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When Emmet first put out the call for fellow bloggers to cover his gruelling book-a-day regime while he and his lovely bride, Stephanie, enjoy some much deserved time off renewing their vows, I thought: “Yippee, now I can review a grown-up fiction book!”
I thought to heck (as we Canadians rarely swear outright even in our thoughts) with my blog manifesto, for once I’ll review some great Canadian adult lit. I worked myself up into a fervour thinking of all the wonderful works of fiction I could cover and how I could finally write about all the great things (sexual proclivities, adultery, drugs and the other perversities of humanity) that adult fiction has to offer (although I do review many a YA title that covers that stuff too!)
I started making a short list, I racked my brain and I eagerly fingered titles in the bookshops and library looking for just the right book.
What a rush!
Then my Canadian sensibilities and a little serendipity took over and I found the perfect children’s book to mark this occasion and thus, just like that my short-lived dreams of moving over to the adult sphere (however briefly) dissolved.
It was just that Better Together by Sheryl and Simon Shapiro and illustrated by Dušan Petričić (ISBN: 9781554512782, Annick Press, 2011) fit so perfect, it was a crying shame not to review it!
Written by the Shapiros, who have themselves been married for 34 years, this charming book of short poems celebrates the beauty when two (or more) substances come together to create something new and wonderful.
I know right? It was fate!
I love books with poems for young children. They love the bouncing, rhyming text and adult readers love the read-out-loud fun factor (anyone with a toddler knows that it’s essential to have books around that are enjoyable to read for the parents because you will be reading them…a lot!)
I love the notion of making chemistry entertaining and breaking down some of the wonderful creations in life into their components. Once wee readers get a handle on chocolate milk, cinnamon toast, music, mud, well the world is their oyster.
I also adore the ink drawings that accompany each short verse and illustrate the steps of these mixtures coming together in a fun way. Petričić has a knack for appealing to the child’s eye and mind. It’s no wonder as this award-winning illustrator of such children’s classics as Mattland and Rude Ramsay and the Rearing Radishes authored by the Canadian great, Margaret Atwood (sorry Emmet) began drawing at age four and has never stopped!
Sheryl and Simon Shapiro are also the perfect example of two very different elements can come together to create some beautiful things!
When they met over 35 years ago in South Africa they had very different interests, but over time, their interests changed again and branched into various arts and found lots of common ground. One of their own great creations, their son Stephen who was born and raised in Toronto (Ontario) is also a published children’s historical author.
Over the years, this couple has found many commonalities to enjoy (a must-have for a successful marriage I think) including writing humorous rhymes for special occasions. So when the opportunity came up to write a book together, this children’s book designer and computer programmer cum photographer, jumped at the chance.
They also agree that working separately could never have produced the amusing book proving once again sometimes we are just better together.
The Shapiros are now working on another rhyming picture book.
So Emmet and Stephanie, as you celebrate your first year together (really after the first it’s all gravy) and many, many more after that I look forward to all the magnificent mixtures/creations you two come up with (and no, I’m not talking about children – Canadians are too polite for such personal discussions) and wish you the best!
Oh and Emmet, I will leave the grown-up book reviews in your very capable and clever hands as I never tire of reading them!
On top of this blog and my magazine internship, I have taken on yet another writing gig. Tastes Like Comics is a recently launched comic website that is looking to offer more than just reviews of the latest releases, with a number of columns from different writers featuring interviews, essays and even parodies.
I am having great fun and I invite you to check out what the folks over on TLC have got up to since launch.
You Are Here opens in the countryside idyll of Phoenicia in upstate New York, looking for all the world like a classic Disney enchanted forest. A cute raccoon even appears, seemingly on the point of breaking into a musical number with a beautiful princess. Instead he enters a cottage in the middle of the woodland, revealing an interior filled with pastel-coloured paintings of flowers. The artist in question is one very grumpy New Yorker, Noel Coleman. For the past year Noel has been living a life of bliss with the beautiful and unflappably charming Helen, a woman who does share all the qualities of a Disney princess. She even talks to the animals. Noel’s problem is he has been lying to her the entire time.
