MIRROR is a real beauty of a comic with such an effortless way about it. The work, both the writing by Emma Ríos and artwork by Hwei Lim, dance upon the page.
Very graceful use of space. You get that sketchbook feeling of uninhibited freshness.
All you really need to know is that this is a strange and mysterious world. And some exotic and majestic animals are being held captive to further the ends of an evil entity.
All in all, one of the most magical comics you will find right now.
The first issue of this new ongoing series is available now. For more details on MIRROR, visit our friends at Image Comics right here.
There was a time when comic books and graphic novels seemed like old-fashioned forms of fiction and entertainment. However, thanks in large part to a modern film industry that’s become obsessed with adapting these comics and novels, a whole new generation has become attached to them. Really, it’s been a gradual but fascinating development in popular fiction.
It begins with the films themselves. Since Iron Man debuted in 2008, the movie industry has been utterly dominated by superhero cinema. The Marvel Cinematic Universe now consists of over 10 films and will only grow larger in the years to come. This article reveals that the upcoming Avengers: Infinity War (due out in 2018) will include a whopping 67 characters from Marvel Comics. And it’s not just Marvel bringing comics to life on the big screen. DC Comics adaptations provide regular competition, and there have even been other prominent examples not related to the two publishing giants. For instance, popular 2010 superhero comedy Kick-Ass was based on a comic published by Icon (which to be fair is a Marvel affiliate), and movies like Sin City and 300 were based on Frank Miller works published by Dark Horse Comics. All of these films have helped to spark a renewed interest in source material among modern fans.
It’s also become particularly helpful that a number of the most prominent superhero movies have been based on very specific comics or graphic novels. For example, while a given Spider-Man movie might pull elements from several different comics and origin stories, some projects have essentially adapted screenplays from individual editions. This list ranked Frank Miller’s 1986 novel The Dark Knight Rises as the single best graphic novel out there, and millions of fans have now come to know it nearly 30 years later through the film of the same name. Likewise, Marvel has seemingly made a clearer effort to connect its own movies to specific projects. The aforementioned Infinity War movie will be based on a six-issue series of comics published in the ’90s, and this spring’s Captain America: Civil War actually pulls its story from one of the more modern chapters of Marvel lore, published in 2006-07. As long as movies remain so deeply rooted in comics, they’ll continue to spark new interest for younger generations.
But it’s not solely the movies that are helping to spread the word about some of the great comics and graphic novels out there. The gaming industry has also played a major role, largely through famous console-based titles like those in the Arkham Asylum series (which took its inspiration from a Grant Morrison graphic novel). But other areas in gaming have embraced the popularity of comic book characters, and in doing so helped to reach out to alternative audiences. This site is best known for catering to fans of casual casino games through offering a range of bingo, roulette and poker options to suit the genre. However, it’s also expanded to include slot and arcade games that invoke images and character names from popular comics and graphic novels. Iron Man and Batman are directly used, an “Amazon Queen” game implies a Wonder Woman connection, and even the Spartan 300 are used as thematic material for a game.
And then of course there’s the outreach to young kids, which is done differently now than in decades past. When comics and graphic novels originally rose to relevance, it was at least in part because there just wasn’t as much visual entertainment available. There was no regular television or film content, let alone any fit for children. Now kids have all kinds of other ways to entertain themselves, which means comics and graphic novels have lost what once may have been their greatest advantage. Still, there are a number of ways in which these characters and stories have been made available and appealing to kids.
Perhaps the most noteworthy development is LEGO’s partnerships with Marvel and DC to create gaming content that brings characters and storylines to life in a cartoonish manner. But on a more straightforward note, we’ve also seen comics and graphic novels made available electronically through app developers who recognize their new audience. Kids as young as two or three these days are learning to use smartphones and tablets, and parents now have the ability to load those devices with age-appropriate comic book material over time. It’s essentially modernizing the concept of a comic book.
Through all these developments, we’ve seen comics and graphic novels make a pretty remarkable transition into modern entertainment. And their popularity is only growing greater.
IDW’s graphic novel adaption of Richard Matheson’s classic 1956 novel, “The Shrinking Man,” holds up very well. Ted Adams, IDW’s CEO and Publisher, has written a script that is faithful to the novel and to the unique pace of comics. Mark Torres (Judge Dredd) provides artwork that zones right into the stifled suburban living of 1950s America. Our main character, Scott Carey, cannot cope with his environment in an extraordinary way: Scott is regressing, reverting, literally shrinking away! No more life as husband, father, breadwinner, and symbol of masculinity. He is going, going, gone. Adams says it was a thrill to bring the novel to the comics page and it shows.
