Writer Wilfrid Lupano and artist Paul Cauuet offer up the intricately plotted Old Geezers graphic novel series. You can easily jump into the latest Book 3, “The One Who Got Away,” and enjoy a tale involving family, mystery, and more than a touch of whimsy. It is also a grand ole tale of comeuppance. Could that be for the Old Geezers themselves? Ah, time will tell since this is very much a story about how time can heal some wounds while allowing others to fester.
Antoine and Milsey trying to get along.
If you enjoy quirky humor, especially the sort led by a group of offbeat seniors, then this is the book for you. The Old Geezers are: Antoine, a buttoned-down patrician; Milsey, a old seaman who misses the sea; and Pierrot, a boisterous activist who is lively beyond his years. These guys have chosen different paths but, in the end, each seeks out the other. The one person who helps keep them on track is Sophie, Antoine’s granddaughter. Sophie must look after these guys and, in no small way, look after her little hamlet of Dourdouille. After all, there are sinister forces at play lurking in the shadows.
Pierrot, Fifi, and Baba take a stand!
The most sinister villain in this tale is Garan-Servier Pharmaceuticals. It holds sway over the growth or decline of Dourdouille. And, as Pierrot has found out, Garan-Servier is lobbying the European Union countries to ease up on restrictions on its pesticides. This, in turn, kills millions of bees, wreaking havoc on biodiversity and the environment. The relationship between the pesticide lobby and the EU is an inconvenient truth that, in reality, is all too real. It’s great to see this issue in a graphic novel that both entertains and informs. Readers won’t forget ole Pierrot, in his bee costume, speaking truth to power.
The weight of the world on Sophie’s shoulders.
Paul Cauuet’s light and warm style makes all the characters all the more accessible and compliments Wilfred Lupano’s script. This is a very character-driven tale that is masterfully crafted by this remarkable team. The color by Cauuet and GOM has a uplifting quality to it that rounds out and adds to the story’s pacing. There are a number of twists and turns here and Lupano and Cauuet give themselves the time to explore and to develop. Like a favorite TV show, you can delight in this episodic storytelling. You will want to go back to the previous books as well as await more to come.
“The Old Geezers: Book 3: The One Who Got Away,” is presented by Europe Comics and is available in English thru izneo digital comics right here.
Seattle has a great love for books, film, music, and comics–not necessarily in that order. In fact, all those passions are not mutually exclusive. With that in mind, welcome the new kid on the block, so to speak, The Grumpy Old Man’s Comics, Art & Collectibles. Alan LaMont hails from Rochester, New York and he recently relocated to Seattle and is open for business with a shop that combines his love for comics and for art in general. The Grumpy Old Man is located in the heart of Seattle’s Ballard neighborhood on 1732 NW Market Street.
“A Kiss is Just a Kiss”
This video is a conversation with Alan LaMont, owner of The Grumpy Old Man’s Comics, Art & Collectibles. Alan chats about the store, Silver Age comics, and his new art show at the store opening on Feb 10, 2018 with a Valentine’s Day theme, “A Kiss is Just a Kiss.” Alan knows comics. He’s been a collector since the age of 4. His first big stash of comics put him through graduate school. If you are looking for some classic gems, or seek out some historical context to current titles, Alan has got you covered–along with one of the best comics subscriptions services around. Get your current single comics, graphic novels, and a nearly endless supply of comics collectibles from The Grump Old Man.
“A Kiss is Just a Kiss,” Grumpy Old Man’s February art show opens February 10, 2018. For more details, visit the Lamont Arts LLC Facebook page right here.
On a recent trip to Tacoma, I went to visit my dear friend, Dalton and his family. Our first stop was Tinkertopia. Dalton said it was just the place to go and he was so right. This place has everything in the way of quirky and functional art supplies and curios and such. Well, there’s a very practical and worthwhile side to this. Tinkertopia plays a vital role in the community as it is in the forefront of the reuse and do-it-yourself movement. Much of what is on display and for sale has been salvaged and recycled in some way in order to enjoy a new life as alternate artwork and arts & crafts supplies. Tinkertopia is also a prime location for workshops of all kinds, especially for kids.
