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THE TALK by Darrin Bell graphic novel review

The Talk by Darrin Bell

The Talk. Darrin Bell. Henry Holt & Co. 352 pp. $29.99 hardcover.

Darrin Bell does a remarkable job with his new book, in fact, his debut graphic novel. Bell is best known for short-form work: editorial cartoons (won the Pulitzer Prize) and comic strips (check out Candorville). The graphic novel format opens things up in ways that Bell takes to with grace and artistry. The goal here is not only to sum up his life but to go backwards and forwards generations. This graphic novel revolves around “the talk” that Black families have with their children to prepare them to navigate a world of prejudice and racism.

So, why doesn’t it look like a real gun?

Bell begins his book by sharing what “the talk” ended being like for him as a 6-year-old. His parents had recently divorced and so Bell received two separate, and very different, responses from his white mother and his Black father. Bell’s mother was prompted into it after having to explain her choice in fulfilling his request for a toy gun. She chose a bright green plastic water gun. She explained it had to be very obvious it was a toy in order for Darrin not to be mistaken for carrying a real gun by police who were predisposed to assuming he was a criminal with a weapon. What happens next is pivotal. Darrin runs out to play with his new toy and ends up being harassed by a police officer who uses the toy gun as a pretext to still give him a hard time.

We’ve got you surrounded.

Later, Darrin faces another challenge when a white schoolyard bully taunts him about his appearance, calling him, “big lips.” Darrin asks his father what he should do about it and this sets up the father’s turn with talking about race. Bell returns to this moment throughout the book to say that his father had let him down by turning inward, distant, and just staring out into space. However, that’s not exactly what happens. His father may not explicitly respond with a road map on how to deal with bigots but he certainly talks about his experience. It leads to one of the most compelling moments in the book with Darrin’s parents as a carefree mixed race young couple who are abruptly forced to deal with the fact that the local folk are not amused about mixed race couples. That said, Bell lets the reader decide if his father perhaps did the best he could with his more guarded response.

Remember the 2000 election vote count problem?

Overall, I think Bell appreciated the chance to spread out and follow various threads of thought over the span of many pages. I know it’s a balancing act in terms of expressing feeling and citing facts. Every time you present a specific, as opposed to a generality, you make your case that much stronger. Buried deep in the book is one such fact I know still gives many pause: the manipulation of the vote count in Florida that handed the presidency to George W. Bush in the 2000 race. As Bells states: “The Bush campaign’s Florida chairwoman (who also happened to be Florida’s secretary of state, in charge of the election) purged tens of thousands of Black voters from the voter rolls. Reportedly, she used a ‘felon list’ to disqualify them, even though it turned out they didn’t belong on that list.”

Lost in the aether.

Bell speaks of “the aether,” what some believe to be the foundation of our very existence. Bell uses this as a metaphor to describe those in power, the dominant culture, the white culture, inextricably linked to money, power and authority. Bell runs with it in one of the most inspired passages in the book that follows a college workshop of elite white students with Bell, the only Black student, discussing slavery. The white students push the narrative that people simply didn’t know any better when it came to owning slaves leaving Bell to argue that actually, at least 10 million people did know better: the slaves! Later on, Bell is called in by a professor who is threatening to fail him because he must have plagiarized his paper. How could he, an undergrad, possibly write so eloquently about “the aether” and such things when her own graduate students aren’t as articulate?

Why don’t some people have empathy?

I know that there will always be a certain number of readers unfamiliar with the world of graphic novels who are ready to complain that a long-form work of comics could be pared down to just a few pages but that’s not the kind of world I’d want to live in. A graphic novel inhabits its own world where it will expand in order to process and contract in order to highlight ideas in concise ways. I’m sure any experienced reader wholeheartedly agrees. This book is an opportunity to explore issues of race, how Americans have gotten it wrong for so long, what’s at stake, and how do we move closer to a better place. Bell has honed his skills of cultural observation over many years as a social commentator in comic strips and editorial cartoons. He’s refined his skills up to the breaking point and back. This graphic novel is a testament to his efforts.

