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Tag Archives: Winsor McCay

Derekommendations: Demons and Dreams

09 Sunday Nov 2014

Posted by dmainhart in Derekommendations

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Chris Ware, Demon, Eric Shanower, Gabriel Rodriguez, Jason, Jason Shiga, Little Nemo in Slumberland, Little Nemo: Return to Slumberland, Nelson Daniel, Winsor McCay

Hey there everyone. Been a while. Read any good comics lately?

As some of you may know, in our real lives we here at I&N are educators (“What’s that?!” you ask, “A comic critiquing website doesn’t pay the bills?!” I know. I’m as surprised as you.) Well this new school year has hit this particular educator like a ton of bricks. (Seriously, if you know any teachers, give them a hug. Or maybe a flask.)

The sad result? You haven’t heard much from me lately. (How do you go on?) But there were two recent titles that I couldn’t let go by without comment and still consider myself a comics scholar, aesthete and general know-it-all. To wit:

Demon #1 (self-published): Award-winning cartoonist Jason Shiga’s (Empire State, Meanwhile) latest features a determined young man with a never-say-die attitude…towards dying. Without giving too much away, the story reads like a gleefully demented version of Groundhog’s Day. Shiga delivers his devilishly black humor with impeccable comic pacing. Originally presented as a daily, serialized webcomic, the story benefits from the more traditional comic book format, as it displays Shiga’s mastery of the page turn for comedic effect. The simplicity of the setting (most of the story takes place in the same room) lends a certain claustrophobia, as events slowly grow ever more surreal. The art, while pleasingly cartoony, has a schematic quality in both style and layout, that brings to mind the ironically understated work of Jason or Chris Ware. This matter-of-fact presentation, given the bleak subject matter, only heightens the awful, laugh-out-loud moments. And of those, there are quite a few. Because, while suicide may not be painless, in Shiga’s manic, twisted hands, it is hilarious.

Demon #1

Little Nemo: Return to Slumberland #1 (IDW): Winsor McCay is one of the greatest artists (not just cartoonists) of the 20th century. His work has inspired everyone from Walt Disney to Maurice Sendak. His seminal achievement is arguably Little Nemo in Slumberland. In newspapers across the country, McCay presented a weekly art nouveau tableau of fantasy, in which Nemo’s dream world came breathtakingly to life. Never had such a wild imagination been rendered with such precise, consummate draftsmanship. At the very dawn of comics McCay set a bar for the medium that has never been surpassed. Eric Shanower and Gabriel Rodriguez attempting to revisit this masterwork is then, the most quietly audacious move of the year.

Of the two, Mr. Rodriguez has by far the more difficult task. How does an artist, even one as talented as Rodriguez, interpret the work of the most gifted fabulist ever to hold a pencil, without seeming slavish or paling by comparison? Happily, he seems up to the challenge. While obviously owing much to McCay’s work, Rodriguez introduces a more modern cinematic flair to the proceedings (McCay, for instance, nearly always kept his main characters in mid-range shots, almost never employing close-ups) that may have been influenced by the gorgeous, but structurally flawed, animated movie adaptation of 1989. While nothing can ever quite compare to the original, the artwork here is playful, precise, and candy-colored (hues skillfully provided by Nelson Daniel. McCay, of course, colored the originals.) In other words, it is everything Little Nemo should be. Well, almost. If there is a quibble, it’s that, other than a couple of pages (8 and 9) he doesn’t attempt the kind of innovative panel designs that were so integral to the original. Ah well, room to stretch in future issues.

As for Mr. Shanower’s part, he does a fine job of providing just enough of McCay’s greatest hits for Rodriguez to exploit, while establishing a rhythm that stays true to the original and simultaneously taking advantage of the comic book format. Not a small feat. His best decision however, may have been to not set this in McCay’s world of 1905, nor to try to update the original character for our time. In a small but wise step, he introduces a new Nemo, establishing a fresh start and allowing himself some latitude with the character’s development. It also may make him more relatable to young readers. Because at the end of the day, that’s the point. Shanower and Rodriguez have created that all-too-rare thing: an excellent comic book for children. And if this book introduces the unparalleled wonder of McCay’s masterpiece to a new generation, then that alone is cause for celebration.

Little Nemo: Return to Slumberland #1

For more about Demon visit www.shigabooks.com

Issues 1 & 2 of Little Nemo: Return to Slumberland are on the shelves now. Grab them while you can!

