Mujirushi: The Sign of Dreams

Being contacted by the Louvre, one of the most well known and prestigious museums in the world, to collaborate on a comic seems a highly unlikely proposition, but then again most artists are not as renowned as Naoki Urasawa. Among his many manga credits are contemporary classics such as 20th Century Boys, Monster, Pluto, as well as the ongoing Asadora! Urasawa has won numerous awards, including the Shogakukan Manga Award three times, the Tezuka Osamu Cultural Prize twice, and the Kodansha Manga Award. He has also been recognized internationally, with honors from the Angoulême International Comics Festival and the Eisner Awards.

Mujirushi is exceptional among Urasawa's works in two ways: first, because it is based on holdings and input from the Louvre, it features a lot of the architecture, artworks, and behind-the-scenes schematics from the buildings. Second, it is a serial story that can be contained in one graphic novel-seized volume and not a multi-volume epic that takes years to be published. Still, it features the grand craftsmanship, pacing, and vivid characters that are a hallmark of his past work. 

The plot focuses on a father Kamoda and his young daughter Kasumi. Kamoda stops paying taxes and gets mixed up in some get-rich schemes, which end up with him destitute, desperate, and stuck with a factory full of unwanted rubber novelty masks. Also, his wife leaves him. Through a convoluted series of events he and Kasumi end up involved with a Francophile con man ("the Director") who has a scheme to "borrow" a Vermeer painting from the Louvre. What they do not know is that they have all become people of interest in an investigation of an international art smuggling ring, and the detective is determined to catch them in the act.

What makes this book work is its incredible artwork, strongly defined characters, and a plot that takes many twists and turns as the complicated backstory of the Director is slowly untangled. There are many revelations and twists in these nine chapters, maybe too many coincidences, and the ending is a clever weaving together of seemingly unrelated plot threads. If you would like to get a taste of what makes Urasawa's work so appealing and do not want to invest the time to read multiple volumes of a manga serial, this book is for you. If you are already a fan of his, this book is another gem to be enjoyed. 

The reviews I have read of this book have been mixed. Morgan Santilli wrote, "Though perhaps not as engrossing or complex as some of Urasawa’s other offerings, Mujirushi does leave the reader with that familiar feeling of awe at a master’s manipulation of line, panel, and story." Irina found it "to be both entertaining and endearing in many ways." In a long critique of this book and Urasawa, Austin Price calls the story "cute" but also "contrived and overblown."

Mujirushi was published by Viz Media, and they offer more information about it here.

Caravaggio: A Light Before The Darkness

To say that the pandemic has affected my life, work, and productivity is an understatement. This graphic novel I have been meaning to read and review for about a year, and I am happily and thankfully (and finally!) glad to post it today.

Caravaggio: A Light Before The Darkness is set in the late 16th/early 17th century, and this book took me back (not to the 17th century, I am not THAT old) to my undergraduate days when I took an art history class and attended a lecture about the art of Michelangelo Merisi da Caravaggio. He was an important figure of the Baroque style, and he lived a tumultuous and eventful life, all of which are conveyed effectively in this book. He is known for his sense of drama and lighting in his work, with a masterful use of chiaroscuro that influenced many painters afterward. In apt fashion, the artwork in this book employs his painterly style in its depictions.

Just as dramatic as his artwork was his personal life, which was characterized by sex scandals (with men and women), duels, and multiple brawls. Ultimately the fallout from this violence caused him to live in exile, and he died under controversial circumstances. This book delineates all these events in spirited and cinematic fashion, which is fitting as the script for this book came from an unproduced screenplay. I think it works well as a graphic novel, capturing the flare and intrigue of Caravaggio's life as well as the spirit of his artistic achievements.

This book is a collaboration between author and screenwriter Ken Mora and artist Cyrus Mesarcia. Mora is best known for a number of animation projects from his company Bella Fe Media. Mesarcia has drawn the comic book series Carson of Venus and a number of horror comics. Mora speaks about his work on this book in this interview.

All of the reviews I was able to locate of this book have been positive. Publishers Weekly called it "a spirited introduction to Caravaggio’s life and times that should appeal to readers of classic graphic illustrated style comics." Jean M. Roberts wrote, "I enjoyed this graphic novel and highly recommend it to readers of historical fiction who enjoy adult graphic novels and a unique reading experience." As of this review, it has a 4.43 (out of 5) star rating on Goodreads.

Caravaggio: A Light Before The Darkness was published by Markosia Enterprises Ltd. It was originally published as a six individual issues, partially funded by a Kickstarter campaign.  It is also available as webcomic on WEBTOON.

Teaching Artfully

Earlier this year I reviewed Alex Nall's Are Comic Books Real?, and one of the things that struck me about that book was just how viscerally it made me feel about teaching. Teaching Artfully is another wonderfully, painfully honest looks at education from the perspective of an art teacher. There was a lot about this book that I could relate to, the feelings of being overwhelmed, the amounts of grading, the effort that goes into planning, and the wondering about what you are doing with your life. But this book also delves into a bunch of academic and theoretical work, citing major scholars like Maxine Greene and Elliot Eisner, which feeds into my scholarly interests. This is a complex, multi-faceted work, one that I took a long time to read, because I wanted to take time to reflect and pore over each chapter.

