Tag Archives: Comics Reviews

Review: THE BLAME by Jon Aye

THE BLAME

The Blame. by Jon Aye. mini-comic. 2021. 22pp. $11.11

This British mini-comic is a low-key rather urbane bit of fun, an excellent showcase for the wry humor of Jon Aye. If you like local color, there is plenty of it in this collection of short works. There’s even one piece that features Matt Hancock, an inept politician on his way to a comeback byway of a role as a UN flunky attempting to scare up business opportunities in Africa, despite the UK’s dismal record in getting vaccines into developing countries. So, in Aye’s Hancock satire, he has the miserable sod sadly lurking about until he perks up by trying out tiresome American slogans on for size.

Continue reading

Leave a comment

Filed under Comics, Comics Reviews, Comix, mini-comics

Paul Buhle Honored by The Progressive

Paul Buhle

Paul Buhle is an eminent historian who, from time to time, graces this site with his writings on comics and related issues. Today it is my honor to direct your attention to a wonderful tribute to Paul Buhle in The Progressive. Here you will find a very useful overview of what Mr. Buhle has accomplished in his lifelong exploration and analysis of progressive politics–and how he’s incorporated his work into the comics medium. Paul Buhle’s contributions are essential!

Continue reading

Leave a comment

Filed under Comics, Paul Buhle

Review: ‘COVID Chronicles’ published by Graphic Mundi

COVID Chronicles. edited by Kendra Boileau and Rich Johnson. Graphic Mundi. 2021. 296pp. $21.95

COVID Chronicles is a unique comics anthology, a testament to the collective response to COVID-19. The comics medium is exceptionally well-suited to convey, evoke and process the massive tangle of information and expression involved. We often say that comics is known for superheroes. However, on an even grander scale, comics is known for being a communication and educational tool able to make it possible to see the forest for the trees. This remarkable anthology was put together during the first half of 2020. We were lost amid the trees then and we’re still finding our way today. As a comics creator, I fully appreciate the challenges for a book like this to stay on point. I have seen countless comics anthologies and the biggest stumbling block for such an endeavor is a lack of consistency and vision. And then we have those gems that prosper because of a clear and compelling purpose. This is such a collection.

Continue reading

4 Comments

Filed under Comics, Comics Reviews, COVID-19, Graphic Medicine, Graphic Mundi

Review: HELEM by Stanley Wany

Helem. Stanley Wany. Conundrum Press. Wolfville, Canada. 2021. 240pp. $20

A work of comics will sometimes go from one form to another and such is the case with a couple of titles by Stanley Wany. Agalma (2015) and Sequences (2017) were both published by Trip which have recently been combined, with added material, into Helem, published by Conundrum Press. So, two works have been combined into one which is fascinating given what seemed to me to be open-ended options in two mostly wordless comics. However, there’s a narrative running its way through both titles, and now more emphasized in the final version, Helem.

We will first take a look at one of  Wany’s previous titles, Sequences, as a way into the new book, Helem. As the title to the older book suggests, we are dealing with sequences, one page at a time, and in connection with each other. If you were to view this as a show in an art gallery, you might accept each page as just a set of four small drawings. As the reader takes in more pages, something sequential emerges. What follows are three pairs of sequences.

Pages 22 – 23 from Sequences

In this first pairing, Wany offers us a look into the inner life of a call center, complete with its peculiar hum of activity. It’s hard to say if there is any hint of irony on display and maybe that’s the point. People working in call centers is so common that it’s most likely you have worked in one or know at least one person who has. It’s a strange and highly artificial world but, when you are in it, it’s the only world you know.

Pages 36 – 37 from Sequences

Our pairings become progressively more surreal moving forward. We start off with two friends chatting on a walk in the city. But what exactly happens next is anybody’s guess and best to chalk it up to dream logic. Mr. Death appears to be in a foul mood and not to be ignored. And then there’s a crack in the system, a sign of greater concerns ahead.

Pages 106 – 107 from Sequences

Finally, our last pairing of pages takes us to a higher plane of existence. Our protagonist appears to be lost but soon finds a potential ally, a queen no less. Who is this queen? Does she possess supernatural powers? Our friend will soon find out.

Wany is a master of manipulating the quotidian and transmogrifying it. With Helem, the final and complete version to his two previous books of art-comics, he takes the reader into the heads of two lost souls. The two main characters, both relatively young, are adrift, in an existential crisis. This is Wany’s landscape of the inner world and welcome to it. In both stories, the reader first experiences the world through the eyes of each protagonist and it is only towards the end that we get some closure through actual remarks. In the second story, originally from Sequences, it turns out we have a man wondering where some of the best years of his life have gone. He loops in and out of reality to discover that some of his most compelling moments are in his nightmares.