Yours in Comics,

Derek

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I&N’s Top Ten of 2013

31 Tuesday Dec 2013

Posted by ScottNerd in Uncategorized

≈ 27 Comments

Tags

Abstract Studio, Adventure Time, Adventure Time with Fionna & Cake, Afterlife With Archie, Ales Kot, Archer & Armstrong, Archie, Austin Harrison, Bad Houses, Bandette, Battlefields, BOOM!, Brian K. Vaughan, Buzzkill, Clone, Daredevil, Dark Horse, Dark Horse Presents, DC, Dean Motter, Deathmatch, Dial H, Dynamite, Fiona Staples, Fred Van Lente, Fury: My War Gone By, Garth Ennis, Goran Parlov, Greg Rucka, Harold Gray, IDW, Image, Jeff Stokely, kaboom!, Lazarus, Manifest Destiny, Marvel, Mateus Santolouco, Matt Kindt, Michael Lark, Michael Walsh, Mike Raicht, Mind MGMT, Mind the Gap, Mister X: Eviction, Mister X: Hard Candy, Morgan Jeske, Nelson Daniel, Numbercruncher, Oni, Rachel Rising, Sabretooth Swordsman, Saga, Satellite Sam, Seth, Simon Spurrier, Six-Gun Gorilla, Star Wars, Terminator, Terry Moore, the Hernandez Bros, The Massive, The Sixth Gun, The Spirit, Thumbprint, Titan, Tradd Moore, Trillium, Valiant, Vertigo, Wild Blue Yonder, Will Eisner, Winsor McCay, Zach Howard, zero

Welcome to the 46th Annual I&N’s Top Ten Comics of the Year (aka “The Innies”)! Why it seems like just yesterday that a struggling little mag named “The Amazing Spider-Man” edged out “The Adventures of Jerry Lewis” for the top spot on our hallowed list, signaling the spectacular rise of one and the slow descent into obscurity of the other.

Each title below is testament to the fact that, even as conventional wisdom holds that print is dying, comics are in the midst of some kind of Renaissance. The persistent stereotype that this vibrant, global medium is followed by sad, middle-aged men who like to see men in tights beat each other up simply doesn’t hold water anymore, nor has it for quite some time. The fact is, the problem is no longer a lack of diversity in incredible material for any and all possible demographics; it’s that there’s too much of it to keep track of! No less than seven publishers are represented in our Top Ten, each producing catalogues of more great work than we could ever hope to encompass in our tiny alloted piece of the internet. (You’ll note we even had to expand our “Honorable Mentions” section to ten books apiece – and we could’ve used ten more!) Simply put: everyone should be reading comics.

As always, we here at I&N welcome debate – hell, that’s the whole point. Just be aware that results below have already been encrypted onto floppy discs and blasted into space for the benefit of our future alien overlords. (DM)

The List!

10. Archer & Armstrong (Valiant): When Valiant, earlier this year, began hyping up their new title Quantum and Woody as their foray into buddy-action slapstick comedy, I wanted to yell “Wait! They’ve already GOT one of those!” But Archer & Armstrong is much more than that. Fred Van Lente and Co. have taken the best of Lethal Weapon, The X-Files, ancient Sumerian mythology, Dan Brown-type conspiracy novels, Dr. Strangelove, and god knows what else, and concocted a world-spanning epic that despite its breakneck pace and impeccable comic timing, manages an intellectual underpinning that questions the very nature and origins of faith. Even at its most gleefully satirical, however, the sheer exuberance of the writing embraces an expansive view of humanity, in all its wonders and frailties. Fun in a bottle, folks. (DM)

Archer & Armstrong

9. Fury: My War Gone By (Marvel): Garth Ennis proves he’s one of the most incisive writers around (not just in comics) on the subject of war. His deconstruction of the Marvel soldier/spy icon (lately supercool due to Samuel Jackson’s sleek big screen portrayal) is the least of this title’s attributes (which is on our Top Ten for the second year running). Ennis’ story (rendered with appropriate, unblinking grit by Goran Parlov) also serves as an insider’s account through the anguished  litany of armed conflict of the second half of the 20th century. Most devastatingly, it portrays the effects of war, not on the nameless many whose lives are needlessly cut short, but on the wretched perpetrators who survive. Merciless and shattering. (DM)