Teaching Artfully is a terrific long-form visual essay about the enterprise of education that expertly meanders and offers insights along the way. It mixes in scenes of teaching, intellectual commentary, one panel gags, lists, metaphors, static images, and abstract visuals in exploring multiple dimensions of the profession/calling, and I loved the mix of narrative/expository/aesthetic forms that it employs. It is a great treasure chest for educators, showing her teaching, some of her activities, and how she approaches planning. It also shows scenes from her life that give context to the whole enterprise. 

This is not a linear work, but that is also part of its point. Teaching is not as simple as one would imagine, and it requires all sorts of lenses to bring it into some sort of focus. I think this graphic novel is a clever for its commentary and its loose structure where it is divided into seven chapters that mirror the major components of art, including line, color, shape, space, and form. I loved its vibrant colors, and the way that it frequently took off into flights of whimsy. It is also a very contemporary book, commenting on our present moment when technology and social media loom large in people's lives, and the role of art is perhaps more nebulous but necessary than ever. I feel that Teaching Artfully is an important work linking education and visual literacy using comics to its best capabilities.

This debut graphic novel was written as a Master's thesis, and author Meghan Parker is an art teacher who works in Vancouver. She speaks about her work and this book in this interview.

All of the reviews I have read about this book have been positive. Kay Sohini called it "a timely reminder of the expansive future of comics scholarship, of what comics practitioners can do with comics as medium and as method, and of the importance of storytelling as humanistic inquiry." Publishers Weekly wrote, "Educators will appreciate heady musings about art-as-process and prompts to “design a new home for a snail,” though creative young readers may prefer passages on self-expression, identity, and inclusion." In a starred review from School Library Journal Thomas Maluck called it " a manual and call to arms for creative perspectives." And I agree with Melissa N. Thompson who wrote that it "does not have to apply solely to art teachers but can foster ideas on how to create meaningful discussions and connections with students by thinking outside of the (report card comments) box."

Teaching Artfully was published by Yoe Books, and they offer more about it here.

Are Comic Books Real?

Teaching can be maddening, frustrating, exhausting, rewarding, surprising, and rejuvenating, and Are Comic Books Real? captures those emotions in a visceral way I've not seen another graphic novel do. This series of stories from teaching and glimpses into the lives of elementary school students and their teacher, captures the good days and bad, the days when you question your sanity/life choices, and the times when something happens to make everything seem worthwhile. Some times nothing seems to go right. Others, the students amaze you with their work or crack you up with their observations of the world and/or ways that they interact with each other. There is a certain sense of capriciousness that goes with teaching, and this book depicts that roller-coaster ride with great acuity and empathy.

I loved how it incorporates lots of different sorts of representation, from more traditional ink drawings (both in black and white and in color) to color pencil drawings to single page portraits of students to actual student comic work. I loved seeing how all these various images combined to portray the realities of teaching and learning and how art affects it all. It captures the tenor of the controlled chaos of a classroom as well as the unique politics of students and how their behaviors affect their teachers. Just check out this moment:

I loved this book and found it incredibly moving. It made me laugh and cringe, empathize and recall some of my toughest days, and also called back some of my most memorable students. It made me remember what being a school teacher was like, and I think that it should be read widely by folks who would like to be educators or educators themselves, but perhaps especially by those who purport to know what teaching is like. I think ignorance and abuse of the profession and those who sacrifice much (both financially and mentally) to practice it are some of the biggest issues facing education in our country today. This book entertains and enlightens.

This book's creator Alex Nall is a teacher and an artist. He has published a number of other comics and books, including Lawns, Teaching Comics, and Kids with Guns. He speaks about his comics and teaching in this interview, and there is also more about his work on his (maybe no longer updated?) blog.

Are Comic Books Real? was published by Kilgore Books, and they offer a preview and more information about it here. This book was one published via a Kickstarter campaign this year. I gladly backed it and would hope others might also in their future ones.

Cyclopedia Exotica

Cyclopedia Exotica is an amazing graphic novel that explores issues of identity in an intriguing way. The book starts off as a series of encyclopedia entries on cyclopes, their biology, and their history as a race. However, once it touches on the life of Etna, a model who became a sensation when she posed nude for a men's magazine, the book becomes an immersive look into the lives of contemporary cyclopes and all that they entail. After reading this book, I was struck by just how deft it is in creating a parallel world based on a fantastic premise and then immediately normalizing that premise. It makes the cyclopes so human and relatable that they actually seem a real ethnic group, and also acts like an extended metaphor for Orientalism.

