Tom Spurgeon, a heroic champion of comics, especially small press comics, has passed away. It saddens me greatly to find this out today. There is definitely a personal note to this. Tom was always a great supporter of independent comics and all of those folks within that orbit through his regular posting on his blog, The Comics Reporter. He was gracious enough to include me among this group and would mention my efforts here at Comics Grinder from time to time. I did get to meet Tom a couple of times in person and he was always the gentleman, generous with his time and always upbeat. The comics industry knows his name very well. He will be missed.
Tag Archives: graphic novels
Here is one more comic that I picked up at Short Run over the weekend. This title, Exit, by Miles MacDiarmid, got my attention because the creator chose to include Pres. William Howard Taft on the cover of his work just like I did for a book collection of my own work, A Night at the Sorrento and Other Stories. Taft! Taft! Taft! Was he a great American president? No, not great. But there’s something about him, right? Well, he figures in MacDiarmid’s comic in a similar way as it figures in mine, more of an absurd MacGuffin creature. So, a cartoonist with a offbeat and erudite sense of humor is a very good thing and so it goes with this book, Exit. I also see from MacDiarmid’s website that he does fine art. So do I. I think it’s an important distinction among cartoonists that I can relate to all too well. I think MacDiarmid is someone who loves to create work and is restless, always looking for something new to do. You can see that in this book. It’s just classic absurd fun, that’s really all you need to know. Seriously fun stuff!
What goes on in Exit? How about What doesn’t go on in Exit? There’s a state of frenzy running throughout these pages where you fell anything is possible. You don’t get that with any work in comics. It’s hard to do and too many cartoonists sink down to something very predictable and easy. It is those rare artist-cartoonists who dig deeper and live and breathe their comics than have the potential to reach the level of, say, Simon Hanselmann. And that reminds me that I want to do a proper review of Simon’s latest book, even if it is rather late. I hope to do a proper interview with him too. We should both be dressed in drag for it too. And, no, I am NOT digressing. Simon’s work comes to mind because I see a similar energy in MacDiarmid’s work. The next big step would be to keep going, stay consistent, keep pushing and things will continue to come together as they already are!
Exit is published by the arts collective, Freak Comics. Everything there looks fresh and delicious so go check them out right here.
Here is something else that I picked up at Short Run over the weekend. My Brother the Dragon is written by Galen Goodwin Long, illustrated by Jonathan Hill, and published by Tugboat Press. I had a nice conversation with Galen. She said she was quite happy with the results. I certainly agree. This is something of a hybrid: a mini-comic and a children’s book. I am very impressed with the level of sophistication and understated grace. If you aspire to creating a children’s book of your own, this is an excellent example of what is possible within the indie community.
This is the story of a little boy who sure loves dragons. He loves them in every possible way. The story is told my his big sister who has a problem with her brother’s dragon obsession. The story is simple and easy to follow and the artwork is spot on and delightful. This book came out in 2016 and I’m happy to have stumbled upon it. Visit Tugboat Press right here.
Marc Bell was designated as a special guest this year at Short Run Comix & Arts Festival in Seattle and he is, no doubt, a wonderful representative of the indie zeitgeist. The problem was that he was nowhere to be found. Literally, he wasn’t there. He didn’t show up. Always the comics journalist, I was able to track down the publisher of Neoglyphic Media and he was very helpful and nice to talk to. He explained that border crossings from Canada to the United States have become very problematic and it left Marc Bell one very concerned Canadian. He had to bow out. And that’s totally understandable. It’s a shame that the cancellation wasn’t announced on the Short Run website. But there is a nice interview with Bell you can read here. I was really looking forward to talking to Marc Bell but, who knows, maybe I’ll cross that scary border myself and meet up with him sometime. And let’s look forward to less problematic and politicized borders in the future, whenever that is. With that said, I’m going to share with you some items that you can find over at the Neoglyphic Media website: Worn Tuff Elbow #2 by Marc Bell; Boutique Mag #4; and The Assignment #1.