Stanley Wany is in that select group of artists who are diligently creating comics as art or art that is also comics. A cartoonist who makes art. An artist who makes comics. Wany’s linework is exquisite. The lines dance upon the page and seem quite capable of anything–and telling more than one story all at once. Wany delights the reader on many levels with his flights of fancy; he offers gifts for both the eye and the mind. It really would be no surprise to me if these same pages were to be sliced and diced yet again to tell a completely different story! Isn’t the comics medium malleable by its very nature? Of course it is! Any work by Wany is a delight and I look forward to seeing more from this exciting artist.

1 Comment

Filed under Comics, Comics Reviews, Graphic Novel Reviews

Review: ‘The Domesticated Afterlife’ by Scott Finch

The Domesticated Afterlife. Scott Finch. Antenna Works. New Orleans. (available thru Domino Books) 200pp. $18

There are certain things I love and respect: compelling art like finely-crafted comics; and places that can make your heart sing like Louisiana. So, it’s a double-pleasure to feast upon this work of comics by Baton Rouge artist Scott Finch. He is the real deal: an artist who can make art-making look easy, as natural as breathing, because of all the work that he does to reach that level of grace and ease.  Too many artists can fall into a perpetual trap of producing slapdash work which is lifeless to say the least. The more that I’ve seen of Finch’s work, the more that I appreciate his level of commitment. Finch treats the comics medium with a genuine artistic sensibility. What Finch does is precisely what I aim for with my own work so I know of what I speak. If you’ve spun a comics narrative about animals in some domesticated afterlife, and you’re an artist with a consistent vision like Finch, then expect to find your very essence deep in that world.

We are decades away from a true metaverse, a complete virtual reality landscape where we are totally sucked into another world. That’s a good thing so enjoy reality while you still can before everyone has drunk the Kool-aid. What we’ll experience now with such entities as Facebook lurching into the future should be bad enough. That said, the metaverse is alive and well in fiction and comics is especially adept at evoking such a loopy terrain in the right hands. Finch is just the kind of artist to tap into the potential of the comics medium. This is both a philosophical and mythological work on a grand scale; a grand opera about a metaverse of humanoid animals, mostly dogs and cats, at the mercy of chicken-like creatures. The dogs and cats fend for themselves as best they can in this virtual world. Their minds, their psyches, have been tampered with to such an extent that all they know is that something isn’t quite right and maybe they want to reach for a portal to the outer darkness, what they assume is the real world.

Finch’s arcane sense of humor informs this comic’s cryptic sense of logic–which is totally cool. It’s difficult enough losing yourself in a work of comics given that a lot of comics doesn’t even try to challenge or engage the reader. Don’t get me wrong, there’s plenty of the good stuff out there but you need to look. This comic delivers with page after page of striking imagery and a whipsmart narrative. Finch is a painter and that special insight shows here as you’ll delight upon one panel after another that could easily be worked into a stand-alone drawing or painting. As I’ve always maintained, it takes someone with a well-cultivated sensibility, part novelist, part painter, to truly make the most of comics as an art form and Finch proves he’s up to the task.

Single Panel Excerpt from The Domesticated Afterlife

The story itself, with its byzantine subplots, provides so many delicious and thought-provoking moments that you are bound to get hooked. This is a world where animals act like humans: they don’t eat to live; they live to eat. They are utterly disconnected from the natural world–and what kind of life is that? It’s a twisted world where dogs and cats are outsmarted by chickens. Everyone is weak but just strong enough to claw at each other. We naked apes are so prone to folly that our own metaverse, with chickens ruling over us, could be our destiny. Finch’s book is one part cautionary tale and one part just good old-fashioned loopy fun.

4 Comments

Filed under Comics, Comics Reviews, Graphic Novel Reviews, Metaverse

Review: BALLAD FOR SOPHIE

Ballad for Sophie

Ballad for Sophie. by Filipe Melo and Juan Cavia. Top Shelf Productions. 2021. 320pp. $24.99

Editor’s Note: This book is ready for pre-order purchases. Available as of 11/02/21.

Ballad for Sophie is a gorgeous graphic novel. It delights the eye and not in any obvious way. We are often led to think that what we want is a perfect smooth finish but this work shows us that we can have it all: a crunchy complexity to the rendering guiding a vision. There are what appear to be, at closer look, a lot of preparatory lines that are kept in. These type of lines usually act as marks towards the final work. Here they act as another layer of texture, vibrancy and energy. It is quite fitting for a work dealing with music! This is a very special book created by a very special creative team who have been working together for nearly two decades. Filipe Melo is a Portuguese musician, award-winning film director, and author. Juan Cavia has worked as an art director and illustrator since 2004. (A sidenote: Melo has composed a theme song to accompany this graphic novel which you can find here.)

