tight plotting and natural progressions that made the first two acts so good.
Jones gets some really good scenes to draw, though, as the increased horror of the tale allows him to really cut loose. Batman is downright demonic in stretches, with bulging skeleton and hell-red eyes. The villains all get a more horrific makeover, and little death icons pop up in the margins. He does a great job rending this new, even darker world that Moench puts together for the finale.
Overall, this is a fun read that I'd recommend for Batman fans and horror comic aficianados. Though the last part isn't as good as the first two, it's still a solid collection that I'm glad DC got back into print.
Saturday, November 21, 2009
Subterranean #2
Written and Illustrated by Various Creators, including Joey Weiser
Edited by Alexander Bullett and Andrew Greenstone
Self-Published
I was really happy to find the Subterranean guys at SPX again in 2009 so I could pick up whatever new they'd come up with, and it turned out to be an entirely new edition of Subterranean. Yay for me and yay for self-published comics readers.
This time around, the collection is a bit smaller, checking in at 48 pages, but there's another silk-screened cover (riffing on the old idea of a canary in a mine) and most of my favorite creators from the first large edition of the anthology series (as well as the mini-comics standbys of Bullet, Greenstone, and Knickerbocker) are back for more.
Jeremy Sorese opens things this time with a bickering couple who lose their belongings on the freeway, with hilarious results. Drawn in a similar style to Greenstone's artwork, there's a lot of fun goings-on in the panels, above and beyond the two feature characters.
"Astronaut Prince" builds up a lot of narrative tension, only to sink it like a popped balloon in a most devlishly clever manner by Bullet, while Falynn Koch gets a longer entry this time and provides a sobering commentary too all those with a roving eye and a desire to cheat on their significant others.
However, before things can get too grim, personal favorite Joey Weiser brings his "Late-Night Gang" into the mix for an adventure on Halloween, where Victor complains about having to get up so early and Andrew tries to set a group of bullies straight about his family origins. Fun stuff, but that's what I expect from Weiser by now.
"Rabbit Talk" by Macarthur feel like an excert from a longer work, but I liked the wordplay and translation foibles that drive the plot. He also does a nice job with the artwork, giving it just a touch of grittiness to a fantasy setting.
I think the best story this time around is "Gold Record" by Dave Valeza. A young girl finds an old machine that may lead to a treasure. Forgotten for many years, she and her beau go off to find the voice on the recording, only to find danger instead. The ending is powerful without being the least bit graphic. I wouldn't mind seeing more from Valeza.
Kevin Burkhalter provides a brief travelogue of places he's sat down and sketched, which, while a bit out of place compared to the rest of the material in this edition, was an interesting change of pace.
Lastly, Greenstone appropriately closes the anthology with the story of the real reason behind alien abductions: Good drugs and easy sex. Didn't we always know that was the case?
I'm glad to see this self-published anthology is still going strong through a format change and two editions over several years now. Greenstone and Bullett are very creative in their own right and draw other creative folks towards themselves in these collections. If you can find this as a local show near you, definitely grab it. You'll be glad you did.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Edited by Alexander Bullett and Andrew Greenstone
Self-Published
I was really happy to find the Subterranean guys at SPX again in 2009 so I could pick up whatever new they'd come up with, and it turned out to be an entirely new edition of Subterranean. Yay for me and yay for self-published comics readers.
This time around, the collection is a bit smaller, checking in at 48 pages, but there's another silk-screened cover (riffing on the old idea of a canary in a mine) and most of my favorite creators from the first large edition of the anthology series (as well as the mini-comics standbys of Bullet, Greenstone, and Knickerbocker) are back for more.
Jeremy Sorese opens things this time with a bickering couple who lose their belongings on the freeway, with hilarious results. Drawn in a similar style to Greenstone's artwork, there's a lot of fun goings-on in the panels, above and beyond the two feature characters.
"Astronaut Prince" builds up a lot of narrative tension, only to sink it like a popped balloon in a most devlishly clever manner by Bullet, while Falynn Koch gets a longer entry this time and provides a sobering commentary too all those with a roving eye and a desire to cheat on their significant others.
However, before things can get too grim, personal favorite Joey Weiser brings his "Late-Night Gang" into the mix for an adventure on Halloween, where Victor complains about having to get up so early and Andrew tries to set a group of bullies straight about his family origins. Fun stuff, but that's what I expect from Weiser by now.
"Rabbit Talk" by Macarthur feel like an excert from a longer work, but I liked the wordplay and translation foibles that drive the plot. He also does a nice job with the artwork, giving it just a touch of grittiness to a fantasy setting.
I think the best story this time around is "Gold Record" by Dave Valeza. A young girl finds an old machine that may lead to a treasure. Forgotten for many years, she and her beau go off to find the voice on the recording, only to find danger instead. The ending is powerful without being the least bit graphic. I wouldn't mind seeing more from Valeza.
Kevin Burkhalter provides a brief travelogue of places he's sat down and sketched, which, while a bit out of place compared to the rest of the material in this edition, was an interesting change of pace.
Lastly, Greenstone appropriately closes the anthology with the story of the real reason behind alien abductions: Good drugs and easy sex. Didn't we always know that was the case?
I'm glad to see this self-published anthology is still going strong through a format change and two editions over several years now. Greenstone and Bullett are very creative in their own right and draw other creative folks towards themselves in these collections. If you can find this as a local show near you, definitely grab it. You'll be glad you did.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Subterranean #1
Written and Illustrated by Various CreatorsEdited by Andrew Greenstone and Alexander Bullett
Self-Published
Subterranean moves up to full-sized anthology with this sixty-some page, silk-screen covered collection of comics, featuring contributions from Greenstone, Bullett, and Knickerbocker (all veterans of the mini comics anthologies), as well as others along the way.
(As a side note, this is also the only one of the anthologies for which I could find a cover image. I really think these guys need a better web presence, as their comic is worth sharing.)
The anthology opens with a short adaptation of an interview with Carl Banks, who muses on the idea of graphic novels, but because it's 1972, he's not sure the idea would work. This is most likely why Chris Schweizer chose this interview to draw. It's always fun to see things like this, and it made for a good start.
Michael Conner swiftly takes the reader down a strange path, as two creatures vie for some trinket, with interesting, humpty-dumpty like results. I liked Conner's line work quite a bit, providing details and shading in an overall design that is deceptively simplistic.
Bee careful who you put in charge of traffic safety, warns Falynn Koch in her short, two page entry, while Jarrett Williams gives us the motivations behind the antics of an "evil" wrestler, reminding me of the 1980s when Hulk Hogan had a cartoon and was on the side of the angels.
Perhaps my favorite entry was veteran Alexander Bullet's contribution, a noirish detective story set in that classic noir setting, daylight on the beach. The characters are all childish-looking, like avatars on a website, adding to the visual contradictions. And last but not least, the ending is not only set up in the story but completely ludacrous. "Dick Valentine, Private Eye" is hysterical from start to finish, and shows that Bullet keeps getting better.
Kevin Burkhalter draws a stupid and square-jawed cowboy as part of "Settlin' West", in which a man with more heart than brains manages to save his wagon party and found a town, all by attacking a wolf with a branch of a stick. Just go and try *that,*, John Wayne!
Page 38 doesn't have a credit but it looks like a jam comic to me, about the demands of an underground race that keeps getting progressively stranger. I wish I knew who did it, so I could give credit.
Jon Chad adds a very strange story about the dangers of picking up a penny tails-up (something I would never do!), and is followed by Kevin Singles riffing on the idea of a nature special. I was rather amused by the idea of human animals getting spider-sense as their instrinctive sense of danger.
As he did with many of the mini-comics. Andrew Greenstone finishing off the anthology with an untitled piece about a man down on his luck cursing a fortune-telling toy tank, only to discover it may be more than it first appears. The story itself has been done before, but I liked the narrative pacing and tr trick of having two columns per page that must be read up-down left-right, like it was a video game code.
