Category Archives: Graphic Novel Reviews

Review: THE TANKIES by Garth Ennis

Corporal Stiles, a rough and rowdy fella who is nobody’s fool.

The Tankies. writer: Garth Ennis. artist: Carlos Ezquerra. Dead Reckoning. 2021. 248pp. $24.95

All good writing provides a hook, a way into a story. War stories might seem challenging for unfamiliar readers since they might seem remote–but not if you have characters as alive as the action. Garth Ennis knows this well and it has resulted in numerous thrilling and engaging war stories. In the case of The Tankies, Ennis opens with a panorama of activity evoking the intensity and chaos during the Normandy invasion. After a good amount of blood spill, a leading figure emerges: Corporal Stiles. He’s a rough and rowdy fella who is nobody’s fool. Of course, some folks need convincing, like gunner Robinson who has Stiles pegged for a Geordie from New Castle. And what’s a “Geordie” supposed to be? Robinson is from the East End of London, a Cockney. And, as far as he’s concerned, Stiles is a lowly Geordie from the Tyneside area of North East England. Ah, the petty conflict amid the vast hell of conflict! And there you’ve got the bits and pieces that add up to a good hook!

Enter Corporal Stiles!

This collection of war stories features Stiles, who assumes the rank of sergeant throughout the rest of the book. And, of course, it’s the Tankies (nickname for the Royal Tank Regiment) that remain constant too. In the course of this series, Stiles leads his men from the battle for Normandy to the Nazi heartland; from the end of World War II to the killing fields of Korea. Did you ever read Sgt. Rock comics? Sgt. Rock was a DC Comics staple, created by Robert Kanigher and Joe Kubert. I think there’s a bit of that vibe here. Of course, Ennis is well steeped in all sorts of military comics from across the pond, namely, Battle Picture Weekly and War Picture Library. This has led to many fine war comics stories from Ennis with The Tankies as a prime example.

THE TANKIES!

These stories will also appeal to you if you enjoy learning about world history. Ah, yes, through the marvel that is comics, you will quickly pick up numerous nuggets of insight all thanks to the tireless research done by Ennis. It is through the comics medium that you can absorb facts by the fistful. The Tankies provides the reader will a gripping narrative while all the time giving the reader a remarkable sense of time and place. The Brits, or “Tommy,” as the Germans mockingly called them, were at a major disadvantage with relatively inferior tanks compared to the sleek and virtually impenetrable Nazi counterparts. Within these pages, the reader will come to fully appreciate what an act of courage it was to climb into a relatively subpar Sherman or Churchill tank to do battle with such Nazi dragons as the Panther and the Tiger. It will send shivers down the spine. And it will have the reader rooting for Stiles and his men.

Boys will be boys.

A good war story, just like a good Western, is dependent upon a sense of authenticity and flesh and blood characters you can believe in. Without a doubt, Ennis delivers on both counts. Couple this stirring narrative with the exquisite art by Carlos Ezquerra (1947–2018) and you have an all-out winning combination of amazing storytelling. War comics, in general, are beloved by fans not only for their grit but just as equally for their humanity. Ezquerra literally puts a face to the action. If you are new to the genre or a seasoned aficionado, you find there is much to love in this collection. You will gain a better sense for World War II and the Korean War as well as the old adage that “war is hell.” So, take the journey with Stiles and his honorable men.

War comics at their best.

Be sure to visit Dead Reckoning, publisher of The Tankies as well as other Garth Ennis titles: The Stringbags and The Night Witches. All three of these titles add up to an outstanding showcase of war comics by Garth Ennis. As any comics and pop culture fan already knows, Garth Ennis is known for such titles as Preacher and The Boys. Well, it will delight fans of these titles to dig deeper, if they haven’t gotten the chance already, and learn the sort of history that you probably were not exposed to in high school and maybe not even in college. As for The Night Witches, this is an in-depth exploration of World War II from the Russian perspective and the view from the female Russian aviator at that! Also featuring bi-planes is the gripping story of The Stingbags. You will find out how antique planes do battle in a new generation’s war. This is war comics at its best.