Fury: My War Gone By

8. Zero (Image): Ales Kot, the enigmatic engineer behind the challenging Change (Image), a mostly on-time bullet train of thought fueled by a combustible blend of poetry and pictures, has heroically hit the brakes on the overplayed and over-parodied secret agent genre, expertly taking it from 007 to Zero in no time flat. He’s applied the same amount of poetic pressure here, but to a more successful–and coherent–end storytelling-wise: the danger is palpable, the emotion undeniable–thanks, in part, to the rather complex collaborative effort that has called for four different artists on the first four issues of the series–a move that has transcended gimmick and, instead, has proven invaluable, if only because the first four artists have been Michael Walsh (Comeback), Tradd Moore (The Strange Talent of Luther Strode), Mateus Santolouco (Dial H, TMNT), and Morgan Jeske (Change). My experience thus far: #1 hooked me with its perfect timing and left me lying in the gutter; #2 knocked me upside-down; #3 disarmed me; and #4 made me love it–made me punch-drunk love it, damn it! What makes the book even more exciting? It defies expectations. I expect that it’ll continue defying expectations as we move into 2014. And, in that, I expect Zero to be just as good as it’s been–if not infinitely better because we’re getting the best of Kot, who’s clearly giving us everything he’s got. (SC)

Zero #4

Zero

7. Lazarus (Image): Greg Rucka’s vision of a near-future oligarchic dystopia gets under your skin because, in the tradition of Huxley and Orwell, it seems an all-too-plausible extrapolation of our current reality. The story is made even more unsettlingly concrete by Michael Lark’s stark, photorealistic visuals. Contrast the plight of the teeming masses with the power-hungry family dynamic of the ultra-privileged few, and you have a potent, volatile mix. A comic for our times. (DM)

Lazarus #2

Lazarus

6. Wild Blue Yonder (IDW): Sure, it’s only three issues in, but what a three-issue ride it’s been!  We’ve celebrated this action-packed series from its radar-arousing takeoff, with each high-speed pass earning enviable I&N accolades along the way.  (Check out the love here, here, and here.)  Top Gunners Mike Raicht, Zach Howard, Nelson Daniel, and Austin Harrison have come together in classic diamond formation to deliver one superior salvo after another, each on its own–and as a whole–a blockbuster that would humble Hollywood’s own best of 2013. (SC)

Wild Blue Yonder

Wild Blue Yonder

5. Rachel Rising (Abstract Studio): Terry Moore presents a truly American horror story: witches, serial killers, and a resurrected figure of biblical origins seeking vengeance for the sins of our nation’s past. Oh yeah, and the Devil. Moore draws you in with the quiet beauty of his artwork; his snow-covered renditions of the sleepy town of Manson enveloping you like a down blanket in front of a fireplace, before the sharp spasms of bloodletting shock you right back into his nightmare. However terrible the events depicted though, Moore seems to suggest they pale against the cruelties of history. Speaking of cruelties, let’s hope a purported television adaptation staves off recent talk of this book’s imminent demise. Because the real horror story would be a world without Rachel Rising. (DM)

Rachel Rising

4. Saga (Image): Saga is a lot of things: a superlative satire, a side-splitting sci-fi romp, a heart-wrenching romance, a critique of fiction, a controversy magnet; but most of all, it’s extraordinarily consistent; and it’s that consistency that fosters a critical expectation: to expect the unexpected.  On a monthly basis, Brian K. Vaughan and Fiona Staples serve up sublime slices of a greater story–slices that showcase razor sharp dialogue, that pitch perfect pathos, that sell sure shocks; they wisely fool with the elements of fiction and, like confident alchemists, have come up with issue after issue of 22-page gold–and we’re all the richer for it. (SC)

Saga

Saga

3. Six-Gun Gorilla (BOOM!): In the biggest surprise of the year, Si Spurrier conducts a multi-layered masterclass in metaficiton and at the same time delivers a eulogy on the dying art of escapism.  From the existential exposition of this weird, weird western to its necessarily hopeful final act, Spurrier’s imaginative muse–the Six-Gun Gorilla, himself–becomes Blue’s, and then naturally becomes ours as we consent to the writer’s every insistence; as we gladly lose ourselves in this genre-bending–and never-ending–battle between reality and fiction, good and evil, and fate and freewill, which is brought to life by rising star Jeff Stokely, whose artwork crucially complements the conflicts at the core of the story.  At the same time a celebration of a culture’s vital literary legacy and a criticism of the current collective unconscious, Six-Gun Gorilla has earned its spot in the Western Canon of Comics–and our Top Ten–with a simple but oft-neglected gesture: by making and keeping a primal promise. (SC)

Six-Gun Gorilla #2

Six-Gun Gorilla

2. Mind MGMT (Dark Horse): Matt Kindt’s magical mystery tour de force Mind MGMT—our #3 book of 2012–continues to astound, especially as its crafty creator meticulously molds the medium to suit his carefully constructed conspiratorial agenda.  As the story of the eponymous enigmatic entity has evolved, so too has Kindt’s strategy for telling it: his precise, patient prose; his layouts, enlivened by some otherworldly calculus; and his innovative brushstrokes of genius merge miraculously and challenge us to think and to feel, to be active participants in the world in which we’ve been immersed: to put beautifully painted pieces together in order to experience–along with the impressive cast of characters–confusion and loss, the conflation of time, and a higher power drawing us somewhere unprecedented in breadth and scope–drawing us in to the mind of the medium’s finest manager. (SC)