Overall, the first major anthology for Subterranean was a success, I think, with the new creators contributing pieces that fit right in with the style of the core group of creators. (In this way, it's kind of like a micro-press version of Flight.) There's a lot of cool ideas going on and artwork that definitely could "graduate" to a small press label some day. Best of all, I think you can still get a copy of this anthology, if you track down the Subterranean folks. Fans of mini-comics will be glad they did!
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Subterranean #-1
Written and Illustrated by Andrew Greenstone, Sean Knickerbocker, and Alexander Bullett
Self-Published
The final half-size mini comic anthology warm up to the larger format returns to its roots, as Greenstone, Knickerbocker, and Bullett tell four stories that, well, have nothing to do with each other!
Greenstone's inspired and demented characters continue to march all over the page, this time with a protagonist who hates not Yetis but nature itself. There's only one creature who can stop him: Smokey the Bear! Look for the epic smackdown and some great anti-enviorment jokes in this nifty opening to the last small collection.
"Wake", Sean Knickerbocker's contribution, is a very nicely drawn piece about having a spirit animal. While the story itself seems to cut short, the visuals pull this wordless story through very well.
Alexander Bullett either has a furry for a friend or likes to draw a pal named "Jeremy" as an aminal, because our space adventurers from #-3 are back again, this time going to Jeremy's father for money. There's only one problem: He eats people. This leads to a rather funny costuming job, and an interesting revelation as to the culinary tastes of our cartoonist's avatar.
Bullett also has a short about wresting, but after the fun of the prior story, it was hard to compare. (I'd have probably reversed the order accordingly.) I did like the masks serving as a border to the piece, that was a nice touch.
This concludes the mini-comic version of Subterranean, most (all?) of which are no longer available, so you'll just have to borrow them from someone if you're curious. They were an interesting idea before going to a full-fledged (and more expensive) project, and I am glad to have copies. Especially copies with talking killer lions.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Self-Published
The final half-size mini comic anthology warm up to the larger format returns to its roots, as Greenstone, Knickerbocker, and Bullett tell four stories that, well, have nothing to do with each other!
Greenstone's inspired and demented characters continue to march all over the page, this time with a protagonist who hates not Yetis but nature itself. There's only one creature who can stop him: Smokey the Bear! Look for the epic smackdown and some great anti-enviorment jokes in this nifty opening to the last small collection.
"Wake", Sean Knickerbocker's contribution, is a very nicely drawn piece about having a spirit animal. While the story itself seems to cut short, the visuals pull this wordless story through very well.
Alexander Bullett either has a furry for a friend or likes to draw a pal named "Jeremy" as an aminal, because our space adventurers from #-3 are back again, this time going to Jeremy's father for money. There's only one problem: He eats people. This leads to a rather funny costuming job, and an interesting revelation as to the culinary tastes of our cartoonist's avatar.
Bullett also has a short about wresting, but after the fun of the prior story, it was hard to compare. (I'd have probably reversed the order accordingly.) I did like the masks serving as a border to the piece, that was a nice touch.
This concludes the mini-comic version of Subterranean, most (all?) of which are no longer available, so you'll just have to borrow them from someone if you're curious. They were an interesting idea before going to a full-fledged (and more expensive) project, and I am glad to have copies. Especially copies with talking killer lions.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Subterranean #-2
Written and Illustrated by Andrew Greenstone, Alexander Bullet, M. Muller, D. Morris, and Sean Knickerbocker
Self-Published
Subterranean gets a set of new faces and Knickerbocker returns in this third of the previews for the larger anthologies with normal numberings.
Once again, Greenstone opens and closes the mini-comic, with a hysterical story of why a young man hates the Yeti (perhaps he's the one who sawed off its leg?). The comedic timing and expressions on the Yeti's face are perfect. The closing story features the father of our country, George Washington, in his hardest (though perhaps most commercially viable) fight yet. It's Romero-rific!
Alexander Bullet has a short entry this time, but it's amusing in a macabre way that would fit very well in a tribute to old EC comics, as the joke has a Tales from the Crypt feel to it. Extra points for drawing a severed head that's creepy without being disgusting.
The role of one-page gag is taken over by Muller and Morris, with a parody of soap opera drama, this time with monsters. It's not bad, but I feel like it needed a little more space.
I have to be honest, I didn't get Knickerbocker's story, "Bombs over Buffalo," even after reading it three times. Perhaps you'll understand it better, but it seemed like a linking connection was missing.
Even with a few misses, Subterranean #-2 is very good for a mini comic anthology, telling a lot with only a few pages and managing to make that space work for the reader. Plus, Bullet and Greenstone keep getting better with each anthology. This comic, too, may be out of print, but see if you can find it.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Self-Published
Subterranean gets a set of new faces and Knickerbocker returns in this third of the previews for the larger anthologies with normal numberings.
Once again, Greenstone opens and closes the mini-comic, with a hysterical story of why a young man hates the Yeti (perhaps he's the one who sawed off its leg?). The comedic timing and expressions on the Yeti's face are perfect. The closing story features the father of our country, George Washington, in his hardest (though perhaps most commercially viable) fight yet. It's Romero-rific!
Alexander Bullet has a short entry this time, but it's amusing in a macabre way that would fit very well in a tribute to old EC comics, as the joke has a Tales from the Crypt feel to it. Extra points for drawing a severed head that's creepy without being disgusting.
The role of one-page gag is taken over by Muller and Morris, with a parody of soap opera drama, this time with monsters. It's not bad, but I feel like it needed a little more space.
I have to be honest, I didn't get Knickerbocker's story, "Bombs over Buffalo," even after reading it three times. Perhaps you'll understand it better, but it seemed like a linking connection was missing.
Even with a few misses, Subterranean #-2 is very good for a mini comic anthology, telling a lot with only a few pages and managing to make that space work for the reader. Plus, Bullet and Greenstone keep getting better with each anthology. This comic, too, may be out of print, but see if you can find it.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Subterranean #-3
Written and Illustrated by Andrew Greenstone and Alexander Bullet
Self-Published
This time around, in the second of the run-ups to the larger Subterranean anthologies, Greenstone and Bullet contribute two stories each and do a much better job of using the entire half-page space. There's also an improvement in the quality of the stories, which is to be expected over time.
Greenstone's contributions are "Johnny Hair #1" and "It Came from the Attic", which open and close the mini-comic. Both are riffs on sci-fi tropes and amused me quite a bit. The first features a hero who must give up time with his woman to save the city from a giant squid, with unexpected results. In the final story, Greenstone creates arguably the coolest girlfriend ever. That is, if you like getting stuff that wreacks havoc and destruction. And hey, who doesn't?
The inner stories by Bullet are twisted autobiographical stories, one themed like an old movie serial ala Flash Gordon and the other compares coffee to an entry drug. The former suffers a bit for me because it uses the idea of being wasted for comic effect, and I'm just not a big fan of the idea. Still, when they reach the final page, the cult references are pretty cool. We all know the power of coffee, but seeing yet another take on its effects on the human body is always enjoyable.
Subterranean #-3 is pretty cool and worth picking up if you can find a copy. (I think it's out of print, though.) It shows the development of two creators picking up steam. I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Self-Published
This time around, in the second of the run-ups to the larger Subterranean anthologies, Greenstone and Bullet contribute two stories each and do a much better job of using the entire half-page space. There's also an improvement in the quality of the stories, which is to be expected over time.
Greenstone's contributions are "Johnny Hair #1" and "It Came from the Attic", which open and close the mini-comic. Both are riffs on sci-fi tropes and amused me quite a bit. The first features a hero who must give up time with his woman to save the city from a giant squid, with unexpected results. In the final story, Greenstone creates arguably the coolest girlfriend ever. That is, if you like getting stuff that wreacks havoc and destruction. And hey, who doesn't?