He is not an artist with an abiding interest in florals, but a former jewel thief with an extremely sordid past. Hoping to leave all that behind him, Noel travels back to Manhattan to sell his apartment. When he encounters some former friends, the general assumption is that he has been in prison for the past year. He quickly slips back into some bad habits – smoking, heavy drinking, eyeing the girls – but then an old enemy gets out of prison with murder on his mind, the police are on his trail and Helen then arrives, expecting to introduced to the many high-brow academics and artists Noel invented as part of his tapestry of lies, as opposed to the drunks and strippers he is actually friends with. Murder, mayhem and high speed pursuit on horseback through Central Park soon follow.
This is a classic book, a genuinely hysterical comic teaming with fantastic art courtesy of Kyle Baker. I first encountered Baker through his miniseries for Marvel Comics, Truth: Red, White & Black. The series had the ingenious idea of marrying the origins of Captain America, that symbol of national patriotism who was created by a secret military experiment, to the real-life history of the Tuskegee experiments. The story reveals how before Captain America was created, the military first experimented on African American test subjects. Baker’s satire was razor sharp, his art perversely cartoonish and despite the widespread online condemnation of the series, I absolutely loved it.
You Are Here is similarly perverse. Noel yearns to be a ‘happy person’, like Helen, hence her Disney-esque life in the forest. Pollyana-esque, he is horrified when she turns her sunbeam charm on drug-dealers, muggers and worst of all – rush-hour traffic drivers. Manhattan is almost a different kind of reality, a fallen world that slowly reclaims Noel, pulling him to its sordid bosom.
The art throughout is very amusing, especially Baker’s decision to visually model killer Vaughan on Robert Mitchum, released from prison with a best-selling novel titled ‘Yes I Did It And I’ll Kill Again’. The script is rendered alongside the panels like a film storyboard, used to great effect when Helen is accosted by a number of different ethnic New Yorkers, with the competing voices overlaid on top of each other to illustrate the linguistic confusion.
This is a great hybrid of romance and crime thriller, gut-bustingly funny with fantastic art.
Hey kids. Do you remember this!? Ah. Spider-Man and His Amazing Friends. I used to love that show. Now maybe you would think I wanted to take after Spider-Man. After all, he is the star. Or how about Iceman? But no, my favourite character was always Firestar. Not because I wanted to be a girl or anything…..let’s start again – fire powers are cool!
So I was always curious about her character. Imagine my surprise when I eventually started to read Marvel comics and discovered not only was she not ‘friends’, with Spider-Man – she did not even exist in comics before the show. Eventually she got shoved into the X-Men almost as an afterthought, but I don’t think my child self ever got over that disillusionment (cos…y’know…fire powers….cool!).
This book is not all about my girl Firestar. In fact it is a ‘non-team’, comic, focusing on several random young superheroes who have all been somewhat forgotten. First off there is Gravity, one of Sean McKeever‘s own creations, a nominally cheerful young hero, who has begun to question the legitimacy of arrested superpowered criminals, as they only just escape to wreck havoc again. Then there’s Araña, recently depowered and so unknown most people call her Spider-Girl. Nomad is a girl from an alternate world where she was a highly trained sidekick to the most famous superhero on her Earth – here she is no one. What’s worse she had a friend on this other Earth named Benito Serrano, who has his own counterpart in her new home. Though he takes the same superhero name, Toro, and has the same abilities, he has no idea who she is. What’s more only Araña is capable of speaking Spanish with him (at one point Gravity mutters regretfully that he took German in school).
What brings these heroes together is a violent gang of young villains, the aptly named Evil Bastards, who torture and kill New Yorkers for fun and then upload the footage online for their ‘fans’. Gravity in particular is horrified by the callousness of the gang and is pushed to the edge, in danger of himself becoming a killer in retaliation. In their first encounter with the Evil Bastards, one of the villains detonates a massive explosion on the site of Ground Zero itself.
McKeever has stated that the theme of this book “was that [the Young Allies are] fighting for the soul of their generation”. In a neat piece of meta-commentary it is made clear that what McKeever is referring to is the morals of comic books themselves. The Evil Bastards (sounds like a Warren Ellis rock band) claim to be the sons and daughters of supervillains themselves. Their contempt for the value of life, to my mind, reflects the persistence of shock tactics and ultraviolence in contemporary comics. As the older villain Electro comments, to violate the sanctity of Ground Zero itself would be unthinkable for him. It is a horrific moment in the book itself, but Gravity’s obsession with finding justice for the victims properly addresses the true horror of this event.