What I find most charming and provocative about this book is how subtly it tells a long form narrative through a series of short episodes that read like an amalgamation of gag strips and short stories. Each one is finely crafted, sometimes resulting in a chuckle but more often in a poignant moment or insight into being a frequently fetishized minority. This book operates almost like a pointillist painting, with each tiny detail contributing to an artful, moving portrait of a people.

Ostensibly a book about mythological creatures, it actually has lots of insight into modern humanity and the many choices we face. Over the course of the book, I got to know each character and how they cope with the world. Some, become twin artists who make plenty of conceptual pieces that cast an interesting light on the ways cyclopes are and are not incorporated into human society. Others are trying to make their way in the world with romantic relationships, either with cyclopes or humans. Some of the characters try to do things to "pass," from having elective surgery to become a "two-eye" to wearing special clothing that shapes their bodies to be more ideally human. And one cyclop woman has to make some hard choices between being a parent and re-entering the work force. 

I loved getting to know the world and characters in this book, and the slight consolation I had when it ended were the very informative entries about each character, why they were named as they were, and the author's intentions with their plots and sub-plots. This book is so fully realized and thoughtful, and it calls to mind poet Marianne Moore's line about "imaginary gardens with real toads in them" with how much the artful fiction evokes reality.

Cyclopedia Exotica is the creation of Aminder Dhaliwal, an animator who has worked for a number of major studios. Her debut graphic novel, Woman World was nominated for a 2019 Ignatz Award. She also has published the graphic novella Dead End Jobs for Ghosts. The coloring of this book was done by Nikolas Ilic, a production artist who specializes in character design. Dhaliwal speaks about her work on the book in this interview.

All of the reviews I have read of this book sing its praises. Carmen Maria Machado wrote that "the characters in Dhaliwal’s stories sparkle. They’re tenderly rendered and their problems are real." Oliver Sava was impressed by how she tackled "complicated subject matter with empathy and humor, offering ample social critique while keeping the focus on how these characters connect with each other—and learn how to love themselves." Jeff Provine opined, "The emotional touches with the engaging characters brings the reader along through quick comic stories, always wanting more even after the final page."

Cyclopedia Exotica was published by Drawn & Quarterly, and they offer a preview and much more here.

The Impending Blindness of Billie Scott

The title The Impending Blindness of Billie Scott gives away a lot of information about this book. It is about a young woman named Billie Scott, and she is indeed going blind. What it does not say is just how terrific this book is. Billie is an artist who has won a coveted spot to have a solo exhibition of her art as a prestigious gallery. Up until this book begins, she has totally isolated herself from her family and any would-be-friends, devoting herself entirely to her craft. However, through a random act of violence, she is struck and her retinas begin to detach. 

Given that she has about two weeks until she goes completely blind, she sets off to find 10 subjects to paint. She stops playing it safe and begins to actually socialize, beginning with her flatmates. Then she goes off to make acquaintances in all sorts of random places, including bachelorette parties, homeless shelters, youth hostels, and alleyways. She amasses a loose band of acquaintances but she also begins getting to know them all better. Given her circumstances, she develops more self-awareness. Also, the urgency of her project makes her much more direct and focused about her wants and needs. 

What I really ending up loving about this book was how people can unexpectedly find friendship and form relationships. Billie looks for people with interesting features so she can paint them, but she also hears their stories and gets to know them. Many of them are damaged in some way, but they exhibit strength and beauty in their own ways. Not everyone she meets is entirely friendly or trustworthy, but she does forge a number of friendships and cobbles together a sort of family. She even finds a special kinship with Rachel, a homeless musician and busker who keeps trying to score a gig at a specific local tavern. 

A story about a lonely, young woman who learns about herself and finds friends in unlikely places could come off as treacly or disingenuous, but the art, character work, and storytelling are strong enough to earn heartfelt, genuine reactions. I found this book utterly charming and uplifting. It is the real deal.

I'll be eager to see what else this book's creator Zoe Thorogood publishes. This book is her graphic novel debut, and she talks about comics, her background, and her work on Billie Scott in this interview.

All of the reviews I have read of this book sing its praises. Caitlin Rosberg called it "a touching exploration of what it means to make art and how to find your people, and why both things are important." Nicholas Burman wrote "that art represents how people are thinking, and it’s an impressive and positive sign as to the resilience of both an emerging generation and the artistic impulse that The Impending Blindness of Billie Scott presents a UK where all the stuff that matters still matters." John Seven commented positively about the tone of this book, highlighting the "fully-realized street-level world for Billie Scott to inhabit" as well as Thorogood's "scrappy art style."

The Impending Blindness of Billie Scott was published by Avery Hill Publishing, and they offer a preview an more about it here.

Seen: True Stories of Marginalized Trailblazers

I have noted that these days are the Golden Age of Comics, as there are so many different genres, topics, and audiences being catered to by publishers. I am surprised not only what's out there but also what I miss, which includes this relatively new series of nonfiction graphic novels aimed at upper elementary readers. Thus far, there are two books in Seen: True Stories of Marginalized Trailblazers, one published in 2020 and the other this year. I like their size, small enough to pop into a pocket, and price-point, $5.99. They also have pretty extensive teaching guides, questions, and prompts as back matter, which seems to promote these books for classroom use. "But are they any good?" you might ask. Stick around and see what I think!