The inner stories by Bullet are twisted autobiographical stories, one themed like an old movie serial ala Flash Gordon and the other compares coffee to an entry drug. The former suffers a bit for me because it uses the idea of being wasted for comic effect, and I'm just not a big fan of the idea. Still, when they reach the final page, the cult references are pretty cool. We all know the power of coffee, but seeing yet another take on its effects on the human body is always enjoyable.
Subterranean #-3 is pretty cool and worth picking up if you can find a copy. (I think it's out of print, though.) It shows the development of two creators picking up steam. I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Subterranean #-4
Written and Illustrated by Sean Knickerbocker, Alexander Bullett, and Andrew Greenstone
Self-Published
I tried really hard but could not find an image for this mini-comic anthology, compiled as part of a run-up to a larger anthology.
As a first-effort, it's not bad. While not making the best use of the space available to them on a half-page mini-comic (I am not sure why they did this rather than blowing up the artwork to a page-fitting size), there is still a good feel for narrative on the part of Bullet and Greenstone.
Sean Knickerbocker's contributions are two gag strips that open and close the comic, and they're okay. I wish he'd done more with the Satan on a Plane idea.
"Golem" is definitely the strongest of the four stories, featuring moody artwork as the Golem completes its intended task, mutely and without opposition. The artwork is blocky and fits the mood very well.
I am not sure why Cranes is shown here in such a small size. Greenstone's story is interesting enough--a young woman uses incantations to make oragami come to life for her own purposes--but the large amount of white space surrounding it was distracting to me. I did like the idea of the panels working down the page rather than left to right--I just wish the strips were a bit larger and easier to see.
Overall, the first of the mini-comic anthologies was interesting to see the whole process begin, but probably isn't something you have to have if you liked the larger books.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Self-Published
I tried really hard but could not find an image for this mini-comic anthology, compiled as part of a run-up to a larger anthology.
As a first-effort, it's not bad. While not making the best use of the space available to them on a half-page mini-comic (I am not sure why they did this rather than blowing up the artwork to a page-fitting size), there is still a good feel for narrative on the part of Bullet and Greenstone.
Sean Knickerbocker's contributions are two gag strips that open and close the comic, and they're okay. I wish he'd done more with the Satan on a Plane idea.
"Golem" is definitely the strongest of the four stories, featuring moody artwork as the Golem completes its intended task, mutely and without opposition. The artwork is blocky and fits the mood very well.
I am not sure why Cranes is shown here in such a small size. Greenstone's story is interesting enough--a young woman uses incantations to make oragami come to life for her own purposes--but the large amount of white space surrounding it was distracting to me. I did like the idea of the panels working down the page rather than left to right--I just wish the strips were a bit larger and easier to see.
Overall, the first of the mini-comic anthologies was interesting to see the whole process begin, but probably isn't something you have to have if you liked the larger books.
I can't find a good website for the Subterranean folks, but their blog is here. It hasn't been updated in quite a while, though.
Friday, November 20, 2009
James Bond Casino Royale
Based on Stories by Ian FlemingWritten by Anthony Hern and Henry Gammidge
Illustrated by John McLusky
Titan Books
So did you know that back in the 1950s, there was a James Bond daily comic strip? I like Bond quite a bit and have seen nearly every movie, but I had absolutely no clue. So when I put this on hold from the library, I was expecting a movie tie-in. Instead, what I got was a piece of Bond history. And that made me very happy indeed.
As the nifty index at the end points out, there were quite a few daily strips, and the publisher, Titan Books, has reprinted darn near all of them.
As readers of my other reviews will know, I am sucker for any book that can bring me comics history, so I am absolutely in love with this one. It starts with an introduction by Roger Moore, then does a little history about Bond in print without Fleming behind the typewriter. This is nice, if brief, though my one complaint is that this commentary doesn't include when these strips first appeared! It's a rather big goof, though forgivable because a quick check on Wikipedia answered the question for me.
There are three stories in this collection, Bond's debut "Casino Royale", a rather less interesting than the movie version "Live and Let Die", and the best adapted of the three, "Moonraker." (I base this on readability of the dailies, not on faith to the source. I confess I've not read the original Fleming, believe it or not. Need to fix that sometime.) Each gets a few words in the way of historical background, such as scenes that were deleted or changed, stylistic notes, etc. The stories themselves hold up rather well, even read all together. There is not a lot of repeated information, especially in the second and third stories, which was a bit of a problem when I read the Dick Tracy dailies a few years ago. This may be partly due to adapting a book rather than creating new material.
From what I understand, Fleming had reservations at first, but was mollified by the choice of adapters. He even commissioned a drawing for what Bond "should look like"--included in this collection--though it was ultimately rejected. The actual Bond used looks a bit more like Dick Tracy than Fleming's idea. Apparently, the strip's backers wanted someone more modern.
The strips' art quality is pretty typical of a newspaper strip, with some of them damaged a bit by time. However, given that Moonraker gets its first reprinting ever here, the quality is pretty high for something that's about fifty years old. One thing that's missing is the trademark Bond humour, though that may be more of a "the books play things straight" thing than a problem with the adaptation. One thing I did find interesting about Moonraker was that the Bond girl is a lot less fragile than most--she takes more than one hit for the cause, so to speak. Again, not sure if that's true to the source or a change in the adaptation.
If you're not a Bond fan, there's nothing much here to look at, other than for historical perspective. But if, like me, you couldn't wait to turn 21 to say, "shaken, not stirred", this is a must read and highly recommended.
Blab! 18
Written and Illustrated by Various CreatorsEdited by Monte Beauchamp
Fantagraphics
For being a company that puts out the reprints of one of the safest comics of all time, Peanuts, Fantagraphics sure lives on the edge of the comics medium, particularly in the realm of anthologies.
Blab! is just such an anthology, featuring a variety of visual quirks that hover closer to straight up art pieces than comics work, but still do not seem out of place with the more narrative pieces that slide between the pictorial pages.
(For the record, I define art pieces as unrelated pictures that have no direct connection and comics as artwork that has a narrative drive of some kind. That's not a perfect definition, as there are obviously exceptions, but I think it will help over the course of this review.)
Unlike a lot of the anthologies I've read recently, there is no theme to Blab!--it merely collects those items catching the attention of Beauchamp, at least as far as I can tell. A story about believing internet spam might be side by side with a mock Playboy cartoon, for example. More traditional comic tales might run nine pages, while others get only a few pages to give you their story. In other hands, this might be a problem for the reader, but Beauchamp's arrangement skills make it work somehow, at least for me.
As with my other anthology reviews, I'm only going to highlight the stories I liked best. However, there's probably someone for everyone in Blab!, if you take the time to look. So don't be surprised if you like something better than I did or vice-versa.
Bob Staake's highly visual "Hugh Got Mail" plays with page layout in a way that would make Eisner's head spin, but never once is the story too confusing to follow. Hugh is a man who believes in the possibility of a spam e-mail, and gets a result rather different from Gene Luen Yang's protagonist with the same problem. The ending is priceless, especially Hugh's expression.
I rather like the trick of splitting a story across an anthology, and in this case, Beauchamp uses Randall Enos' mock cartoon instructions for that effect. What might have been less enjoyable strung together works well with a break. Join a rather dubious instructor as he takes your money and leads you on a trip into the cartoon art work, with a 4th-wall breaking bird in tow. My favorite might be the gag about putting together panels in an interesting manner, given my love for oddball layouts.
"The Ever Elusive Yeti" by Mark Todd uses a distorted page effect to create a sense of mystery around the idea of a Yeti leg amputated and neglected over time, until it's thrown out by a janitor. While nothing is amazing, I do love the image of a hobbled Yeti with a giant crutch.
I am a sick bastard.
Esther Pearl Watson provides some one-panel ghost stories in "Caspers" that use folk-art homages to add to the homey atmosphere of ghosts who might just want to make you a cure for the common cold. I find folk art fascinating, so this one appealed to me.
Referring to Dali also appeals to me, as does mini golf, so Steven Guarnaccia didn't have to work very hard to win me over with his short tale of a man known for his mad design skills in the world of putt-putt. I think this might be my favorite from the anthology.