An old legend takes account of his life.

A graphic novel with an added layer of squiggly lines is not  really a part of any comics publisher’s reliable house style plans. And yet here it is–and it’s most welcome. Often, a publisher wants to find just the right balance of getting out of the way even if a favored house style provides a nice security blanket. In this case, we have a work that already had a go elsewhere, originally published by Tinta da China, based in Lisbon, and now embarking upon an English translation edition with Top Shelf Productions. That said, this European graphic novel fits in well with the very best work (Blankets, Essex County trilogy, March trilogy)  from Top Shelf. In fact, all these titles share a hand-drawn expressive quality, whether loose or more lean and clean. Top Shelf is always mindful of a winning recipe and here we have a win-win.

Allowing the creative instinct to have its say.

I think it speaks to the distinctive quality of this book that I can write a whole review and only focus on the style. Some graphic novels are like that, as much, or more so, about finding an arena to draw as it is about telling a story. And that requires an artist with a masterful touch. You can’t expect a novice to really measure up like this. Even a master will have doubts when giving way to creative flourish. But Juan Cavia really lives and breathes linework and so he can afford to take some detours. In an interview with Top Shelf’s editor Leigh Walton, he describes his pursuit of quirky lines as a way to be true to the artist and to evoke a certain level of personality.

Balancing, and rendering, past and present.

This is a rivalry story, in the spirit of the great rivalry story, Amadeus. So, we have two prodigy piano players battling out over the course of their lives. The story is set in the small French village of Cressy-la-Valoise, framed around the trope of a young journalist interviewing a dying old legend. The cub reporter is the story’s namesake, Sophie, and the old legend is Julien Dubois, one of the two rivals. Julien comes from a wealthy family; his opponent, François Samson, is a janitor’s son.  The story goes back and forth between the conversation between Sophie, the youth, and Julien, the elder, and looking back to the past. For the scenes in the past, Cavia’s expressive style is emphasized with linework, halftones and a more muted color palette in order to evoke a more retro vibe.

This is comics at its higher levels.

And that’s really all you need to know. I’ve basically tried to keep my focus on the book’s style and it is a formidable one. This is easily the best rendered graphic novel for the year, or at least it should be on everyone’s end-of-year top ten lists.

2 Comments

Filed under Comics, Comics Reviews, Graphic Novel Reviews, Music

Interview: Desmond Reed, ‘The Cola Pop Creemees’ and ‘Apples’

APPLES!

Desmond Reed is a very talented cartoonist with a unique voice. If you enjoy quirky and weird comics, this is for you. I would describe the work as highly inventive and ambitious. Welcome to the world of the most unlikely band, The Cola Pop Creemees! These characters are young, energetic, and sometimes sad: think of it as a mashup of The Monkees and Bojack Horseman. It all began as fun posts on Instagram to cope with the pandemic and now Desmond Reed has a book on the way with a publisher and a 28-page comic book, Apples, thanks to a 2021 MICE Mini-Grant. You can purchase Apples through Radiator Comics (as well as other venues) as of November 1, 2021.

Wallace T.J. was born to party!

Laugh and cry as you experience the adventures of everyone’s least favorite band, The Cola Pop Creemees! These are the misadventures of a group of friends who form a band: Ralph Jonathan, Wallace T.J., Mona Gertrude, Gil Christopher, and Henrietta Susan. The names of an uncanny ring to them and are perfect for the mix of zany and bittersweet stories that follow.

Apples represents the best of the daily one-page comics posted on Desmond Reed’s Instagram from 2020 to 2021.

Apples is a recipient of a 2021 MICE Mini-Grant, and will be available for purchase through Radiator Comics (as well as other venues) on November 1, 2021.

radiatorcomics.com/creator/desmond-reed

etsy.com/shop/desmondtreed

From The Cola Pop Creemees

Desmond Reed is definitely a talent to keep your eyes on. I hope you enjoy this interview where we discuss the artistic process and discuss comics and the comics scene. I’ve set this interview to premiere on my YouTube channel for this Wednesday, October 27th at 9am PST – 12noon EST. Your Likes, Comments and Subscribing are always welcome.

3 Comments

Filed under Comics, Interviews, MICE

Review: APPLES by Desmond Reed

APPLES!

Apples. Desmond Reed. Radiator Comics, 2021, 28pp, $5.