The first book from this series focuses on Edmonia Lewis, an internationally-renowned sculptor of mixed heritage. She was born in upsate New York, to a Mississagua Ojibwe mother and African-American father, and she lived from 1847-1907. She learned to be an artisan from her mother's side of the family, making and selling shoes and other household items.

While contending with much adversity in terms of family tragedies, racism, and sexism, she attended school and university, both which were not really promoted for women, let alone Black women. She also ended up being trained in sculpture, though she had to travel to Italy to become established. One of her most acclaimed pieces, The Death of Cleopatra, is heavily featured here. To be honest, I had never heard of her before I read this book, and I hope it will work to make her less obscure.

This book was a collaboration between relative newcomers to the comics field, writer Jasmine Walls and artist Bex Glendining. They both speak about their work on this book in this interview.

The reviews I have read about this book have been mixed. Sara Smith wrote that she did not "feel that the creators have embraced the graphic narrative format, but that this was a more complex picture book." Jennifer Wharton wrote, "The unique subject matter, accessible art, and extensive resources for teaching in the back (they include educational standards, a multiplicity of questions on the art and subject, and educational activities) should make this a stand-out title."

Rachel Carson, the subject of the second biography in this series, was more well known to me. She was the author of Silent Spring, a book that examined the harmful effects of pesticides, and a key early figure in the environmentalist movement. She started her career as a marine biologist and writer who spent a long term at the U. S. Fish and Wildlife Service. She published multiple books about biology and the environment, and she ended up becoming a very important public intellectual who helped direct government policy. 

This book was a collaboration between writer Birdie Willis and artist Rii Abrego. In terms of comics, Willis has written a number of Over the Garden Wall stories. Abrego has drawn a number of comics for various publishers and has also drawn a graphic novel titled The Sprite and the Gardener due to be published later this year.

Most of the reviews I have read about this book have been positive. In a starred review for Booklist, Sarah Rice called it "an ideal choice for tweens and teens with an interest in science or anyone looking for an introduction to Carson." As of this review, it has a 4 (out of 5) star rating on Goodreads.

Looking at both books shows some obvious commonalities. Both extensively lean on narration and captions to convey information. At times, this makes it feel like the words are more important than the illustrations in steering the story, and that these are more picture books than graphic novels. Still, I really like the illustrations in both, and I feel that they would be engaging for younger readers.

Both books contain a lot of information, but they vary in how much they convey personality. In addition to her many accomplishments, the Rachel Carson book also pays particular attention to her lifelong relationship to Dorothy Freeman, who was her neighbor and frequent correspondent. Their friendship is a close one, which may or may not have been romantic. This book captures that ambiguity, especially in a few wordless sequences where a good deal of emotion is implied. I think this second book did a better job of depicting Carson as a person. In the Edmonia Lewis book, her playful, comedic side is described a number of times but never really shown. The different time periods and existing primary documents mean that there is only so much to draw from, and the result is that one book feels a bit more personal than the other.

Both books are pocket-sized, and relatively inexpensive for color graphic novels. They are pretty short, about 60 pages each, and with all the teaching material built into the books, I feel like these might have been published to be bought up and used as class sets. Certainly, the subjects of these books would are worthy of study, and these books would be a handy way for both students and teachers who might be unfamiliar with the format of graphic novels to get acquainted with it. I am pretty eager to see if this series continues, and who else might be featured in future volumes.

Both books were published by BOOM! Box, and they offer more info about them here and here.

Doodleville

In part, Doodleville is a book about creativity and how it relates to people's emotions. Its protagonist is Drew, a young girl who loves to draw. What is more, her doodles literally pop off of the page and alter their surroundings. 

When she brings her notebook to the Art Institute of Chicago, her doodles run wild through the museum's various masterpieces, which especially upsets one curator. Also, one of her doodles steals a hat from a classical painting. 

 

Another problem arises when Drew feels a sense of competition with the cool creations of her friends in the art club, and she tries to remedy the situation by drawing Levi, a leviathan creature she hopes will amaze them. When they don't quite get what she's trying to do with her creation, Levi manifests off the page in a disastrous way. 

The various members of the art club all have their own characters, including superheroes, fantastical creatures, and animals, which unfortunately fall in Levi's path. A large part of the book is them planning ways to deal with the leviathan, which includes attacking it, trying to befriend it, and trapping it. But Levi proves almost impossible to deal with or contain. So in a manner, this book is also about how people learn how to relate to each other, which can be a messy and volatile endeavor.

I know that there are lots of cliches about the mental instability of artists, as it they need some sort of madness to fire their art, but this book does not really perpetuate that myth. Instead, the role of art here is to reflect people's emotional lives, and those of young people trying to find their way in the world can be tumultuous. Experimenting with identities and trying to fit in with friends can be frustrating, and that is part of what manifests in the children's drawings. I think this book is a highly respectful one, that takes children's mental states seriously and communicates just how complex they can be.

