Tag Archives: Publishing

Review: ADVENTURE TIME #62

ADVENTURE TIME #62

ADVENTURE TIME #62

Mariko Tamaki provides a delightful script and Ian McGinty provides the charming art for ADVENTURE TIME #62, published by BOOM! Studios, about a contest to see who is the best Princess in all of Ooo.

I thought this issue was a hoot. I was glad to see that it was left on a cliffhanger. It will take more than one issue to figure out who is the best princess of them all. This issue also gives us some fun back and forth between Finn and Jake as each tries to top the other’s comments about the competition.

Mariko Tamaki wrote, and her sister Jillian Tamaki illustrated, “This One Summer,” an award-winning graphic novel published by First Second Books in 2014. For this Adventure Time comic, Tamaki’s script plays off the vast landscape that is the post-apocalyptic Adventure Time wonderland. She has gathered princesses from various kingdoms implying that there are an endless variety of princesses and kingdoms. That said, some key players stand out like Lumpy Space Princess, who isn’t officially a princess at all but who forces her way into the competition.

Mariko Tamaki and Ian McGinty / BOOM! Studios

Mariko Tamaki and Ian McGinty / Boom Studios

Ian McGinty has worked on a number of titles for BOOM! Studios. He is the creator of the WELCOME TO SHOW­SIDE comic and ani­mated series. For this Adventure Time comic, he provides his lively distinctive style to yet another excellent piece of work. Such otherworldly characters as Finn and Jake, already quite a jittery pair, are even more animated in the hands of McGinty. He also is quite good at composing compelling scenes and keeping everything moving at a dynamic pace or implying a constant frenetic energy.

ADVENTURE TIME #62 is published by KaBOOM!, an imprint of BOOM! Studios and is available as of March 1, 2017.

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ECCC 2017: ‘Jane Eyre’ Reimagined By BOOM! Studios This Fall

JANE, AN ORIGINAL GRAPHIC NOVEL

JANE, AN ORIGINAL GRAPHIC NOVEL

You can trace back the selfie, or the elevation of self, to such works as Charlotte Brontë’s 1847 novel, “Jane Eyre.” This is perhaps the best early example of a work elevating an average person, as opposed to an aristocrat or religious figure. That said, it makes total sense to explore the character of Jane, with a completely contemporary flair, in the upcoming graphic novel, JANE, published by BOOM! Studios, and due out this fall. As it makes its way to Emerald City Comicon in Seattle (March 2-5, 2017), BOOM! Studios wants you to know about JANE, from acclaimed screenwriter Aline Brosh McKenna (Crazy Ex-Girlfriend, The Devil Wears Prada) and Eisner Award-winning illustrator Ramón K. Pérez (Jim Henson’s Tale of Sand).

Press release follows:

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ECCC 2017: NEW HATSUNE MIKU VOLUME FROM DARK HORSE MANGA

Hatsune Miku: Future Delivery Volume 1

Hatsune Miku: Future Delivery Volume 1

As it makes its way to Emerald City Comicon in Seattle (March 2-5, 2017), Dark Horse Comics announces new plans for their latest Hatsune Miku manga license. The first of two Hatsune Miku: Future Delivery volumes is scheduled for a October 4, 2017 release with writer Satoshi Oshio and artist Hugin Miyama, the team behind the Overlord manga adaptation, telling the story first featured in their 2014 hit.

Press release follows:

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Review: ‘Simpsons Comics Knockout’ collected trade paperback

SIMPSONS COMICS KNOCKOUT

SIMPSONS COMICS KNOCKOUT

SIMPSONS COMICS KNOCKOUT, published by HarperCollins, is a fine collection of Simpsons comic book stories originally published by Matt Groening’s Bongo Entertainment. This is a great opportunity to get your Simpsons fix all in one full cover trade paperback that collects five Simpson Comics: #116, 117, 118, 119, and 120. What you will find is consistently pithy, witty, and outright hilarious good fun.

Page excerpt from Simpson Comics #116.

Page excerpt from Simpson Comics #116.