These are the misadventures of a group of friends who form a band: Ralph Jonathan, Wallace T.J., Mona Gertrude, Gil Christopher, and Henrietta Susan. The names have an uncanny ring to them and are perfect for the mix of zany and bittersweet stories that follow. Welcome to the imagination of Desmond Reed and the world of the most unlikely pop band, The Cola Pop Creemees. I think I’ve stumbled upon one of the coolest and most fun comics currently available. Check it out before this limited edition is sold out. You can find your copy (there are only 100 in this first run) over at Radiator Comics starting on November 1, 2021. This comic was made possible by a MICE Mini-Grant. Let me go on now and share my observations on this work. And be sure to tune in for my interview with Desmond Reed. I’ve set it to premiere on my YouTube channel for this Wednesday, October 27th at 9am PST – 12noon EST. Your Likes, Comments and Subscribing are always welcome.

Say hello to The Cola Pop Creemees

Now, keep in mind that Desmond Reed is a very diligent artist, always moving forward. There are now two full length graphic novels under his belt–and he keeps drawing and challenging himself. The Apples comic collects mostly one-page moments. These are moments that became posts on his Instagram and helped to create his devoted fan base. Some of these moments spill over to a few more pages but the idea here is to focus in on something worth a pause, funny or poignant.

How to Treat Depression. Tattoos usually help!

One such moment features Henrietta Susan. We start off with an imposing title and then one lone figure just standing, looking at her tablet. Some conventional options emerge in response to dealing with depression. A short pause followed by the final verdict/punchline: maybe it’s time for a tattoo. The drawing is very simple and there are only two dots for a face, everything adding to the deadpan humor.

The Social Media Silent Treatment. Who Knew?

Another piece has the whole gang in some undetermined public space. Everyone is self-involved and nothing seems unusual save for the last panel. Finally, Gil Christopher can’t wait any longer and bursts out feelings of insecurity.

It’s more than okay to be weird!

One last example here maybe sums it up best. Mona Gertrude is walking along a street when a car of hooligans passes by and yells out, “Weirdo!” For a moment, Mona is shocked by the intense animosity but she quickly regains her cool and yells back, “I already knew that!” Think for a moment how beautiful that is and the fact it’s posted on Instagram and people are engaging with it, celebrating it. Hell yes! It’s more than okay to be weird! That’s what this comic is all about, at its heart and soul. Desmond Reed is creating just the kind of work we hunger for and need today more than ever: funny and silly; uplifting and bright; and reaching out with some soulful purpose.

Leave a comment

Filed under Alt-Comics, Alternative Comics, Comics, Comics Reviews, MICE

Paul Buhle on Comics: ‘Lugosi: The Rise & Fall of Hollywood’s Dracula’

LUGOSI!

Koren Shadmi, Lugosi: The Rise & Fall of Hollywood’s Dracula. Foreword by Jon R. Lansdale. Los Angeles: Life Drawn/Humanoids, 2021, 160pp. $29.95.

Guest Review by Paul Buhle

It is best to admit that we live in terrible times, while we struggle to keep things from getting markedly worse, as they surely will without the needed collective effort that a large number of Americans (among others) seem not actually to want. How does this gloomy reality affect the creation of comic art, one of the more interesting artistic developments of our time, all the more important for its popularity among young people?

Horror comics once occupied the center of social controversy, along with the supposed gay relationship of Batman and Robin and other such McCarthy Era nonsense. The Congressional hearings that broke the booming comic industry of the 1940s-50s, reducing its successors to smaller fields, hit paydirt in one real way: those horror comics were indeed bloody and grim. Harvey Kurtzman’s widow Adele insisted that she and Harvey never allowed the children to read them, not even the EC horror comics whose heavy sales made Mad possible.

Did the controversy around horror comics connect somehow with the huge cult of horror films going back to the Silent days, getting hugely bigger in the 1930s and turning upon themselves as parody in the 1940s? Without a doubt. Nothing was bigger, nothing in the future of horror films all the way into the twenty-first century, could be bigger than Dracula and Frankenstein, aka Bela Lugosi and Boris Karloff.

We have no Karloff comic yet, and we can hope that it is more politically attuned than the volume at hand for Boris’ leading role in the early Screen Actors Union, his ardent antifascism and his insistence that children watching the classic Frankenstein (1931) knew the supposed monster was the real victim of the ignorant, vicious villagers. His literary lineage, of course, traced back to Mary Wollstonecraft and the big metaphor about the degradations of modern aka emerging capitalist society with the monster as metaphoric proletarian body, both product and victim.