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THE LEGEND OF PINKY (1 of 6) comics review

An epic in the making.

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Review: GREENIE JOSEPHENIE by Christopher Sperandio

Greenie Josephenie by Christopher Sperandio

Greenie Josephenie. Argle Bargle Books. 2021. 94pp, $21.95

Comics, just like any other media, are often recontextualized and there’s no stopping it, maybe especially for misbegotten comics, in the public domain, that have fallen into a vortex of utter obscurity. There are a lot of these misfits and misfires just gathering dust. But one’s man trash can be another man’s treasure, as the ole saying goes. And so it is in this case. Artist Christopher Sperandio saw an opportunity to create new and fun narratives from old washed-up comics trash–and the trashier, the better! Who knew what art might someday be created from such mediocre and exploitative work like women-in-prison comics! Inserting new text into old comics is not exactly new. You see it all the time on social media. But Sperandio is in it for an extended and robust thematic exploration. His latest book is out this month and it follows the adventures of a renegade activist-superhero, Greenie Josephinie, a continuation of the Pinko Joe saga. It also invites the reader to follow along upon a most offbeat path dotted with landmines of subversive humor.

Recontextualizing like mad!

It’s the droll humor of Christopher Sperandio that seems to guide readers as they navigate through the murky world of the realpolitik. Sorry, sonny, this ain’t no place for children or cry babies! Morality has gone out the window and corporate profits are king! It’s a clever concept of injecting new and funny text into tired old comics and I give Sperandio a lot of credit for seeing it through. I think a process like this can be taken for granted after the reader becomes familiar with it. I think what keeps it interesting is all the neatly inserted provocation. You are almost dared to keep reading. You don’t read this like a typical comic book but more as you would view a series of work in a gallery. This is not a comic book. This is culture jamming. You see that the joke is only part of the work. The act itself, the successful reworking of the “found art,” taking it from its original genre and transforming it into protest art is the aim. If the jokes are really all that funny, that is beside the point–and yet, the humor remains part of the glue that holds it all together. Funny how art can get so complicated!

The droll humor of Christopher Sperandio

In a world where capitalism has run amok, what else can one do but turn to superhero types who are true blue real patriots? Yeah, and so a hyper-convoluted story ensues. It is far more cerebral while, at the same time, far more silly than many genre comics out there. Although, mainstream comics publishers today can often prove to be quite artful and do a good job of keeping at bay any easy satirizing of their product.

You can just run with it.

Sperandio goes to the trouble of attempting to show respect for the creators of the public domain comics he has used as found art fodder by including their names. That’s a totally reasonable and honorable gesture. Real human beings did create the artwork in these shaggy dog comics of yesteryear. But I wonder how many of these creators who are still around are losing any sleep over the fate of these particular creations. Honestly, this is C-level journeyman work, just work-for-hire grunt work, not any better nor worse than typical clip art. Honest work to be sure but no one is trying to win any prestigious award from it.

A learning opportunity.

Found pop art, and the noble work of recontextualizing it, brings to mind the Pop Art masters, specifically Roy Lichtenstein, who carved out a very significant place for himself with his use of comic book motifs. What Lichtenstein did was hardly new and dates as far back as the first artist who chose to incorporate other art into his own. One prominent figure, and my favorite, perhaps the first to really succeed with it was Edouard Manet. A more recent example is Shepard Fairey. Both Lichtenstein and Fairey have wrongheadedly been slammed by critics for appropriating the work of others. Manet not so much, or not at all, since Manet is no longer as commonly known; most people don’t care, nor would it make any sense for them to care. The bottom line is that reworking art into another work of art is sound and legitimate. It all comes down to what the results are and knowing how to avoid the trap of “garbage in; garbage out,” which is certainly not the case with Sperandio.

The little handy handbook to making comics.

