Tag Archives: Noir

June 15, 2025 · 2:30 pm

Raymond Chandler’s Trouble Is My Business comics review and author interview

Raymond Chandler’s Trouble Is My Business. w. Arvind Ethan David. a. Ilias Kyriazis. Pantheon Books. 2025. 128pp. $29.

You may think you know Raymond Chandler. Thoughts of the quintessential detective Philip Marlowe and The Big Sleep may come to mind. In order to get to the bottom of it all, I highly recommend that you go back to the original 1939 short story by Raymond Chandler, featuring his most famous hard-boiled detective, Philip Marlowe–and the basis for this new graphic novel adaptation. Let me emphasize that this comics version is a gem. It does, without a doubt, bring up an issue in the zeitgeist that I’ve followed with great interest: re-working this or that classic work to contemporary scrutiny. It brings to mind a question I recently saw posted on Quora: Was John F. Kennedy a woke president? One person began their answer with: “It is not an easy fit, to take ‘woke’ values and apply them retroactively to 1960.” Not only is it not easy, the effort to examine history through a “do-over” lens is problematic. And, in creative works, the results can range from mixed to intriguing. That said, the trend to do do-overs is strong and prevalent ever since Hamilton opened on Broadway in 2015, ten years ago. So, the impulse is there and the question is what do you do with that impulse.

Trouble Is My Business by Raymond Chandler

Trouble Is My Business is a fast-moving Philip Marlowe short story authored by Raymond Chandler (1888-1959), that much we can’t deny. It is a classic noir detective story written by one of the masters. In all the rapid-fire storytelling, surely it would be asking a lot for Chandler to also recast himself as an activist or futurist–but, it turns out, he was far more aware than some may credit him to have been. The do-over strategy is playing with time travel or something beyond the reality of space and time. And perhaps that’s where a writer like Arvind Ethan David steps in to write this comics adaptation. He is no stranger to science fiction. He worked with Douglas Adams as executive producer to the TV adaptation of Dirk Gently’s Holistic Detective Agency. Now, maybe I’m being a bit tongue-in-cheek but I say all this just because I know other purists out there might be having some difficulty with a rethinking of a classic. But let’s take a pause. The way I see it, “a comics adaptation,” or any other adaptation, can utilize whatever options needed to fulfill a certain vision. Arvind Ethan David is no stranger to writing comics adaptations. He has written seven. And that’s only part of quite a remarkable career.

Arvind Ethan David’s approach, as he states in an interview with me, is to open up the story to other voices. He made a point of giving each major character a spotlight, complete with each having their own color palette and lettering font. That’s a tricky strategy, which David readily admits. You’re playing with the delicate balance to a tightly-woven mystery. When you add to a story, the trick is to not upturn the original’s purpose and charm: one gumshoe’s pursuit of solving a mystery. Not only that, we as readers owe it to ourselves to not overlook the original in other ways. For example, if you don’t bother to read the original, you might simply dismiss it as somehow inferior and unenlightened to today’s standards. Chandler’s version has George, a Black chauffeur, with an education from Dartmouth, who holds his own with the main character of Philip Marlowe. That’s certainly forward-thinking without it being forced upon the narrative.

“You’re a better man than I am, Gunga Din.”

Without resorting to spoilers, let’s just say that the impulse to balance the order of things is very strong today and so there’s some tilting of the power dynamics in favor of George in this graphic novel. Again, a tricky matter to pull off but an interesting one. George is elevated a bit in status in this comics version–complete with Philip Marlowe thanking him for his heroics. Marlowe says to George: “You’re a better man than I am, Gunga Din.” But, hey, after Raymond Chandler was given time to recover from a time travel adventure to 2025, he probably would applaud this tinkering with his work! Give the guy some credit. My guess is that Chandler would politely quibble with his relatively plot-driven story being transformed into an even more nuanced character-driven story. Given ample time to soak up the zeitgeist, maybe he would just smile and say that it’s awesome. The guy knew how to read a room.

Harriet Huntress

Chandler’s short story also features a strong woman character, Harriet Huntress. She is a femme fatale and that may distress some readers but this is, after all, noir crime fiction so the character is true to form. It would be ridiculous to apologize for her being a villain. Anyway, she puts Philip Marlowe in his place in both the original story and in the comics adaptation with, as I say, the added benefit of getting her extended point of view in the graphic novel.