Mind MGMT #13

Mind MGMT

1. Mister X (Dark Horse): There are many approaches to creating great comics. One of them is largely collaborative, in which the creative duties are are separated and clearly defined (writer, artist, colorist, letterer, etc). Through an amalgam of traditional, action-based American comics and the more leisurely paced, lushly visual influence of manga, this approach has evolved over the last twenty years or so into what could be called a “cinematic” style; a treatment of the comic book form that seems based in the ethos of filmmaking (Lazarus, above, is an excellent example of this). Then there is another approach (let us call it the “auteur’s” approach) in which the cartoonist (let us rescue this title from the cultural dung-heap) assumes all of the above creative responsibilities to produce narratives that are singular and personal in a way that no other visual medium, not even movies, can replicate. Since they control all aspects of the work – not just writing and drawing, but page design, panel lay-out, font style and placement and all sorts of graphic elements; in short the whole package – they can, at their best, perfectly marry content and form in a manner that is unique to the comics medium. It is an approach with a history that extends at least back to Will Eisner and The Spirit. Perhaps because it takes such a concerted effort by a single individual, this type of formal, experimental approach is most often seen in the realm of the “graphic novel”. Rarely is it employed in our beloved, stapled floppies (though glimmers of hope have begun to appear on the comic racks: see Matt Kindt, above and below). And then there is Mister X. Created by Dean Motter in the early 1980’s, (when “graphic novels” barely existed as an idea) the title has long been a touchstone among independent-minded cartoonists (early contributors include the Hernandez Bros and Seth). In its latest iterations, Hard Candy and Eviction, Motter continues to seamlessly wed both approaches: there is the clear stylistic influence of German Expressionism and film noir for which the comic is known, but there are also the aforementioned design choices that reflect the themes of the narrative itself. The story involves the mysterious architect of a city in which the very buildings (in all their art deco glory) seem to respond to, and adversely influence, the psyches of its very inhabitants. This theme, played out in yarns that are at once hard-boiled, surreal and whimsical, acts as a fitting metaphor for the experience of the reader, as they interact with the “architecture” of Motter’s intricate design. Further, Motter includes delightful homages to the likes of Harold Gray (“Little Urchin Andy”), Winsor McCay (“Dream of the Robot Friend”) and the aforementioned Eisner (see cover below) which pay tribute to the comics history of which Mister X is a part, while, again, also making sense within the story itself. The overall effect is immersive and beguiling. Some comics tell great stories. Some comics celebrate their history. Some comics continue to push at the boundaries of the medium. And then there is Mister X. Book Of the Year. (DM)

Mister X:Eviction

Derek’s Honorable Mentions: 20. Dial H (DC) 19.  Afterlife with Archie (Archie) 18. Manifest Destiny (Image) 17. Thumbprint (IDW) 16. The Massive (Dark Horse) 15. Battlefields (Dynamite) 14. Adventure Time (kaboom!) 13. Numbercruncher (Titan) 12. Trillium (DC/Vertigo) 11. Adventure Time with Fionna and Cake (kaboom!)

Scott’s Honorable Mentions:

20. Battlefields (Dynamite) 19. Daredevil (Marvel) 18. The Sixth Gun (Oni) 17. Deathmatch (BOOM!) 16. Satellite Sam (Image) 15. Clone (Image) 14. Numbercruncher (Titan) 13. Mind the Gap (Image) 12. The Massive (Dark Horse) 11. Trillium (DC/Vertigo)

Best Single Issue of the Year: Mind MGMT #17 (Dark Horse)

With #17, Kindt reaches new heights, goes to greater lengths–particularly in page-busting panels of crisply-crafted and concurrent continuous narratives–to exploit the power of the medium.   As promised by the clever cover–one awash in paranoia and paronomasia–the story moves at a breakneck pace: from a locked and loaded unhappy Home Maker to a veritable orgy of violent rivers running toward a simultaneous orgasm of double-page splashes–there goes the neighborhood, indeed!–to a crack shot Meru, who, with a twist of Lyme, is ready to take the reins and restore reason to the world one agent at a time.  The whole damn thing’s a miracle, really.  Hell, at this point, I wouldn’t be surprised if Kindt could turn his watercolors to wine; his work is that divine. (SC)