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Review: ‘1956: Sweet Sweet Little Ramona’ by Steve Lafler

Steve Lafler’s 1956

1956: Sweet Sweet Little Ramona. by Steve Lafler. Cat-Head Comics. 2020, 56pp. $9.95

Adorable Ramona is sweet down to her toes. She also happens to be a guy. But, hey, no problem there say the fellas from the Garment District. Ramon, as Ramona, is just so delightful. So, no problem. Nobody’s perfect! That’s the punchline to 1959’s Some Like it Hot, by the way. The artist and writer Steve Lafler doesn’t actually use that line. In fact, his graphic novel is completely different from what goes on in the Billy Wilder classic. That said, there are definitely some similar elements at play. And perhaps the biggest theme is one recurring in just about every Lalfer book, that of music, specifically jazz, hot jazz! Since, after all, some do indeed like it hot!

Hot Jazz!

Now, Steve Lafler turns out to be a very cool cat–and we’re about to take a deep dive into all things Lafler. Well, as much as I see fit to shoe-horn into this review. We’ll save some more for an interview with Steve Lafler next week. That sounds good, no? Lafler’s latest book, 1956, features a whole tableaux of goodfella types, all of them working various middle management jobs in the Garment biz, an industry with just enough of a glimmer of glamour to be suitable for these big city gentlemen. Lafler mixes the whimsical with the gritty. His style is clean lines in the service of a loose and street smart sensibility that brings to mind such greats as the Hernandez brothers and Kim Deitch. It’s quirky, idiosyncratic, and very much alt-comics. But that only makes sense since alternative comics are very much a part of Lafler’s scene. 1956 proves to be an utter delight.

Sweet Ramona!

The one thing I have come to understand from reading Lafler comics is that this is one devil-may-care dude who knows how to dish it out a la bohemian. I envy the ease with which he seems to glide through life. Maybe it takes one to know one. I know it’s not all peaches and cream. That’s part of the point. It’s about making the most of what you’ve got, living by your wits, and not taking anything so seriously that it hurts– except for family. You look out for your loved ones, right? Why do I digress so? I think Lafler just puts me in a very irreverent mood.

BugHouse

Now, take some of his other work and you’ll start to see some patterns. You’ll see that jazz motif bebop around. You’ll see some hard luck hound dogs–or bugs. And you’ll definitely see a lot of that joie de vivre thing we all want some of. You find it all wrapped in a bow in Lafler’s BugHouse, albeit tinged with the harsh realities of life in the big city. Yes, these bugs play a lot of jazz but they’re also prone to drug addiction. Sad bittersweet bugs.

Death Plays a Mean Harmonica

A more recent Lafler work is Death Plays a Mean Harmonica. I find this to be quite a masterpiece incorporating a healthy dose of auto-bio mixed in with everything that Lafler has learned about the uncanny world of comics. Lafler takes his own family’s decade living abroad in Oaxaca, Mexico, and turns it into the misadventures of Rex and Gertie and their two young children. Lafler let’s the good times roll with plenty of magical realism which includes a skeleton who regulars meets with Lafler while he’s asleep. They philosophize and, of course, enjoy playing music together. This serves as background for the main event. It turns out that Gertie is a secret superhero by night! Lots of fun! Bravo!

For more information, including comics, illustrations, paintings, and various merchandise, be sure to visit Steve Lafler.

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Review: SAVE IT FOR LATER by Nate Powell

SAVE IT FOR LATER

Save it for Later. by Nate Powell. Abrams ComicArts. New York. 2021. 160pp. $24.99

Nate Powell provides a series of what I call “visual essays” for his latest book, Save it for Later. Powell, whether he intended to or not, is working in the tradition of essays going back to Michel de Montaigne (1533-1592). Montaigne was a philosopher who, in spite of or because of his erudition, knew how to write plainly and memorably. The sign of any good writing is that it sticks with you, akin to an absorbing conversation with an intimate friend. Essays are not meant to be perfect, although they do best if they ultimately have something meaningful to say, and achieve a clarity of purpose. Powell’s book is not perfect–and I’m glad it’s not. Powell manages to retain a certain level of rawness that adds authenticity. This is a real person who is just trying to figure things out, what’s best for him, his family, and his community.

A parent’s passion.

It’s a messy and complicated world–sometimes ugly (maybe more now than in recent memory). We live for only a pocket of time: perhaps we’re more aware of the ever-shifting present than ever before and mindful of the relatively recent past and future. In the big picture, we’re all here just for a blink of an eye’s time. And then we’re gone. Dust. No more. You’d think that would humble us. We’re too ready to pass judgement and condescend–somehow oblivious to the fact than none of us are going to leave this earth alive. Pretty heavy stuff. And then you throw in the role a parent plays in guiding a child, navigating a child through all the grown-up stuff going on. Let’s not forget there is plenty of joy to go around. You don’t have to be “privileged” to enjoy so much that life has to offer. But sometimes a parent feels a heavy burden to get it all right. One thing is clear in this book, Powell feels the burden and he takes it almost to the breaking point.