George Hasterman

It’s fascinating to read Chandler’s own introduction to his short story. He fears that there’s no way out of following a proven formula to writing a successful mystery. Well, you could argue that some writers today may fear there’s no way out of following a proven formula to writing a successful work that follows the latest trend. As I say during our conversation, I found David’s graphic novel to smoothly thread that needle. Part of what David is after is finding a way to tilt the focus, with a nod to the contemporary, and I believe he has achieved that. In David’s version, you see each major player take the stage in a fuller way, from their own point of view, and you can argue that Raymond Chandler himself would have had no problem with it. And he would have championed the artwork in this book by Ilias Kyriazis too.

So, I welcome re-imagining a classic. That’s not the issue. Just think of Orson Welles’s triumphant 1936 production of Macbeth, which featured an all-Black cast, 80 years before Hamilton. The problem is when people conflate history: mixing different events, time periods or contexts leads to inaccurate understanding of the past. Raymond Chandler’s original storytelling, his language, his artistry, doesn’t automatically require a retelling. Here’s a fine example from the original Raymond Chandler story: a quick snapshot of another strong woman character, Anna Halsey. A line, among so many other quintessential Chandler lines, that Arvind Ethan David uses in his graphic novel version too:

“I need a man good-looking enough to pick up a dame who has a sense of class, but he’s got to be tough enough to swap punches with a power shovel.”

Nice knowin’ ya.

Ultimately, the do-over strategy, or we can call it the Hamilton Effect, still has a lot of gas in the tank and can lead to some interesting results. But, at the end of the day, we will do ourselves a great injustice if we dismiss this or that classic, solely based upon some notion, ill-conceived or otherwise. I’m not saying that is happening in this graphic novel. More discerning readers will appreciate what is going on in this comics adaptation. Chandler’s work does not demand to have new life breathed into it, per se, and withstands being “reworked” in the same creative spirit as other great fiction has been re-imagined, from Shakespeare to Jane Austen. I think, in that sense, we can say that Arvind Ethan David has created a most notable reworking.

I hope you enjoy the above conversation with Arvind Ethan David, the author of this graphic adaptation. Raymond Chandler’s Trouble Is My Business is published by Pantheon Books. Do seek it out. It is brainy, quirky and something Raymond Chandler would give a gracious salute.

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December 3, 2023 · 1:00 pm

The Girl Who Electrified Tesla by Cynthia Von Buhler comics review

Minky Woodcock: The Girl Who Electrified Tesla, Issue 2. Written and illustrated by Cynthia von Buhler, 2021 (Hard Case Crime/Titan Comics) 110pp. $24.99. (Above cover art by Robert McGinnis)

I spotted this ravishing pulpy cover and I immediately made a mental note, “Tesla girl!” I was just doing my usual navigating and took a second look at Cynthia Von Buhler’s Instagram account. The idea of a really quirky take on Nikola Tesla via comics appealed to me. Over the years, Tesla has become a genre all to itself open to new and fun interpretations. This title does not disappoint and led me down an array of intriguing paths.

Cynthia von Buhler is a genuine art geek, to put it bluntly. This comic truly lives up to its promise by thoughtfully doing all the necessary prep work in order to deliver something authentic. I felt that Tesla was really alive on the page, skulking around Bryant Park and whispering sweet nothings to his pigeon wife. Indeed, the mad scientist never married and did develop a curious attachment to pigeons. That peculiarity and many more are faithfully depicted by von Buhler. This respect for the subject matter compliments the crime thriller that ensues.

Feeding the pigeons in Bryant Park.

What von Buhler manages to do is juggle a number of tantalizing facts. It is New York City, circa 1943: Nazis are creeping in the shadows in pursuit of Tesla’s mysterious Death Ray; Josephine Baker, the beautiful bisexual jazz singer and dancer is performing and spying; John Trump (uncle to Donald) is a doctor with plans of his own to take Tesla’s secret weapon. Add to the mix our protagonist, the diehard detective Minky Woodcock determined to crack the biggest case of her career involving the fate of the planet and, for good measure, a chance to bed none other than Josephine Baker.

Agatha steps in!