As a cartoonist, I was quite taken with the mini-comics on display which, after a closer look, were the results of numerous 24-Hour Comics Day marathons. I am something of an expert of 24HCD, I suppose, as I’ve been creating comics during that event for a number of years. It’s always fun to see what comes from these comics experiments. The merry band of cartoonists that congregate at Tinkertopia enjoy a perfectly built-in ecosystem for such endeavors. The books on display are by R.R., that’s short for Rerun (aka RR Anderson), the master of ceremonies at Tinkertopia.
A fine and dandy drawing style by Rerun!
Many comics fans, young and old, are familiar with Rerun’s cartooning antics which feature the Hairy Mermaid. Rerun has as a clean and polished style. His sense of humor is highly irreverent and just a lot of fun. Rerun’s fluid line makes it all looks effortless and graceful. But I can see that he’s put in the elbow grease necessary to have a facile way with drawing trucks and squids flying through space from one panel to the next. A nice crisp style like Rerun’s comes from dedication and a genuine tireless love for the comics medium.
If you have a young inventor in the family, or want to throw a unique birthday party, or maybe need help with recycling, come to Tinkertopia. Founded by two Tacoma artists, Tinkertopia is all about resource conservation in partnership with local industries, educators, and activists. There’s always something on to inspire and to educate. In March, for example, you can take part in a workshop to build Tiny Treehouses and Leprechaun Lairs! There are numerous workshops and events at Tinkertopia that will have something for everyone. Go visit Tinkertopia right here.
And one final note: You want to know more about RR Anderson? Well, he’s the real deal trifecta: a cartoonist, inventor, and author. Check out his book, “The Tacomic.” As he puts it himself: “RR Anderson is one of the most curious alternative political cartoonists in FeedTacoma.com history. He fought bizarre underground beings in the lava tubes of Juneau, Alaska; was wounded by a laser before it was invented; and was a founding father of the Cartoonists League of Absurd Washingtonians (C.L.A.W.). Questions? Seek him out drawing on the sidewalk at Friday’s Frost Park Chalk Challenge in the center of downtown Tacoma. Ultimately his work is about friendship, need and other timeless values.” Visit RR Anderson right here.
The MNT is making a monthly comics newsletter and I’m excited to tell you about it. This is a special place to keep up with the comics industry put together by some of the leading talent in comics journalism. For as little as a one dollar pledge on Patreon, you can read this highly informative and entertaining monthly magazine along with monthly news reports.
As a happy warrior myself, both as a comics creator and freelance writer, I am thrilled to see this particular comics vision realized. The MNT is made up of folks I’ve kept up with over the years. It’s smart of them to band together in this unique format. The team: News co-editor Christian Hoffer is a writer and editor who can currently be found writing extensively at ComicBook.com. News co-editor Vernieda Vergara is a freelance writer and manga critic. Her work can be found at Book Riot and Women Write About Comics. Features co-editor Steve Morris has written for a number of websites, including CBR, ComicsAlliance, and is a former Managing Editor for The Beat. Features co-editor Megan Purdy is a freelance writer and editor, and the publisher of Women Write About Comics and Bleating Heart Press. The Process editor and social media manager Kirsten Thompson is a freelance writer and editor who has contributed to The Frisky, Teen Vogue, Femsplain, Women Write About Comics on topics such as feminism, pop culture, and LGBTQIA issues.
The MNT kicked off its first issue in February, 2017. That first issue included: guest essayist Rosie Knight on her experiences within the direct market pointing out the distribution system’s pros and failings; Steve Morris interviews retailer Ariell Johnson about her first year in the industry and her plans for Amalgam Comics and Coffeehouse; Megan Purdy reviews Adam Rapp and Mike Cavallaro’s Decelerate Blue; analysis on Donald Trump’s unexpected impact on comics; analysis on Marvel and DC’s recent changes in price and digital strategy; and a tribute to the career of John Watkiss.