A child’s choice.

We cartoonists are born explainers. There’s something about us that compels us to jump upon the stage of life. We’re part artist, writer, journalist, and actor. This need to perform, act out, and explain is genuine and natural. I can clearly see that Powell is driven to make his time count: make the most of his talents, make a difference. That heart-felt desire is undeniable. It is that kind of energy that fueled what he was able to accomplish with March, the trilogy exploring the civil rights movement with Rep. John Lewis and Andrew Aydin. In fact, March figures prominently in Powell’s new book. It is ever-present, not only guiding Powell but influencing the lives of his two children. How does the cartoonist who was a part of such a consequential work address questions of race? How do we feel confident that he’s conveying an honest picture of himself? It’s not easy! I think what really helps, and to Powell’s credit, is the use of what I call “the counter-narrative.” Right alongside Powell’s main narrative, he has moments that depict another viewpoint like when his older daughter, at age seven, admits she sometimes goes to protest rallies because she thinks that is what her father wants her to do.

Two generations co-existing.

Let me share with you how the issue of race was addressed in my family when I was child. Basically, in the 1970s, in my household, it was never explicitly and formally addressed the way it is now in vogue to do. Certainly, race came up as a subject to talk about but it happened very organically: randomly and without pretense. That had something to do, maybe everything to do, with my coming from a biracial background: my mom was Mexican; my dad was Anglo. Both are now deceased. And, if they were both alive and cognizant, I imagine they’d have a well-earned laugh over some of what they’d find to be an excess of sensitivity on display today. Where were all the well-wishers when we needed them? It’s an interesting question. For Powell, he is focusing on his being white and the burden he believes he has. Powell believes that white children should not be afforded an extended time of innocence since non-white children never had such a privilege. There’s plenty to unpack there and fodder for much needed discussion.

In the shadow of a giant.

As a child, I also know for a fact that I became political all on my own, and after a relatively extended time of relative innocence (kids are less innocent than adults generally care to admit). I know that I was certainly curious about the news by age ten and picked it up in earnest by age thirteen. Looking back on it, I see no harm, no foul on that count. I don’t blame my parents for any apathy or neutrality over issues of the day. I think my mother suffered enough, as I did by extension and in my own right, from countless forms of racism. And I don’t think I would have benefited from any critical race theory workshop. That said, we need to be willing to talk it all out and think it all out as much as possible. We often seem to forget how important it is to make our actions count. After all, we’re only here for a small pocket of time.

Make some “good trouble.”

So, how does the cartoonist who was a part of such a consequential work as March address questions of race? It’s one step at time! How does one move in the shadow of such a giant as John Lewis? With purpose! Nate Powell, without a doubt, has created a work of honesty and bravery with his latest book. Yes, bravery because amid all the coded language and distraction, there remains that veiled, and not-so-veiled, threat of violence. It’s like you are being dared to be true to yourself and stand up to the current batch of hate crime bullies. These are bullies that John Lewis understood very well in his time. Sadly, his pocket of time is now over. The baton has been passed on to another generation. We may collectively stumble along the way but, as John Lewis would say when you see something that is not fair: “Find a way to get in the way.” Powell has learned from the best.

Save it for Later is available as of April 6, 2021. For more information, visit Abrams ComicArts.

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Review: THE STRINGER by Ted Rall and Pablo Callejo

War journalism ain’t what it used to be.

The Stringer. written by Ted Rall. art by Pablo Callejo. NBM Plublishing. 2021. 152 pp, $24.99

Ted Rall has certainly done his homework, and then some, with his latest graphic novel, The Stringer, published by NBM: the story of a gritty hard-working newsman who turns to the dark side. Many general observers recognize the name of Ted Rall and recall him for his audacious muckraking political cartoons. What you may not be familiar with is Rall’s own experience in the field as an  independent war correspondent. Check out these titles, also published by NBM: To Afghanistan and Back, from 2003, and Silk Road to Ruin, from 2014. Rall has twice won the Robert F. Kennedy Journalism Award and has been a finalist for the Pulitzer Prize. So, when someone with the stature of Rall writes a satirical graphic novel, it’s going to be a page-turner.