The artwork throughout is a delightful homage to gritty pulp fiction, with a steamy semi-realistic quality and a larger-than-life pop culture vibe. There’s both a static and dynamic quality at play, like woodcuts or dolls that have come to life, very eerie and fascinating. Many of the scenes, in fact, would make for beautiful stand-alone paintings. Ultimately, the art naturally fits the book, keeping pace with the narrative. I think of it as moving at a gumshoe detective novel pace: at times melancholy; at other turns, dramatic and intense. Which leads me to mention that, after reading this one, you are going to want more. In fact, there is plenty more to choose from, both in graphic novel format and prose since von Buhler’s book is part of something bigger, the world of Hard Case Crime, featuring work by such modern masters as Stephen King and golden age giants as Ray Bradbury. And, with that in mind, do seek out this gem of a graphic novel by Cynthia von Buhler.

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October 24, 2022 · 6:32 pm

SILVER creator Stephan Franck interview – A Meta Pulp Universe!

Silver: Of Treasures and Thieves, Book I is out as of October 25, 2022, published by Abrams. It is a deluxe hardcover edition and quite the immersive treat for anyone who loves a good yarn, especially one that takes much of the good stuff from pulp fiction and gives it a good tweak, a veritable mashup of adventure lore and vampire gore.

The meta pulp universe of Silver.

There’s no doubt that Stephan Franck has created something very special with Silver, a graphic novel set in a pulp noir universe of misfits, criminals and, of course, vampires. During our interview, I drive home the theme that much of the charm of this story is the journey and in the telling. This is absolutely an adrenaline-fueled adventure tale while also simply being a dazzling and mesmerizing play of words and images. The beauty of it all is that Franck has created a set of characters that you can really root for while, at the same time, is playing with tropes and just having fun. You can care about the characters or you can just curl up with a cup of hot cocoa and enjoy the style.

Stephan Franck at the drawing board.

Part of the pitch to this book is a comparison to the vibe you get from Bram Stoker’s Dracula or the original Ocean’s Eleven. These are two very different animals but, at the end of the day, we’re talking about a high level of entertainment, be it high or low art or a mashup of the two. Bram Stoker’s Dracula has never gone out of print since it was first published in April 1897. It was a bestseller in its day and is regarded as high art literature. Ocean’s Eleven was a big hit when it first appeared in movie theaters in 1960. It is an American heist film directed by Lewis Milestone and made the stars of the movie famous as the Rat Pack. It is one of those movies with a high level of irony that seemed to want it both ways: not to be taken seriously and yet leave you guessing. In a word, it was all about atmosphere. Take these two entertainments and roll them up into a fine paste and you’ve got yourself a gooey and frothy mix of the sinister and the ambiguous. Just the sort of clay to play with when looking to create the next pop culture mashup.

Think about pop culture in the last few decades, starting with, say, the treatment of Batman by Frank Miller, in The Dark Knight trilogy. There’s one of your finest examples of what has come to be accepted as working in an “elevated genre.” That’s the whole point. As Franck states, the idea is to “tell the most universal stories in the weirdest way possible.” And that’s what Silver is all about. You’ve got soldier of fortune types at odds with vampires. What could go wrong, right? Except for a roller coaster of a story for your delight.

Be sure to keep up with Stephan Franck here and here. And seek out SILVER, published by Abrams.

I hope you enjoy this video podcast. And, as always, a LIKE, SUBSCRIBE and/or COMMENT is always appreciated.

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February 15, 2020 · 3:00 pm

Book Review: ‘Gunning For Angels’ by C. Mack Lewis

Gunning For Angels by C. Mack Lewis

Some books just sneak up on you and you’re hooked. Such is the case with the crime novel, Gunning For Angels, by C. Mack Lewis. I can easily see Sam Rockwell play the role of private eye Jack Fox. And then there’s his live wire teen daughter, Enid Iglowski. The way these two meet is pretty hilarious and intense. Both of them court danger and trouble which all adds up to finely tuned contemporary pulp fiction. Lewis revels in all the cheap detective tropes and seems to have an endless supply of deliciously melodramatic metaphors.