The MNT team has created a highly consistent publication. And that is saying quite a lot. This is a seasoned group of committed comics journalists who dig deep and know how to deliver professional and compelling content. Each monthly edition features news, interviews, reviews, and guest essays written by some of the best critics and creators in the business. The MNT mid-month News Report delivers breaking news and bite-sized features. Your Patreon subscription goes directly into the pockets of MNT guest essays and staff, ensuring that the MNT can continue to break news and offer critical industry commentary. I’ve become hooked and consider the MNT a reliable source for superior comics commentary and journalism. You will too. Go visit them and see for yourself right here.
Jane is 16 years old and believes that she does not know how to live her life. We can all relate to that–but Jane’s world is far more complicated, set in the distant future where robots are capable of providing human companionship. “The Silver Metal Lover,” the 1981 cult classic science fiction novel by Tanith Lee, was adapted in 1985 into the highly engaging graphic novel by Trina Robbins. It has never been reprinted in any form until now. Drew Ford runs his own imprint at IDW called IT’S ALIVE! and he has a stellar track record for finding gems from the past and giving them a whole new life. A Kickstarter campaign in support of an exciting new edition is reaching its final stages, closing January 5th. Check it out right here.
THE SILVER METAL LOVER by Trina Robbins
This new edition will have a new cover and afterword by Colleen (A DISTANT SOIL) Doran, a new foreword by Gail (BIRDS OF PREY) Simone, and a new intro by Trina Robbins herself. All of this will be printed at 8.5″ x 11, full color, on glossy paper, all tucked inside a beautiful hard cover.
Drew Ford on this very special project:
“This cult classic science fiction romance is an important early example of ‘the graphic novel’ as a storytelling vehicle, telling an intimate story of a young girl’s first love…who just happens to be a robot! We are very honored to shine a light on the brilliant work of the late Tanith Lee. And we are thrilled to be working on our second book with the legendary Trina Robbins! Also, we must send out a huge THANK YOU to Colleen Doran and Gail Simone for coming along for the ride! We hope you will give it a look, and consider making a pledge.”
Many exciting rewards are being offered, including signed copies of the book, exclusive prints from Colleen Doran, sketches by comic book pros, and even original pages of comic book art by Trina Robbins!
This is a book that is sure to please fans of science fiction and comics alike. Visit the campaign right here.
Look in the About section to his website and M. Jacob Alvarez says of himself: “M. Jacob Alvarez is a cartoonist, comedian, and chemical engineer (seriously dude, silly drawings and conspiracy theory jokes don’t pay many bills…)” How true! Well, being a chemical engineer is an astonishingly good place to be if you want to create a graphic novel. Less to worry about or more room to worry about other things–since there’s always something. How about if you’re young and vulnerable? That is exactly the subject matter Alvarez tackles in his new graphic novel, “Chinatown Bus.” It is a heart-felt exploration of hipsterdom–and Alvarez’s irreverence serves him well here.
There’s a certain time in your life when you will not only tolerate, but even revel, in drinking cheap beer from a Solo plastic cup, sold to you at a premium price since you’re in a chic nightclub (which ain’t so chic). There you are under a low ceiling packed in a little sweatbox with a bunch of other scenesters pretending to like a really bad band. So intense! The aim of Alvarez’s 84-page graphic novel is not so much to satirize. More like to bear witness. While not an autobio comic, Alvarez admits in his forward to being very familiar with the struggles of his young characters.
“Chinatown Bus” by M. Jacob Alvarez
Alvarez has a wonderfully energetic and cartoony style that is accessible and inspires empathy with his characters. Lyn is a guy from Philly taking the Chinatown Bus to New York City. He is in a long distance relationship and is sort of feeling stuck. All it takes is a text miscommunication from Kelly, his girlfriend, and Lyn is ready to call it quits. To his credit, Lyn is certain that Kelly has just dumped him. There is a cute passenger he’s been eying and so he decides to confide in her. Jane, flattered to have Lyn open up to her, invites him to hang out with her.