D-Day: remembering honest war reporting on the front lines.

This is not the first time that Rall has teamed up with Pablo Callejo doing the artwork. Check out the bohemian memoir, The Year of Loving Dangerously, from 2009. Between Rall’s rollicking narrative and Pablo Callejo’s spare and measured style, the reader gets an immersive and truly engaging story. Rall is an idealist at heart with a passionate drive to seek the truth. This graphic novel, at its core, has an overwhelming nihilistic force at play. Rall navigates the narrative through a variety of high and low points. Like Walter White, in Breaking Bad, this is a character study about an essentially good man, in the family business of revering the Truth, only to find himself later in life striking a devil’s bargain that becomes more complicated as he must continue to feed the beast.

At the twilight of when we could still believe.

This graphic novel gets its title from what has been known in journalism as “stringers,” the cub reporters sent out into the field to gather up facts and quotes that they phone back to reporters in the newsroom to turn into final stories. The reader follows young Mark Scribner as a boy reporter dutifully being a stringer. As the narrative unfolds, Scribner must face the fact he’s been sort of spinning his wheels, not much more than a glorified stringer for decades. What he does next lifts us off into a full-bodied story: full of intrigue, like the murky zone between Ukraine and Moldova; and finely-etched drama, focusing on Scribner’s personal journey.

“More people follow Twitter than read The New York Times and every other newspaper combined.”

Ted Rall has always had a zealous approach, compelled to speak truth to power. The story of newsman Mark Scribner is a metaphor for what has happened to media in the last forty some years. In a sense, it’s a metaphor for what has happened to all of us: distracted, disrupted, disconnected. Print media has been on the decline for generations, much longer than we may care to admit. The internet and social media gobble up our time; slice and dice our information. The role of the professional gumshoe reporter has been virtually squeezed out of existence. So, when we now demand those voices “speaking truth to power,” we often simply resort to gorging on opinions we feel most comfortable with, often originating from corporations more than happy to keep us stoned on infotainment.

All bets are off.

Alright then, someone like Mark Scribner can’t afford to be the good guy anymore. Scribner is a highly-trained media animal. If he can no longer play by the rules, then he knows of ways to manipulate and exploit news and world events–and become wealthy and famous in the bargain. It all adds up to a delicious read. This is a story fueled by zeal and tempered by two seasoned storytellers. Ted Rall’s writing and Pablo Callejo’s art brilliantly provide the reader with a brash and authentic political thriller. Highly recommended. Seek this out.

For more details, visit NBM right here.

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Review: TEDDY by Laurence Luckinbill and Eryck Tait

TEDDY

Teddy. written by Laurence Luckinbill.  illustrated by Eryck Tait. Dead Reckoning. 176 pp. 2021. $24.95

Theodore Roosevelt (1858-1919) is ranked among the top U.S. presidents. Reasons for this include decisiveness, activism, and leadership. For even a casual observer, many people will easily recognize the hearty Teddy cheerful command: “Bully!” For me, as a precocious kid interested in history and politics, I instantly gravitated to the Roosevelts, and the two iconic presidents, FDR and TR. Only a handful presidents become so ingrained in the public mind to be known by their initials! FDR, even today, cannot be ignored, given his fundamental influence in steering the country through the Great Depression; introducing such landmark programs as Social Security and the Securities and Exchange Commission; and, of course, being a world leader in determining the outcome of World War II. FDR aimed to follow his cousin TR’s lead. Theodore Roosevelt did not preside over a war or an economic collapse but, nonetheless, TR was a most consequential president. TR’s presidency (1901-1909) was about grand progressive accomplishments like creating the Food and Drug Administration and the National Forest and Park Service. With that said, with Presidents Day upon us, it is a pleasure to share with you this recent graphic biography of Teddy Roosevelt.

Page excerpt from Teddy

This graphic novel originates from the author’s one-man stage show, Teddy Tonight. Laurence Luckinbill is a stage actor and writer known for his one-man shows of Teddy Roosevelt, as well as Ernest Hemingway, Clarence Darrow and Lyndon Johnson. Luckinbill’s script for this book adapts his stage show in words while Eryck Tait further condenses with his artwork. By anyone’s standards, this is a remarkable book, and while this is quite suitable for high school students, it can certainly be enjoyed by fans of history, theater and graphic novels in general. From the examples on view here, you can see that Eryck Tait has done an admirable job of following Luckinbill’s script. It’s a highly economical and functional style, clear and crisp. You don’t need any additional flourishes for a book like this. You are better served to stay concise and practical.