Richard Matheson is an exceptionally vivid writer. He has you experiencing every detail, whether it is a man attempting to survive a vampire apocalyse as in “I Am Legned” or a man confronting a demented truck driver as in “Duel.” Whatever it is, you will believe and be on the edge of your seat as you read it. In this case, the Matheson meticulous attention to detail is focused upon Scott Carey, reducing in size by 1/7” per day. The story alternates between the early stages of Carey’s condition and once he’s near the end, stuck in a cellar, and easily food for a spider.
This book includes an introduction by Peter Straub and an afterword by David Morrell. I read the singles which included Morrell’s afterword which explores the novel’s existential underpinnings. Morrell discusses the 1942 philosophical essay, “The Myth of Sisyphus,” where Camus compares daily life to eternally pushing a boulder around a dial. The essay was translated into English in 1955 and Morrell considers if Matheson may have read it. If not, then perhaps it was one of those concepts in the air. And, most certainly, existential ideas were not foreign to Matheson.
I believe that Matheson did not care for being labeled a genre writer at all because of how the term is lobbed at writers in a pejorative sense. What the Morrell afterward makes clear is that Matheson was working at a sophisticated level no matter what you call his writing. According to Morrell, Matheson was breaking new ground by including existential themes in a mainstream novel. On top of that, Matheson’s narrative structure, with its flashbacks within flashbacks, predates widespread use of metafiction techniques by some thirty years.
I believe that to label Matheson as a genre writer is very problematic. The actual writing in the 1956 novel, “The Shrinking Man,” is not particularly elegant, per se, but that can be said of any number of so-called “serious” writers. That said, even at this early stage of his career, Matheson does reach lyrical heights. In fact, Matheson reaches a perfect hard-boiled, yet metaphysical, pitch with this novel. Ultimately, as IDW’s Ted Adams states, reading Richard Matheson is time well spent.
THE SHRINKING MAN has recently been collected into a 104-page trade paperback, priced at $17.99. For more details, visit our friends at IDW right here.
You can also get the complete 4-part series through Amazon right here.
Fantagraphics Bookstore & Gallery, in Seattle, celebrates its 9th anniversary in wild style with the Cheech Wizard Show, Mark Bodé, Laura Knetzger, and more! A festive holiday gala takes place Saturday, December 12, from 6:00 to 9:00 PM marking the debut of Cheech Wizard’s Book of Me featuring a fabulous show of tributes to the alluring art of the late Vaughn Bodé and a rare reunion of his extended family.
The very first comic strip of Cheech the Wizard was drawn by Vaughn Bodé on a series of notebook pages in 1957. As the legend goes, the famous underground character came to Bodé as he contemplated a can of chee-chee nuts. Cheech the Wizard would go on to become a big player in underground comix celebrating sex, drugs, and rock ‘n’ roll. He was a Pogo for a mature audience with a similar whimsical quality masking a subversive humor. Which leads us to Cheech Wizard’s Book of Me which collects the best work of Vaughn Bodé along with a cavalcade of extras. The forward is by his son, Mark, who has carried on the tradition with his own take on Cheech and his pals.
And if the holiday gala weren’t enough on Saturday, you are welcome to return on Sunday for a book release party for Laura Knetzger’s Bug Boys Volume I. That takes place from 1:00 to 3:00 PM.
Fantagraphics Bookstore & Gallery is located in Georgetown at 1201 S. Vale St. For more details, visit our friends at Fantagraphics right here.
Wonder Woman. How well do you know her? What I love about this new book from Insight Editions is how accessible this great American icon has been made. Writer Matthew K. Manning and illustrator Paul Bulman have explored everything you’ve ever wanted to know and some things you may have thought you knew.
Each and every aspect of Wonder Woman triggers a new story. This book is all about sticking to canon. Manning does this by having Wonder Woman speak for herself in journal entries. For instance, we get a firsthand recollection of her growing up in Themyscira. Just to set the record straight, Wonder Woman explains, that whole thing about her being formed from clay was just a ruse. Her mom was having an affair with another god. Being born from clay sounded like a good idea at the time.
Think of this as a guidebook in a picture book format. There is a level of sophistication here that will appeal to fans of any age. Manning maintains an engaging conversational tone while peppering his narrative with bona fide comics facts, as in describing how Wonder Woman joined the Justice League; as well as integrating Greek mythology as in comparing superhero secret identities with Zeus incognito walking amongst mortals.
The beauty of this book lies within its crisp and concise structure. Add to that Bulman’s dynamic artwork, and you have a truly informative, entertaining, and compelling book. I leave you with one last example. Any fan will appreciate the four-page spread featuring all the gods in Wonder Woman’s orbit from the New 52 DC Comics universe. Very impressive for fans and casual readers alike.
“The World According to Wonder Woman” is published by Insight Editions. This is a hardcover 64-page book in full color priced at $16.95. For more details, visit Insight Editions right here.