I found myself comparing McKeever’s use of an actual site of tragedy, with what has been revealed in the trailer for the upcoming X-Men movie. The plot will involve the superheroes in an actual historical event – the Cuban Missile Crisis. I think ultimately McKeever is respectful in his use of 9/11 as a feature of the plot. The Evil Bastards are reminiscent of message board users making horrible jokes about actual tragedies. One of them even describes her crimes as being like playing an MMO. Marvel Comics frequently used nuclear radiation as a plot device and McKeever refers to this again throughout the book. Firestar, for one, suffers from her constant exposure to incredible temperatures and is in fact a cancer survivor. It is a neat reversal of the comic-book science that allowed for characters such as The Hulk, or Spider-Man gaining superpowers from radiation.
This flirting with realistic concerns and comic book absurdity is ably managed by McKeever, who has a great partner in crime in penciller David Baldeon. The art reflects the threatened innocence of the characters. I particularly like his designs for the Evil Bastards themselves, all quite creative in their callbacks to the absent parents they draw inspiration from.
So Young Allies is that rare thing – a quietly ambitious superhero comic with a lot of heart. Recommended for comic book fans looking something less cynical than certain popular titles out there.
It’s Valentine’s Day! So I have a few errands to run, a dinner to cook and a mission to make myself look presentable for when my breadwinning wife comes home from work. So a comic book review for today and I’ll return to some larger text for tomorrow’s review.
As it happens, this comic features my favourite supervillain – Harley Quinn. Poor Harley is quite demented, but also quite sweet in a strange kind of way. She does see herself as the Joker’s companion/number one fan, so a touch of madness is to be expected. I mention my interest in Harley, because when I first visited Stephanie, I saw that she had painted her own portrait of the former Arkham Asylum staff member (FYI, Harley is the one on the right lighting a bomb with a cigar). I took this to be a good omen, an indication of our suitability for one another as a couple.
I was not wrong.
Arkham Asylum: Madness is unusual in that it is set in one of the most famous landmarks in the Batman mythology, but does not feature the character at all. In fact he is barely even alluded to by the book’s cast. Instead, the story focuses on the ordinary staff at the Elizabeth Arkham Asylum for the Criminally Insane, in particular a young nurse named Sabine, and their fraught interractions with the dangerous psychopaths locked up behind its walls.
Sabine works the day shift at Arkham despite its reputation, so that she can afford to pay off her family’s debts. The one thing that allows her to get through the day is the thought of returning home to her son Ozzie. She has few friends working with her, with an elderly janitor named Eddy and a fellow nurse Randy, managing to make her smile now and then, despite the oppressive atmosphere of Arkham itself.
As the day progresses tension continues to build, a tension that the inmates are far more receptive to. Small things like a hallway clock marking the time left for lunch slowing down, or Dr. Hurd’s unusual health issues, are ominous hints of some threat approaching.
The Joker, Arkham’s most feared patient, acts as a barometer for the rising anxieties within the building. The staff are terrified of him and he, in turn, enjoys nothing more than to increase their fear of what he may be capable of. His latest scheme is to follow to the letter a suggestion by one of the attending doctors to take on a hobby, like collectibles. Joker seems to have become obsessed with an innocuous collection of comedic props, but the true nature of the items is far less innocent.
Then disaster strikes for Sabine as she is ordered to stay on for the nightshift. Prevented from spending the evening with Ozzie, she falls into a depression, seemingly reflected by the asylum itself. The clock in the hallway begins to bleed, Joker springs his trap on Dr. Hurd and then in the ensuing choas the inmates make an escape attempt. The attendants and guards are the only thing between the psychopaths and freedom.
This book is a genuine treat for fans of Sam Kieth. I first discovered his art style through the MTV adaptation of his comic The Maxx, before tracking down his excellent miniseries Zero Girl. I love his punk/painterly aesthetic, the contorted bodies and smooth faces. Sabine is for all intents and purposes a traditional Kieth heroine, innocent in appearance, but possessing a hidden inner-strength, in this case the intensity of her love for her son. This book also features fantastic redesigns of Harley Quinn and a less-than-dapper Harvey Dent.