Panel from “Chinatown Bus”
It turns out that Kelly did not really dump Lyn, at least not outright. Alvarez really enjoys setting things up and then lighting the fuse. A fine example is once all three of these characters meet. Jane ends up knocking Kelly out cold. Lyn explodes and unleashes his fury upon Jane. He chastises her. Turn the page and Jane is full-on outraged for being called a drama queen. Three more pages, and we see Lyn’s steady descent, completely alone and deflated.
Page from “Chinatown Bus”
Any reader will enjoy a gritty urban tale about young people trying to find themselves. These characters definitely have their flaws and are prone to hide behind caustic remarks but Alvarez presents it all with a human touch that will resonate with the reader. This is a great example of a cartoonist’s debut graphic novel. Alvarez has successfully followed through on a specific theme and vision.
“Chinatown Bus” is available at multiple comics shops including Philadelphia, Chicago, San Francisco, and Columbus, Ohio. For more details, visit M. Jacob Alvarez right here.
“Colonial Comics” is a trilogy of anthology comics, published by Fulcrum. The first part to the series sets the tone and covers the period known for the Puritans and Plymouth Rock; the iconic Native American guide Squanto; John Winthrop; Cotton Mather; and the Salem witch trials. Editor Jason Rodriguez is highly sensitive to what, for him, amounts to confronting a lot of New England factoids fed to him in childhood. A lot of cartoonists in and around the East Coast can relate to that view and it is this regional zest for fresh insight that powers this series. This is just the sort of book to spark conversation, excite readers of all ages interested in American history, and add a little spice to holiday gift-giving.
“Garden in the Wilderness”
Some fine examples include “Garden in the Wilderness,” story by Matt Boehm and art by Ellen T. Crenshaw. This comics follows the struggles of free thinker Roger Williams to create his own colony of Providence Plantations. He learns the detailed art of persistence despite his outspoken nature. Boehm and Crenshaw work well together in stitching together some very compelling scenes. In the case of Williams, it was a case of political maneuvering. This is in stark contrast to the fate of another free thinker, Anne Hutchinson, who was banished from her home for her strong opinions.
“The Missing Cheese”
Among a number of unusual tales, perhaps the most offbeat is “The Missing Cheese,” story and art by Sarah Winifred Searle. Here we follow the bumpy journey of Mary Huntris who must live down a youthful folly of petty theft. Later, once she is an established member of the community, circa 1675, she must deal with a thief after her own property: a boy who steals her prized packets of home-made cheese. As a woman, she is instantly blamed for setting up the child. If not for her husband defending her, Mary Huntris would have been arrested.
“The Press’s Widow: Elizabeth Glover”
What each story in this series has in common is that, in one form or another, it is addressing how those without power were mistreated, abused, and exploited–which included anyone who was not a white male. And, if not outright hurt, then the disenfranchised could expect less in life. Another moving tale in this book is “The Press’s Widow: Elizabeth Glover,” story by Erika Swyler, art by Noel Tuazon, and lettering by Jason Hanley. Here we follow the journey of Goody Glover. She inherits a printing press that will ultimately lead to publication of a number of celebrated works. But she can only stand by as the men in her life oversee its operation.
“Troublesome Sows”
Another engaging comic is “Troublesome Sows,” story by Virginia DeJohn Anderson and art by Michael Sgier. This comic features the struggle endured by Native Americans as settlers from the New World steadily encroached upon their lands and livelihood. In this case, the settlers have let loose their livestock to a free-range buffet of all the Native American crops. In this wordless comic, we follow the frustrated victims of sows run amok. Finally, in a familiar trail of tears, the Native Americans find no other solution but to abandon their lands.
This book, and the rest of this series, is highly recommended for any reader. “Colonial Comics: New England, 1620 – 1750” is a 208-page trade paperback, in full color, published by Fulcrum Publishing. For more details, be sure to visit the Colonial Comics website right here.