I applaud Sperandio’s efforts and sincerely would love to chat art with him over a coffee or beer. Christopher Sperandio is doing essential work out on the front lines of higher education. Be sure to check out Comics Making, also published by Argle Bargle, a little book that covers quite a lot including a short history of comics and notes on production. Also in the book, Sperandio provides a guided tour to all the fascinating activity related to his CATS program at Rice University. I wish that had been around when I was working on my own college paper comic strip. The fact is that “comics making” is essentially a solitary process–but the right level of support can prove to be invaluable. Sperandio is a very interesting artist who has pushed himself throughout his career resulting in such creative achievements as Cargo Space, his artist residency project on a bus that he started in 2012. Other notable recent projects include working with fellow Rice professor Brian Huberman to see through the completion of a documentary on cartoonist Jaxon, which premiered at the 2020 Angoulême comics festival.

It’s all in how you handle your found art!

So, Speranio’s process is one worth perpetuating: mining for gold, or diamonds, for as long as it makes sense to do so. Depending upon the right chemistry between “found image” and wry joke, all sorts of magic is possible. Sometimes the results may fall flat. But, ah, sometimes you end up with a real gem. It’s all in how you handle your found art!

Find GREENIE JOSEPHENIE and other fine books at Argle Bargle Books!

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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: ‘Paying The Land’ by Joe Sacco 

Paying The Land by Joe Sacco

Guest Review by Paul Buhle

Paying The Land by Joe Sacco. New York: Metropolitan Books, 264pp, $29.99.

A decade ago, in a smallish Swiss comics shop, I could identify only two American artists, or (memory doubtful here) perhaps three. Art Spiegelman’s Maus. Joe Sacco’s Palestine. And on a back shelf, evidently dating from years earlier, Gilbert Shelton’s Fat Freddy’s Cat. Robert Crumb had slipped from a high perch, and Shelton, an entertainer always more popular among Young Europeans, was rapidly receding into the past. During the last decade, several of the dozens of US titles translated into French would probably have found their way into this little shop, it if survives. But we can be sure that the first famed Sacco volumes would have stood alongside others of the same artist. He has the pen that seems almost mightier than the swords, planes, bombs, devastated populations and the rest of the war horrors that have made up his journalistic work.

To call Sacco “American” is a bit of a jump. Maltese by origin, we learn in the erudite Disaster Drawn: Virtual Witness, Comics and Documentary Form (2016) by Hillary L. Shute (co-editor of Mega-Maus) that Sacco grew up with family stories of bombings and death during the Second World War, missing relatives and all the rest. War has never, Shute says, not been part of his life. Did Sacco escape the endless warscape by replanting himself in the US northwest? Not hardly. As a visual journalist of war’s horrors, he has placed himself in harm’s way in the Balkans and Gaza, among other places. This time around he finds another war, but it is the war of centuries and the fighting is what the Pentagon has come to call Low Intensity: the War against Canada’a native populations.

“This is going to end the world.”

Paying the Land is a stunning work, both alike and strikingly different from his earlier journeys into suffering and survival. It is substantially an oral history, and as a trip-weary oral historian, I can appreciate the contrasting points of “orality” (memory expressed by an interviewee) and “history” (a different kind of record). Sacco is trying to do both, no easy thing, and at the same time, to present them visually. With himself as part of the book’s story.

He meets a large handful of tale-tellers who are central, but he determinedly makes the trip himself into Canada’s distant North, in a used pickup-truck, over roads that turn into non-roads, ever further to the land of the Dene, the grouping of related tribes. There, the subsistence economy thousands of years old has been replaced, but only with deep contradictions, by the oil economy.

A couple of generations ago, good jobs appeared for men able to open the land up to drilling, mainly by cutting trees. For a while now, they have demanded controls including their own observation of the drilling process, down to the toxic chemicals pumped into the ground. They can watch the despoliation of the landscape, the lakes and streams, and the inevitable decline across the scope of the animal population. But what choice do they have?

