Tony Millionaire’s Billy Hazelnuts is a child-like fantasy, at once impossible but also intricately detailed. The story focuses on the love triangle between two children — a young girl inventor and scientist, and a literary boy who first tries to woo her with poetry — and a boy-type creature the mice made out of trash. The mice are hoping for a hero to save them from the woman with the rolling pin. The boy is hoping to learn enough science to make his love poetry more appealing to the object of his affections. The girl mainly wants to be left alone with her work.
[Outside the Frame] Richard S. Carbonneau’s “The Marvel: A Biography of Jack Parsons” Illustrates Failure
This well-designed collected edition of Carbonneau and Ng’s webcomic about the life of occultist Jack Parsons looks like a magical grimoire the book’s subject would have been proud of. An overlooked gem that deserves more attention. (from MTV Geek)
Publisher: Cellar Door Publishing officially released this graphic novel by Richard S. Carbonneau and artist Robin Simon Ng in 2010. I met the creators at that year’s New York Comic Con, where I picked up the book. They had a booth, copies of the book, promo materials… but less than three years later, it’s almost impossible to find. Amazon doesn’t carry it. Neither does Powell’s, or any other retailer that might have listed it online. Luckily, it’s still available in its original webcomic form (we’ll get to that at the end).
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[Do you have an idea for a future Mind Meld? Let us know!]
Many readers have different gears when reading books. Some books are ones in which you luxuriate and spend time with, others are such a ride that you turn the pages rapidly, carried along through them at warp speed.
We asked this week’s panelists about this phenomenon:
Here’s what they said…
As a fitness professional, I have a hard time comparing books to popcorn and candy. I’m sorry. It goes against my nature. Is it all right if I call them fruits versus vegetables? Fruit is yummy, quick to eat and always fun. Vegetables can be yummy, are a bit more work to eat but you know they’re extremely good for you.
I always read because I want to be entertained and I admit I don’t always read because I want to learn something, or broaden my mind. Sometimes, I really just want to have fun and read an entertaining book. That’s when I turn to the fruit.
The fruit books I grab for a quick, fun read are urban fantasy. Give me a Kim Harrison, Kelley Armstrong, Diana Rowland, Kat Richardson, Kevin Hearne (the list goes on and on) and I’ll disappear. I’m not saying that urban fantasy can’t be mind expanding or explore important issues, when they’re well done they certainly do that, but I don’t need to rethink my entire life to read them.
I’d also list horror books under this category, though it depends on the author. Some of those are a mix of fruits and vegetables with a side of bloody dip.
My vegetable books tend to be fantasy that take after the Tolkien mold. These are the stories I want to dive fully into, to be immersed in the world the author has created and linger there, enjoying every aspect of the characters, the setting and the story.
I’m interested to see other people’s responses on the books they savor, because I know I need more vegetables in my reading diet.
BRIEF SYNOPSIS: FISH is an anthology of fiction of various stripes, swimming around the titular subject in a variety of ways.
PROS: A few strong, memorable stories that tent-pole the collection; beautiful cover and interior art; strong diversity in approaches to subject matter.
CONS: Category may be too broad; a number of the works were underwhelming.
BOTTOM LINE: An anthology that shows off the contributors’ and editor’s talents.
A young man with a fishbowl head and fish for eyes…a deep-sea’s fish to the unknown world of the surface….a god in fish form offers a Hawaiian fisherman a perilous bargain…a seamstress’ needlepoint fish threaten to change the fate of two kingdoms…the Just So story of why catfish have a flat head…
These and many other characters and situations are to be found within the stories in FISH, an anthology from Dagan Books.
In 2005, Budjette Tan and Kajo Baldisimo published the first Trese comic. Not a cop, but working with them, Alexandra Trese and her faithful assistants solve the crimes that can’t be brought before a judge. Manila is her city, left to her by her father and his father before him, and she’s going to protect the people in it by whatever means necessary. When you live in a Manila where all of the old Filipino folklore is true, that involves making deals with some monsters, and destroying others.
Originally the Trese komiks were photocopied ashcans, passed around through fans and sold whenever you could find the author or artist to buy one. The graphic novels are published by Visual Print Enteprises, a small press in the Philippines. Their financial success, popularity, and awards led Tan and Baldisimo to sign with Flipside Publishing Services Inc., which is currently releasing the individual issues as eBooks. But even now, as huge as the komik’s creators are at home, they’re still considered outsiders, unknown by most US readers.