Each comic book collected here covers one story. The titles are as follows: “Mall or Nothing,” “Sandwiches are Forever,” “The Flunky!” “Homer Drops the Ball!” and “The ‘X’ Men.” For example, in Simpson Comics #116, originally released in the U.S. in March of 2006, you have a sly satire on consumerism: the Simpsons find themselves living inside a shopping mall. This predicament is to the delight of Homer Simpson, and to the dismay of his progressive daughter, Lisa.

Other stories feature a Simpson family globetrotting adventure; a satire on help for the lovelorn; and Homer in a boxing match with everyone’s favorite corporate villain, C. Montgomery Burns! This is great all-ages entertainment from Matt Groening’s legendary creative team.

SIMPSONS COMICS KNOCKOUT is a 128-page full color trade paperback, available as of February 21, 2017. For more details, and how to purchase, visit HarperCollins right here.

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Review: SCOTLAND YARDIE by Bobby Joseph and Joseph Samuels

SCOTLAND YARDIE by Bobby Joseph and Joseph Samuels

SCOTLAND YARDIE by Bobby Joseph and Joseph Samuels

As we here in the States, along with the rest of the world, continue to deal with the orange menace, it’s good to gain strength from our friends across the pond. One thing that the creators of the graphic novel, SCOTLAND YARDIE, want you to know is that things are bad all over. Bobby Joseph and Joseph Samuels provide some dark humor for these hard times. This is a provocative work, set in south London, with a smart and gritty vibe.

Darkness fell...

Darkness fell…

No doubt, Bobby Joseph (script) and Joseph Samuels (art) make no bones about their dismay with the current (and ongoing) state of affairs. With such clownish characters in the media, and in government (gasp), stoking the fires of hatred, racism, and xenophobia with such intensity as we have not seen before in recent memory, any form of satire can be cathartic. In this case, we have a plot involving the Brixton Metropolitan Police in need of some diversity. Enter Scotland Yardie, a ganja smoking, no-nonsense “bad bwoy” cop who breaks all the rules to enforce his own harsh sense of justice. This is, by turns, a very silly comic (think Monty Python, for starters) and, ultimately, an eye-opening and worthwhile read.

Is that Brexit heartthrob Boris Johnson?

Is that Brexit heartthrob Boris Johnson?

This comic’s writer, Bobby Joseph, is considered to be the voice of urban UK comic books. He is credited as the creator of the cult comic classics Skank Magazine and Black Eye. He has written satirical pieces for Vice.com, Loaded Magazine, The Voice newspaper, BBC1’s Lenny in Pieces and Radio 4. He is credited on the BBC website as instrumental in featuring some of the “first comics by black creators featuring black characters.”

Some light emerges...

Some light emerges…

This comic’s artist, Joseph Samuels, is credited as one of the most popular comic artists to grace the pages of Skank Magazine and Black Eye. He is the co-creator of the popular Afro Kid comic strip on Vice.com.

SCOTLAND YARDIE is a 100-page, full color, graphic novel, published by Knockabout. For more information, and how to purchase, visit Knockabout right here.

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Filed under Bobby Joseph, Brexit, Cannabis, Comics, Donald Trump, Graphic Novel Reviews, graphic novels, Joseph Samuels, Race, Race Relations, Racism, VICE

ECCC Review: EXTREMITY #1

EXTREMITY #1

EXTREMITY #1

EXTREMITY #1, written and drawn by Daniel Warren Johnson (SPACE MULLET and GHOST FLEET), with colors by Mike Spicer, lettering by Rus Wooton, is a comic that quickly builds and never lets up. If you like heroic tales, this one delivers and then some. It has a high quirk factor that will bring to mind such visionary art as that of Studio Ghibli; and it has a fierce intensity that will bring to mind such bloody action as that found in Mad Max. It all adds up to just the right mix for another successful all-new Skybound Original.