Page excerpt from Teddy

Given that this is coming from a one-man show, we have TR addressing a theater. He is now a former president there to review his life and times and comment on the news of the day. It is July of 1918, Woodrow Wilson is in the White House, and World War I is still raging. TR has received word that his son Quentin’s plane has been shot down in a dogfight over France. Ask any playwright or dedicated theater-goer and they will tell you that there are no limits to what can be done on the stage. It is as limitless as one’s imagination. Ask any cartoonist or comics fan and they will tell you that there are no limits to what can be done in a graphic novel. So, given that this book is a byproduct of the theater and of comics, you say can you’re getting the best of both worlds. Comics, by its very nature, is a creature of concise language, so you get a steady roll out of time and place, which is most fitting for a book focusing on history. And you also get the nicely composed scenes needed to tell a personal story as this is as much biography as history.

Page excerpt from Teddy

Teddy Roosevelt, creator of the  modern American presidency and the bully pulpit, is a source of endless fascination. No one book will tell the whole story and that only seems right for such a larger-than-life character as TR. Theodore Roosevelt himself wrote nearly 50 books, from lengthy accounts on The Naval War of 1812, published in 1882; to four volumes on The Winning of the West, published in 1896; to his final book, Theodore Roosevelt’s Letters to His Children, published in 1919. So, how about a “picture book,” as he might have called it, about his life and times, based on a stage production, published in 2021? Well, Teddy would probably find that very agreeable and give it a hearty, “Bully!”

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Review: GUNNING FOR HITS

GUNNING FOR HITS

Gunning For Hits. writer Jeff Rougvie. artist Moritat. color/lettering Casey Silver. Image Comics. Portland. 2019. Collected trade, $16.99.

David Bowie has been the subject of a number of comics over the years but nothing quite like this. The character of Brain Slade is the thinly-veiled stand-in for Bowie in this unusual mashup/satire of the music industry and crime fiction.  The creative team behind this book is as compelling as this quirky thriller. Writer/music producer Jeff Rougvie is brash and larger-than-life. Artist Moritat seems to strike a similar pose. And Casey Silver, in charge of lettering and coloring, rounds out the bad boy trio. Just the right guys for the job. As I learned from Silver, during an interview, Moritat fits the bill as the mysterious dark figure, the guy at the bar creating intricate drawings of fire-breathing dragons on a cocktail napkin. As for Rougvie, this guy actually lived the whole rock star lifestyle and has survived to turn it into comics. It was Rougvie who created a significant Bowie CD box set. In fact, it was Rougvie who invented the whole CD box set format to begin with. So, this book’s authentic vibe is well-earned.

The tangled web of power and fame.

It is no spoiler here to say that the book involves a lot of guns and a lot of shooting. The premise is that music producer Martin Mills is leading a double life that gets in the way when he’s put in charge of seeing his favorite rock legend, Brian Slade (the fictional stand-in for David Bowie), make a comeback. Set in the 1980s New York City music scene, the gritty world of show business meets the crime underworld when Mills must confront his checkered past. Caught in the crosshairs is Brian Slade. As push comes to shove, it seems that a dead Slade might be more valuable to all concerned than a live Slade. The drama involved is something Bowie would have approved of. This is a wonderful fly-on-the-wall look at the tangled web of power and fame. The music industry and the crime world have plenty of that. If you’re looking for something completely different, then a crime thriller starring David Bowie should satisfy you. Well, it’s not exactly David Bowie, but close enough.

Power chords and power plays.

So, tough guy narrative meets tough guy artwork. Moritat delivers with gestural and pared-down work that evokes urgency and overall chaotic/neurotic energy. This is a fun and rollicking book full of power chords and power plays.

Be sure to visit the GUNNING FOR HITS site right here.