Mind MGMT #17

Mind MGMT #17

Publisher of the Year: Most comics-related outfits have finally caught onto Image Comics‘ trend-setting ways and already bestowed this honor upon them (no doubt, in no small part, due to our ahead-of-the-curve naming them Publisher of the Year in 2012 😉 And with stellar debuts like Lazarus and Zero (not to mention books like Manifest Destiny and Rat Queens) the accolades are hard to dispute. But let us do just that (contrary bastards that we are). Because 2013 was the year that a bevy of other publishers took a page from Image’s playbook and produced work, much of it creator-owned, that was just as innovative, idiosyncratic, and invigorating as Image’s output. BOOM!, IDW, Oni, Dyanmite – all produced titles of creativity, breadth and distinction. But there was one publisher that rose unexpectedly, like its namesake, above the rest: Dark Horse. While never taking their eye off their bread-and-butter licensed properties (like Star Wars and Terminator) Dark Horse branched out into new territory with exciting minis from largely unknown creators (Buzzkill), original graphic novels (Bad Houses), and printed versions of high quality digital comics (Bandette, Sabretooth Swordsman). And let’s face it, Dark Horse has been doing the creator-owned, independent thing for over twenty years, as evidenced by the revival of the premiere comics anthology, Dark Horse Presents. So while Image is the current industry darling (and deservedly so), we can’t ignore the evidence of our comic-lovin’ eyes: the best overall books of 2013 (including our Top Two titles) were published by Dark Horse Comics. (DM)

Looking forward to 2014,

Scott & Derek

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Top 5 Books of July

14 Wednesday Aug 2013

Posted by ScottNerd in 5 Comics You Should Be Reading

≈ 2 Comments

Tags

BOOM!, Brian Michael Bendis, Captain Video, Chris Bachalo, Cyclops, Dark Horse, Dean Motter, His Girl Friday, Howard Chaykin, IDW, Image, Jason Ciaramella, Jeff Stokely, Joe Hill, L.A. Confidential, Mad Men, Marvel, Matt Fraction, Mike Raicht, Mister X: Eviction, Mystique, Nelson Daniel, Satellite Sam, Simon Spurrier, Six-Gun Gorilla, Stuart Immonen, Thumbprint, Vic Malhotra, Wild Blue Yonder, Will Eisner, Winsor McCay, Zach Howard

5. Satellite Sam #1 (Image): Matt Fraction and Howard Chaykin take us back to the dawn of television for a behind-the-scenes look at the type of low-fi, sci-fi program that nostalgists pine for as evidence of a simpler, more innocent time. But what Fraction and Chaykin show us is anything but: murder, sex, and best of all the breathless pacing and snappy dialogue of such stylish, seedy media sneak-peeks as L.A. Confidential, Mad Men and His Girl Friday. Captain Video this ain’t. Rather, with its mature themes and sophisticated storytelling, this is the kind of comic to give to people who don’t read comics. We need more like this. (DM)

Satellite Sam #1

Satellite Sam #1

4. Thumbprint #2 (IDW): Jason Ciaramella and Vic Malhotra deftly continue their adaptation of Joe Hill’s tour-de-force story about the horror that has seemingly followed a disgraced Iraqi War veteran back home. Emphasis on force: this issue largely concerns a flashback to a wartime episode of breathtaking cruelty. Hill’s accomplishment is not in the depiction of the act itself, but in the implicit conveyance that, as bad as this is, there were things that went on that were much, much worse. (DM)

Thumbprint #2

Thumbprint #2

3. Wild Blue Yonder #2 (IDW): Regular readers might remember that I celebrated the series’ opening salvo as a summer blockbuster.  Yeah, well, this issue takes all of the itty-bitty block bits left over from the initial blockbusting and busts them into even itty-bittier pieces!  Mike Raicht scripts the light fantastic as he slides from the Dawn to the dark side; as he builds bonds and, just like that, breaks them.  Zach Howard and Nelson Daniel come in heavy, bringing each scene to life or death with their gorgeously gritty artwork.  That’s right: grab your popcorn and pick the perfect seat: when it comes to high-flying fun, Wild Blue Yonder can’t be topped.  Two issues in and it’s quite clear: the sky’s the limit. (SC)

Wild Blue Yonder #2

Wild Blue Yonder #2

2. Six-Gun Gorilla #2 (BOOM!): Duck Dynasty ain’t got a damn thing on this simply “perfick” reality show from Simon Spurrier and Jeff Stokely.  Attention must be paid!  Hell, it’s “the name of the game.”  And if you’re not paying attention to this wild, wild western–if you’re not runnin’ with the ‘rilla by now–you’re clearly of questionable taste.  But, hey, it’s Goodall–I mean, it’s all good.  Sure, it’s possible–but not likely–you’re just not that into action-packed satires that co-star cigar-chomping simians who sell their lines like they’re looking to earn enough scratch to buy a big ol’ bunch of bananas before Blazetime. Yeah, that’s what I thought.  We ostentatiously tossed roses at the dusty knuckles of #1 (it was our Book of the Month for June), but Spurrier and Stokely very well may have raised the monkey bar with this one. (SC)