I appreciated how the artwork reflects these various struggles in interesting ways, and I also appreciated how these events are not tidily resolved at the end of the book. Also, on a positive note, the lack of resolution means that there will be a sequel set in this same beautifully rendered world.

Doodleville is the creation of Chad Sell, the artist who collaborated with a number of authors on one of my favorite graphic novels of recent years, The Cardboard Kingdom. This book continues in its vein of respectfully representing the diverse, complicated lives of children. Sell provides lots of insight into his work on Doodleville in this interview.

All of the reviews I have read about this book have been positive. Kirkus Reviews summed up that this book "will draw readers in and inspire doodles galore." Publishers Weekly wrote, "Sell’s caricatured illustrations provide strong action, and single-hue overlays (purples, greens) highlight emotionally charged moments for the friend group, which includes kids of various ethnicities and gender identities." Charles Hartford wrote that it has "the perfect balance of seriousness and fun."

Doodleville was published by Random House Graphic, and they offer a preview and more here.

Noisemakers: 25 Women Who Raised Their Voices & Changed the World

Noisemakers is an impressive collection of stories, 25 mini-biographies of notable women who have left profound marks on the world. This project was accomplished by 25 different creators, who were all women or non-binary, which adds a unique take on these accounts as well. The book is divided into six sections (Grow, Tinker, Play, Create, Rally, and Explore) that cast a light on scientists, inventors, athletes, artists, activists, and explorers. Some of the figures, like Hedy Lamarr, Frida Kahlo, and Rosa Parks are well known, but there are others, like Emily Warren Roebling, Madam C.J. Walker, and Junko Tabei that I knew little or nothing about beforehand (and shame on me!). I think they did a great job of covering a wide array of people and nationalities, and even though this book is aimed at younger readers I feel it is also an informative introduction to older ones.

The artwork in this volume covers as wide a range of pallettes as it does subjects. Some, like Shauna Grant's take on Maya Angelou, are more manga-inspired and cartoonish. Others, like Rebecca Mock's account of Ida Lewis, hew a little more to reality. I think all of the stories are extremely well illustrated, and the worst thing I can say about this book is that some seem more fleeting and slight than others. 8 pages is not a lot of space to work with, and some of the entries are more dense, in terms of panels and information, than others. Still, this is a great book full of excellent stories. It's a wonderful introduction to these women and a jumping off point for those seeking out further reading.

The mix of creators in this book is admirable, with more seasoned creators as well as new faces. For me, the most notable entries were Emil Ferris's bio of Mary Shelley, Lucy Knisley's look at Julia Child, Molly Brooks's tale of Kate Warne, and Jackie Roche's account of Nellie Bly. But there is not a clunker in the bunch. More context about the book and the process of making it can be found in this interview with editor Erin Bried.

The reviews I have read of this book have been positive. Kate Sánchez called it "a great graphic novel with beautiful and important stories." Nicole Drum wrote that it "may be geared towards young readers, but anyone can pick this up and not only be entertained and inspired, but perhaps even learn something, too." Publishers Weekly called it a "tasting menu of short biographical comics...[that] serves up enticing bits of history for an array of readers with varying interests."

Noisemakers was published by Alfred A. Knopf, and they offer more info about it here.

Giraffes on Horseback Salad

Today, I look at another book that is emblematic of the ways I feel Derek helped broaden my thinking and experiences with comics. Every month on the Comics Alternative, we would do an episode looking at the "back pages" of the Previews catalog, where the non-"Big 2" books were solicited. Now when we started, I had not read that catalog in a looooong time. I had relied on people with more intestinal fortitude than I (like Mike Sterling) to tell me about the highlights (or in his case, the "lowlights") that were listed. My unfamiliarity with the format of the catalog really showed. I wanted to talk about EVERYTHING that was in the book, even the resolicitations, because I did not readily catch on how it worked. That first show was very long as a result, and I think that Derek was very gracious about it even though I got from his tone that he must have been wondering what a newbie I was being.

Checking out the catalog on a regular basis really opened my eyes to the multiplicity of offerings and publishers out there. It also made me pretty aware of what was not listed, particularly as I also read a lot of comics and graphic novels from publishers in the book world that particularly cater to younger readers. Still, I really enjoyed doing my "homework" in poring over the catalog each month, and it was exciting to talk about books that caught our fancy, sort of like being a kid back in the day with a Sears catalog around the holidays.

Giraffes on Horseback Salad was one of the books that really leaped off the page for us when we saw it in Previews, as it hit on a few of our interests. It is a graphic novel based on a lost script by Salvador Dali (!) for a movie that was to star the Marx Brothers(!). A book from one of the great surrealist artists featuring comedic characters made famous in the early days of film seemed like one of the potentially perfect uses of comics, in my opinion. How else could something like this be created and communicated today? We were both really excited about this intriguing, unique book, gushing about it. Lo and behold a few months later, the publisher sent us review copies, one of the best benefits from doing our podcast. I was excited to talk about it with Derek, but, sadly, we never got the opportunity.