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Review: MONGREL by Sayra Begum, published by Knockabout Comics

Mongrel by Sayra Begum

Mongrel. by Sayra Begum. Knockabout Comics. London. 2020, 264pp, $21.99

In Mongrel, Sayra Begum presents the reader an honest and in-depth look at a Muslim family from Bangladesh. Begum takes a very straightforward, blunt, and fresh approach to issues of race, gender, class, and religion. At the heart of her story is the conflict that the protagonist must navigate as she straddles two worlds coming from her mixed-heritage background: Bengal Muslim on her mother’s side; British-Anglo on her father’s side. In Islam, it is understood that a Muslim man can marry a non-Muslim woman. However, it is forbidden for a Muslim woman to marry a non-Muslim man. And yet this is exactly what happens in Begum’s story. Shuna is the daughter of such a forbidden union. When history is set to repeat itself with Shuna determined to marry David, a non-Muslim man, it is Shuna’s mother who is at the center of the conflict, making unfair and impossible demands upon her daughter.

Drawn is a style that evokes a dream-like sketchbook come to life, the reader is swept up into the immersive world of Mongrel. What strikes me about this graphic novel, what makes it remarkable, is its authenticity, commitment, and vision. It is not often that we, as general readers, have an opportunity to become privy to the everyday life of a Muslim family in such an accessible format as a graphic novel–even though there are well over a billion followers of Islam. With all the heated talk about diversity and inclusion on the table, it’s ironic. That said, we can all be grateful for this insightful work.

Now, let’s allow the book to speak for itself with some samples and quotes from the pages of Mongrel

“The front door of Shuna’s family home acted as a gateway to Bangladesh. Nothing haram passed through this door, this was a devout house. When Shuna walked through this door, she switched her rebellious face to her pious face, which eagerly absorbed the teaching of the Prophet, striving to be a good Muslim girl. The switching between these two faces became increasingly difficult as they grew further and further apart.”

“‘Yes, yes, yes I’ll marry you!’ I said to David. Although, after the celestial shock wore off and dull reality set in, I realised there was a slight problem. I would have to tell my very traditional parents that I was going to marry a non-Muslim and confess my secret life.”

“It’s my wedding day. My parents are absent.  I’m not surprised. Why would my parents want to celebrate their daughter being damned to an eternity in hell fire?”

Ultimately, Begum keeps it real. People are not saints. They can be very contradictory and self-destructive. They can also find a way out and to a healthy place for self-reflection. We are embarking upon a new cycle of calling out authority and demanding all sorts of change. What we mustn’t forget is to dig deeper and calmly remove the obstacles that lead to someone being seen as the Other or as the mongrel. Sayra Begum’s graphic novel is a step in the right direction. As I stated earlier, we don’t often have such a window specifically into the Muslim world. But you can also say that these kind of gems only come around every so often. I think of such landmark works as Blankets, by Craig Thompson, which dissects a Christian upbringing; and I think of Persepolis, by Marjane Satrapi, the last great work to take an idiosyncratic look at any religion in a significant graphic format. These gems take time and they come along it their due time. Now is a perfect time for Mongrel.

A note, especially to readers in the United States: you can find Mongrel at Amazon right here.

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Use My Voice | The Revolution of Cassandra | Eric D. Howell

Cassandra is on the rise. Viva la Revolution!

The Revolution of Cassandra

Go check out The Revolution of Cassandra for an unusual new work in comics. Here is a quirky story covering some serious subject matter. It reminds you of the fundamental need of making your voice heard. We can take that too much for granted in the United States. Just imagine what it’s like in parts of the world where the government is actively involved in keeping its citizens docile. Filmmaker Eric D. Howell is a fascinating storyteller dude–just the sort of creative person to lead the way with this audacious graphic novel, with Hollywood flair. Howell got into the entertainment business as a stuntman and, through determination, has risen up the ranks to movie director. You may know him from the 2017 Emilia Clarke movie, Voice from the Stone. By any measure, Howell’s career path is an impressive one.

USE MY VOICE by Amy Lee of Evanescence

Enter The Revolution of Cassandra, Howell’s new tale of adventure and idealism about two very different sisters, Moira and Cassie, and how they stumble into a civil war and perhaps lead a revolution. As I say, Howell’s new graphic novel has a very cool Hollywood connection. For starters, Howell is a well-liked and well-connected person. One of his friends is a very cool musician you may know. The Revolution of Cassandra served as an inspiration for Howell’s friend and Grammy Award-winning musician, Amy Lee of Evanescence, as she was writing her band’s new song, “Use My Voice.” The song’s video, directed by Howell, has been viewed more than two million times on YouTube since its premiere in late August.

Cassandra’s toes know the earth.