Six-Gun Gorilla #2

Six-Gun Gorilla #2

1. Mister X: Eviction #3 (Dark Horse): Dean Motter’s contender for Book of the Year is not just a compelling story with beautiful art; it is also a love-letter to the medium itself. From the Will Eisner-inspired cover to the delightful Winsor McCay interlude, this book is just catnip for comics enthusiasts. If Satellite Sam is recommended for people who don’t read comics, this is a gift for people that do. Book of the Month. (DM)

Mister X: Eviction #3

Mister X: Eviction #3

Biggest Dis(appointment): Brian Michael Bendis’s X-Mess

Both Uncanny and All-New versions of the X-Men this month–#8 and #9 of the former and #14 of the latter–are X-ercises in the ol’ rhetorical runaround.  Oh, they’re perfectly pretty–thanks to Chris Bachalo and Stuart Immonen, respectively–but what do they accomplish, really?  That’s right: be honest with yourself and with the world: the answer’s disgracefully obvious: not much at all.  Now, I know we’re headed toward the big Battle of the Atom crossover and maybe the jogging in place is related to that.  As it is, Bendis’s X-titles have been X-tremely disappointing for some time now; yeah, sadly this isn’t the first month where I’ve been like Why am I still buying these damn things?  But I’m still buying ’em–because I still believe in Bendis and because I’m not quite ready to be an ex-X-Men reader.  See: I’m a sucker for Cyclops.  So, on one eye, I’m like, to hell with it; and on the other, I’m sure that something’s going to happen–and soon!–to justify my loyalty.  I just know it!  After all, Bendis himself  promises–through Mystique–that “[t]here’s a bigger picture” here.  And, if, in the end, all of these pointless little pieces fit together to form it, well, then shame on me for doubting.  And if they don’t, whom do I ask for a refund? (SC)

Turning pages,

Derek & Scott

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Back and Forth: Sex & Children’s Books

17 Sunday Mar 2013

Posted by dmainhart in Back and Forth

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Tags

Adventure Time, Adventure Time with Fionna & Cake, Animal Man, Aubrey Beardsley, Barnabas Collins, Batman, Batwoman, Bravest Warriors, Catwoman, Dark Shadows, DC Comics, Dynamite Entertainment, Ex Machina, Green Arrow, Hayao Miyazaki, Image, Jae Lee, Janet Lee, Jeff Lemire, Jim McCann, Joe Casey, kaboom!, Lost Vegas, Mike Raight, Nacho Tenorio, Natasha Allegri, New 52, Ocean's Eleven, Pendleton Ward, Piotr Kowalski, Return of the Dapper Men, Richard Corben, Rotworld, Scott Snyder, Sex, Swamp Thing, Watchmen, Winsor McCay, Yanick Paquette

Derek Mainhart: Provocative title, eh? Well, we’ll get to that in a minute. First to some (finally) finished business.

Scott Carney: Finished, indeed–at least as far as Animal Man #18 (DC) finishes anything.  And thank the good Lord, too.  The Rot was wearing on me, man.  It’s no secret: we didn’t care for the big two-part Rotworld finale for an unholy host of reasons.  Lucky for us, the finale was only the finale of the storyline as it takes place in the actual Rotworld; and by actual, I mean possible because, in the end, Baker and Holland were presented with the opportunity to keep it all from happening in the first place–and, boy, did they take it!  I can’t get into the nitty-gritty of the real finale, however, without first commenting on the ill-conceived cover.  Jae Lee’s anguished Animal Man is stunning; and the cover would’ve been, too, had it not been sullied by a tragically-placed assertion that spits vomits in the eye of subtlety:

I mean, come on!  Check out this art-only cover; it’s so much more effective:

Animal Man #18--Right?

Animal Man #18–Right?

Add the requisite logo and bar code and we’re still talking about an absolutely killer cover.

DM: Have to agree about the cover. Without the text, completely effective. With the text, it’s like that oft-parodied film cliche of the tragic hero falling to is knees while yelling “NNOOOOOOO!!!!” up at the sky. In other words: laughable. The early front-runner for worst cover of the year.

SC: Once inside, we’re treated to a quick little recap of the end of Swamp Thing #17 and then sucked into what Buddy refers to as “the most unsettling sensation,” while describing his return to the pre-Rotworld present.  I found the narration unsettling, as well; it seems to creep toward the edge of profundity, never quite making it there, and, as a result, festers in ineffectuality and leaves behind unintentionally laughable lines–and a hero for whom I had trouble hoping the very best.