Arkham Asylum: Madness completes an unofficial triptych of stories set in this Lovecraftian Bedlam. The first, by Grant Morrison and Dave McKean, was a fantastic artistic showcase for the latter, with Batman’s righteous heroism eroded by the condensed madness of the asylum. The second, by Dan Slott and Ryan Sook, marginalised Batman in favour of a new inmate, the White Shark. Kieth disposes of the caped crusader entirely, creating a terrifying vacuum.
It is unfair for the likes of Sabine to be trapped in this hell with criminal psychopaths. The book shows how her spirit is crushed over the span of an exhausting twenty-four hours. The Batman series has always been party to a certain sadism and Kieth demonstrates the cost of the popularity of these villains on such ordinary people as Sabine.
Chilling and gripping, with wonderfully kinetic art.
It was like an Abadazad museum. There were copies of the first three books…Little Martha in Abadazad, Queen Ija of Abadazad and the Eight Oceans of Abadazad
…that looked as old as Mrs Vaughn. A tiara that looked just like the one the Two-Fold Witch wore (I’m sure the rubies were fake, but they sure seemed real to me. Of course I’ve never seen a real ruby in my life). And best of all, hand-painted figurines of Queen Ija, Professor Headstrong, Mary Annette, Mister Gloom, Master Wix, and a whole mess of other characters. And they weren’t like the plastic junk you see in the toy stores. They weren’t even like those ridiculously expensive “collectibles” they sell to super-nerd adults who never got a life. This stuff – I wish I could explain it – it was like they weren’t based on the characters, they WERE the characters. Like each of those little figures had…I dunno…a soul or something.
I remember the first time I heard about Abadazad. It was featured on the sadly defunct Ninth Art review site. J.M. DeMatteis and Mike Ploog‘s series received rave reviews, even talk of a Disney film adaptation shortly after the first issue, but that was not enough to protect the book from the implosion of publisher Crossgen. Fortunately Disney did acquire the rights to the series, but only three books out of a proposed eight were ever published. Here’s an interview with DeMatteis explaining what inspired the story in the first place.
What I am reviewing is in fact the second iteration of Abadazad, published by Disney in a format that mixes Ploog’s art with pages of text. DeMatteis introduces the clever premise that we are actually reading the diary of the main character, Kate, which has been enchanted. So the images that appear are in fact magical windows into the world of Abadazad itself, which Kate can look through – but sometimes the creatures she sees can see her as well. It’s an inventive wave of justifying the use of these colourful illustrations and text.
For most of her life, fourteen-year-old Kate raised her younger brother Matty. Her parents separated when the children were young and instead of having a typical childhood in Brooklyn, the two would read the novels of Franklin O. Davies together, describing the adventures of plucky young heroine Little Martha in a magical land called Abadazad. Their mother Frances was left a mess after the divorce, so retreating into this fantasy world afforded the children a welcome escape from the adult world of depression and misery they were trapped in.
Then one day at a summer fair, in front of Kate’s eyes, Matty simply vanishes. That was five years ago. Matty’s face has been on milk cartons and Kate has been seeing a therapist ever since. ‘Frantic Frances’, has retreated further into herself and her daughter has turned on her, in an attempt to alleviate her own guilt. “It’s been five years, Frances, he’s dead. Get over it.”
Kate meets an elderly neighbour, Mrs Vaughn, who owns an impressive collection of Abadazad memorabilia and even claims to have known Franklin O. Davies. At first Kate finds herself reminded of her own dead grandmother, but then Mrs Vaughn starts to say some strange things. Such as that Abadazad is real. She has been there and, what’s more, she was Little Martha. Kate argues that Little Martha was a white girl and Mrs Vaughn is an old black lady. She claims Franklin O. Davies made the character Little Martha white to sell more books, but the books are just adapted from her own magical adventures. Kate is halfway out the door when Mrs Vaughn says something even crazier. Her brother Matty is alive – and he is in Abadazad.