A good revenge story involves a great injustice that needs to be confronted. In this case, the Roto Clan has been tragically wronged by the Paznina. The setting alone dazzles the eye: floating worlds, bizarre flying contraptions, behemoth machines, and monsters. Our main character, Thea, is very compelling. On her young shoulders rests most, if not all, of this powerful story. And, keep in mind, before all hell broke loose, she would have liked nothing more than to be tucked away in a calm and quiet spot drawing in her sketchbook.

Panel excerpt from EXTREMITY #1

Panel excerpt from EXTREMITY #1

With this first issue, we see that artist/writer Daniel Warren Johnson is already delivering on his plan to lay out what happens when a family goes on a vengeful rampage. Will things ever be the same again? Once blood spills, what does it do to the victors who aspired to right a wrong? This is a comic that does not hesitate to provide action but also has the ability to pull back to see a bigger picture.

If you are heading out to Emerald City Comicon, be sure to seek out Image Comics and Skybound Entertainment.

EXTREMITY #1 is published by Skybound Entertainment, an imprint of Image Comics. It will release on March 1st. For more details, visit Image Comics and Skybound.

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Interview: Edward Sorel and a Grand Career in Illustration

Edward Sorel in his studio.

Edward Sorel in his studio.

Anyone interested in illustration, art, satire, or the specific art of drawing, will know something about the career of Edward Sorel. The work of Edward Sorel covers a wide spectrum resulting in a hefty portrait of the human condition, with a notable eye to speaking truth to power.

My interest in Edward Sorel runs deep. I checked out from my school’s library Sorel’s 1972 collection, “Making the World Safe for Hypocrisy.” It was 1973 and I was a sensitive and highly impressionable lad of 10 years-old. I was filling sketchbooks with portraits of Watergate personalities, both villains and heroes. I tore into that book and marveled over Sorel’s distinctive crosshatching and his lively expressive line work. I was in awe with how he brought to life various dignitaries, politicians, and movie stars. The gold standard had been set in my mind and it hasn’t changed ever since. What really wows me now goes back to my early introduction to the work of Edward Sorel.

Quotes from reviews for Mr. Sorel’s new book, “Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936,” published by Liveright/W.W. Norton & Company:

“Life is so unfair. I tore up the old linoleum in a grungy apartment I rented years ago and found under it only schmutz, hardened chewing gum and a torn ticket stub to ‘Moose Murders.’ Ed Sorel tears up the old linoleum in his apartment and finds yellowing newspapers with headlines screaming about a scandal that gave him material for a terrific book. Not only does he then write a terrific book, but he illustrates it with his wonderful caricature drawings. Who would figure that Mary Astor’s life would provide such entertaining reading, but in Sorel’s colloquial, eccentric style, the tale he tells is juicy, funny, and in the end, touching.”
—Woody Allen, The New York Times Book Review (cover review)

“Rapier-sharp…With a tip of his pen to Daumier, the artist evokes the quaint, febrile glamour of Astor’s Hollywood, and his affectionate, conversational prose gives Mary and her story a kind of valiant dignity never bestowed while she lived.”
—Edward Kosner, Wall Street Journal

“Delightful, colorful, and occasionally cheeky.”
—Allison Sadlier, Entertainment Weekly

From "Mary Astor's Purple Diary" by Edward Sorel

From “Mary Astor’s Purple Diary” by Edward Sorel

Edward Sorel (born Edward Schwartz, 26 March 1929, The Bronx) has recently released a book from Liveright/W.W. Norton. The book, entitled “Mary Astor’s Purple Diary” is about his lifelong obsession with film star Mary Astor but it’s also a memoir of a sort. You may have read Woody Allen’s review of the book in The New York Times Book Review. Allen had the honor of introducing many new readers to the opening story in the book: It is 1965 and Edward Sorel, newly married and settling into new digs, is left with the task of replacing the old linoleum kitchen tile. Lo and behold, buried underneath is a stash of old newspapers chronicling the scandalous 1936 custody battle of Hollywood star Mary Astor. Well, the rest is history and this most engaging book.

I interviewed Mr. Sorel this last Wednesday, February 8th. I hope you enjoy it.