Those of you who are just hearing about Trese for the first time have been missing out on something amazing.
When I started this column I talked a little about what independent comics were, but not how we got here. Presently there are two major “mainstream” comics publishers in the United States: DC and Marvel. DC also produces comics under the Vertigo imprint. There are a handful of other large publishers, also working in the superhero genre, who are considered mainstream for a combination of size and content (though some of their titles are “creator owned”): Dark Horse, Image, Valiant, and so on. It wasn’t always this way.
Before there was the independent comics of today, there were the alternative comics of the 1970s and 80s. Before that, we had underground comix, bringing all of the sex and drugs and violence the Comics Code Authority (formed in 1954) banned from mainstream comics. Before that was twenty years of transition from comic strips to comic books to angry parents and preachers burning comic books in defiance of their wicked depictions.
We call that the Golden Age of comics.
Archaia Entertainment has a promising new comic on the horizon with Charles Soule’s Strange Attractors. The book is a love letter – partly to New York city, object of affection for so many writers and artists, and partly to math, which Soule credits with the power to keep chaos at bay. From the publisher:
A young graduate student discovers that his aging professor has been saving New York City from collapse by a series of “adjustments,” ala the Butterfly Effect, only to be informed that he must be the one to take over keeping the city alive. A grounded sci-fi thriller in the vein of Source Code and The Adjustment Bureau.
Strange Attractors (no, not this one) is written by Soule with art by Greg Scott, colors by Art Lyon and Matthew Perez, and includes beautifully intricate maps by Rob Saywitz. The story ventures into urban fantasy, in the sense that it needs the city to be its own character, another living, breathing, part of the tale. Without New York City being so intrinsically New York, there’s no story here. There’s otherwise little “fantasy” in the plot, which is very nearly science fiction. It must be, because of course such events couldn’t be occurring at this moment, keeping the greatest city in the nation alive and running… though, it could be true. Very nearly true, anyway.
It’s that doubt which puts the story into the realm of science fiction. Call it a potential future, and leave it at that.
What secrets belong only to a fish? Dive in and find out! Explore this genre-bending anthology of 33 delightfully fishy tales. Fantasy, science fiction, retold folklore, new myths, and more await you.
Here’s the table of contents…
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Daniel Clowes is an American cartoonist most well known for his book Ghostworld, which was made into a movie starring Steve Buscemi and Thora Birch, and Art School Confidential, a movie based on some of his comic strips. Clowes co-wrote the screenplays for both movies. He’s also created advertising campaigns, movie posters, and several covers for the New York Times.
Fans of his cartooning know him as the creator of Wilson, Mister Wonderful, and the long-running series Eightball, where half of his comics first appeared (including Ice Haven, Art School Confidential and The Death Ray). His work is solidly in the camp of the independent – small press, off-kilter, strange, and decidedly not mainstream. He got his start drawing for Cracked and then scored space in an issue of Love & Rockets, before finding a home for his first series Lloyd Llewellyn with Fantagraphics. They also published the original Eightball issues, though other companies later reprinted portions of them.
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French cartoonist Lewis Trondheim brings a darkly humorous book to Fantagraphics with the publication of Ralph Azham 1: Why Would You Lie to Someone You Love? Trondheim previously worked Bourbon Island 1730 with co-writer Appollo, on the long-running series Dungeon with Joann Sfar, and has a number of other titles not yet available in English. Ralph Azham was previously published in French, and Book 1 translates the first two issues of the original series into a landscape-style 8.5″ x 6.625″ hardback.
As I’ve mentioned before, Archaia Entertainment continues to publish some of the most beautiful work in indie comics today. Produced under the direct supervision of The Jim Henson company, Tale of Sand illustrates some of Henson’s most surreal moments of imagination. It’s a gorgeous book, combining a lost screenplay (written by Henson and his long-time writing partner Jerry Juhl between 1967 and 1974) with the art of Ramón K. Pérez. The complex visuals and recursive chronology add layer after layer to the tale.
The holidays are a time to be thankful, to remember what was good about the year, and to give to others. Personally, I am thankful that I get to read ground-breaking comic books and talk about them every week on a Hugo-award winning fan site. While fans of mainstream comics had several reasons to be disappointed with the decisions made by the DC and Marvel – Before Watchmen, the New 52, Marvel Now!, and the Batgirl firing/rehiring of Gail Simone are just a few of the controversial choices - 2012 was a great year for independent and small press comics. I looked back over my notes and put together a list of my favorite comics in case you missed something you’d love.