(I don’t do this very often: spoiler alert!!!)

I did find a truly touching moment in Buddy’s remembering Cliff’s finger painting different animals when the latter was “a little boy.”  I’d have trouble, though, if you were to ask me to “flip the pages and point to another” such moment.  Couldn’t do it.  See: after that singular scene–in retrospect, the necessary father-and-son set-up for the end–the story dies as quickly and as unceremoniously as Cliff–who passes proudly as a “hero–just like [his father],” which, on a side note, is an interesting counterpoint to something Jeff Lemire’s developing in another one of his books, Green Arrow #18: Komodo, the Bullseye to Green Arrow’s Daredevil, has a daughter who–speaking of unsettling–plays the role of an evil apprentice, who also has a connection, story-wise to fingers, oddly enough; in this case, the little girl is used as a pointed threat against one of her father’s prisoners: “[…], or my daughter starts cutting off your fingers.”  (By the way, I’m still not too sure how I feel about it.  Kudos to Lemire for that!)

Back to Animal Man and the devolution of the story: with my own fingers dutifully turning pages, I found the dialogue disappointingly reminiscent of #17 (“So just die already!”).  And how strange was the splash on page 18, with the guys in the yellow suits shedding their rot?  At last!  Something interesting!  But, despite their presence on the page, neither Buddy nor Maxine react to the seemingly important revelation; and when Buddy finally does seem to notice them–several panels later–he doesn’t seem all that concerned!  It was all so very awkward and forced–well, Lemire did have to live up to the promise of the textually explicit cover, after all; couldn’t bring myself to care, though, even with the final splash–and just not what I’ve come to expect from the aforementioned esteemed writer, who is an absolute master at developing sympathetic characters and complex yet relatable relationships.  My expectations are still high for him and Animal Man, so I’ll be sticking around for more–especially since we’re headed in a new direction.

DM: Scott Snyder, on the other hand, in Swamp Thing #18 (DC), ties a bow on this story, and his run, in a manner that is satisfying and organic (pun intended–every time!). Amidst Yanick Paquette’s gorgeous leafmotif visuals is a story where the damsel becomes the hero, the demon is rent asunder, and our lovers have their stars well and truly crossed. But not before the creators generously allow them one last (first?) kiss, in which their passion literally burns. A fitting finale to a mostly excellent run.

But Swamp Thing and Animal Man aren’t the only hero-inhabiting-a-new-body-travels-to-a-dystopian-future-to-defeat-unearthly-evil-then-returns-to-the-present-in-order-to-prevent-it-in-the-first-place stories this week. That’s right! The same exact plot is featured in Dynamite’s Dark Shadows #14!

Dark Shadows #14

Dark Shadows #14

Ah well, no new ideas and all that; it’s how well you handle them. Writer Mike Raight’s vampiric version involves Gothic plot twists, backstabbing (with wooden stakes, natch!) and enough Grand Guignol action to satiate any horror fan. Artist Nacho Tenorio does a nice job orchestrating the gore, alternating between excess and restraint, the way any 1960’s-influenced horror should. This isn’t all superficial bloodletting however. (SPOILERS!) Raight infuses some depth and existential quandary as the evil that the hero, Barnabas Collins, must destroy in order to save his family, is himself. There’s also a well-wrought, even delicate twist, as Barnabas’ mysterious ally reveals that aiding him and taking revenge upon him are, in this case, one and the same. Solid and compelling, this book is one of the most reliable sources of monthly macabre that you’re likely to find.

So, having been hooked by our attention-grabbing title, you’ve made it this far through our post, and yet you find yourself disappointed by the lack of any content that could be considered truly eye-opening.

SC: Hey!  What about my–

DM: Well then, you’ve got an idea of the experience of reading Sex #1 by Joe Casey and Piotr Kowalski (Image).

SC: Oh, I see.  Clever.

DM: Mr. Casey means well. In a heartfelt (and rather breathless) afterword, he holds forth on the state of today’s comics; mainly the continued dominance of the Big Two despite the wild variety and quality of other work out there. Well hear, hear! And yet, what does he offer us? A wealthy scion reluctantly returns to run his vaguely defined corporate empire. A seedy underworld controlled by a grotesque mob boss. Words of wisdom from a trusted Man (or in this case, Gal) Friday. And, oh yeah, said wealthy scion is a former superhero. This set up bears any number of resemblances to Batman, the newfangled Green Arrow, Ex Machina (a much better melange of superhero/real world tropes from eight years ago), etc. But wait, this has superheroes and sex. Well Watchmen broke that seal long ago. It’s simply no longer a shocking conceit (I mean even Catwoman’s done it for chrissakes). Now, to Casey’s credit, when the naughty section does occur, despite its fairly graphic nature, it’s contrasted in such a way that it is robbed of nearly all prurient titillation. The participants even call out the reader’s presumed lasciviousness, in a clever use of breaking the fourth wall. Kudos to Casey for subverting the expectations set up by his conspicuous title.  But in the end, this is just another superhero comic. And what’s so sexy about that?