So, you might ask, does this amalgamation of ideas and artifacts work? Yes, and no. I have to say that it would be a tall order to pull off in the best of circumstances. Not every work translates well across media, and what is more collaborations between creators with larger-than-life personas don't always go well. What this book does well is tell the story in multiple aspects. There is an essay by Josh Stack about his research into the script and how he managed to locate drafts, scraps of artwork, and commentary that would be used to create this book. There are dramatized scenes of the meetings between Salvador Dali and Harpo Marx that base this work firmly in history and their biographies (bolstered by input and artifacts from Harpo's son Bill). Finally there is some insight into how the comedy scenes were fleshed out by contemporary comedian Tim Heidecker. This front matter is extremely rich, compelling, and intriguing, and I have to say that it forecasts a "movie" that is fun enough but does not live up to expectations (how could it though?).

In many ways, the story is a like a typical Marx Brothers movie, with clever quips, bad puns, and zany situations. In other ways, it is sort of academic with its conflict between a staid, soulless, and capitalistic type of living and a surreal lifestyle centered on art, experience, and sensation. The protagonist is a man named Jimmy, a stand-in for Dali but played by Harpo. He is a man of industry who works for the father of his beautiful but vapid and conniving fiancee Linda. He suddenly realizes that he is unfulfilled when he encounters the mysterious figure known as The Surreal Woman. She is malleable, made of various substances, exhibits different countenances, and apparently has the power to alter reality with her parties.

The effects of The Surreal Woman are one of the best features of the book, as they help highlight the abilities of artist Manuela Pertega. She is not so interested in depicting all of the characters realistically, but she makes sure we can tell who is who, and where she excels is in portraying scenes and layouts in ways that ape Dali's art. There are plenty of disembodied hands, viscous fluids, flaming giraffes, and serendipitous spatial arrangements. Seeing how she lays out pages and propels the reader through the narrative is a real treat. I may not have known what was going on all the time, but I sure enjoyed the ride.

I think what sort of hamstrung the book was mostly the main character, who was supposed to be played by Harpo, but seems like one of the least Harpo-characters I have ever seen. He seems too uptight and loquacious, and Harpo was more madcap and always silent. I just could not see this character take shape. Also, the story gets a little too metaphorical for my liking, and behind that is a saccharine ethos that I do not think really maps on well to a Marx Brothers movie, which is more about comedic chaos and mayhem. Still, it is an interesting experiment and a worthwhile read. Perhaps this "strangest movie never made" might not be the greatest graphic novel ever made, but it offers lots of great history and a fascinating diversion for fans of the surrealist artist and classic comedians.

This book was a collaboration between Josh Frank, Tim Heidecker, and Manuela Pertega. Frank is a producer and pop archaeologist who has written a few other books about popular culture and music. Heidecker is a comedian/writer/actor known for his various Tim and Eric collaborations. Pertega is an artist/illustrator, and this book is her first graphic novel. Frank speaks more about the work that went into making this book in this podcast round table.

The reviews I have read praise many parts of this book, even if they admit that as whole not utterly cohesive.  J. Caleb Mozzocco opined that "one needs some knowledge of, and at least some degree of affection for, the Marx Brothers and their film comedies to buttress the comic." Etelka Lehoczky wrote, "It may not be a good story, but Giraffes on Horseback Salad makes a good book." Marissa Moss stated, "The creative team behind this book have risen to the challenge and created something completely unique."

Giraffes on Horseback Salad was published by Quirk Books, and they offer more info about it here. There is also a website for the book, which features reviews, events, and lots of other goodies here.

The published provided a review copy.

The Be-Bop Barbarians: A Graphic Novel

The Be-Bop Barbarians is a fascinating, gripping look at life in the 1950s for three African-American artists living in New York City. They are fictional figures, though they are based on real people, according to the book's introduction. The protagonists are Cliff, a light-skinned handsome man who passes for white in certain circles and who draws comic books (based on Matt Baker), Stef, who moonlights as a maid and domestic servant while drawing a romance comic strip for a black newspaper (based on Jackie Ormes), and Ollie, a veteran of the Korean War who publishes political cartoons under a pseudonym (based on Oliver Harrington).

The three friends and colleagues are involved in civil rights issues that affect their daily lives. Cliff struggles to maintain various identities (and romances) as he works and travels about town. Also, he is on the losing end of a legal struggle with a publisher who is trying to steal the rights to a character he created. Stef struggles to make ends meet and also is conflicted by some of the racist attitudes she faces from those she works for. Ollie is married to a Korean woman, and while they await the birth of a child, they face harassment on numerous fronts. All three chronicle the disturbances, slights, and inequities they experience through their art, transforming them into something politic and motivational. Their bravery and creativity wins the day even though they face numerous obstacles and prejudices.