Dracula comes from a different place, of course, but is historically wound around a surprisingly similar character. The careful tracing in this comic of Bela Lugosi’s Hungarian background, his meteoric rise to stardom, his floundering personal life, downfall and notorious final engagement with Ed Wood, is enlivening but misses a whole lot. Hungary had a red revolution in 1919 followed by a rightwing takeover that placed the nation in a similar spot, a natural alliance, with Mussolini taking power in Italy, followed by Hitler in Germany.

What could have been….

Lugosi was not exactly a union or community organizer. But the artistic giant of the large Hungarian-American Left, Hugo Gellert, would have been well known to Lugosi, politically and culturally. Lugosi, asked by revolutionary leader Bela Kun to be the leader of the national trade union movement before his departure, seems to have become a New Deal Democrat in the US, but played a key role in the Hungarian-American Counncil for Democracy, that is, working closely with Gellart and with that other  famed  antifascist Bela: Bela Bartok. As the rampage of Fascism threatened the world, from the middle 1930s onward, the “two Belas” could be counted upon for financial contributions and public appearances rallying the immigrant communities, in wartime to raise funds and support antifascism, in this case, Russian and Hungarian in particular.

Of all this, we see nothing in the comic.  Nor the ways in which the descending Cold War moods brought depression and a sense of panic among erstwhile antifacists. Hollywood, in Lugosi’s last years, was the home of the Blacklist. He escaped by not actually belonging to any Left organizations. Or perhaps because he was already too beaten to subpoena.

All that said, the personal drama of Lugosi’s life is well told here, and the drawing is impressive. Too much seems to be about the complicated romantic life, women won and lost, the over-extended ego that seemed to take over his creative power, with too little about the complications of his Hollywood career, let alone the unique artistry with which he approached his parts.

There goes a great star…

The Black Cat (1935), directed by Edgar G. Ulmer, using a title from Edgar A. Poe’s work but bearing no other resemblance, was a masterpiece of horror and a brilliantly-wrought critique of the destruction brought upon humanity by the First World War. The two old military adverseries (the other is Boris Karloff) meet, and are seen with some of the staggeringly expessionist cinematography to that point in film-making anywhere. The subtle politics of the film are entirely lost to the comic artist, but the importance for Lugosi is clear. He was already a star, but now he became a super-star.

All too soon, the moment passed. By the time Robert Lees and his sreenwriting partner Fred Rinaldo delivered the script of Abbot and Costello Meet Frankenstein to the studio in 1947 (sadly, Karloff had been replaced by Lon Chaney, Jr., and Lugosi is strictly camp), the cliches of monster films were already being turned inside out and played for laughs. Actually, with Bud and Lou offering up the best comedy around, Lugosi and Karloff were perfectly straight-faced and perfect.

But of course, this suggested a drift downward. Where to go from self-satire? Lugosi’s life was turning bad in every way. As depicted, he was addicted to drugs, unable to make a living or a personal appearance in Hollywood’s clubs and restaurants in the old way. He died too late, if earlier would have meant avoiding Ed Wood.

Paul Buhle

2 Comments

Filed under Comics, Comics Reviews, Graphic Novel Reviews, Paul Buhle

Paul Buhle on Comics: CRISIS ZONE by Simon Hanselmann

You’ve entered the Crisis Zone!

Simon Hanselmann, Crisis Zone. Seattle: Fantagraphics, 2021. 287pp, $29.95

Guest Review by Paul Buhle

Crisis Zone depicts the catastrophe for our time, almost 300 pages of collective debacle for the crew of caricatured cute animals (and the classic witch) brought up to date.  They find themselves amid the crisis we now all seem to expect: an urban something causes all functions to break down, a sort of end of civilization as we know it. It might seem these animal-humans barely deserve to survive. They produce television shows, Youtube-style dramas, nearly all anal jokes in one sense or another, while they attempt to go on in the old ways of pointless consumption. A high point is reached when a distinctly human character appears, telling them he has tickets for Hamillton, the banality that currently passes for high culture.

Artist Simon Hanselmann escaped the ostensible eco-paradise of Tasmania, found to be boring, and intolerable with a troubled, single mother. Self-taught and obviously scorning the usual tricks of comic art, Hanselmann created a menagerie of characters engrossed in daily meandering; all in all, captivated by their own fascinations.

The most interesting part of this large-format, detail-heavy volume can be found in the last pages where Hanselman offers, in tiny hand-lettered detail, an overview of this particular comics process. Perhaps nothing so obsessive as this has ever been done in comic art?  It is a hugely curious accomplishment.

Paul Buhle

Leave a comment

Filed under Comics, Comics Reviews, Paul Buhle