“I remember our lives being led by the environment.”

Sacco takes an invaluable step backward in time, through oral histories, to the forced assimilation ongoing since the nineteenth century but intensified after the Second World War. The many cruelties of Catholic education have only begun to be redressed in Canada: virtual seizure of children from villages into towns, violent punishment for speaking aloud in native languages,  widespread sexual abuse, a violence that turned inward, leading to alcoholism, abuse of children by other children and teens, and a loss of anything like self-identity, including the loss of the older skills and their meanings.

What should the deserted family do? Often, it meant abandoning “life in the bush” to find their children, give them a kind of life, often in a grandparents’ setting, while the parents tried to scratch out a living. Here and there a good priest or nun, with education as something better than cultural extermination.

Neither the families nor Sacco is looking to some recaptured utopia. Life in the backwoods was harsh and in some ways, it was easier to live in even the most modest  house equipped with heat, a modern stove, refrigerator and so on. Besides, and this is one of Sacco’s clearest discoveries, there was no going back in any case.

Toward the end of the book, some of the strongest personalities emerge and flower, and most of them are women. They create new cultural institutions to carry on traditions for the next generations, and they help to make life more possible—free of the accursed alcoholism above all—in the present.

Mineral extraction companies are ruthless and the politicians who make their work possible are just as ruthless, even with the added political rhetoric to make things sound better. Against these pressures, tribal leaders try to balance the shifting economy with ecology. Young folks, raised with no language retention, begin to rebuild cultures as much as possible, networking from sub-group to sub-group.

The book closes with a memorable festival of Dene young people and perhaps that is the most hopeful thing imaginable, Not to await some outside force to heal them or to accept that their inferiority, as a culture, means that they need assimilation for healing.

This is quite a message, delivered in stirring Sacco style, with perhaps less of a Sacco-presence or irony than is usual with him. It’s quite a book.

Paul Buhle is the rare leftwing scholar of comics. He is coeditor of the Paul Robeson comic, to be published in October, and drawn by Sharon Rudahl.

“There were no buildings like they have now.”

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Review: TITAN by François Vigneault

TITAN by François Vigneault

Titan. by François Vigneault. Oni Press, Portland, OR, 2020. 202pp, $19.99.

François Vigneault is one of the most original and fun cartoonists out there today. If you have not checked out his Titan comics, this is the perfect time since Oni Press presents a new collection of the series coming out November 10, 2020. Consider this an advance review. I will follow up with another Titan-related post closer to the release date. It is often said that the best science fiction has a timeless quality as well as comments with precision on its own time. Titan certainly is relevant to our tumultuous times full of protest. Meet João da Silva and Phoebe Mackintosh: one is a member of the ruling elite; the other is a member of the exploited working class. It is the not-too-distant future, about a hundred years from now. The old mining colony of Homestead, on a moon of Titan, is steadily working its way to obsolescence. In order to try to salvage the situation, MGR First Class da Silva arrives on the scene from HQ, planet Terra. His liaison officer is one of the best workers, Phoebe. What could go wrong? For starters, João and Phoebe immediately sense some hot chemistry between them. Meanwhile, the entire order of things is coming apart at the seams.

Page from TITAN

Vigneault has a very vivid and direct drawing style. Whether he draws with a pen and paper or directly on a digital tablet, he has nailed quite a fluid and expressive line. This is a wonderfully cartoony style with an immediate impact that attracts the reader to the characters and action. Vigneault has a way of evoking emotion that holds its own with any other drawing style with its authenticity. I don’t feel a false note anywhere. Any reader will get hooked into what becomes of João and Phoebe and, by extension, the rest of Homestead, even the whole freaking solar system! In the grand science fiction tradition, the fate of worlds depends upon these two–but also with a touch of irony to boot. This isn’t your father’s sci-fi, after all.