HENRY CHAMBERLAIN: Turning our attention to Mary Astor, what is intriguing about her is that she had a life where one plus one kept equaling three. Despite a series of bad choices, whether in lovers or career options, Mary Astor managed to persevere. Is that part of the appeal, that she took such an offbeat path?

EDWARD SOREL:
The appeal came when I read her memoir. She was a self-denigrating and witty writer. Very observant. Somewhat cynical about Hollywood. She had an intelligence that appealed to me. Then I started seeing her movies and I was hooked on her. Her bad decisions that you refer to have to do with having had an abused childhood, not in any physical way but in a mental and psychological way.

Her father kept her from having friends because he didn’t want her to see how Americans lived, how Americans treated their children. He wanted to be the dictator of his home. And he succeeded. She was unable to break free from him until quite late in her life. And it kind of ruined her. And God knows she made a lot of terrible mistakes in her life.

Marry Astor and John Barrymore.

Marry Astor and John Barrymore.

I was watching 1924’s “Beau Brummell” and I am intrigued by the relationship Mary Astor developed with her co-star, John Barrymore, of all people. In their case, the twenty year age difference was inappropriate. However, it was what it was. And it was through Barrymore that Mary Astor learned a lot and gained self-confidence.

He did do her a lot of good but not for any altruistic reasons. He was out to nail her. He was on his way to Hollywood on the 20th Century Express. He had just completed the most successful run of “Hamlet” that America had seen. He was acclaimed as America’s greatest actor. He was on his way to the coast to make “Beau Brummell” for Warner Bros. because they were paying him a lot of money. And he picks up a magazine that has a photograph of Mary Astor about the age of 16 and under the photograph it said, “On the Verge of Womanhood.” Barrymore had a particular liking for virgins.

As I pointed out in the book, it was Barrymore who had his way with Evelyn Nesbitt, who later married Harry Kendall Thaw. And it was Thaw who shot Stanford White, America’s great architect, because he thought Stanford White had taken his wife’s virginity–when, in fact, it was Barrymore. That is a sidebar I’m proud of since I pieced together that bit of information.

According to Mary Astor, Barrymore really believed that he was going to marry her. And maybe he did plan to. But when Mary would not break free from her parents, after Barrymore offered her starring roles, because her father forbade it, Barrymore realized that she was just a child. She was completely under the sway of her father. Marrying a woman twenty years younger was one thing but marrying a child was something else. He broke her heart by calling it off.

I think it’s a cartoonist thing, as I’m a cartoonist, that we keep seeking out the offbeat. So, in the spirit of that I throw out a curveball, and ask you about your changing your last name to Sorel. You are referring to Stendhal’s “The Red and the Black.” I loved that book and the main character, Julian Sorel. Is there something interesting going on there with that connection?

I liked to think that I saw myself in Julian Sorel because he was like catnip to women, which I really wasn’t, and he hated the corrupt society of his time, as I hated mine. The first election that I voted in was the one between Eisenhower and Stevenson. I took a dim view of both of them and voted for a third party.

The other thing about Julian Sorel was that he hated his father. God, I certainly hated mine, not only because he tried to discourage me in wanting to be an artist but because he was a mean-spirited ignorant man not kind to my mother, not kind to anyone. And I didn’t want anything to do with him. I was going to be a cartoonist and I didn’t want to sign my name, Schwartz, in the right-hand corner. And I chose the name, Sorel, because of the novel. It seemed as good a name as any.

"Stagecoach." 1980 illustration for Esquire magazine.

“Stagecoach.” 1980 illustration for Esquire magazine.

I think back to myself as a boy wondering about how you created your work. You’ve spoken about “finding lines.” Could you share a little bit about that?

When you work commercially, and you’re taking assignments, you have to show the art director what you plan to do. So, you do sketches of the drawing you plan to do. And, after a while, I began to notice that my sketches had more vitality and life than my finishes did. My finishes were often dead and overworked. And so I tried to emulate the quality that I had in my sketches which meant doing it without tracing. In point of fact, that’s impossible to do if you’re doing very complicated scenes. You can work direct if you’re doing a face, a figure, a still life, or anything relatively simple. You can work direct without tracing and the work has a vitality to it. But when you’re doing complicated scenes, with many different elements, you really do have to know where you’re going. So, I found out that if I just had a light outline of where I wanted the elements to be, and didn’t trace, I could keep this sketchy quality that I think gave my art work some distinction.