"An Elephant Never Forgets" by Sue Coe and Kim Stallwood is an interesting contribution, as it reads in the style of a coffee table history book or perhaps an old encyclopedia entry, complete with numbers for the artwork and accompanying text. I wonder if this is a true story of the cruelty of circus owners and a wild animal's tragic fate?
Serge Bloch ends my run of personal highlights with the tale of the evil pea race and their desire to eliminate all unpure legumes from the dinner table. The satire is a bit disturbing in a few places, but I like it when an artist uses three-dimensional objects as part of their creative toolbox.
I do not feel entirely qualified to review the more artistic pieces, other than to say generally I thought they were very well done and I would be happy to go see any of the at an art exhibit someday. Fred Stonehouse's "The Widow's Garden" section features skeletal portaits juxtaposed with unrelated objects, while "Helper" by Tim Biskup also uses a skeletal theme, but with a far different result.
I found "Krampus One" and "Krampus Two" by Travis Louie really amusing, because of its variation on a popular artistic conceit. I think you'll be amused too, so I won't give it away.
If mini-golf was my favorite of the stories, then "Brides of Science" was my favorite of the art prints. Providing a series of either pulp novel covers or b-movie posters (your choice), Ryan Heshka captures a moment in time so perfectly I'd almost believe they were real. If you pulled these out of context I think you'd be fooled, which is a tribute to the artist. (For some samples of his work, you can check out his website, but note that the art is NSFW.)
While I admit that at first I was a bit unsure if I'd like Blab!, I came out of the experience feeling like I had gotten the chance to sample some work that I'd not normally read at first blush. I think that if an anthology can do that, it's succeeding very well.
That being said, you have to come into this one with an open mind. If you like your comics a particular way--i.e. more traditionally formatted or drawn, even if they're small press--then you'd probably be better looking elsewhere. My 2005 reading taste (to say nothing of my 1995 reading taste!) would probably have given this a very different review.
Then again, you don't know if you don't try. Sampling Blab! 18 (or any of the other Blab! collections) might just be a great place to start!
Tuesday, November 17, 2009
Elfworld Volume 1
Compiled by Jeffrey BrownEdited by Francois Vigneault
Written and Illustrated by Various Artists, including Jeffrey Brown, Matt Wiegle, Liz Prince, and K. Thor Jensen
Family Style
I've spoken in the past of my love for anthologies, and here we have yet another example of a random library grab that had a few recognizable names and I figured would be worth a shot.
I've also spoken in the past about how anthologies can be a bit hit and miss. Unfortunately, for me, "Elfworld" falls a bit more on the miss side of that equation.
While there are a few entertaining pieces in "Elfworld," there is also quite a bit of artwork or storytelling that seems like it could have used a bit more time to simmer. I know that's the risk you run in reading a set of short works by independent creators, but at the same time, I can't help but think something was missing. Unfortunately, I'm just not sure what that is.
The good stories were fun to read. Matt Wiegle contributes a set of one-page gags featuring a drunken adventurer who manages to hack and slash even when dead drunk. He also submitted a second entry, with the help of Sean Collins. This time, a robotic monster attacks reptile creatures with fairly sophisticated technology. Can they stop him before he comes to claim the power of the throne? And just what is that robot made of, anyway? There's quite a bit of hack and slash action in this one, which fits the theme of the anthology quite well and helps to make it work better than most of the other stories.
I also liked Vigneault's contribution, a story of humans versus elves and the young man caught in between the conflict. Wordless, the artwork and the expressions on the character's faces carry the story from beginning to tragic ending. I kinda wish Vigneault had gone a different way to finish the story, though, as this ending seemed just a bit too pat for my taste.
K. Thor Jensen delivers a humourous take on the idea of a city that's too good to be true, but I couldn't help but wonder why Olive Oil the cleric was adventuring with Bluto the warrior and Popeye the elf. If that was intentional, it was a nice touch. If it wasn't, well, then, it stll made me giggle.
The final story was probably the best in the collection. Written and illustrated by Kazimir Strzepek, the protagonist is an arrogant compiler of mystical animals who often fudges the truth to make his editors happy. After flubbing things with a kobold, he has to face the evil basilik, who is not terribly fond of the likeness given to him. In the end, it's a dog creature's life in this entertaining and irreverent romp through some of my favorite mystical beasts and gives the collection a strong closing story.
Those five stories, however, are not really enough to make me recommend this anthology. The bulk of the stories range from just okay to things that didn't work for me at all. Liz Prince has a standard adventuring tale of sacrifice that's fine as far as it goes, but did not do anything interesting. The Turner brothers give us hungry monsters that eat everything they see, which is pleasant enough but goes for one too many bathroom jokes for me to really like it. Jeffrey Brown, who came up with the concept, opens with a 2-page wordplay gag that makes me wish he'd written more for the anthology.
Some of the stories just weren't written for me, and that's okay. I didn't care for the extended romp of drunken elves helping a wizard disguised as a park ranger. The music jokes are almost as old as the music they referenced. A drunken elf that wants to be either an adventurer or a writer had the chance to be a good parody of an underground artist, but misses the mark somewhere along the line. Dave McKenna's tale of a naked woman's confusing adventures through a changing landscape was very well drawn, but I just wasn't able to connect with the plot. I did appreciate the pulpy feel of the story, however. Some of the panels would have made perfect cover art for a collection of purple prose.
In a few cases, the art was just barely above stick figure level, which isn't a problem for me if the story is interesting. Unfortunately, those entries neither had interesting artwork nor a cool story to tell, at least to me. They also drag down the project as a whole, and would make this completely unreadable for someone who's not already a fan of mini-comics and extremely small press work.
I'm generally pretty forgiving of anthologies but in this case, I think the concept was better than the final execution. Elfworld is worth a look if you happen to find it, but probably not worth seeking it out unless you really like one of the creators involved. Overall, it was an interesting place to visit, but I wouldn't want to live there. I'd be interested in seeing how volume two plays out, if it ever comes to pass. For now, though, I'll be happy to let this one go back to the library.
Sunday, November 15, 2009
Age of Bronze Volume 3A: Betrayal Part 1
Written by Eric ShanowerIllustrated by Eric Shanower
Image
I have to wonder if the "3A" designation is an acknowledgment that it's going to take more than 7 trades to handle the Trojan War. Either way, it's kinda funny to talk about comics in an A/B sort of way.
Once more we begin with the Trojans, as Priam's high council dithers over what to do at the impending approach of the Achaeans. Not stopping for just about anything at this point, the army of the High King Agamemnon runs right over a troublesome island, only to see impending tragedy strike in multiple cases.
Both resigned to the inevitable and showing a defiant face, Priam continues to live life and see to the marriages of his children. But the domestic life of the Trojan royal house is filled with undercurrents of strife, as not everyone feels comfortable going to war for a woman's beauty.
In a move that fools no one, Odysseus, Menelaus, and a few other Achaeans go to Troy to make peace, but it's about as useful as the peace overtures in Duck Soup. It's time for war, and the only questions left are who will strike the first blow.
These issues don't quite have the dynamic movement of those in the first two trades. There's a lot of static talking and skulduggery, which doesn't make for as interesting comics as life and death drama or mistaken battles. There are some great set pieces (Ajax and Ajax bantering about their names is simply fun to read), but some of this material seems to just establish further the mindsets of the primary characters and reinforce the duplications in the legend.
The snakebite of Philoktetes just echoes the Telephus incident described in the second trade and while useful for a bit of comic relief and face-mugging for Agamemnon, it feels like a bit of filler that could probably have been skipped. (It does, however, reinforce Odysseus's increasing tendency to be a bastard, though.) Priam's long speech about the relation of the gods to men is similar territory as well. I also have to admit that I am not a big fan of the Troilus and Cressida subplot, which gets some airplay here as well.