I’ll tell you one thing. Vigneault manages to pull off one of the trickiest of metaphors. In lesser hands, I think this would have felt like a heavy-handed gambit. The ruling class from Terra appear tiny in comparison to the Titan workers, genetically modified for maximum efficiency. When João and Phoebe become lovers, the symbolism is totally brought home, and the stark contrast is pretty powerful, even beautiful. João and Phoebe, as different as they are, fit together. João is small and nimble. Phoebe is large and strong. João can’t help but bring up his concern over whether he is big enough for her to which Phoebe reassures him that “size doesn’t matter.” Over the course of their story, the reader comes to appreciate how right they are for each other.

Panel excerpt: Phoebe reassures João.

Comics and graphic novels share much in common. If a comic strip, for example, is done right, it will entice the reader to go through it more than one quick scan. A reader may not even be fully aware of it but it is likely that the comic strip is digested a number of times, as in a loop. The reader seeks the stimulation and goes for repeated rewards. And then it’s time to move on to something else. But, at that moment, a comics loop experience is enjoyed. And so it can, and does, happen with graphic novels. There are certain passages that must be re-visited. Pages to go back to, pages to compare. Some academics theorize that comics are read in an entirely different way when displayed on a gallery wall and perhaps that even hurts the comics experience. Well, I don’t buy it. I say all this because Vigneault has managed to find that sweet spot in making comics where his creation entices the reader to linger, to re-visit, and to revel in the work. Not all comics do that and perhaps some comics creators don’t even factor that in. But Vigneault does.

I really good novel, or movie, or graphic novel, invites repeated consumption. It is built-in. That is going on here with Titan, a story of two star-crossed lovers caught up in events bigger than themselves. If the characters are compelling, the events in question can recede into the background and come up to the forefront as needed. Not all novels are created equal, of course! The point here is that Vigneault, in the driver’s seat as a auteur cartoonist (both writer and artist), fully understands how to drive a story forward. He is someone who would be fun to chat with over an interview. We would discuss process, storytelling in general, as well as social commentary and science fiction. In the end, what we would talk about would be the art of making comics. It’s not easy and, like the most complex of art forms, it seems to require a bit of magic. You will definitely find something magical about this graphic novel with its pacing, symbols, and daring.

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Review: SWIMMING IN DARKNESS by Lucas Harari

Swimming in Darkness by Lucas Harari

Swimming in Darkness, by Lucas Harari, published by Arsenal Pulp, is an exceptional graphic novel on so many levels. It manages to get you to see comics in a totally refreshing way. This is certainly no easy task to accomplish, especially for the serious comics reader who is perhaps a little too primed to expect the unexpected. As for me, I am in a privileged positon as a reviewer that folks in the comics industry keep up with. As another year comes to a close, one that leaves us without Tom Spurgeon, one of our beloved leaders in the comics world, I feel all the more determined to pick my comics wisely and keep to meaningful reviews, upholding a standard carried forth by my trailblazing colleagues like Rob Clough, Frank Santoro, and Johanna Draper Carlson, just to name a few. All this comes to mind as I contemplate this book. This is what comics is all about and, if I was to choose just one book to represent what is possible within comics, no one would fault me for choosing this one. It is utterly stylish, graceful, and packed with a finely-tuned sense of suspense.

Pierre is odd man out.

Any good story needs to hook you in and, with this tale, there are plenty of hooks. We begin in Paris, as a downpour compels a man to seek refuge in a tavern. The reader is quickly swept up with intriguing stories, and legends, within other stories, and bits of speculation, hosted by one narrator upon another. We begin with the ghostly narration of presumably the author of the book himself as he kicks off a tale he heard from his father, Harari, the elder, as it were. It’s the father who stumbles in out of the rain and encounters Pierre, our protagonist. It turns out that Pierre was a student of Harari. Pierre had shown great promise during his formal study of architecture up until he abruptly left school. Harari is curious about what became of Pierre’s dazzling academic work. But enough about Harari. Our story quickly takes off to the Swiss Alps as Pierre is determined to make up for lost time.