For the purposes of this review I read the first two volumes of the Abadazad series. While some might feel the pace somewhat slow, DeMatteis does a great job of introducing the character of Kate and establishing this more modern setting, contrasting her upbringing with that of say Dorothy Gale, or Little Nemo. Abadazad itself is a hybrid of Dr. Seuss and Oz – and Mike Ploog’s illustrations reminded me of the Seussian wonderland featured in Tom Fowler‘s Mysterius the Unfathomable.
By the second volume the story really takes off. There are repeated allusions to the censoring of children’s fantasy, with Kate surprised at what Davies left out for commercial purposes.
Warm, funny and sweet – travel to Abadazad.
A year ago I reviewed Alasdair Gray‘s Lanark on my former blog. Instead of insisting on the post-modern content of that novel, or for that manner the religious themes, with references to Gnosticism and the inherent conservatism of the church as an institution – I compared the book to a comic by Grant Morrison named Animal Man.
Perhaps some might find that offensive? Personally the medium of a story has no categorical importance – it’s the content that interests me and I have no problem with raising this piece of popculture up on the same critical pedestal as Lanark.
Of course, and some of you may have realized, there was a small problem in my making the comparison – I had not actually read Animal Man. The page illustrated above was my sole reference. So to amend that little hiccup, I’m reviewing the final collection of Morrison’s run on the title today.
Animal Man is a minor superhero named Buddy Baker, who has been operating for just under a year. He has a wife, Ellen, and two children, Maxine and Cliff. An accident involving an alien spaceship has granted him the ability to borrow traits from animals, hence his superhero moniker. Unlike most other superhumans, Buddy’s heroics are more politically sensitive, such as environmental activism, agitating against animal testing and fighting against Apartheid in South Africa.
However, Buddy’s family has been under surveillance from a mysterious figure, seemingly able to appear at will. Unable to protect his wife and children from the ‘weirdness’, in his life, the everyman superhero has also recently undergone unusual experiences, hinting at some outside force manipulating his life for the purpose of entertainment.
Then tragedy strikes. Ellen and the children are assassinated. The killer, no supervillain but an ordinary gunman , was hired by a group of businessmen affected by Animal Man’s actions. Buddy hunts them down and avenges his family, but is left broken by the experience. Desperate to save his family, he travels back through time – but finds himself sucked into a conflict with a number of other heroes who have been erased from the timeline. He is just a character in a comic book, and it is the writer who is responsible for all his suffering.
“Who are you? Who did you say you were?”
“Me? I’m the evil mastermind behind the scenes. I’m the wicked puppeteer who pulls the strings and makes you dance. I’m your writer.”
The final encounter between Animal Man and ‘Grant Morrison’, is thankfully not just an example of po-mo nonsense. The culmination of year’s worth of dangling plot-threads, it allows the writer to wrap up the storyline with a flourish, while also addressing the central concern of the book. As a comic that did not shy away from political themes, Animal Man was principally about the defence of the helpless – lab animals, slaughtered dolpins, South Africans suffering oppression.
In a neat inversion, Morrison proposes that the superhumans of DC Comics are themselves helpless victims – of us and our changing tastes in entertainment. The creations that were enjoyed by readers in their childhood have become tarnished, grim and violent vigilantes. Their suffering is the stuff of modern entertainment. Their moral values are irrelevent. The Morrison that Animal Man encounters is unapologetic about this. He is after all only one writer among many, who vented his frustrations with the world through the medium of this comic book, but in the end he is as powerless to change the world as Buddy is.
Confronted with this seemingly uncaring demiurge, we really begin to sympathize with Buddy’s plight and care about the lives of these characters – who are only, lest we forget, commercial products. At one point one of these ‘erased’, creations exclaims: I don’t care what I am. I don’t care if I’m just a minor character in a bad story…I’m not going to let this happen. You hear me? I’ve still got my dignity!
There is even a page where Morrison conjures up some random foes for Buddy to fight in the background, while he addresses the reader and says his thanks to the editors and artistic team that worked on the book. He apologises for the preachy tone of the book – while at the same time making one final attempt to sway the audience to the themes addressed in Animal Man. For this cynical Morrison is just as much a fictional creation as Buddy, whose defeatism is rejected on the very last page.
Emotionally personal and intimate. A classic.