Shanower's powers do show, however, in the reaction of Helen to the approach of Menelaus and in the final embassy scene in general. In these pages his ability to capture the human element of the conflict shines through the somewhat sluggish material that comes before it, as Menelaus shows how much he really loves Helen and she shows how much she doesn't care while Paris gloats. The meeting of Hector and Odysseus, too is a high point, with Odysseus advising Hector to resign himself to his fate.
If there is a focal character this time, I think it's Helen herself. She lurks at the back of all the decisions being made, even if there are larger stakes than an adultress's bad life decisions. Priam must continually defend his decision to shield her, Paris must continue to be arrogant about the war he's brought to both sides, and Helen's new family must reconcile their need to heed Priam and their dislike of Helen herself, who admits she wouldn't scar herself to save her husband.
Menelaus, too, learns that Helen may not be worth the price he's chosen to pay, as she spurns him and turns his own child against him. This realization gets played more for comedy than drama, but the hurt is an understandible one, and continues to keep the characters grounded in a very human mold that echoes even today.
Despite chronicling some rather pedestrian parts of the Trojan War, "Betrayal Part One" does its best to keep the reader interested by punching up the material with some cute interplay between characters. Odysseus usally gets the best lines, as is fitting, but some of the minor Trojans get in their licks, too, and even Achilles has a few choice words. All of this is accompanied by very expressive artwork that carries the scenes, even if those scenes are a bit boring at times.
Key scenes are well done, such as Paris's cowardly attack on Menelaus or Achilles realizing he is damned and no longer caring. They're just a bit fewer and further between here as Shanower stretches to make the material as interesting as possible. It's like trying to care about the listing of ships in the Iliad, though--it's just about impossible.
Overall, Age of Bronze continues to be a very solid read. I did not like this trade as much as the first two, but that's not Shanower's fault, as he's trying to tell the entire story, not just the interesting parts. I'm going to have to wait a bit before reading more, but as the parties prepare for the long war ahead, I am prepared for a lot of good storytelling from Shanower.
You can check out the Age of Bronze website here, which includes a link to read the first chapter online for free. Check out the link that might launch a thousand pages of ships!
Age of Bronze Volume 2: Sacrifice
Written by Eric ShanowerIllustrated by Eric Shanower
Image
This second volume of Shanower's epic retelling of the story of the Trojan War continues to set the stage for the main action. Before the heroes of Achea and Troy can bloody themselves on the shores before Troy, they first must all be in the same place.
That's the main focus of the stories collected here. Paris returns to meet a rocky reception at home, as the reaction to his piratical actions is not all that he hoped. Still, blood is thicker than water, and when you're pretty sure you're invincible, the fear of an attack is lessened.
Meanwhile, the Coalition of the Unwilling head off to what they think is Troy, but ends up just being a place to lose soldiers and time. As the season gets worse, the band breaks up, but Agamemnon won't let Odysseus go home.
That might not be such a bad thing, because Agamemnon, Menelaus, and Achilles all find that coming home isn't all it's cracked up to be. Subplots that won't play out immediately are dealt into the deck while Odysseus once more gathers the suitors together for a second assault.
But it won't be quite so easy this time. A wronged man wants revenge, and the ever-wily Kalchas puts the leader of the Acheans in a no-win position: Sacrifice your daughter (to the gods of course!) or the ships will never sail.
Well, we know how that plays out, but the scars left will impact on almost every single person involved. The ships can sail again, but at what cost?
Shanower once again provides us with a very modern-feeling set of characters. They are still epic figures doing larger-than-life things, but their decisions are far more complex, with the ambiguities highlighted more than the action.
In some cases, character flaws are used for both good and bad. Achilles' impulsiveness nearly leads to ruin for the Acheans and causes problems in his marriage, but it also givs him the desire to protect Iphigenia despite barely meeting her. Odysseus' verbal skills save the expedition on more than occasion, but they lead directly to the death of an innocent girl and prevent him from going home to Ithaka. Priam's pride and desire to keep his family close is admirable, but at the same time completely foolhardy.
It's a skilled writing trick that puts complications into characters that are ususally seen in a more straightforward manner. Shanower seemlessly slips these foibles into his writing while still telling the bigger picture. While that writing trick is on display in Volume 1 as well, two examples come to mind in this trade, Odysseus and Agamemnon.
If you'll recall, Odysseus did not even want to fight the Trojan War, but by the time the Iliad comes along, he's all about winning the battle. How did this change happen? My memory doesn't recall any ancient answer, so Shanower takes it upon himself to show the change gradually.
While still fairly reluctant at the beginning of this volume. Odysseus takes to his work for Agamemnon quickly and fast becomes his primary advisor, surpassing Nestor, the oldest of the coalition. By the time this trade is over, he's finding ways to get the ships sailing, no matter what the cost. A man bothered by the beating of a dog is now the same man dooming a girl to death. There's a definite change here, and it doesn't go unnoticed by Odysseus himself. He closes this volume by discussing how much he loves being in the thick of things, but how it's also causing him to lose his moral compas. He even tries to con Klytemnestra into believing her daugher ascended into heaven, perhaps the scummiest thing we've seen him do so far. How far has he fallen in his search for glory?
It's a touching scene which Shanower emphasizes with Odysseus the man shrinking as his words continue to expand. The "heroic" Odysseus would never say such things, but for the human Odysseus, this makes perfect sense and brings him closer to the reader. After all, who hasn't made decisions that lead you down a path you never thought you'd tred?
Shanower's bigger trick, however, is in making me feel sympathy for Agamemnon. In the Greek myths I've read Agamemnon is a jerk, a man whose title is higher than his station. He causes strife between the allies, tries to keep the glory for himself, and sets himself up for the fall that will come in his later years.
This Agamemon is far more complex. I don't know if this is Shanower's design or if he read an epic story I missed somewhere along the line, because his portrayal of the High King of the Acheans is far different than any I've seen before. While this Agamemnon is very much a schemer, he also has a heart when it comes to his family. He absolutely agonizes over the decision to sacrifice Iphigenia, as "the gods" force him to make a decision between his brother's need for revenge and the love for his own daughter. Even once the die is cast, he still wavers until the High King isn't king of anything--events and actions take place without any ability of his to stop it, even if he wanted to. (The answer to that question is left devilishly ambiguous.)
The artwork on this book continues to be very strong. Shanower continues the tricks we saw in the first trade, using superhero tricks in sparing doses to punctuate the narrative. He also continues to put together unique layouts, draw intricate group scenes, and show that his ability to design a page is a strong part of why Age of Bronze is so successful. My favorite was a visual of Agamemnon literally tearing himself apart, but there are many others you could select as the best graphic in the book.
As I mentioned in my review of Volume 1, Shanower's strength lies in his ability to update the story to echo modern sensibilities without completely changing the narrative. A few focal shifts and the removal of direct intervention by the gods makes this trick work. Emotions are given a stronger emphasis, often just by wordless facial expressions. It gives a completely different take on the events of the Trojan War, one that I am glad to be reading.
You can check out the Age of Bronze website here, which includes a link to read the first chapter online for free. Fans of myth and lovers of good comics will be glad they did.
Saturday, November 14, 2009
Age of Bronze Volume 1: A Thousand Ships
Written by Eric ShanowerIllustrated by Eric Shanower
Image
I have to admit I was a bit surprised this was an Image comic, but hey, I'm not going to complain if they decide to pursue angles that aren't Invincible or Savage Dragon.
My mother started me on Greek and Roman (mostly Roman--to this day she's sad I prefer the Greeks) myths from as far back as I can remember, pulling no punches on the often brutal legends that make up Greco-Roman mythology.
I drifted in and out of interest over the years, but my love for the mythology of Zeus and Hera was rekindled in college by a classic class that found me reading well above and beyond the required books.
One of the keys was getting to read Robert Fagles' translation of the Illiad, making the book far more interesting than the pedestrian version of the Odyssey that I read in high school.