Lewis has constructed a rollicking story with a touch of noir that revolves around the murder of a local tycoon. Daniel Hargrove had three daughters and each of them is quite different: one has brains, one has gorgeous legs, and the last one is simply strange. The girl with the brains is Eve Hargrove and she hires our hero, private eye Jack Fox, to drop a case started by the girl with the legs, Jeni Hargrove. Each sister is a raving beauty and spins a web that Jack can’t help but get caught in. Then there’s Bud, a seasoned police detective trying to solve the same murder if his family life doesn’t get in the way, including his heart condition. Into all this intrigue, walks in Enid Iglowski, all of sixteen, and ready to bite and claw whoever gets in her way of finding out the truth about her father, the conflicted lover boy, private eye Jack Fox.

The Thin Man by Dashiell Hammett

A good crime thriller ends up placing assorted characters together from different social strata. Think of The Thin Man‘s sophisticated Nick and Nora trying to talk sense to a jaded teen hoodlum. Lewis enjoys those type of interactions as much as any good writer. Take for example a scene that brings together quite a spicy mix all at once. Bud, our senior detective, has been talked into bringing along his son Chip, a classic heartthrob, to observe him do his job. Father and son are in a swank mansion owned by the ultra-sexy Eve, still wet in her swimsuit from a dip in her negative edge pool. Eve is contemplating bedding Chip while Bud is thinking out loud about the teen crush Enid has for Chip. Finally, Eve momentarily flirts with Bud and threatens his heart condition. Fun stuff!

Paper Moon by Peter Bogdanovich

Enjoy this book on many levels, including a first-rate murder mystery and an intriguing dynamic between father and daughter that brings to mind the poignant, and hilarious, pairing of Ryan O’Neal and Tatum O’Neal in Peter Bogdanovich’s 1973 endearing classic film, Paper Moon.  The plot thickens when suddenly fingers point to Enid somehow being accused of murder. This is a yarn that just keeps going! Lewis is definitely having a good time with it and that crosses over for the reader. Lewis is not afraid to shift the action into high gear as the plot sees fit. You just never know what will happen next in this hip and clever noir crime novel set in Phoenix, Arizona.

Gunning For Angels is the first book in a trilogy and you can find it at Amazon right here.

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April 13, 2019 · 8:01 pm

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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March 20, 2019 · 6:40 am

Review: DARK PANTS #4

DARK PANTS #4

When I review comics, I look to see how that work is engaging with the medium: Is it the best possible comics? With the subgroup of alt-comics, I’m also asking myself: Is this the best use of the art form–just how artful is it? Matt MacFarland creates comics that rise to a high level as art. Just take a look at the latest issue of his ongoing humorous noir series, Dark Pants #4.

MacFarland has treated his series like an artist goes about creating a body of work, mindful of various components: theme, motif, overall sensibility. The recurring pattern here is a pair of sexy vintage black jeans. Anyone who wears them will need to confront their darkest desires and also be compelled to live them out. In Issue 4, we find a woman at odds with her life. Lisa is a realtor and sick of it. She has convinced herself that she can get out of her rut if she has an affair with Cal, her yoga instructor. Enter the dark pants.

We all live our lives in a series of narratives. Even the dullest day job can act as a backdrop for some sort of relatively compelling drama. Maybe the most interesting thing about some people at work is how they avoid work. Maybe the most interesting thing about how some people avoid life is the lengths they will go to avoid it like subjecting themselves to the most empty distractions like being pathetically immersed in hopelessly shallow TV shows. The big challenge for a MacFarland character is to try to avoid their own mediocrity and despair and not just add to it.

There is delicious despair on view with every brushstroke in every panel of MacFarland’s comics. The characters are already so beaten down that you root for them to simply not hurt themselves much more if possible, to just survive another day. Doesn’t that pretty much sum up what noir is all about? Dark characters doing dark things until their nihilism gets the better of them! Well, our main character, Lisa, is ready to roll the dice and damn the consequences.

And you’ll love the object of Lisa’s desire. Cal is an ultra-groovy dude, with long shaggy hair that he keeps in a “man bun.” He plays his role to perfection as he tempts Lisa to take a walk on the wild, or sort of wild, side. In fact, not wild at all but just another stupid distraction so stupid as to chill the bone.

Dark Pants #4 is available now. For more details, visit Matt MacFarland right here.