"The Goodwood Races," 1939, by Feliks Topolski (1907-1989).

“The Goodwood Races,” 1939, by Feliks Topolski (1907-1989).

That quality of your art has influenced so many artists, whether they realize it or not. And, certainly, there have been other artists who have used an “expressive line.” You have talked about some of your favorites, like Feliks Topolski. There’s a certain sensibility that you both share.

Yes, well, he wasn’t trying to be funny like I always have. But his work has spontaneity, which I value in every artist. Wether its Bemelmans or Topolski. What shocks me now is to find so many artists who enjoy doing art work with a computer. I’ve seen some very nice computer art. You can get that nice flat color and can do all sorts of tricks that you can’t do by hand. But, to me, it doesn’t seem like fun. It seems like working on a machine. I just love the act of drawing. I’m a throw back. Most of the illustrations that you see today in magazines, and God knows you don’t see too many, are computer-generated in some form or another.

One compromise is for the artist to draw some of the illustration by hand, scan it, and do the rest on a computer.

It doesn’t seem fun to me but it must seem fun for them. I don’t cast aspersions on their way of doing it.

I think it boils down to being a time-saver. And, once a routine has set in, that’s the way it’s done and that’s it.

The other thing about computer art is that there’s nothing original, nothing to hang on the wall. You could have a show but it would only be prints. To each his own.

"Pass the Lord and Praise the Ammunition," 1967, by Edward Sorel

“Pass the Lord and Praise the Ammunition,” 1967, by Edward Sorel

I wanted to touch on one of the all-time classics, your 1967 anti-war illustration, “Pass the Lord and Praise the Ammunition.” The real life punchline there is that you were all set to roll out a poster when the focal point of the piece, Cardinal Spellman, passed away rendering your satire unsellable. Now, there’s some divine intervention.

The day it came off the press is the day he died. It never sold in any store in America. It is in a museum in Amsterdam. One store in Chicago tried to sell it and had its window broken. Apparently, Cardinal Spellman had some fans in Chicago. That was a bad break. You get some bad breaks and you get some good ones. I was the recipient of Woody Allen’s praise on the front page of The New York Times Book Review. That was the best break I ever had.

From "Edward Sorel: Nice Work If You Can Get It," 2011, by Leo Sorel.

From “Edward Sorel: Nice Work If You Can Get It,” 2011, by Leo Sorel.

I encourage everyone to check out the short film on you that your son, Leo, did. That is quite informative and a treat. It shows you in your studio. And then the Q&A afterward with illustrator James McMullan is very impressive. Towards the end of that, you talk about the pen you favor, a Speedball B6. I’ve always had a devil of a time with steel point dip pens. But the Speedballs I could manage. And then you flip it backwards to get the crosshatching.

Yes! That was my secret. The Speedball does move and it allows you to be kind of spastic over a piece of paper.

"Nixon and Mao," 2007, The New Yorker.

“Nixon and Mao,” 2007, The New Yorker.

I wanted to ask you about Donald Trump. There was that drawing of him as Medusa you did last year. The big news at the moment is all about Mitch McConnell silencing Elizabeth Warren. I could see that as perhaps triggering an Edward Sorel drawing.

I can’t cope with Donald Trump. I haven’t done political cartooning in a number of years. I can’t deal with him. With all other presidents, you could make fun of their hypocrisy and have fun with them. But Mr. Trump is kind of crazy. And he’s dangerous. He’s cruel. Making fun of him doesn’t seem what’s called for. It’s trivializing him. He shouldn’t be trivialized. He’s really a danger. People are really scared. They wake up with Donald Trump on their mind and they go to bed with him on their mind. He’s a heavy presence in our lives now. I don’t know how to deal with that.