Comics can be discussed in any number of ways. You can try to include everything from comic strips to superhero comics to the latest graphic novels. What the annual anthology Best American Comics does is focus on comics that rise to the level of art that are already coming from some sort of artistic background: boutique publishers, arthouse anthologies, cultural websites, self-published work, and any other art outlets including galleries. The Best American series began with a short stories yearly anthology in 1915. The addition of an annual focusing on comics began in 2006. This was perfect timing as consensus in varied circles had reached a fever pitch that American comics had reached the level of art. And so, here we are with another long look at the comics medium with The Best American Comics 2017.
“Generous Bosom Part 2,” by Conor Stechschulte
When you focus solely on alt-comics (alternative as opposed to mainstream) as representing all the best American comics, that creates an interesting challenge. But, all in all, it ends up being very helpful in sorting out where comics are headed as an art form. It is essential to avoid pitfalls: giving a pass to work that is weak from being self-indulgent, ill-conceived, poorly crafted, or heavy-handed. But we’re looking for the best, right? Comics cannot be held by the hand and protected. It is made of stronger stuff. To try to shield its creators from the harsh realities of life only hurts the very thing you may think, it your position of authority, you are helping. You wouldn’t provide a painter with free room and board and simply expect masterpieces in return, right? That’s not how life works. Anyway, the best work will win out in the end and the best work has got to have some kind of “wow factor.” This collection has plenty of that.
From “Frieze, No. 181,” by Gary Panter
First, be sure to read the introductions by series editor Bill Kartalopoulos and guest editor Ben Katchor, a master cartoonist. To be fair, this is a very dry nutshell of what they have to say but, basically: Kartalopoulos advocates for artist-cartoonists to not hold back at all since their odds of fame and fortune are nil; Katchor, in a series of hilarious satirical pieces, reveals a sensitivity to the marginalized role of cartoonists. To be egalitarian and invite everyone to try their hand at creating comics does, as I suggest, create interesting challenges. Another example: you would not assemble an annual collection of the best American illustration and really spend too much time considering nonprofessionals–nor would you concern yourself over the status of a person in the illustration profession. So, what makes the artist-cartoonist (plus those who aspire to be) so special? You could say that is what makes this book so special since it devotes itself, as well as logic and space can accommodate, to the current state of independent American comics.
From “Communications Workers of America,” by Dan Zettwoch
We begin with a piece by Gary Panter. Here is someone who, by all rights, openly defies any professional standards to the comics profession. Panter’s work is messy: from the clumsy depiction of figures and composition down to the often hard to read hand-drawn lettering. A lot of people do not like a “clumsy” work. However, a lot of people who attempt such a style, don’t nearly come close to the spark and originality in Panter’s work. In “Frieze, No. 181,” Panter has his characters prattle about the current state of art. It’s funny, unique, and totally Panter. In comparison, the next work in this collection is by Dan Zettwoch. Now, here you have a cartoonist who has mastered all those aspects of traditional cartooning: crisp and dynamic depiction of figures and composition right down to intricate highly-polished/professional-grade use of hand-drawn lettering. In his case, if he tried to be too casual and expressive, his creations might become too hard to follow. So, there you have two examples of contemporary indie comics, among a myriad of possibilities.
From “John Wilcock, New York Years, 1954-1971,” by Ethan Persoff and Scott Marshall
If I were to point to only one item in this collection, I would be satisfied with the excerpt from “John Wilcock, New York Years, 1954-1971,” by Ethan Persoff and Scott Marshall. I believe this satisfies the desire of Kartalopoulos to highlight work that pushes boundaries; and it also satisfies a similar inclination in Katchor, to seek out offbeat and unusual work. I find this excerpt especially timely as it focuses on the origins of The Village Voice, which recently had to give up its print edition. In this piece, we follow the misadventures of writer John Wilcock, who actually succeeds by not only skill and talent but by a formidable force of will. He finds himself at the right time and place as one of the founders of the Voice, first published in October of 1955. Wilcock manages to hold his own with tough guy co-founder Norman Mailer. And, among the dazzling people he gets to interview is none other than Marilyn Monroe. This is a very lively work of comics. You can follow it as a webcomic right here.