A mystery daring to be solved.

Pierre is marching off in search of the legendary Vals Thermal Baths, designed by the famous Swiss architect Paul Zumthor, ensconced deep within the bowels of a delicate and rarefied resort hotel cradled within the mountain range. It’s been said that a secret passage connecting the thermal baths to the heart of the mountain lures a foreigner to his death every hundred years. Enter Pierre! This is such a finely drawn work that compliments, stroke for stroke, such a tightly woven narrative. And then there’s that meticulously modulated color scheme of blue and red maintaining a steady balance, or delicious imbalance of cool and warm. As I’ve said before, here is a prime example of what I believe to be an ideal graphic novel: a highly compelling work created by a cartoonist auteur that is a stand-alone book of about a hundred or so pages. There are so many fine examples and this is absolutely, without a doubt, one of them.

The secrets lie within plain sight.

Swimming in Darkness is a 152 page hardcover, in duotone, with a new English translation by David Homel, published by Arsenal Pulp. For more details, visit Arsenal Pulp right here.

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Review: FAMILY MAN by Jerome Charyn & Joe Staton

The Empire State Building looms large over Alonzo.

“To finally have this collaboration between two giants available in a single volume is a gift for which we can only hope to be worthy.” — Howard Chaykin

Sometimes, a book is placed under my nose and I just can’t stop reading. So it is with Family Man, the crime noir graphic novel written by Jerome Charyn and drawn by Joe Staton. This is a deluxe edition to the 1995 series by Paradox Press, an imprint of DC Comics. This new 2019 edition is by It’s Alive and IDW Publishing. For a brief moment, both publishers were working together. What matters most is that this book packs a wallop, full of the grim and gritty underbelly of New York City that novelist Jerome Charyn knows so well. As is the case here at Comics Grinder, while we enjoy sharing images from books with you, we also don’t rely on it so much to the exclusion of thoughtful reviews. That said, let’s take a closer look at a book that well deserves it.

Alonzo pays his respects and kisses Don Furioso’s hand.

As a reviewer who also happens to be a cartoonist, I can tell you on an intimate level that this is a very special book. It’s a perfect pairing of writer and artist. Both Staton and Charyn are not holding back anything while also working as a team. Charyn is busy condensing his prose to the perfect concise distillation. Staton is busy letting loose with his highly expressive line ever mindful of disciplined efficiency and consistency. Both are being the artists they were born to be, both working on the same page. Take a look at the panel above. A whole story, a whole way of life, is held together in that one rectangle. Staton is depicting a connection between two brute men. Alonzo is the Mafia hitman showing respect. Don Furioso is the kingpin in decline who has been reduced to fretting over his colon.

Family Man page excerpt

We can see that Alonzo and the don are both past their prime and yet remain quite deadly creatures with no immediate plans to depart this earth. To that end, Alonzo the mob’s hitman, fixer, and “family man,” has been assigned the job of killing a band of rogue assassins who are bent on killing off all the Mafia dons in the city. It won’t be an easy task for Alonzo by any means. Add to the mix Charles, his own brother, the local Monsignor who works for the NYPD. If the killers don’t get him, Alonzo’s own brother just might.

Family Man page excerpt

Let’s take a moment to skip back to Joe Staton’s artwork. If you examine the above examples, you’ll start to focus in on the distinctive shades running throughout. Before everything went digital, artists had to be rather crafty about finding ways to create tones to spice up black & white line art. One way was with the use of a special bristol board that was embedded with shading inside the board. Applying a brush that had been dipped into a special solution would reveal the shading hidden within the board. What tones ended up making it to the surface were dependent upon the artist’s choice of brushstrokes. It’s my guess that Staton had a hefty stockpile of Duotone board at his disposal. By the early ’90s, around the time of the creation of this graphic novel, this old-fashioned board was pretty much already extinct. Staton probably had hoarded more than enough of this board going back decades. The results are stunning, of course, and it would take some doing to even try to come close to emulating it in Photoshop. Staton has a clean sharp style to begin with so this special shading technique was really just an option, an option that he makes the most of in this book.