A few more words about this graphic novel. If you’re looking for an immersive work with a true cinematic look and feel, then The Revolution of Cassandra is for you. It is a mature work in the sense that adults will enjoy it for its more adult and sophisticated sensibility. It’s not for kids, per se. Let’s go with teens and up. This is set, after all, in a very gritty backdrop. There are rough men wandering about who are prone to pushing around women, if they can. That is, unless they’re confronting Moira and Cassie. Overall, there’s an earthy and authentic vibe running through. Moira is more reckless. Cassie is more the Earth Mother with her bare feet, or in Birkenstocks, solemnly gauging the environment.

The Revolution of Cassandra

Now, imagine attempting to stand out at a truly significant comics convention, like Comic Con in San Diego. Well, this is where brand sharing helps. Howell has partnered with Republic Restoratives Distillery and Craft Cocktail Bar in Washington, D.C. to introduce Purpose Rye. Purpose is the first single barrel expression from Republic Restoratives Distillery and is a limited run of only 100 barrels. This 95% rye mash bill has been aged in American oak for nearly five years, imparting rich notes of caramel, spice, hints of smoke and cocoa nibs. Every bottle of Purpose Rye sends a donation directly to Fair Fight Action which protects free and fair elections around the country. Purpose Rye is available for order online via Schneider’s of Capitol Hill in Washington, D.C. Twin Cities bartenders will be mixing Cassandra inspired cocktails this month to inspire customers to use their voice” to support the social causes that matter to them. For Cassandra cocktail recipes, follow @revolutionofcassandra on Instagram.

Under the right circumstances, and responsibly, alcohol and comics do mix.

It was a lot of fun chatting with Howell and you can check out our conversation by clicking below:

The first chapter of The Revolution of Cassandra is available now for you to view for free.

Eric D. Howell, storyteller

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Review: THE COMPLETE HATE BOX SET, published by Fantagraphics

The Complete HATE!

The Complete Hate Box Set. by Peter Bagge. Fantagraphics, Seattle. 938 pp, $119.99.

A great way to savor or discover the work of cartoonist Peter Bagge is the new collection, The Complete Hate Box Set, published by Fantagraphics Books. Peter Bagge is indeed a significant cartoonist, and one of the bright lights that led me to Seattle back in the early ’90s. Like so many, for me, a copy of Hate comics was a perfect companion while sipping a latte at Caffe Vita, downing a beer at the Comet Tavern, or anticipating a show at the Re-bar. It was a time to see and be seen and, no doubt, to mock your fellow hipster. And few, if any, did it quite as well as Peter Bagge in his ultra-satirical comic book series featuring the ultimate malcontent, Buddy Bradley.

HateBall tour poster by Peter Bagge and Daniel Clowes, 1993.

With hindsight, Hate seems like the perfect comic to encompass this whole grungy era. The title alone sounds like a timeless tribute to callow youth. But as Bagge explains in the introduction to this collection, nothing was so smoothly planned in advance, including the title, which only came about sort of by accident. It wasn’t as if Bagge had set out, without a care in the world, to be a successful satirist. First, Bagge slowly but surely developed Neat Stuff, a comic based upon his own family growing up. His main character, Buddy Bradley, was loosely based upon himself. And, as luck would have it, a somewhat older Buddy was right in step with a whole new zietgeist and would go on to take a prominent spot in the new wave of alternative comics of the 1990s.

HATE #1, 1990.

Hate has its own loopy specificity, a zany quality built from Archie Comics, MAD Magazine, and all manner of underground comix. It was to be Bagge’s answer to the hegemony of the ’60s counterculture. And it was to be more than just a comic from the halcyon days of Generation X. It has moved past that and entered a new phase where it can take a rightful place among the best in comics. It does this by simply being something exceptional in terms of style, consistency, and inventiveness.

The unreal meets the real in a run-down Seattle apartment.

You can say that Hate is a prime example of an excellent comic willed into existence by a very determined cartoonist. And the best test of that is how it grabs the reader. As I progress from one panel to the next, I am struck by the energy and vision on display. These are very loopy characters, out of reality in an uncanny way and yet what they say rings true and sounds like the sort of kooky youthful insights and outbursts going on in very real taverns, night clubs, and shanty apartments. In other words, Hate shares all the characteristics of some of the very best that comics have to offer. Hate lampooned Seattle hipsterdom while also being a part of it. Not an easy thing to do unless you’re focused and persistent. And, perhaps most important of all, don’t take any of it too seriously to begin with.