A book like this, woven from masked historical figures, runs a danger of reading like straight propaganda or being related in ham-fisted manner, but The Be-Bop Barbarians is a vivid and vital account of the hardships and unjust social realities of the day. The various plots are compelling, the characters strong and nuanced, and overall the book is an excellent piece of historical fiction. It made me care about the characters and also learn about the times the story was set. I was also impressed by how they wove together the three different tales into a cohesive, moving whole. Also on the positive side, I appreciated how this book introduces a new generation of readers to some important, often forgotten, comics artists from the past.

This book was a collaboration between writer Gary Phillips and artist Dale Berry. Phillips has penned several novels and has multiple and diverse credits in comics, including editing the conspiracy/noir collection The Obama Inheritance and co-writing the neo-noir/punk series Peepland, which was set in the 1980s. There is a six-page sequence in this book that features his prose without the illustrations, and I felt it was an effective narrative device. Berry has been drawing and creating comics since the 1980s, and he created the first graphic short story published in Alfred Hitchcock's Mystery Magazine's 60 year history. I very much liked his storytelling and how he altered his art style to (re)create the look and feel of the disparate art styles of the three fictional creators.

I was not able to locate many reviews of this book, but Molly Odintz called it "beautiful and moody, channelling the quiet desperation, simmering anger, and creative intensity of 1950s noir."

The Be-Bop Barbarians was published by Pegasus Books, and they offer more info about it here.

A review copy was provided by the publisher.

Awkward

I came to read this book, Awkward, in a backward way. While judging books for the Excellence in Graphic Literature Awards, I got a copy of its sequel Brave. I read and very much enjoyed it, so when I came upon this book at the local library sale I totally snapped it up. I had read work by these books' author Svetlana Chmakova years before (the series Dramacon, which was more of a soap opera/romance set at comic conventions), and I very much was impressed at how she crafted characters and relationships. This book is similarly excellent, only in a middle school setting.

Awkward follows the exploits of Penelope (Peppi) Torres, a transfer to a new school who on the first day tries to stay below the radar but accidentally knocks over a geeky boy named Jaime. When people start to tease her that she is his girlfriend, she shoves him and runs away. This event opens a rift between the two, and it weighs heavily on Peppi because 1. she knows she should do the right thing and apologize, and 2. she thinks Jaime is a good guy and she (small spoiler) develops a crush on him.

 

 

Complicating that awkward situation, the two also end up belonging to two clubs (Peppi the Art Club and Jaime the Science Club), that are actively hostile toward each other, playing pranks and getting into a competition where only one will get a table at the annual Club Fair.

What makes all of these happenings work is that the characters in this book are vibrant and well defined. They are complicated and interesting, not playing into stock stereotypes and often offering up surprising insights. Also, there are a bunch of gags, funny expressions, and an overall light-hearted, fun tone about the everyday goings-on at school as well as the idiosyncrasies of people's relationships with the friends and family. I know that it's been a while since I was that age, but this book made me remember some of the tentative, confusing, and intense feelings that go with being a middle schooler. I loved getting to know the characters in this book, and the plot, with its competitions and over-the-top hi-jinx, is suitably fun and heartfelt.

This book's author Svetlana Chmakova has won a slew of awards and accolades for her works. Along with this series and Dramacon, she also has published a supernatural themed series called Nightschool. She speaks more about her work and career in this interview.

All of the reviews I have read of this book have been glowing. The School Library Journal's Mike Pawuk called it "another shining example of kids comics done right," and added, "It’s got plenty of heart and soul." I agree with Amanda M. Vail who wrote, "Once you pick up Awkward, you’ll have a hard time putting it down." Johanna Draper Carlson wrote, "I enjoyed spending so much time with Peppi and her classmates, seeing them grow and learn. Events resolve in surprising but rewarding ways, as the kids get to know each other as people instead of stereotypes."

Awkward was published by Yen Press, and they offer more info about it here. Like I wrote, this book has one sequel already, Brave that I will be reviewing in the near future, and a new one coming soon entitled Crush.

The Shape of Ideas

Social media made me read this book. I follow this book's author on Instagram and also saw a shout-out to this book on Twitter from one of my friends, so I thought I would check it out. First off, let me say that it is not a traditional graphic novel in terms of telling a single narrative. It is more like a collection of chapters that revolve around and extend specific themes. So what I am saying is that this book is full of chapters that operate like pieces of jazz music, with comics riffing on motifs. And each comic is a meticulously constructed gem. This is not a book to plow through but one to bask in and savor.

 

As you can see from the excerpt, these comics are clever and cerebral. The artwork is colorful and clear, slightly reminiscent of Tom Gauld's style (to me at least), which I feel is a wonderful thing. I loved this book's playful, inventive qualities, and I feel that it has much to offer in terms of inspiration, advice, or understanding for aspiring artists or those who appreciate the arts. A few of the entries may seem redundant, but most are noteworthy and unique. And there were quite a few sections that I felt were phenomenally well executed. There are far more hits than misses in this book.