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December 20, 2018 · 8:10 pm

Review: TUMULT by John Harris Dunning and Michael Kennedy

Tumult by John Harris Dunning and Michael Kennedy

Every Hitchcock film features someone out of their element. My favorite Hitchcock character is the dapper ad exec Roger Thornhill, played to the hilt by Cary Grant, in North by Northwest. In the new graphic novel, Tumult, we have another ad exec type minus the charm. Enter Adam Whistler, a thirtysomething bratty wannabe artistic filmmaker. Writer John Harris Dunning and artist Michael Kennedy concoct a delicious brew of noir mystery with their Hitchcock-inspired graphic novel, published by SelfMadeHero.

Morgan, is that you?

This is a story of a man steadily getting in over his head. First, he has an affair with a teenager that destroys his marriage. Then he proceeds to destroy his career just as it looks like he’s about to land the film project of his dreams. He seals his fate when he has an encounter with a mysterious woman that he can’t let go. Her name is Morgan. Or is it Leila? Or Pretty Princess? The improbable suddenly becomes probable as Adam falls into a downward spiral. Subplots help to lighten and darken the narrative as needed. Adam has a friend who is endlessly reciting his opinion on macho-themed movies. Morgan can’t break free of Dave, an unsavory and persistent troll.

A fool in the making.

This is Mr. Kennedy’s first graphic novel and Mr. Dunning’s second. His previous one is Salem Brownstone. Dunning also set up the prestigious exhibition, Comics Unmasked, at the British Library. No doubt, Tumult would fit right in with that. Kennedy commands the pages with a bold and brash style, both exuberant and precise. His striking color choices compliment his powerful linework. I have to hand it to both gentlemen. It encourages me as this is just the type of offbeat stuff that I both write and draw for my own comics. And it is definitely my preferred choice of comics to read. I’ll bet it might be yours as well.

A touch of the littlest hobo.

Tumult is a 184-page full color hardcover published by SelfMadeHero.

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November 12, 2017 · 9:30 pm

Review: ‘The Graphic Canon of Crime & Mystery, Volume One’

“The Graphic Canon of Crime and Mystery, Vol. 1: From Sherlock Holmes to A Clockwork Orange to Jo Nesbø”

Jerome Charyn, one of our great writers, known for his Isaac Sidel mystery series among many other works, has said that “all novels are crime novels.” It is an intriguing idea. You may as well take it a step further and say that all narrative, even the Bible, shares something with the genre. It is in that spirit that Russ Kick brings us the latest in his series of great works of fiction adapted into the comics medium. “The Graphic Canon of Crime & Mystery Volume 1” is published by Seven Stories Press.

This is a take on the crime & mystery genre that proves quite refreshing and a true eye-opener. Russ Kick, in the role of curator/editor, has taken an offbeat path in order to emphasize just how diverse and unpredictable his subject can be. Kick goes so far as to not include any adaptation of two of the most prominent names of all: Dashiell Hammett and Raymond Chandler. Perhaps he’s saving them for another volume. As a cartoonist myself, I would find those two irresistible for adaptation. But I also appreciate that Kick is playing with a delicate balance of mixing the familiar with surprising elements. Take the cover image. What on earth is going on there? A woman has been left tied up to a bed as a man creeps upstairs. Kick manages to keep just the right unsettling vibe running throughout this impressive anthology.

Good crime fiction keeps you on your toes. You are not supposed to be on solid ground. You are supposed to expect the unexpected. To set the mood, as well as provide the necessary framework, Kick has done away with chronology and has organized each adaptation within chapter categories: The Act; Criminals; Whodunit; Judgment; and Punishment. Take the judgment theme, for example. Within that one you have a story from the Bible, “Jesus and the Adulteress,” a story from Boccaccio’s “The Decameron,” and Hawthorne’s “The Scarlet Letter.” Neither of these would seem to be an obvious fit. There are certainly no gumshoe detectives here. But there is undeniable intrigue, and each story revolves around a crime. It is in Hawthorne’s case that we have that persistent double layer of gloom that resonates with a contemporary reader.

Excerpt from “The Scarlet Letter”

One of my earliest reviews of comics was the work of Sophia Wiedeman. I am quite taken with her eerie and understated comics. It is very nice to see her adaptation here of “The Scarlett Letter.” Hawthorne, like Washington Irving and Robert Louis Stevenson, is a true master of early American psychological thrillers. Wiedeman’s adaptation evokes the chilling air surrounded by poker face Puritans hungry for self-righteous violence.