For the most diehard fans of Marc Bell, it has been 14 long years since his comic book, Worn Tuff Elbow #1. Now, the wait is over and Bell has returned to the comics page his characters, Shrimpy, Stroppy, Paul and his friends. As they say, this new issue turns out to have been worth the wait. From the very first page, all the way to the last, this is quite the surreal treat harking back to the best in early 20th century comic strips and underground comix from the sixties. It is Bell’s unique take, channeling a bit of Philip Guston along the way. And it’s all very clean and precise work. Imitators will be stymied since they always rush their work. Nope, this kind of art requires skill, integrity and determination. I should mention that this book is published by No World Books and distributed by Drawn & Quarterly. It happens to also be available thru Neoglyphic Media.
Okay, this next publication is co-published by No World Books and Neoglyphic Media. Great, hope that’s clear. This is Boutique Mag #4 and it features the work of Marc Bell. This one is a fun little book clocking in at 12 pages for $5, as opposed to the previous book with 36 pages for only $8. If you are a completist and enjoy little extras, then you may want to get the latest issue of Boutique Mag.
Finally, there’s The Assignment #1, which is published by Decadence Comics. This is 28 pages for $12. It is by Stathis Tsemberlidis, a cartoonist based out of London. It is well worth the relatively high price point. That’s just how it is with indie publications that seem to be in it more for the art than for anything else. The price for such a publication simply needs to be bumped up to help make up for the costs involved. I’m very pleased with it. I wish I could have interviewed Tsemberlidis while I was recently in London. Perhaps next time. It makes me think of what David Bowie, during his Major Tom phase, might have done if he created comics. This book is distributed by Neoglyphic Media.
Alright, well that’s it. I need to get a bunch of reviews, and other goodies, including a British indie comics roundup, out the door before the end of the year so I hate to cut this one short but I must. You can expect another post really soon. In fact, there’s so much really yummy stuff that I could potentially present to you that, no matter what I do, stuff is going to inevitably spill over into next year–but so it goes. And you are welcome to reach out, comment and support my efforts however you can. Next year will see a lot more of the same quality content while also shifting towards balancing out what I’m doing behind the scenes, showing you more original artwork and just getting on with various projects. Well, there’s always tracking down Marc Bell. Yeah, that would be quite a fun and intriguing project all to itself, don’t you think?
Be sure to keep up with Short Run as they do all sorts of fun and interesting things during the year.
Visit Marc Bell here.
There is this amazing new graphic novel that tackles, for the first time, the life and work of Rod Serling. It is The Twilight Man: Rod Serling and the Birth of Television, by Koren Shadmi, published by Humanoids as part of their new imprint, Life Drawn. I have a lot to say about this book, in no small part, due to the fact that I have my own graphic novel that overlaps on some of what’s going on in this book. I’m still in the process of getting my book out but I think it’s actually good to see a book like this out there. This is Koren Shadmi’s Rod Serling and his take on related events. There is definitely room, and interest, for more such books. One perfect example is what appears to be an ever-growing number of graphic novels on Andy Warhol. But I digress a bit.
I am familiar with Koren Shadmi and his work. I had the privilege of interviewing him in 2015 for one of my podcast interviews. In fact, I made a reference to The Twilight Zone and discovered that Koren, in Israel, had not grown up with the original Twilight Zone like so many of us did in the States. I don’t know about you but I’ve always had access to it. As a kid growing up in the seventies, TZ was well into syndication and very well accepted as part of the culture, even better than during its original run from 1959 to 1964. Anyway, Koren is a masterful illustrator on a fast professional track. Is it any wonder then that he was able to create this book in such a relatively short amount of time? I’d peg it at sometime during or after his previous book on Gary Gygax and Dungeons & Dragons which came out in 2017. Koren’s book on Rod Serling is fascinating and goes into as much detail as possible, even daring to cast Serling in less than a favorable light.