Greetings from the Bronx Boys

With Family Man, Jerome Charyn and Joe Staton create  their very own crime noir mythos. Alonzo, the mob hitman, and Charles, his monsignor brother, have numerous tales to tell and to act out. The setting, the mood, and the attitude all add up to an edgy good time. Joe Staton (Batman, Green Lantern) seems to channel the best of the work he’s done during his impressive career. He also seems to offer a tip of the hat to Will Eisner’s The Spirit. Jerome Charyn plays with various crime fiction tropes and brings in his unique sensibility as evidenced by his critically-acclaimed Isaac Seidel crime novel series. Alonzo is a “family man” in more ways than one. He used to be a true family man with a wife and kids. Later on, he became a family man to the mob alone. And, to further frustrate and complicate matters, he finds himself in mortal conflict with his only remaining member of flesh and blood family, his brother, Charles, the man of god who is not what he seems. As Charyn and Staton drop each layer of the narrative into place, the reader becomes all the more invested in the outcome.

Family Man page excerpt

A satisfying narrative, whatever the medium, is made up of a finely spun web of action, deliberation, long and short pauses, and a resolution that resonates, perhaps even transcends. It’s a matter of a myriad of creative choices and observations, big and small. Bit by bit, it all comes into focus: Alonzo, our big hefty protagonist, seems up to any challenge given enough time to digest a hoagie. Something about a certain metropolis is forever swirling in the background, and creeping into the foreground. New York City welcomes everyone but it coddles no one. Better to be tough, tough it out. A flamboyant so-called “man of god ‘ should wear a cloak or cape. And Alonzo better have a secret weapon. All the hoods eat hoagies too. Lastly, in the end, all the corruption, filth, mayhem, and blood lust tallies up. Maybe nobody gets the girl, like they used to in the movies. It’s all set “one hour into the future” with a crime-ridden New York City on her knees! But Alonzo will prevail, one way or another, and live or die as a “family man.”

Family Man, published by It’s Alive and IDW

I welcome everyone, especially my longtime readers, to check out the video review below. I invite you all to like, subscribe, do whatever you like to engage with, the Comics Grinder YouTube channel. Comics Grinder welcomes your support, as always, to help expand our reach and scope with your feedback and general goodwill! Take a look:

Family Man, by Jerome Charyn & Joe Staton, is a 300-page hardcover. For more details, and how to purchase, visit IDW Publishing right here.

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Filed under Comics, DC Comics, Graphic Novel Reviews, graphic novels, IDW Publishing, IT’S ALIVE! Press, Jerome Charyn, Joe Staton, New York City, Paradox Press, The Spirit, Will Eisner

Review: HERMAN BY TRADE

HERMAN BY TRADE by Chris W. Kim

The shapeshifter is one of the most misunderstood character archetypes. It is familiar while also shrouded in mystery. And you can find some in unexpected places. How about Kafka’s 1915 classic “The Metamorphosis”? In the novel, Gregor Samsa turns into a cockroach. That makes him a shapeshifter. Alright, I said it. Not a pretty sight. Not something out of Harry Potter. And yet, Kafka would have you look within and ask how close you are to the life of an insect. In Chris W. Kim’s new graphic novel, “Herman by Trade,” he takes a decidedly offbeat approach to shapeshifting. In the case of his main character, Herman, he emerges from a Kafka-like existence and is saved by his unique ability to shape shift.

The post-screening Q&A.

Kim begins with some spot on workplace satire that mirrors the bigger picture that lies ahead. Herman is part of a sanitation crew based at the city waterfront. Within the pecking order, Herman is viewed by his co-workers as a dowdy stay-at-home. But Herman has other plans when he goes to a special screening of a cult hit movie. He knows enough to go in costume. But he knows nothing about this celebrated film until he asks the girl at the ticket booth. She informs him that “Gare” is an intimate portrait of street performers. That’s good enough for Herman to join the die-hard fans in the crowded theater.