From “Test of Loyalty,” by Sam Alden
There is definitely something to be said for being completely inclusive about the act of creating comics. We have already reached the point where you can just as easily consider taking a cooking class, or a yoga workshop, or a comics-making workshop. Hey, you can also include improv comedy in that self-improvement list. Do comedians feel that their profession is somehow diminished by having so many amateurs getting into (or attempting to get into) the same game? Nope. Same goes for a whole bunch of other people: writers, actors, and various other artists. Fortunately, you can’t learn some of the basics of becoming a doctor on a lazy Sunday afternoon. The point is that the standards for comics are there and some people will do comics for a certain time while others will be compelled to delve deeper. What a book like Best American Comics does is provide both the practitioner and the reader with a wonderful roadmap and source of inspiration–and, by the way, entertainment and enrichment.
“The Best American Comics 2017,” editor Ben Katchor; series editor, Bill Kartalopoulos, is a 400-page hardcover, available as of October 3rd, published by Houghton Mifflin Harcourt.
Cannabis humor is tricky. The subject comes with its own unique background that easily attracts goofy humor. It can also definitely have redeeming quality. I’m talking about overall quality and craft. In movies, think: Cheech & Chong. Seth Rogen and James Franco. In comics, think: Robert Crumb. Simon Hanselmann. If you are really cool and smart about it, you can succeed with goofy jokes about pot. WEED MAGIC, published by Bliss on Tap Publishing, is a new comic book series that gives it a try. Let’s take a closer look.
Here’s the deal: you are already preaching to the choir when you create a cannabis comic so you really don’t need to overstate your case. That is a big challenge to contend with. And, to be fair, you are also dealing with a variety of opinions and tastes. Some people think Kevin Smith is spot on with his cannabis humor and some think not so much. It does seem that people can get way too caught up in proving that they have cannabis cred and that they’re up for the most wildest of misadventures. In general, less is more. Some people think more is not enough. At first, I was leaning towards this being a problem for this comic. Attempts at going full-on Mary Jane can fall short and feel too generic and calculated. But, after careful consideration, I say this comic grows on me.
Two friends just getting by…
The narrative steadily takes form and the reader can expect to roll with the offbeat humor. This is light entertainment done right. This is written by Brian Phillipson and Jordan Lichtman with art by Alex Cormack. Brian Phillipson is the president and co-founder of Bliss on Tap Publishing. It is easy for readers to take for granted the hard work involved in creating something that falls in the light humor category. But this is a sharp and well-executed smooth read. The dynamic use of color by Cormack is in step with the pace and humor. We’re in good hands down to spot on lettering by Alex Murillo.
…then, one day, they stumble upon a big bag of magic weed.
The story does a good job of playing off the typical superhero origin story. Set in Los Angeles, in Hollywood, we follow two friends as they discover their true destiny. Bunny Cortez dreams of making it big as a filmmaker. Moe Green is more down to earth as a law clerk on a fast track to becoming an attorney. But both of these guys are not happy, at least not as happy as they’d like to be. Until, one day, they stumble upon a big bag of magic weed. Hey, I could see this attracting the attention of Seth Rogen and James Franco or the next wave of talent that aspire to be Rogen and Franco. It could happen. Lastly, we’re just discussing the first issue here. From what I see, I am intrigued and look forward to the collected trade. All in all, a strong first issue. Seek this out.
Rating: 10/10
WEED MAGIC is available as of October 4: digitally on all major distribution platforms, including Amazon, Apple iTunes, Hoopla, Comixology, Google, Scribd, Nook, and Drivethrucomics. And for fans attending New York Comic Con (October 5-8), Bliss on Tap will be featuring WEED MAGIC at booth 945 along with a special collectible.