Excerpt from “Headhunters”

But you really cannot deny yourself altogether the grit, glamour, and style that is so inextricably linked to the crime & mystery genre. The one piece that really satisfies that “To Catch a Thief” vibe is an adaptation of “Headhunters” by Jo Nesbø. If the name is not familiar, then maybe you have not tuned into the crime fiction trend coming out of Scandinavia and known as “Scandicrime.” Who knew. I have tended to see Scandinavians as rather mellow sensible sorts. But, no, push come to shove, and ditch the lutefisk in favor of brass knuckles. For this piece, Jackie Roche adapts a tale of a man leading a double life: corporate headhunter by day; master cat burglar by night. Roche has a perfectly light touch that gives this story an added touch of class.

Excerpt from “In Cold Blood”

For something decidedly chilling, there is the adaptation by Emi Gennis of the Truman Capote masterpiece, “In Cold Blood.” Gennis is another cartoonist I have followed and always find interesting. For her piece, she lets much of the plot speak for itself with minimal dialogue. Her stark and space style gives it all a nice edge.

Excerpt from “The Postman Always Rings Twice”

Sarah Benkin does something similar with her adaptation of the James M. Cain all-time classic “The Postman Always Rings Twice.” Benkin’s approach brings home the old adage of how the best laid plans of mice and men can fail miserably.

Excerpt from “Strangers on a Train”

And one more: it’s fun to see a piece by Megan Kelso that turns up the heat on her usually reserved and understated style with her adaptation of Patricia Highsmith’s “Strangers on a Train.” It’s as if a lot of things that often go unsaid in a Kelso story are forced up a bit to the surface. That said, Kelso conceals where she needs to and leaves the reader wondering in the spirit of any good mystery.

“The Graphic Canon of Crime & Mystery, Vol. 1” is a 352-page trade paperback, available as of November 21, 2017, and published by Seven Stories Press.

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April 27, 2017 · 10:00 am

Kickstarter: FAMILY MAN by Jerome Charyn & Joe Staton

FAMILY MAN by Jerome Charyn & Joe Staton

The story begins in New York City…one hour into the future. Crime runs rampant, rogue cops patrol the rubble-strewn streets, predatory gangs steal anything that isn’t nailed down, and the once powerful mafia dons cower in fear in their tenement prisons. Someone is killing the mob chieftains one by one, and the last survivors call on Alonzo, The Family Man, to hunt down the murderer. But it won’t be easy – not when Alonzo’s own brother Charles, the gun-toting Monsignor of the corruption-ridden New York City police department, is a prime suspect.

Full page of original art by Joe Staton

Jerome Charyn (The Magician’s Wife) is one of my favorite writers. He is a one-of-a-kind visionary. Charyn has worked with some of the best cartoonists in the world and his work with Joe Staton (Dick Tracy) is no exception. Take a look at the examples in this post and it will give you a taste of the hard-boiled, multi-layered tale that is FAMILY MAN. A Kickstarter campaign is on now thru May 21st in support of releasing, for the first time, a collected graphic novel of this classic work. Visit it right here.

Jerome Charyn & Joe Staton

This is a project that Mr. Charyn and Mr. Staton worked on in 1994, during the heyday of Paradox Press, an imprint of DC Comics. Take a closer look at the artwork and marvel over the distinctive shading made possible with the Craft Tint duotone process. These special bristol boards were coated with shading underneath the surface. The artist exposed the shading as needed. Back in 1994, FAMILY MAN ended up as a three-part comic book series of 96-pages each. Thanks to IT’S ALIVE! Press, this stunning work of comics can now be given the best possible presentation as a graphic novel. That includes displaying each page as it originally appeared on the art board

Close-up view of Joe Staton artwork

I really can’t say enough about the remarkable talent of novelist Jerome Charyn. We will pursue that further in subsequent posts. What I’ll say now is that he was way ahead of his time, at least in American circles, by taking his literary skills to the comics medium. In Europe, for example, that has been well understood for decades. In America, we’ve had time to catch up. If you read a Charyn work in comics, you are treated to a vast world of intrigue with characters that will get under your skin. For FAMILY MAN, Charyn and Staton serve up a nice pulpy noir tale set in New York City “one hour into the future.” It is a story about two brothers on separate sides of the law caught in a dystopia they understand all too well and which will pit them in a bloody conflict.