There's not much of the Trojan War cycle available that I haven't read, plus I've done additional reading on the archaeological expeditions to find Troy and even Peter Ackroyd's book based on those expeditions. So I knew that at some point, I wanted to read Age of Bronze.
Thanks to one of my local used book stores, I was able to grab the trades issued so far and spent some of my downtime in Richmond catching up.
Age of Bronze is planned as a seven volume set, split into appropriate sections. The goal is to retell the Trojan War in its entirety in a graphical form without being a direct translation of the source material. That's a pretty ambitious project, but it seems to be working out well so far.
"A Thousand Ships", with Helen ghosted into the background, sets the stage for the War itself. We meet Paris, the rebel of Priam's sons, and see that he is bound to cause grief to the father who tried to get rid of him in the first place. Clues as to the trouble ahead are laden in prophecies unheeded as Paris departs for Sparta and makes a cuckold of Menelaus. Meanwhile, Thetis tries hard to save her son Achilles, disguising him as a girl to prevent a terrible fate.
Menelaus seeks out the assistance of his ever-scheming but powerful brother Agamemnon (drawn brilliantly with a handlebar moustache, soul patch, and pointed beard that makes him look like a total douche) to enact revenge upon Paris and the Trojans. But are Agamemnon's motives just to help his brother or something more?
As the trade comes to a close, the "fellowship" is put together, as Nestor is wooed by a last shot at glory, Odysseus is tricked into helping, and Achilles betrays his ambition and seals his doom. Soon plans are made to take Troy--but how long will it take? Whispers and oracles say it could be ten years...
Obviously, a lot of "history" is condensed in the interest of space. There were many a suitor called to fight for the return of Helen, but to try and draw each and every one would take a seven volume set in and of itself. Shanower does a good job hitting the highlights, providing enough information for those who are not seeped in the myths and not omitting anything a fan of the legends would be upset at not seeing.
In exchange, he uses the time to develop the backstory of the Trojans versus the Achaeans, relating Hercules' sack of Troy and the political positioning of Priam and Agamemnon. This helps give a more realistic bent to the proceedings (more on that later). Shanower also takes time to establish characterization for our main players. The words and actions of Hector, Achilles, Paris, Odysseus, Menelaus, and Agamemnon will echo through the series and it's good storytelling to make sure we see this now, as it will color our opinion of later actions. Even "smaller" players like Kalchas are fleshed out, as the supporting cast's interaction with the main characters is crucial to enjoying the story of Troy.
All of this is helped by an expressive art style that focuses on facial expression to express what words may not. Almost every page could tell the story of the Trojan War without dialog, a powerful statement to the quality of the artwork. Shanower has a huge cast to deal with but manages to make most everyone look different by little changes in dress, hairstyle, and body language. In addition, while being mostly straightfoward, when Shanower opts to use "superhero" tricks, they are extremely effective. Kirby close-ups and Aparo angle-shots break up the art, as do splash pages, creative page layouts, and even a slightly cartoony style in flashbacks. I was really impressed with Shanower's talents in terms of the artwork.
Shanower's ambition is to retell the myth of the Trojan war for a 21st Century audience and I think he succeeds very well. It's not easy--as Shanower himself notes--to mesh Greek myths with one another, as timelines from storyteller to storyteller vary more often than a supermodel's wardrobe. However, the overriding vision of updating the myths helps this. It's easier to make decisions to override and merge conflicting stories when you aren't worried abour doing a line for line adaptation.
To give you some idea of what you're in for, Paris is played like a brash fratboy with a rich father, and it works because he's always been a jerk. Priam and Agamemnon think and act more like Saddam Hussain and George HW Bush (weak analogy, I know, but you get the idea) then men directed by fate. Everyone at the Trojan and Achean courts are jockeying for position, just like a modern political administration, with favor changing with the wind. (It's just a tad more violent here. Most of the time the advisors don't die or attack each other on a battlefield these days.) Greek legend never did go easy on its heroes, with rape, jealousy, and pettiness all over the oral tradition. As a result, it's perfect for a modern interpretation, and Shanower's changes do not seem jarring at all.
The gods themselves are completely absent, arguably the most controversial change that Shanower makes. Since his focus is on the human element of the story, this makes perfect sense. Taken with the gods, the story of the Trojan war shifts the focus from the humans fighting the battles to the gods who often manipulate them. While I'll always enjoy my myths, I really like this take on the Trojan War--it gives it a sense of reality. After all, are we removed at all from the idea that a god or gods are inspiring our wars? By stressing the similarities to modern times, Shanower actually makes the story of the Trojan War seem even more timeless.
"A Thousand Ships" launches an epic story filled with contradictions, cowards, cowherds, and conspiracies. In Shanower's capable hands, I'm looking forward to see how this modern graphical interpretation plays out. You can check out the Age of Bronze website here, which includes a link to read the first chapter online for free. Have a look--those who love mythology will find much to enjoy, I think. At least, that's what my oracles tell me.
My Time Annihilator
Written by ChristopherSelf-Published
I don't really read them, so it's not often that I think of the concept of the fan zine, a self-published enterprise of love often about a favorite band or genre of music. Star Trek, during the dark years without the movies and spinoffs, might be the poster child for such an undertaking.
But did you know that there were fanzines for science fiction writing going back to the 1930s? I certainly didn't, but now I do, thanks to My Time Annihilator, which draws its title from one of the fanzine titles Christopher discovered in his research.
What started by accidentally running into a bibliography of fanzines became a little quest for the author, who even managed to snag a fake ID to use a university library to read some of the fanzines from this time period.
The results? A lot of uninteresting meanderings by people obsessed with their particular favorite stories, using jargon and slang that's so far out of style as to make it almost unreadable at times.
You know, like a modern-day message board for Dollhouse.
Christopher notes the similarity to modern fanzines and aptly notes that in fifty years what seems normal to use will be undecipherable to a person of the 2100s. (Just imagine what happens when they hit LOLspeak in their historical research?)
Perhaps most interesting to me was Christopher's discussion of how these zines were made, showing different examples from advanced silly putty to mimeographs. He also includes a few pages from some of the zines he discovered, and man oh man, science fiction readers really haven't changed much in nearly 100 years.
It's kinda neat to think of how the idea of writing a zine goes back into the days of the Depression, and I wonder if there were zines out there decrying Hitler years before the press would take up the task or anyone sharing personal stories about the Depression. Since the nature of zines are so fleeting, even today, we'll never know.
This was a great read, and I highly recommend it for those who are into cultural history. You can grab a copy at Click Clack Distro if you want to read more about a style of writing that literally is disposable but holds value for those who are interested in it. Just like a modern zine, come to think of it.
Friday, November 13, 2009
Used Trade Grabs from Richmond
I mentioned that Richmond has a great used book store...it's Chop Suey Books in Carytown. I've been there twice now and grabbed quite a few used trades, often of the small press variety.
Here's what I found this time, and keep in mind, I left quite a few others on the shelf for budgetary reasons, so this is only a sampling of their awesomeness!
Three Fingers by Rich Koslowski
You Are Here by Kyle Baker
Marvel Zombies Hardcover (finally found the Secret Wars cover homage edition!)
Big Dumb Fun anthology by various
The Beats A Graphic History
Kingpin by Bill Griffith (not in the best of shape, but more classic Zippy!)
Awesome2 Awesomer by various
Grrl Scouts Work Sucks by Jim Mahfood
Dreamtoons by Jesse Reklan
Frankenstein adaptation by Patrick Ollife and Martin Powell
Good stuff that will make for great reading!
Here's what I found this time, and keep in mind, I left quite a few others on the shelf for budgetary reasons, so this is only a sampling of their awesomeness!
Three Fingers by Rich Koslowski
You Are Here by Kyle Baker
Marvel Zombies Hardcover (finally found the Secret Wars cover homage edition!)
Big Dumb Fun anthology by various
The Beats A Graphic History
Kingpin by Bill Griffith (not in the best of shape, but more classic Zippy!)