If you want to see Rod Serling cast in an unfavorable light, look back fifty years ago. It was on November 8, 1969 that a TV movie was broadcast on NBC starring Joan Crawford, directed by Steven Spielberg, and written by Rod Serling. It was to be the pilot for the ill-fated anthology series, Night Gallery. It was pitched as something like Twilight Zone but turned out to be lackluster. Shadmi spends a good bit of time showing us the Rod Serling after The Twilight Zone and it’s not a pretty picture that he paints. Instead of wrapping up his graphic novel on an upbeat note, Shadmi has no qualms over depicting Serling as falling from grace, a little desperate and seeking approval in all the wrong places. We see Serling doing very un-Serling things: appearing in commercials, hosting a game show, and giving up all creative control all for the sake of being back in the game with Night Gallery. And, the coup de grâce for any Serling fan: Shadmi makes a reference to Serling engaging in an extramarital affair. I can only chalk it up to Shadmi compelled to show the man warts and all. But, if you want to see Serling at his best, well, there is plenty of that, enough to overlook a man’s weaknesses.
A good part of the book going in covers Serling as a brash young man eager to see combat during World War II. And that he does. While considered too short to be a paratrooper, Serling’s persistence wears down his company commander. Serling, cut from the same cloth as Hemingway, pushes himself to his limits, working as hard on his writing as his proving his manhood. Repeatedly, he pursues physical thrills and danger in the boxing ring and on the battlefield. He leaves the army permanently shell-shocked, experiencing nightmares for the rest of his life. It is such a uniquely talented and driven man who finds his way to writing for radio and later for television in New York City during the dawn of the golden age of television. And, on the strength of his landmark work on Playhouse 90, Serling ultimately finds himself on top of the world as one of television’s original show runners for The Twilight Zone. All of this and more, Shadmi faithfully brings to life on the page. It is more than enough to forgive him for daring to show the great man when he was down.
The Twilight Man: Rod Serling and the Birth of Television is a 180-page trade paperback in duotone, published by Humanoids.
Once Upon a Time in France is such a gorgeous book. One of the best ways that I can demonstrate to you the beauty and artistry that you will find in this graphic novel is to show you a sample page, in black & white, next to the same page in color. Once Upon a Time in France, written by Fabien Nury and illustrated by Sylvain Vallée, is published by Dead Reckoning and makes for a most riveting and immersive story like you probably have not read in quite some time. This is the story of Joseph Joanovici, a Romanian Jew who immigrated to France in the 1920s and became one of the richest men in Europe as a scrap-metal magnate. For some, he was a Nazi collaborator villain. For others, he was a French resistance hero. He undoubtedly played both ends against the middle! It makes for a fascinating story. The graphic novel series was an international bestseller with over 1 million copies sold. Thankfully, Dead Reckoning has collected the entire French series in this new English translation omnibus edition.
I just completed some traveling in Europe and so I’m still processing all of that. Of course, World War II looms large, bursting at the seams of history, as you make your way through such places as Paris and London. It can be no other way. The past pulls you in and makes itself present. The past is always present. It seeps its way into the culture and the daily lives of the natives. History is more respected and acknowledged in Europe than it is in the United States. And that’s not so much a criticism as a simple observation. There is a special connection to the past in Europe that encourages readers and thinkers in all strata of society. It is a culture that celebrates books and has a unique love for comics and graphic novels. That’s certainly not to say that thoughtful expansive works in comics are not appreciated in the U.S. but it is to say that an even keener appreciation by large numbers of readers will be found in Europe, without a doubt. That said, I highly recommend to my American friends that they check out a book such as Once Upon a Time in France in order to get a better sense of the appeal of serious works in comics outside of the United States.
This omnibus edition collects six books of comics. As I’ve mentioned before, I prefer the typical European format of a hardcover book of comics spanning less than 1oo pages. So, this collection is a total of 360 pages, comprising six books of about 60 pages each. And that is a perfect setup. Tell a riveting and expansive tale within the covers of six manageable books! The European culture accepts that format and treats a series of books such as this in the way that Americans treat following a television series. Of course, you see similar efforts in the U.S. with much of it taken up by the big two superhero publishers followed by various other publishers and rounded out by an assortment of micro, indie and self-publishing cartoonists. Speaking of history, we’re right in the thick of a significant time in comics history as the comics medium continues to redefine itself and position itself within the book market in general. And, again, I say that everyone would do well to seek out this wartime thriller as a brilliant example of what is possible within comics!
You will be utterly pleased by reading this impressive omnibus edition. It satisfies on many levels: as a brilliant example of the comics medium; as a wonderful taste of European culture; and as a rollicking good thriller! In fact, I can easily see this book adapted into an amazing series at such venues as Hulu, Amazon or Netflix.