“Kayfabe” is the unspoken understanding between the audience and pro wrestlers to suspend disbelief. You never have to question what goes on in the ring. But what pact do pro wrestlers make amongst themselves and each other? This is part of what is going on in RINGSIDE, a new comic published by Image Comics, by writer Joe Keatinge (SHUTTER) and artist Nick Barber. Rounding out the creative team is colorist Simon Gough and letterer Ariana Maher. This is a unique behind-the-scenes look at the world of pro wrestling in the form of a noir tale which kicks off, in this first issue, with our getting to know ex-champ Dan “The Minotaur” Knossos.
In the spirit of a shaggy dog gritty story by Ed Brubaker, Joe Keatinge’s script begins with Dan as he makes his way to right some past wrongs. He’s like on a mission from God; nothing will stop him. We see him uproot himself from a relatively good position in Japan hellbent for San Francisco. Dan is now of a certain age. At this point in his career, he is best served if he was a mentor or, even better, if he just gracefully walked away. But this is a messy situation that is only going to get messier. Just what we want.
Nick Barber has a very accessible style. It reminds me a bit of Box Brown’s approach: pared down to the basics. Brown especially comes to mind since he did a tremendous book on pro wrestling a few years back. His tribute to Andre the Giant set the gold standard as far as I’m concerned. You can read my review of ANDRE THE GIANT: LIFE AND LEGEND right here. Barber has that same energy running throughout RINGSIDE.
This is a comic with a cinematic quality keeping to a steady pace. I especially enjoy the conversations here that involve some creative back and forth between poses and background and never gets caught in the rut of talking heads. The dialogue and composition won’t allow for that. This first issue offers a lot of intriguing possibilities. Dan is clearly a cut above the typical aging ex-wrestler. And he is also clearly over his head with what he plans to do next.
RINGSIDE #1 is available as of November 25. For more details, visit our friends at Image Comics right here.
And God saw that the wickedness of man was great in the earth, and that every imagining of the thoughts of his heart was only evil continually.
And it repented the LORD that he had made man on the earth, and it grieved him at his heart.
–Genesis 6:5-6
THE GODDAMNED is a bold comic indeed, a Biblical noir series from the creative team that brought you SCALPED, writer Jason Aaron and artist R. M. Guéra, with the addition of artist Giulia Brusco.
It is 1600 years after Eden and the world has gone the way of Mad Max. An Adonis emerges, nude and unmarked, from a pond of shit. A little maundering boy peppers him with questions about why he has no scars and how he could survive violent torture. The young man, who turns out to be Cain, just keeps walking, all the way back to his tormentors, the Bone Boys. Off to a very good start.
The artwork is eye-poppingly good, all gritty Western noir. What happens next is that we find that Cain makes for a great, maybe even better, Conan. Although I can imagine Biblical devotees perhaps scratching their heads and waiting to see if things go too far. Well all these things considered, this looks to be a refreshing tale that no one should seriously have a problem with. It may be set in a Biblical landscape, but from there it takes off into its own world.
True to all the promotion for this comic, THE GODDAMNED delivers a satisfying read. There’s a good portion of it that is wordless and that makes for some perfect extended scenes. You’ll find some of the best compositions depicting action here. And I put it mildly when I say, action. Cain knows how to kick ass.
THE GODDAMNED is available as of November 11th. For more details, visit our friends at Image Comics right here.
Ever since its publication in 1986, it has developed a cult following. It’s been out-of-print in English for 30 years. And THE MAGICIAN’S WIFE has not lost any of its magic. This is a prime example of what is possible in comics in the graphic novel format. Thanks to Drew Ford and Dover Publications, it is back! As your guide through comics, I strongly recommend that you put aside everything, your morning coffee, your late-night rendezvous, whatever, and seek this book out. It will change your life.
THE MAGICIAN’S WIFE by François Boucq and Jerome Charyn
All these French masters who took an American art form, the comic strip, and transformed it into the graphic novel: Bilal, Boucq, Blutch, Tardi, Masse, Liberatore, and Loustal. I was in Paris in that heady time, circa 1988, and I most vividly recall as a very young aspiring cartoonist and writer that something very different and exciting was happening. In that same year, Drew Ford, as a youth, would stumble upon a copy of “The Magician’s Wife” in a secondhand shop in upstate New York. Drew Ford would go on to see that book get a proper reprint at Dover Publications after being out-of-print in English for oh too long. So, what is so exciting, and magical, about this particular comic? Well, it speaks to that desire for a truly ideal and satisfying entertainment. It manages to actually realize that dream of a comic that is perfect down to each and every panel. A fantastical story that strikes you with its poetry and poignancy. And there’s supernatural things going on to boot. Rita, the magician’s wife, could quite possibly be a werewolf.
Our story makes its way to New York City.