You can’t call him the new Nixon. At least with Nixon, there was a mind at work. It’s being very generous, but there was some sense of integrity compared to Trump. Nixon you could call a president. But, with Trump, he’s president only by title.

He seems unhinged. I think it was Bernie Sanders who called him unhinged. He seems too crazy to be in that office. I don’t know what else to say about him.

Donald Trump illustration, 2016, for Vanity Fair.

Donald Trump illustration, 2016, for Vanity Fair.

Especially living it right now. It is stomach-turning. I won’t talk about him anymore. But I do need to mention Melissa McCarthy’s impersonation of Sean Spicer. Have you seen that?

No, tell me about it. I’ve been trying to avoid the news lately.

Well, Melissa McCarthy is a comic genius and she was on Saturday Night Live last weekend. She did a spot on impersonation of Sean Spicer, had the look and mannerisms down.

Oh, wait, I did see that! A friend sent that to me.

I think that has the power of a political cartoon and then some. It captivated everyone. It was an emotional release for everyone to see that.

Yes, I’m sure it was. It was very funny.

It seems to me that every artist needs a hero, someone to play off of. I see your book, weaving your life with Mary’s, as following the artist’s struggle. I think of how Mary evolved. I think of how Mary and Bette Davis were able to rewrite “The Great Lie,” turning that around into a notable film.

She did become a very fine actress. But she also became a little bit like her father, terribly obsessed with money. She twice turned down contracts for starring roles since she believed supporting roles would provide a longer career. She did indeed have a long career. She was in over 100 movies. And she was going strong until about 1959. She didn’t take chances. Maybe she didn’t believe she was a good enough actress. She missed having a chance at great roles and great performances. That was too bad.

My obsession with her has to do with my thinking I wasn’t a great artist because I didn’t have an obsession. So, I was very grateful when people called my interest in Mary Astor an obsession. Yes, it was an obsession and I do think it helped produce my best work.

"Mary Astor's Purple Diary: The Great American Sex Scandal of 1936" by Edward Sorel

“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” by Edward Sorel

Can you tell us about your connection with Boston University?

I was very lucky to have Boston University buy my entire work, my oeuvre, as we say. In March, they’re having a retrospective of all my work and, as a matter of fact, I’m still packing up things to send there.

The Howard Gottlieb Center at Boston University has one of the finest collections from all walks of life. They have the second largest Martin Luther King collection. They have many of America’s great writers. They have Fred Astaire and Ginger Rogers. They have most of the actors and actresses from the golden age of Hollywood. I’m very delighted to be part of this collection.

Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.

Mural by Edward Sorel at The Waverly Inn, completed in 2007. From left to right: Eddie Condon, Donald Barthelme, Willa Cather, Gertrude Vanderbilt Whitney, Jane Jacobs, John Sloan, and Andy Warhol.

I heard a siren in the background. It brings back my visits to New York. You are a lifelong New Yorker and I know how much you love New York. Could you share some of your thoughts on the city?

I do love New York. I don’t love the crowds anymore. I do worry. When you live in a city like New York, you do begin to see a kind of science fiction future: crowds everywhere, lines everywhere. New York is kind of becoming that. They keep building these enormous skyscrapers without thinking about how the city will accommodate it. They’re not building out, like they did in Los Angeles. They’re building up. It used to be that the only crowds were in midtown but now crowds are all over. And you find yourself walking in the gutter because there’s too many people on the sidewalk.

So, yeah, I love New York. The New York that I grew up with, where the museums were free and everyone went to public school, seems to have vanished. Everything is expensive now, including the museums. It’s very difficult for young people. When The New York Times that I used to buy for three cents is now $2.50, The New Yorker which I used to buy for ten cents, is now something like $7, it’s bizarre. And, of course, the wages that young people get are pitiful. So, yeah, I love New York but I don’t like the time particularly.

Is there anything else that you’d like to add?

I can tell you about my next book. It’s going to be similar in structure to the Mary Astor book. It’s going to be a memoir. It will be about my growing up in New York. And it will be about the thirteen presidents that I’ve lived through.