Once Upon a Time in France is a 360-page trade paperback, published by Dead Reckoning.
Some events take on a life of their own and so it is with Short Run, the annual comic arts festival in Seattle. No matter who is in charge, what keeps this gathering alive is a core group of young people who have faith in comics and zines. No matter who is found to be a star attraction, no matter what the list of new titles known by the experts, it is the rush of young people seeking to connect with art and the zeitgeist who give this annual gathering its energy.
That said, much is put into organizing this event, lots of love and care. There are numerous workshops to enjoy. And this year’s special guest is renowned Canadian cartoonist Marc Bell, known as much for his comics and zines as his paintings. Many cities have at least one sort of arts festival such as this and Short Run is part of the Seattle landscape. It’s a combination of the aspirations of the show’s organizers and the zeal of its audience, the will of the people, that makes this possible year after year. If you are in Seattle, and especially if comic arts festivals are new to you, do make sure to pay a visit to Seattle Center, Saturday, Nov. 9th, 2019, 11 am-6 pm.
If you enjoy experimental art, then do check out the new graphic novel by Frank Santoro. This is a work that will transport you to an immersive mindscape where Mr. Santoro tracks memories and explores family history. It is a refreshing approach to the comics medium that plays with elements like text and panels, shifts them, redirects them, and presents them in unexpected ways within a finely-tuned structure. Pittsburgh, a New York Review Comic published by New York Review of Books, brings together a lifetime of storytelling. This is one of the notable titles debuting at this year’s Small Press Expo this weekend, September 14-15, in Bethesda, Maryland.
Frank Santoro is a well-respected and celebrated independent cartoonist and trailblazer. If you are looking for a new way of looking at the comics medium, then consider taking his comics course. Frank Santoro’s work has been exhibited at the American Academy of Arts and Letters in New York and the Fumetto comics festival in Switzerland. He is the author of Storeyville and Pompeii. He has collaborated with Ben Jones, Dash Shaw, Frank Kozik, and others. Santoro lives in Pittsburgh, Pennsylvania, which brings us to his latest work. In Pittsburgh, the reader is introduced to life in the Rust Belt, that region of the country known as the manufacturing hub, the area famously known as the demographic which Hillary Clinton neglected to win over enough votes. It’s a tough working class landscape. Santoro shares that region with you: his growing up, his family, and especially the doomed relationship between his father and mother.
How do you best convey your observations and feelings about your family? In a documentary? In a novel? In an art installation? The possibilities are endless. What Frank Santoro has done is find a different path that combines aspects of various disciplines within one. This is a comic but not a comic that you are typically familiar with. This could be called a graphic novel or memoir but it also manages to be something more. At times, I felt as if some of the actions, dialogue, characters and settings in this book were shifting from one medium to the next. Very easily, I could imagine the whole book being turned into an art installation. Santoro’s method basically breaks down barriers and pares down to essentials. He likes to play with geometry and create backbones for his pages. The goal is for each element on the page to play off each other, each opposing page, and the entire work. He wants the process to show through so, if he makes a mistake, he’ll sort of leave it in and lightly cover it up so that you can still see it. In a sense, each page becomes animated with unexpected movement.
The quotidian of life, the everyday moments that can blur into each other, that is what Santoro aims to capture and evoke. This is one of the things that the comics medium does best! It is akin to a tour de force cinema vertie experience with the camera being replaced by a sketchbook. Santoro is hardly alone in attempting this but what he does is distinctive. And he makes it look easy and, in a weird sense that actually takes years of experience to appreciate, it is. Whatever the case, it can’t look forced. It comes natural to Santoro as he edits, rearranges, and composes. He make various choices which include various ways of telling the story most efficiently while allowing things to breathe. He wants ambiguity but he also demands clarity. He keeps to a basic palette that, in the end, brings out all the color he could ever want. In the end, he presents something new and compelling. In this case, it is his coming to terms with having grown up in a dysfunctional family that ultimately breaks apart. Like any good documentarian and artist, Santoro picks up the pieces, examines them, and with heart and soul makes something out of them.