SC: I hear ya.  Image did have another release this week that I enjoyed more than Sex—

DM: (tee-hee!)

SC: Uh-huh. Anyway, it’s Jim McCann and Janet Lee’s Lost Vegas #1.  It came with a little less hype than Casey’s book did, but it was loads better.  Though engaging from the get-go, McCann’s writing does prove a bit hard to swallow at times, especially as the Ocean’s Eleven-esque scheme is laid out; but Lee’s artwork is enviably voluptuous, a stunning exercise in sensuality.

DM: Yes, Lee’s work is certainly the star for me thus far. She blew me away on Return of the Dapper Men a few years ago (also written by McCann). There she dazzled with an unorthodox process that combined vibrant expressionistic backgrounds with the sublime precision of Winsor McCay (if you don’t know who that is, look him up. Look him up now.) Here the chameleon-like Ms. Lee seems to be offering something of the sensual loucheness of Aubrey Beardsley, combined with the sci-fi sensibilities of Richard Corben, and even a dash of Hayao Miyazaki for fun.

SC: That’s some company she’s keeping.

DM: Indeed. Like Batwoman, this could become a book that I buy for the art alone.

SC: Well worth the price of admission.  I’m certainly up for round two.

DM: Now, returning to our theme, for a nuanced, astute, refreshing exploration of sex, one need look no further than Adventure Time with Fionna & Cake #3 (kaboom!):

Adventure Time: Fiona and Cake #3

Adventure Time with Fiona & Cake #3

Sex, in this case, denoting gender. ‘A childrens’ book?’ you say, eyebrow ever so arched? Well in its brief existence, Pendleton Ward’s magical juggernaut has tackled such concepts as abandonment, existential loneliness, first loves, the bonds of honor and friendship, pride, sacrifice, betrayal, the origins of myth, the nature of evil, the afterlife, determinism, fate, and nuclear annihilation to name a few. It never addresses these issues head-on however (it’s much too smart for that), but from rather more of a sideways angle, (and perhaps, blindfolded). Y’know, Stuff Happens. Each candy-colored episode is wide open to (and the subject of) much interpretation. It’s the type of show that dissertations will be written about someday(if that hasn’t already happened). I ask you, what better place to consider gender and identity issues than the sociological phenomenon that is Adventure Time?

For those who don’t follow the show (losers!) Fionna and Cake was a fan-favorite episode which featured alternate, gender-swapped versions of series’ stars, Finn and Jake. Now Natasha Allegri, who had a hand in that episode, gives the ladies a chance to shine in their own title. Issue 3 is the best one yet. The first two issues established the characters as well the epic, yet tongue-in-cheek tone that AT does so well. The third issue really delves into the gender stuff and shows why this is not your father’s (um, older brother’s?) AT. The story begins with Marshall Lee (the male version of the vampire Marceline from AT) suddenly appearing in the lead characters’ home in a state of distress. But unlike his female counterpart, who is decidedly bad-ass, this vampire is positively sparkly. Needless to say, Fionna has a crush (-and Cake does not approve!) It seems they need to rescue Prince Gumball, who is caught in a ridiculous trap, which I won’t ruin for you. Nor shall I spoil all the loaded symbols, pregnant pauses and hysterical double entendres peppered throughout the tale. These never come across as forced or excessive; they are, indeed the story’s raison d’etre. I will say that they culminate in a visual gag so audacious that I couldn’t believe it was in a children’s comic, even as I barked with laughter. And yet it perfectly encapsulates the major theme of this series. Sound dirty? Well, again, it’s not because all of the above is not so much dealing with sex, as it is gender and identity. I am not suggesting (as I have with AT’s sister book Bravest Warriors) that this title is inappropriate for children. Part of Allegri’s brilliance (in addition to the beautiful art) is that this book is, on the literal level that children tend to read, an exuberant, imaginative adventure/fantasy. It certainly can (and should, to some degree) be enjoyed that way. The storytelling is deft enough that whatever other meaning children take away from it is entirely up to them. And you. Book of the Week.

Turning pages,

Derek & Scott

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