If you didn’t happen to find these great titles under the tree, you can always get them for yourself now (I won’t tell).
They’re listed in alphabetical order because all of these books are amazing, and it’d be difficult to rank them any other way. I’ve already reviewed a couple here at SF Signal (Click on the links to read my full reviews):
Archaia Entertainment not only produces some of the most beautiful work in comics today, but they helpfully allow you to search their titles by genre (see the list here) so you can pick out a new book based on what you’re in the mood to read, even if you’ve never heard of the creators. Fantasy, Noir, SciFi/Adventure, Horror, and even Historical Fiction comics are neatly organized for your reading pleasure. That their catalog includes works from Jim Henson, Alethea Kontis, and a guy who wrote about a missing shoggoth tells me they’ve got a good sense of what genre fandom wants to read.
A prime example is volume one of Rust, by Royden Lepp.
This past August, Digger by Ursula Vernon won the Hugo Award for Best Graphic Story, beating out comics published by Vertigo and IDW, including such heavyweights of genre comics as Fables, Locke & Key, and The Unwritten. Before that, Digger had won the Web Cartoonists’ Choice Awards in the categories of Outstanding Black and White Art (2005, 2006) and Outstanding Anthropomorphic Comic (2006). It was also nominated for the 2006 Will Eisner Comics Industry Award for Talent Deserving of Wider Recognition.
Now available as six trade paperbacks from Sofawolf Press, the series began first as a collection of illustrations, then as a webcomic through the Graphic Smash website, before Vernon started her own website to host the comic online. Digger has evolved, over the last several years, both in how the comic was presented to its readers and in Vernon’s drawing style.
But how does a comic that first became popular six years ago end up winning the Hugo in 2012?
Richard Sala is a prolific artist of the weird and fantastical, with a varied collection of tales that feature detectives, witches, zombies, fairy tales, cat women, and more. Beginning with his 1984 Night Drive, Sala has drawn a new comic title nearly every year. His work has appeared on RAW, BLAB!, and even serialized as an animated cartoon for Liquid Television. Today, I want to take a look at his series Delphine.
Ethan Young, whose comic Tails I reviewed in my last column, is a Chinese-American artist born and raised in NYC. He’s worked on a wide array of illustration projects, including: comics books, storyboards, t-shirt designs, video games, character designs, print ads, book covers, album covers, logos, and much more. Thought there are similarities between himself and his cartoon namesake “Ethan” – who takes his work at an animal shelter, relationship troubles, and veganism from Young’s own background – the two are different enough that you can’t know the artist simply from reading his work.
Young was kind enough to sit down and answer a few of my questions via email…
When you buy a comic from a mainstream publisher, a single issue or graphic novel produced by a team of big-name writers, artists, colorists, letterers, editors, and so on, you can generally expect that the book won’t be terrible. You may not like the style of art or you might feel the story was weak – or, worse, sends the characters off in a direction that doesn’t feel true to who you think they are – but you can usually agree that some effort was put into producing it. As you venture into the land of alternative and small press comics, you can’t always be sure of what you’ll get. Will the art look like it was done by a small child who’s only recently been allowed to play with sharpened pencils? Will the story feel like it was written by someone who’s never actually read a book before?
You take chances with independent comics because that’s the best place to find something new. There are brilliantly written but poorly drawn web comics, and beautiful but weakly-scripted art comics, and a range of titles in between. Some creators make stylistic choices, to be sure, and there are many comics by first time creators who will certainly get better. There is, above all, potential. It’s huge field. Anything could be out there.
BRIEF SYNOPSIS: “An anthology of alien archeology, hidden mysteries, and things that are better off left buried,” with stories by such writers as Ken Liu, Alex Shvartsman, Mae Empson, David J. West, and K.V. Taylor.
PROS: Well-written, quick-paced stories; no clunkers.
CONS: A few stories with similar plots, characters, settings.
BOTTOM LINE: An interesting batch of stories about “things that are better off left buried.”
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Sometimes you need a little fun in your life. A moment to enjoy some good old fashioned science-fueled ass kicking. A happy ending would be nice too. I’d been a little down at various points this year, buried under work and research, and needed something to brighten my day. Enter Atomic Robo – written by Brian Clevinger, drawn by Scott Wegener, and published by Red 5 Comics.