Pittsburgh is a 216-page full color hardcover, available as of September 17, 2019, published by New York Review of Books.
A genius is not always fortunate to be appreciated in his own time. That was the fate of Wolfgang Amadeus Mozart. You would think that he’d get some love in such a sophisticated place as Paris but, back in 1778, he needed to hustle in order to get recognition. And Mozart was not one who easily hustled. He repeatedly had to fight for the right to be acknowledged as an artist on his own terms. Frantz Duchazeau brings that struggle to life in his new graphic novel, Mozart in Paris, published by SelfMadeHero, an imprint of Abrams, available starting October 8, 2019.
Mozart is Mozart, who can deny that? Maybe Salieri? You’ll know what I mean if you’ve seen 1984’s Amadeus. But even Salieri, the rival and villain in that movie, had the good sense to know he was dealing with a genius composer. In this graphic novel, we get a wonderful look at the reality of indifference and shortsightedness. French tastemakers, threatened or indifferent to Mozart’s original and innovative music, would try to keep him out of the limelight. Mozart’s own father was relentless in dismissing Mozart’s efforts but, to his credit, he was dealing with a highly precocious individual who did not calm more conservative nerves.
Mozart didn’t think it was really up to him to convince anyone of his skill and talent. That kind of attitude doesn’t come without a price. Frantz Duchazeau does a wonderful job of showing the reader just what price Mozart had to pay for his own brand of naive arrogance. What if he had only held back and allowed someone to receive a false compliment? What if he had held back and not insulted a rival?
Duchazeau has quite an engaging way with the page. Of all the comics I’ve been reading lately, he is definitely among those I see with a magical touch. As if evoking the grace and uncanny elegance of Mozart’s music, Duchazeau balances an engaging mix of variety upon the page with nicely modulated recurring elements, like the way he constructs his panels with one center panel speaking to the bigger picture. In the two examples on display in this review, you have Mozart in the center of one page seeking consensus on his genius. On another page, he is at the center again, but this time he must restrain himself for the sake of his beloved pupil.
Sometimes you must fold your wings in order to someday spread them. That is, unless you’re Mozart. But, on the other hand, this is also the story of a young man in the big city. Mozart was only 22 years-old during this early visit to Paris. And Mozart was driven and had no time to waste. Duchazeau guides the reader through Mozart’s bumpy ride as he stumbles and gets that much closer to his destiny.
An aspiring writer does well to heed that famous Tolstoy quote about families: “Happy families are all alike; every unhappy family is unhappy in its own way.” Cartoonists, many of them and I include myself among these wonderfully wretched souls, gravitate more often than not to stories about outsiders, people dealing with deep issues. It leads to glorious work like The Nao of Brown, originally published in 2012 by SelfMadeHero/Abrams. A new edition, from SelfMadeHero and Abrams, just came out and it’s a good time to revisit what has become a classic tale of a young woman finding her way.
Nao Brown, at 28, is still teetering along on the precipice that takes one from childhood to adulthood. Nao comes to understand that one can remain dangling on that cliff forever. This is the year that Nao makes it to the other side. The Nao of Brown is in the same spirit as Ghost World, the Daniel Clowes tour de force graphic novel that seemed, with its major motion picture version, to bring geek culture out of the closet back in 2001. The Nao of Brown is also, just like Ghost World, a crisp combination of exquisite art and writing. Where Clowes is more hard-edged and sarcastic, Dillon is more dreamy and bathed in soft watercolor washes. Our main character, Nao, is struggling to find her place in the world with one foot in her Japanese ancestry and the other foot in her Anglo-British ancestry. And she sees the world in the black and white extremes of an obsessive-compulsive. Her dark thoughts terrify her. Pop culture, hip and ironic, is an island that she can escape to.
Will one more mix tape be able to save Nao? She works in a pop culture boutique run by Steve, a hapless nerd if ever there was one who has a crush on Nao. She cringes at the thought of the pack of teenage boys who frequent the shop only to worship her. She knows she’s too old for them. She intellectually knows her youth is relative. But she still thinks like a little girl. For most of the book, she works out her feelings for a man she’s developed a relationship with recently. Her initial interest in Gregory was triggered by the fact he resembles a pop culture toy she adores.