It’s not too late to join in and reserve your copy of FAMILY MAN. This is a wonderful opportunity to own a shining example of comics at its best. Check out the Kickstarter and learn more about rewards, including original art by Joe Staton, right here.

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Filed under Comics, Crime Fiction, Dick Tracy, Drew Ford, graphic novels, IT’S ALIVE! Press, Jerome Charyn, Joe Staton, Kickstarter, New York City, Noir

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April 13, 2017 · 9:00 am

Review: ‘Cousin Joseph: A Graphic Novel’ by Jules Feiffer

Panel: Where Did America Go?

Jules Feiffer tackles drawing a page of comics much in the way that a painter tackles a canvas. He gets in there with a muscular expressive line and then it’s all, wow, Feiffer has landed another punch, all with such graceful fluidity. You most likely know Jules Feiffer as the writer of one of your favorite books from childhood, 1961’s “The Phantom Tollbooth.” Well, Mr. Feiffer maintains quite an output of stories both drawn and written or strictly in prose. One of his most celebrated plays, and a favorite of mine, is the 1967 dark comedy, “Little Murders.”

I’ve always admired Feiffer’s work and his quirky style of drawing. When he said in an interview that he is only now mastering the art of drawing, I could understand the modesty. It was similar to Akira Kurosawa making a similar comment about filmmaking. Feiffer was adamant about it. Kurosawa was just as humble. Great artists are their own worst critics. Feiffer was saying this in regards to his entry into the world of graphic novels. With the recently released “Cousin Joseph,” Feiffer is midway through a noir trilogy with a spirited plot and a gritty vibe reminiscent of the work of Milton Caniff. I can assure you, the master is doing a fine job here.

Sam out on a job.

What you need to keep in mind about Feiffer is that he is equal parts writer and artist. Perhaps, if he had to choose, he would only be a writer. That’s just to say that his writing is of a caliber that it can certainly stand alone. However, the drawings cannot be denied. A graphic novel, at least a good one, results when the attraction between the words and images becomes so overwhelming that a union is inevitable, essential. That’s what I conclude from reading “Cousin Joseph.” I can see that Feiffer’s narrative is bubbling with ideas. Sometimes an extended prose passage needs proper venting. But, for the most part, this is a dance between word and image.

Calm before the storm.

Feiffer is an artist in his eighties in good health and still creating marvelous work. Much like his dear friend and fellow cartooning legend, Edward Sorel, he continues to gain strength and joy from his work. Cartoonists, like many other artists, tend to live long lives. Cartoonists, in particular, seem to have really got it figured out. But getting back to the book, the story makes for a great stand alone, no prior knowledge of the first volume is needed. The main character is Sam, a police detective who seems alright with skirting the law in favor of working for a mysterious client.

All in a day’s work.

The mysterious client that Sam works for is simply known as, “Cousin Joseph.” He has a murky agenda that Sam has never questioned. In fact, as far as Sam’s concerned, the big guy in the mansion was actually doing some good, instilling solid American values. It’s America in the 1930s. Bread lines blur into persistent threats of Communists lurking in the shadows. Somebody’s gotta do something, right? That notion seems to stick for a while. Gradually, it dawns on Sam that the big guy is not the patriot he makes out to be. Feiffer paints a compelling portrait of Sam, a man with his own dark side.

Another flawed character is Valerie, the teenaged daughter of the owner of a factory who is none too keen on unionizing. Valeries’s weakness is a sex addiction. She can’t help herself from preying upon any underage boy she can get her hands on. Later, she turns to any man who she can entice. While a little older than the boys she lures into her web, Valerie is nothing more than a child herself. She, and the boys, provide an opportunity for Feiffer to do what he does so well, to speak to the often betrayed and wounded heart of childhood. The story, as a whole, speaks to betrayed and wounded hearts everywhere.

‘Cousin Joseph: A Graphic Novel’ is a 128-page hardcover, black & white with tones, published by the Liveright imprint. For more details, visit W.W. Norton & Co. right here.

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Filed under Comics, Crime Fiction, Graphic Novel Reviews, graphic novels, Jules Feiffer, Noir

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