Much in the irreverent and artistic French spirit, this is a story that simply is. In some sense, is it both a complex and straightforward visual treat. It is also a splendid work of surreal, absurd, whimsy. And, in the end, it is a very well-structured, undeniably tightly-knit story. It feels like a dream that goes on forever and yet you sense that it is also quite a lean and determined piece. Silly, fun, but also deadly serious. Full of symbolic impact. With a squarely-in-the-eyes shot to the deepest recesses of your mind. Graphic novels come from the city and this is very much an urban story full of gritty elements. Yes, this definitely has mature content. But, like in the best work of this kind, there is a certain level of restraint that makes this suitable for young teens and up.
Verbone continues to track down clues.
Edmund, the magician in this story, is a cross between an amazing wizard and a cowardly ne’er-do-well. It is a struggle that will consume him and those that come into his orbit. Things move at a relatively steady clip in a work of comics. However, there a number of reasons to slow down the pacing: to convey a mood, to reinforce an idea, to thoroughly establish a setting. This comic manages to keep things moving while seeming to have all day to do it and all in a tidy 82 pages. I maintain that a comic need not run longer than 80 or 100 pages. You find your sweet spot and you don’t need to pad things up.
Edmund futilely attempts to show everyone who is boss.
Consider the above page. Not too much obvious movement but you can quickly sense a rapid energy at work as well. This is a pivotal moment for Edmund: he is momentarily in full control and in the process of consolidating his position, and then he must confront a huge setback and a taste of what’s to come. We first find him emerging from a restful pose; then a full-figure attentive pose; followed by arm raised in confrontation; right in the center, an indignant look; his former lover defies him; he escalates the situation; finally, his new lover puts him in his place.
Edmund. Rita, Detective Verbone. Ah, all the misbegotten jockeys from Saratoga Springs. The gals at the diner. The regular group of cops too concerned with hamburgers. And the hoodlums from the Lower Eastside led by the monstrous Ross. And, for an added literary touch, Dolores, a name that keeps floating in and out of the narrative. At varying times, it belongs to someone’s sweetheart, an animal, and a maid. If only Dolores could be pinned down for just a moment, she might have something quite insightful to reveal. But, not to worry, perhaps the jockeys will carve up another horse. And everything rendered in this glorious semi-realistic style that floats along perfectly with great distinction–and such vivid color. Yes, this is it. This is the graphic novel you’ve been waiting for all your life. Get it at our friends at Dover Publications right here.
This is a really fun interview. I feel that I do a very good job of keeping things in play but it ultimately comes down to my subject. Well, Chris Hunt is an excellent subject. With a wonderfully self-effacing sense of humor, Hunt provides a behind-the-scenes look at a young man making it in New York City. He’s tried his hand at acting. He’s gotten to learn at the side of master cartoonist Paul Pope. He’s living the dream. That NYC energy has made its way into his new crime noir adventure, the comic book series, CARVER: A PARIS STORY. Check out my review right here.
So, the main character is Carver, a guy who looks like he just stepped out of a Ernest Hemingway novel. And Carver is up to his eyeballs in trouble and adventure in the same spirit as the comics of masters like Milton Caniff, Hugo Pratt, and Paul Pope. Now, check this out, our cartoonist friend here, Chris Hunt, looks like he just stepped out of a Ernest Hemingway novel too!
Just click below for my interview with Chris Hunt:
“Carver: A Paris Story #1” is published by Z2 Comics and available as of November 11, 2015. For more details, visit our friends at Z2 Comics right here.
It is ingrained in our DNA to thirst for bloody horror. But we generally know when we’re close to crossing the line. I think the comic, PUNCH TO KILL, does an interesting job of going back and forth with teetering towards a bit too much. If you love blood and guts, then no problem. That said, I give a lot of credit to cartoonist Marc Palm for carrying out his dance with death.
There is much said on the subject of horror, particularly movie horror. I don’t claim to really care more than I do. I like what I like. If it has wings, I’ll most likely applaud its flight. If it’s merely sick and disgusting, what can I tell you? This comic really tries my patience but it’s supposed to. In the end, I applaud its quirky humor. It is visually arresting. It’s a solid piece of work.
This is a collaboration between writers Kevin Clarke, Will Long, and writer/artist Marc Palm. I can see that they’re having a lot of fun with various horror and action movie tropes. There’s the tough guy being held prisoner in some dank office. Then, suddenly, he’s had enough, and he goes on a bloody rampage. Now, he’s like an armored tank plowing through one henchman after another. You think you fooled me, the tough dude thinks. Well, think again, sucker! Insert blood splatters on the wall, the floor, wherever you like.
What’s good about this comic is that, despite all the blood and guts, it’s got a good head on its shoulders–all the way up to when it gets blown clean off. Seriously folks, this is what you can file under “highly spirited good fun.”
PUNCH TO KILL #1 is published by Pizza Party Comix. You can find these bloody fiends right here.