My point is that every one of these presidents, whether I liked them or not, committed illegal acts, overthrew governments illegally, and did unconstitutional things. Starting with Dwight D. Eisenhower, who became enamored with Billy Graham. It was through those machinations that they put “In God We Trust” on our currency and inserted “Under God” in our oath of allegiance. Somehow, I regard that point in history as the slope we’ve been sliding ever since.

Now, it’s done so garishly with someone like Trump.

Right. Trump, the great Christian, who apparently was much loved by the Bible Belt. I don’t think there’s anything more derogatory I can say about organized religion than that they were responsible for the election of Donald Trump.

Is part of the new book you’re working on sitting on your drawing board?

Not yet. A little bit is sitting on the computer. Nothing has been drawn yet.

I wish you well on that. It’s been exciting and quite a treat to get a chance to talk with you for a bit.

You’re very kind. Thank you so much.

You can listen to the interview right here.

“Mary Astor’s Purple Diary: The Great American Sex Scandal of 1936” is a 176-page hardcover, with full-color illustrations, published by W.W. Norton & Company. For more details, visit W.W. Norton & Company right here.

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Filed under Cartooning, Cartoonists, Donald Trump, Edward Sorel, Illustration, Interviews, New York City, Political Cartoons, politics, Richard Nixon

Kickstarter: SIMON SAYS: NAZI HUNTER #1

SIMON SAYS: NAZI HUNTER

SIMON SAYS: NAZI HUNTER

Writer Andre Frattino and illustrator Jesse Lee have a very compelling graphic novel project, SIMON SAYS: NAZI HUNTER, the story of famed Nazi hunter and writer Simon Wiesenthal. Frattino and Lee seem to have a good handle on the subject. They have the background to tackle such an ambitious project. And, based upon their samples, it looks like it will add up to a riveting narrative. This is inspired by the true story of Holocaust survivor, Simeon Wiesenthal, an artist who lost his family and took justice into his own hands.

SIMON SAYS by artist Jesse Lee and writer Andre Frattino

SIMON SAYS by artist Jesse Lee and writer Andre Frattino

From the Kickstarter campaign:

Wiesenthal was an Austrian architect who survived the Holocaust thanks partly to his artistic skills (he was spared from execution when he was employed to paint swastikas on train cars). After the war, he discovered that he and his wife lost over 80 members of their family. Wiesenthal dedicated the rest of his life to hunting down notorious war criminals including Adolf Eichmann (a chief orchestrator of Hitler’s “Final Solution to the Jewish Question”) and Joseph Mengele (a.k.a. “The Angel of Death” who conducted horrifying experiments on his subjects).

While Simon Says: Nazi Hunter #1 is inspired by Simon Wiesenthal, it is not merely a dramatization of his experiences alone. The story takes from many aspects of various Nazi Hunter stories following the war. The tone of the comic is a mixture of noir and pulp fiction which was prevalent in the 1950s and 60s. Other influences include Ian Fleming’s James Bond Series as well as such films as Schindler’s List, Inglorious Bastards and TV series like Sherlock and Man in the High Castle.

Simon Wiesenthal will always be a quintessential hero. It is exciting to see a graphic novel taking shape about his life and work. A Kickstarter campaign in support of SIMON SAYS: NAZI HUNTER #1 is on now through February 27th to raise funds for the first issue of what will be a full length graphic novel. Visit the campaign right here.

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Filed under Comics, graphic novels, Kickstarter, Nazis, Simon Wiesenthal

Review: THE DREGS, published by Black Mask Studios

Arnold on a metaphysical hunt for clues.

Arnold on a metaphysical hunt for clues.

THE DREGS, published by Black Mask Studios, is one of those ideal experiences in comics: a work that lifts you up with something to say, whispers it as if only to you, and then sets you back down all the better for it. The script by Lonnie Nadler and Zac Thompson crackles with wisdom and originality taking you places you might never see along with places you don’t want to ever see for real. The artwork by Eric Zawadzki is so full of humanity and keeps you turning the page. The colors by Dee Cunniffe pull it all together with shades of melancholy and grit. This is a weird story and so much more.