Art imitates life imitates art.

With a light and subtle touch, Kim reveals Herman’s journey. It all begins that night in that movie theater. MIO, the film’s director, announces to wild applause that she is going to film a sequel to “Gare” and she invites anyone in the city to come audition at the waterfront. Herman’s fate is sealed. He must be part of the excitement of this momentous event. And, as this graphic novel unfolds, one can’t help but be captivated by Kim’s ambitious vision. He has the backstory of the film and its sequel; the mileu of film buffs; and Herman emerging from his inner world to a much more complex inner world.

Reading HERMAN BY TRADE.

Herman’s goal to be cast in MIO’s new film turns out to be pretty daunting. How will Herman succeed while being so out of his element? In order to even survive, Herman must adapt and that involves shapshifting! Herman, despite all outward appearances, is no cockroach! Kim’s artwork is a marvelous mix of delicate and exuberant. He gently and slyly guides us. All the while, we are viewing not a roach, but a caterpillar emerging from its cocoon in order to triumphantly spread its butterfly wings.

Reading Chris W. Kim’s “Herman by Trade.”

HERMAN BY TRADE is a 120-page hardcover, published by SelfMadeHero, an imprint of Abrams. For more details, visit Abrams right here.

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Filed under Chris W. Kim, Comics, Graphic Novel Reviews, graphic novels

Graphic Novel Review: ‘Steve McQueen in Le Mans’

"Steve McQueen in Le Mans" by Sandro Garbo and Garbo Studio

“Steve McQueen in Le Mans” by Sandro Garbo and Garbo Studio

“Steve McQueen in Le Mans” is a new graphic novel by Swiss artist Sandro Garbo that brings to life in heroic fashion a movie steeped in heroic fashion. It’s more than that. This is what a graphic novel can do when it aims for the stars and pulls out all the stops. This is the first book in a series and it knocks your socks off!

The pit crew gathers.

The pit crew gathers.

If you were a young and hip guy, like Steve McQueen, you not only closely followed race car driving, you were a race car driver. Certainly, the popularity of racing has never dimmed. But it was definitely riding a special crest of cool in McQueen’s day. In 1970, McQueen decided to honor his passion by starring in a film about a fictional 24-hour race at Le Mans. While the movie was not a box office hit, it has become a cult favorite. What Sandro Garbo and his team of artists have done is give the whole movie project a high sheen of luster capturing the excitement in a most compelling manner.

The worlds of comics and cinema are both similar and quite distinct from each other. Some things that work in a movie do not carry over so well in comics or will work in a whole different way. Where the movie, with its heavy cinéma vérité style allows the camera to gorge on each and every detail it picks up, this graphic novel adaptation chooses wisely on what to focus upon.

Gambling with your life.

Gambling with your life.

Garbo Studio has distilled what makes the McQueen movie so cool. A lot of what is going on in the movie, and in this book, is a study in cool. I’m not sure there’s one thing wrong with the movie except for satisfying more of a niche audience. The graphic novel, by virtue of its audacious vision, exemplary composition and artistry, simply soars on its own unique merits.

Essentially, all you need to know is that Steve McQueen plays the role of race car driver Michael Delaney. He has a rival who he is determined to give his comeuppance. There are thrills and chills. Both the movie and the book are visually gorgeous in their own ways. Both are as cool as hell. This is a big coffee table art book that will satisfy just about anyone, no prior interest in race cars required.

“Steve McQueen in Le Mans” is a 64-page full-color hardcover, 10″ x 13.5,” published by Garbo Studio. For more details, and how to purchase, visit Garbo Studio right here.

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Filed under Cars, Classic Cars, Comics, Graphic Novel Reviews, graphic novels, Illustration, Sports, Steve McQueen