Awesome2 Awesomer by various
Grrl Scouts Work Sucks by Jim Mahfood
Dreamtoons by Jesse Reklan
Frankenstein adaptation by Patrick Ollife and Martin Powell
Good stuff that will make for great reading!
Panel Patter's First "I Bought a Book Twice" Contest!
So...someone might have bought a second copy of "Less than Heroes" by David Yurkovich, which is published by the lovely folks at Top Shelf. I meant to do this, of course.
Not buying it? Yeah, Erica wasn't, either. So yeah, despite my best efforts, I goofed!
It's a used copy but it's in great shape. And now it needs a new home.
So...because I wanted to do something like this anyway, I'll turn a slight monetary negative into a positive and we'll start a new feature:
The first-ever "I Bought a Book Twice" contest!
(And yeah, I'm sure I'll do this again. Look for the second-ever entry next time my cell phone is out of charge...)
In honor of it being a Top Shelf book, what I want you to do is tell me your favorite Top Shelf book and why it's your favorite. I'll collect the names of everyone who participates (I hope it's more than 1!) and draw someone at random, sending them the book.
We'll keep this open for a week, so please submit your entry in the comments section of this post and I'll select a winner sometime after midnight on Friday, November 20th. Good luck!!
Not buying it? Yeah, Erica wasn't, either. So yeah, despite my best efforts, I goofed!
It's a used copy but it's in great shape. And now it needs a new home.
So...because I wanted to do something like this anyway, I'll turn a slight monetary negative into a positive and we'll start a new feature:
The first-ever "I Bought a Book Twice" contest!
(And yeah, I'm sure I'll do this again. Look for the second-ever entry next time my cell phone is out of charge...)
In honor of it being a Top Shelf book, what I want you to do is tell me your favorite Top Shelf book and why it's your favorite. I'll collect the names of everyone who participates (I hope it's more than 1!) and draw someone at random, sending them the book.
We'll keep this open for a week, so please submit your entry in the comments section of this post and I'll select a winner sometime after midnight on Friday, November 20th. Good luck!!
Richmond Zinefest 11-06-09 and 11-07-09
Erica and I once again became interstate travelers as we braved some of the worst traffic I've ever seen to make it down to the Richmond Zinefest, a two-day affair this year and held in a new location.We were there primarily to table for my wife's distro, Black Light Diner, but I was also looking forward to grabbing new mini-comics and zines and getting to hopefully talk to a few comics folks in the Richmond area.
The event was held at Gallery 5, a local art and performance space and was featured as part of a First Friday event that occurs in the area.
I have to be honest, sitting at a table with precariously positioned paper objects while people walked around with their beers and wines sloshing made me a bit nervous. Unfortunately, it seemed liked that was also where all the spare money was going, because there wasn't a lot of people walking around with zines under their arms. This was not for lack of picking up things and reading all the way through before moving on. (I try really hard not to do that. If I do, I usually end up buying something, I just need time to decide what.) Oh well.
Saturday was better and made the trip worthwhile--the day featured much less walk-in traffic, but those who showed up were far more inclined to stop and talk and buy something. (Friday's music was so loud it was almost impossible to hear anyone.) I made a few stops around in the afternoon, as did Erica, and we grabbed quite a few interesting zines and comics that I hope to read and review soon.
I felt like there was a bit less tabling this year from last year, but that might just be because we were on two different floors. Some of the folks were either at the Philly Zinefest or SPX, and we had a wonderful time sitting next to Joseph Carlough who does Today Terrific. (He has a drawing from me of a girafffe on roller skates that may or may not see the light of day.) I'd say the mix of comics and print zines was fairly balanced, which I personally like but I wonder how those who have a longer history in zines feel about that.
As with the Philly Zinefest, Erica did well and the hired help (me) had a good time. It seemed like the others around us were also enjoying themselves and people walked out with quite a few zines of all kinds, which is the point.
On a personal level, I was quite pleased to get to talk to Chris, of Adhouse Books, for a few minutes as he stopped by the fest.
He managed to snap this off-the-cuff photo of the hired help talking to his boss:
She's probably laughing because I asked for a raise. Please note my patented blue windbreaker (I've had two in the last twenty years) and stubborn refusal to wear socks. (Thanks to Chris for letting me use the pic!)
I was also able to talk about all things Pittsburgh with Rob Ullman, who I had no trouble recognizing--he's the only guy in Richmond wearing a blue Pens shirt.
Richmond Zinefest is a delightful excuse to get down to Richmond, a very lovely city with a great used book store, some fun comics people, and on a personal level, a few friends as well. If possible, we'll try to be there again next year. If you live near Richmond, definitely plan to stop by and pick up a comic or two.
Just please don't spill your beer if you're drinking that night, okay?
Wednesday, November 11, 2009
Webcomic I Like: My Cardboard Life
So periodically, I will mention a webcomic here that I read and enjoy. I still don't read a lot of webcomics, but I am starting to try more of them and want to increase my general knowledge of them over the course of the next year.
Today's entry is My Cardboard Life, a delightful little joke strip that posts roughly 3 times a week. Written and drawn by Philippa Rice, the comic is actually constructed by using paper cutouts, which gives it a distinctive look.
It also leads to many of the gags, such describing what's in a paper cake by literally listing the types of paper, pens, and paint used to make it. Or threatening the main character, Colin, with scissors.
The comic definitely uses the format of a "traditional" newspaper strip to its advantage, often using a small space to tell a quick pun or visual gag. However, some strips are longer, extending out the joke or giving the reader a nice visual to follow.
Rice notes that My Cardboard Life takes between half an hour and a few hours, depending, and each strip is original art. The quality of the work shows.
To see if you like the strip, you can click on the random button and be amused by comics from various dates. If you like quick, short, humourous comics, I think you'll dig this one. I'd also recommend it for fans of stop-motion type animation, as it definitely reminds me of a claymation placed on a printed page. Give My Cardboard Life a shot--if you don't like it, you can even place it in the recyling bin!*
*Okay, not really. But I thought it was funny.
Today's entry is My Cardboard Life, a delightful little joke strip that posts roughly 3 times a week. Written and drawn by Philippa Rice, the comic is actually constructed by using paper cutouts, which gives it a distinctive look.
It also leads to many of the gags, such describing what's in a paper cake by literally listing the types of paper, pens, and paint used to make it. Or threatening the main character, Colin, with scissors.
The comic definitely uses the format of a "traditional" newspaper strip to its advantage, often using a small space to tell a quick pun or visual gag. However, some strips are longer, extending out the joke or giving the reader a nice visual to follow.
Rice notes that My Cardboard Life takes between half an hour and a few hours, depending, and each strip is original art. The quality of the work shows.
To see if you like the strip, you can click on the random button and be amused by comics from various dates. If you like quick, short, humourous comics, I think you'll dig this one. I'd also recommend it for fans of stop-motion type animation, as it definitely reminds me of a claymation placed on a printed page. Give My Cardboard Life a shot--if you don't like it, you can even place it in the recyling bin!*
*Okay, not really. But I thought it was funny.
Monday, November 2, 2009
The Definitive Pekin
Written by Jonathan PekinIllustrated by Jonathan Pekin
Self-Published
You have to admire the tongue-in-cheek self-depreciation of Jonathan Pekin. He puts "A Collection of Brilliance" on the cover, which, along with the cover illustrations I have to the left of this text, show you that Pekin is not trying to take himself too seriously. He's out to have some fun drawing a comic or two.
That fun shows in the completely irreverent tone of the comics within. Pekin takes pains to warn people that his comics are not for those with sensitive taste, even saying as much when I got this from him at SPX. However, I am a person who enjoys comics that wouldn't even make it to the front door of the old Comics Code Authority, so I have no issue with the jokes Pekin makes or his style of drawing miserable people in the most miserable way possible.