The Complete Hate Box Set is available as of December 1, 2020. For more details, visit Fantagraphics Books right here.

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Review: ONE STORY by Gipi, published by Fantagraphics Books

One Story by Gipi

One Story. by Gipi. Fantagraphics Books. Seattle. 128pp, $22.99

Gipi is one of the great cartoonists. His approach is to treat the page in a heroic fashion, as both canvas and stage, employing a variety of techniques and styles. In one work, he will typically shift from loose sketchbook line drawings to haunting panoramic watercolor panels. We see this kind of work in the States but we see even more of this in Europe. Gipi is part of that Italian breed of cartoonist who sings for his supper through fierce and daring visual storytelling. I was rifling through a stack of books and papers just the other day and Gipi’s The Innocents nearly hit me on the head. I took that as a sign. It is a story about lost youth and their comeuppance. That title was part of an amazing Ignatz collection published by Fantagraphics. A title that is currently on my radar is One Story, also published by Fantagraphics and one of the most ambitious works by Gipi that I’ve come across.

Gipi commands the page like a canvas or a stage.

Any artist, or magician worth his salt, is a master of illusion. Any given number of strokes of ink or paint on the page may seem marginal or of undetermined worth–and sometimes they don’t seem to quite add up! There are times when no one notices any of these potentially perceived mistakes or accidents that require further reflection. Or the culmination of all these marks does add up without much doubt but it still doesn’t seem to meet some fickle taste. Only a determined, persistent and consistent effort will ultimately win the day and that is what Gipi does. He’s the one who is constantly drawing. He is a cartoonist who unmistakably acts like any other artist, whatever the medium. And, in the process of all that problem-solving, a universe emerges. In the end, he can make it look easy. Ideally, and in general, you want all the elements on the page, even the splotches and rough gestures, to simply read as part of the narrative. Each mark belongs on the page. Gipi has the temperament and the confidence to pull that off.

Gipi, cartoonist as visionary artist.

Going hand in hand with a heroic attitude to mark-making is the actual script to which Gipi runs with as if his very life depends upon it. These sort of stories are the ones that need plenty of room to run, as they are larger-than-life stories about life! The reader can ease up on applying cold logic and allow the tale to cast its spell. For most readers, this will not be a problem at all. We begin in the present. Gipi charms the reader with his overwhelming sense of weltschmerz. Gipi shows us that the older you are, the less you can acknowledge your age when facing the mirror. An aging beauty can only see through a vintage lens. Cut to our main character, a former fiery rebel who is not aging into the perfect Lothario he intended to be.

Just drive off in a Maserati.

Next, our aging rebel finds a kindred spirit and they drive off in a Masareti. Remember, the plot is going to keep shifting. So, our main character is one Silvano Landi. It turns out that Mr. Landi is under heavy medication in a psych ward. He is drifting in and out of recollections, all very lucid and vibrant as hell. What Silvano sees, we see. A team of professionals are determined to keep Landi nicely sedated with increasing amounts of Bituprozan, in keeping with their standards, in order to address his “Schizophrenia with Monomaniacal Obsessive-Compulsive Behaviors.”

“A bare tree. Why?”

The team is both impressed and bewildered by a series of drawings Landi has done of a service station and a tree. They admit the work is dazzling but it is also so clearly out of the norm, and most disturbing. God help any artist at the mercy of psych bureaucrats! As for Landi’s request to go outside, well, the team won’t tolerate that at all. Silvano Landi is a famous writer, after all. He must get the most careful and strict of treatment.

Navigating a psych ward.

The story now takes a determined turn. We move over to Landi’s great-grandfather, Mauro, and the trenches of World War I. From here on out, we alternate between Landi, Mauro and all points beyond. As you’ve come to appreciate from this writing, this is all pure Gipi! Ah, and this is where the plot thickens as we venture off into geopolitics and so much more. It is absolutely not my intention to go over every plot point but, instead, to give you a good generous taste.

A tree grows at the end of the world.

My goal in a post like this, as always, is to provide you with a guided tour, part of my exploration of the most provocative and challenging works in comics. I happen to relish expressing myself in well-chosen words and this exceptional work inspires that effort. Keep in mind, Gipi is not exactly alone but he’s also definitely among the very best auteur cartoonists. If you had only one cartoonist to read, Gipi will win you over on many levels. None the least is, again, that deliciously melancholic sense of raw and jaded sophistication–and exhausted experience.

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