The concept is an intriguing riff on the legend of Sweeney Todd, the London barber who murdered his clients and then sold meat pies made from their flesh. In this case, gentrification has run so far amok that the homeless are not only being squeezed out of space, they are being dispatched and turned into gourmet delicacies for all the new trendy boutique restaurants. No one is going to eat the rich, as Rousseau once championed. It’s the homeless who are going to be eaten in this story.

THE DREGS, published by Black Mask Studios

THE DREGS, published by Black Mask Studios

There’s no one who can stop these killings except perhaps for one intrepid homeless man. Arnold feels that he’s tapped into the mind of detective Philip Marlowe in Raymond Chandler’s novel, “The Long Goodbye.” One thing is for sure, Arnold knows to be a fact that three of his homeless friends have completely disappeared, most likely murdered. For the rest of what he needs to solve this mystery, he has to rely upon his own special brand of deduction.

This is an exceptional work in its boldness and intelligence. It has its gore and it’s guided by a plot that would make both Raymond Chandler and Dashiell Hammett proud. An interesting side not is the fact that Chandler and Hammett wrote some of their earliest work from the 1930s for the pulp magazine, Black Mask. It just seems quite fitting to have this work in comics published by a publisher undoubtedly aware of that history given the name it chose to publish under, Black Mask.

The first issue of THE DREGS is available as of January 25th. For more details, visit Black Mask Studios right here.

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Filed under Black Mask Studios, Comics, Comics Reviews, Crime Fiction, Gentrification, Homeless, Pulp Fiction, Satire

Review: THE BELFRY, published by Image Comics

THE BELFRY by Gabriel Hardman

THE BELFRY by Gabriel Hardman

Gabriel Hardman is an artist with a very fluid and powerful drawing style. And that carries over to his writing as well. His latest one-shot comic for Image Comics is a perfect case in point, entitled, THE BELFRY, a trippy surreal vampire jaunt. You could say this is how truly engaged cartoonists dream, or have nightmares: a sequence of seemingly random events that creep up on you to unveil some unnerving results. For Hardman, it all began with a sketch of a vampire woman with silky wings sprawled inside a dank cavern. That haunting drawing led to this strange and lyrical story.

Hardman runs with dream logic and gives us quite a number of compelling visuals: an airliner crash-landing in a remote jungle, devilish winged figures, a spike jammed into an eyeball socket! Yes, it can get gruesome but this is stylish horror. For those of you into quirky comics, you are likely already fans of Gabriel Hardman (KINSKI, Star Wars Legacy) as well as his work teamed up with Corinna Sara Bechko (INVISIBLE REPUBLIC, HEATHENTOWN). This is an artist loaded with wit, vision, and endless energy. Hardman loves to draw as his expressive ink does attest!

The initial sketch that set things in motion.

The initial sketch that set things in motion.

“Fwip! Fwip! Fwip!” go the incredibly long batwings. There’s a deliciously uncompromising vibe to this comic. Right after the airliner crashing, because of those demonic wings getting in the way, co-pilot Bill is awakened by flight attendant Janet. All the passengers have been accounted for. But what about Captain Anders? Well, er, he’s alive except…there’s a stake through his eye. Then there’s a beautifully surreal transition…Bill is running through the wild jungle and falls, as into a rabbit hole, except it’s a huge cave full of humanoid bats. Bill lands with a tremendous thud. He’s been stripped bare. All the other passengers are naked as well. And from there the screws are turned tighter and a splendid nightmare spreads out in full bloom.

THE BELFRY will prove to be a great new addition to your comics reading so make a note of it as this one is a month away. And, if you haven’t been following Hardman, seek him out. A good place to start is the ongoing series, INVISIBLE REPUBLIC, to which I provide a review right here.

THE BELFRY one-shot issue is available as of February 22, 2017. For more details, visit Image Comics right here.

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Filed under Comics, Comics Reviews, Corinna Sara Bechko, Gabriel Hardman, Horror, Image Comics, Vampires