It's not Pekin's artwork that would offend anyone (though perhaps a very realistic portrayal of a middle-aged man with no desire to face real life could be seen as offensive) so much as his jokes. In my favorite section, one-page jokes, there are references to necrophelia, suicide, and abuse of all kinds. It's the kind of joke that you look at, say out loud "That's really wrong," and start laughing anyway.
Okay, well at least *I* did.
The closing story is, I think, part of something larger. It features a person in a dead-end job (again, drawn to look as unhappy as possible) who apparently is going to meet her fate at the hands of heavy bags of cat food. What a way to go!
Pekin mentions that this is a good overview of his comics work, and if so, I think it's the kind of comics work I'd like to see more of, though I admit I think I preferred the shorter hits to the two longer stories. If you like South Park style humour, I think you'd dig this. Just be aware that it's not for everyone, which is just fine. That's why there's thousands of comics made each year.
I liked this "Definitive" edition of Pekin's comics, and I hope we get to see the longer work he hints at by SPX next year. You can find some samples of Pekin's work at his website. Give it a try and pick up his comic if you see him at a show near you.
Sunday, November 1, 2009
Quick Hit: Complete Jon Sable, Freelance Volume 1
Written by Mike GrellIllustrated by Mike Grell
IDW (Originally First)
This is some of Mike Grell's best work in my opinion, though I've not read as much of his other work as my old comic book dealer did. A creation of Grell's own devising, Sable is a man with a good heart who lost everything to the bad guys and turns into a freelancer--a hired gun for those who need it. He has more layers than a wedding cake and Grell takes his time peeling those layers for the reader to see.
The art is stunning and the story holds up pretty well despite some of the references to the 80s. There's a lot of action, a lot of drama, and some great comic work. There's a definite A-Team/Equalizer/Magnum PI vibe going on here, as Grell feels the need to use a strong man to right the wrongs brought on by those with power over the powerless. I am not using those shows to cheapen Grell's writing--I merely mean that the idea of power and influence which was so strongly felt in the 1980s comes out in this comic as well.
Jon Sable, Freelance is definitely recommended to anyone who likes non cape comics with heroic action in them.
I Cut My Hair #2
Written by Lisa Rosalie Eisenberg
Illustrated by Lisa Rosalie Eisenberg
Self-Published
The second issue of Ms. Eisenberg's journal comic starts with a brief explanation of her life to get readers up to speed and features a particularly bad pun. As with the first issue, she does not share (or did not draw) daily comics, preferring only to show the reader certain days from her life. I still think this is the best approach to a journal comic, as not every day can be interesting to those who aren't your family and friends.
Two comics in this collection highlighted the set for me and probably give a pretty good insight into the type of content you can find in Ms. Eisenberg's comics. The first was a parody of Whole Foods customers that is spot on, right down to the politics of the guilty rich. The second is her memory of election day, where she sees the hope and disinterest of her students, the relief a liberal had with Obama's election, and the celebratory atmosphere after the victory.
Eisenberg's drawings are fairly basic, but get the point across well and mesh with her dialog and narration boxes very well. She isn't flashy, but the work appeals to me because she is able to be personal without being boring, a tricky path for those chronicling their adventures of the ordinary to perfect strangers. Eisenberg gives us topics we can relate to, and it makes for worthwhile reading.
Lisa Rosalie Eisenberg likes writing out her full name, so I'll do it, too. You can hopefully get her comics on her website sometime soon, and in the meantime, try to check her out at a local zinefest or comics show.
Illustrated by Lisa Rosalie Eisenberg
Self-Published
The second issue of Ms. Eisenberg's journal comic starts with a brief explanation of her life to get readers up to speed and features a particularly bad pun. As with the first issue, she does not share (or did not draw) daily comics, preferring only to show the reader certain days from her life. I still think this is the best approach to a journal comic, as not every day can be interesting to those who aren't your family and friends.
Two comics in this collection highlighted the set for me and probably give a pretty good insight into the type of content you can find in Ms. Eisenberg's comics. The first was a parody of Whole Foods customers that is spot on, right down to the politics of the guilty rich. The second is her memory of election day, where she sees the hope and disinterest of her students, the relief a liberal had with Obama's election, and the celebratory atmosphere after the victory.
Eisenberg's drawings are fairly basic, but get the point across well and mesh with her dialog and narration boxes very well. She isn't flashy, but the work appeals to me because she is able to be personal without being boring, a tricky path for those chronicling their adventures of the ordinary to perfect strangers. Eisenberg gives us topics we can relate to, and it makes for worthwhile reading.
Lisa Rosalie Eisenberg likes writing out her full name, so I'll do it, too. You can hopefully get her comics on her website sometime soon, and in the meantime, try to check her out at a local zinefest or comics show.
I Cut My Hair #1
Written by Lisa Rosalie Eisenberg
Illustrated by Lisa Rosalie Eisenberg
Self-Published
Journal comics seem to be a bit more numerous than they were before, or maybe it's just that I am more aware of them after becoming a fan of the style by reading James Kochalka. Either way, I find them interesting, because when done right they can give you a real insight into the author's life and their thoughts on it without having to read pages of dialog.
When writing, there's no real limit on what you can say, but in comic form, you only have so much space to tell your story. That's why I find reading journal comics rewarding in a way that reading the diary of "person X who's more famous than a mini-comic creator" is not.
This set of comics is not a day-by-day breakdown of Eisenberg's life, which I think is probably a smart way to go for a mini-c0mic. This enables the reader to focus on what the writer wants us to focus on, without having to print pages of "I didn't do a lot" comics. (I am making an assumption here that Eisenberg updates her comics regularly and then selected the ones she wanted for this comic--that could be totally wrong.)
She talks about being in a new city, being a part-time teacher splitting her life between two schools, and also a lot of honest looks into her life. (Her struggles with starting her day, general restlessness, and finding her place often either dominate or lurk within the comics collected here.)
Eisenberg also writes a bit about the creative process for her, which is a common theme for journal comics. Her artwork gets everying across very well, including different characters so that we do not feel like she is always talking to the same people. Details are sparce here and there, but the drawings compliment the text and help to set the scene being described. Personal comics don't need intricate landscaping to make their point, after all--Kochalka's are always basic, and I think he's one of the best at this style of work.
I Cut My Hair was a nice find at SPX. Someday, you might be able to grab a copy at Ms. Eisenberg's website, but for now, just look for her at a zinefest or comics show and check it out!
Illustrated by Lisa Rosalie Eisenberg
Self-Published
Journal comics seem to be a bit more numerous than they were before, or maybe it's just that I am more aware of them after becoming a fan of the style by reading James Kochalka. Either way, I find them interesting, because when done right they can give you a real insight into the author's life and their thoughts on it without having to read pages of dialog.
When writing, there's no real limit on what you can say, but in comic form, you only have so much space to tell your story. That's why I find reading journal comics rewarding in a way that reading the diary of "person X who's more famous than a mini-comic creator" is not.
This set of comics is not a day-by-day breakdown of Eisenberg's life, which I think is probably a smart way to go for a mini-c0mic. This enables the reader to focus on what the writer wants us to focus on, without having to print pages of "I didn't do a lot" comics. (I am making an assumption here that Eisenberg updates her comics regularly and then selected the ones she wanted for this comic--that could be totally wrong.)
She talks about being in a new city, being a part-time teacher splitting her life between two schools, and also a lot of honest looks into her life. (Her struggles with starting her day, general restlessness, and finding her place often either dominate or lurk within the comics collected here.)
Eisenberg also writes a bit about the creative process for her, which is a common theme for journal comics. Her artwork gets everying across very well, including different characters so that we do not feel like she is always talking to the same people. Details are sparce here and there, but the drawings compliment the text and help to set the scene being described. Personal comics don't need intricate landscaping to make their point, after all--Kochalka's are always basic, and I think he's one of the best at this style of work.
I Cut My Hair was a nice find at SPX. Someday, you might be able to grab a copy at Ms. Eisenberg's website, but for now, just look for her at a zinefest or comics show and check it out!
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