The man behind this book, Grant Snider is an orthodontist by trade and also well known for creating Incidental Comics. His work has appeared online and also in many prominent venues like The New Yorker and The New York Times Book Review. He speaks about his work on this book and in general in this interview.

All of the reviews I have read of this book have been positive. Publishers Weekly summed up, "The tongue-in-cheek wit and self-deprecating style make this a pleasant introduction to the joy and frustration of making any kind of art, and the beautifully designed presentation—with a charming die-cut cover—is a fine proof of concept." Andrew Jarman called it an "incredibly unique and wonderful graphic novel that I absolutely loved." Kevin wrote, "While there is some repetition of ideas here, Snider’s exploration of the creative mind through comics and graphics will surely make you contemplate the wistfulness of creativity, and perhaps inspire you to make your own."

The Shape of Ideas was published by Abrams ComicArts, and they have a preview and more information available here.

Cat Person

Cat Person is a fun and funny book, full of keen observational humor and not as many cat-centric comics as you'd think. I laughed at quite a few of the gags, but more often I sort of blushed/cringed with recognition at having had gone through similar situations.

The book is divided into a few thematic sections. The first is about Seo and her cat Jimmy, the second and third are about Seo's life, mundane routines, struggles with food, and creative struggles/triumphs. The fourth section focuses on aspects of her relationship with Eddie, which is partly long distance, and the fifth is a grab-bag of assorted gags.

If you have read many comics, you can see that the topics tackled here are not really novel, but this book does handle them in an enjoyable and fresh manner. What makes the whole thing work are two things: the expressive and vibrant depictions of the characters and the economy of storytelling that distills particular experiences and sets up the punchlines. Reading this book made me feel as an adult reader like I did when I was a little kid reading a Garfield book, being engrossed by moments of pure joy and hilarity. And I mean that in the most sincere way.

Cat Person was written and drawn by Seo Kim. She is a storyboard artist for the cartoon Adventure Time, and as far as I can tell this book is her only published work in comics to date.

All of the reviews I have read about this book have been positive. Publishers Weekly called it "a winner. Even the cat jokes are not tired—a difficult feat in a world saturated with feline cartoon books and webcomics." Amy Ratcliffe wrote that it "has its own charming flavor. And, since it is in the style of a journal, you can drop in and out of the book as you please." Whit Taylor called it "a delightful, entertaining read about the little moments in life. Kim’s adeptness at picking up situational nuances, tied with her simple yet whimsical line, hints at an artist who is able to use the inherent ridiculousness of everyday life to her advantage."

Cat Person was published by Koyama Press, and they have a preview and more info about it here. The book has some occasional profanity, so it is recommended for folks who are OK with that.

My Favorite Thing is Monsters

Holy cow, how do I start reviewing this book? It's a masterpiece. One of the best books I have read. Period. It is full of beautiful emotional moments, pain, grief, wonder, and mystery. And perhaps, most amazingly, it is a debut graphic novel.

My Favorite Thing is Monsters is a huge book, about 400 pages long, and still only the first half of the whole narrative. The plot is set in the late 1960s. The main character is 10-year-old Karen Reyes, a curious, budding artist who lives in an apartment building with her mother and older brother Deeze in Chicago. Everything in this book is meant to be entries from her spiral-bound journal, and the artwork is exquisite. There are so many threads to follow in this book, but one of the main ones is an inquiry into the mysterious death of their upstairs neighbor, Anka Silverberg, who was a Holocaust survivor:

Karen and Anka's husband listen to audiotapes chronicling her life and experiences during World War II, including her imprisonment and escape from a concentration camp, an extremely heartbreaking, troubling, and riveting tale. Add to that narrative an extremely rich tapestry of characters in Karen's building, including her own superstitious mother, her creative and womanizing brother, a glass-eye wearing ventriloquist, and a mobster's wife, there is so much to take in. Another layer lies in Karen's own story and her depiction of herself as a young werewolf dressed like a private investigator. So much of this book is involved with her figuring out who she is, trying to deal with cruel classmates, making friends, and growing up.

Another strong aspect of this book is in its relationship with art and artwork. Some of the art is more popular, such as the recreations of lurid monster magazine covers of the time period that act as markers between chapters. But "fine art" pieces from museums also appear, redrawn in Karen's hand throughout the book. Certainly, the theme of trying to puzzle out what life means is powerful in this book, and how art plays into such inquiry is fascinating and interesting.

I have touched on a few aspects of this book, and I don't want to get into much more, lest I spoil what goes on in it. Let me simply say that I was enthralled with this book. The characters are complex and intriguing, and the plot is multi-faceted. It took me a long time to read, not just because it is weighty but because I wanted to spend a long time pouring over the images and words laid out on the page. The layouts and storytelling are incredibly rich and rewarding throughout, and I feel it is a transcendent work that will be studied and analyzed for decades to come.

This book's creator is Emil Ferris, who has had a long and varied career in the arts. She has designed toys and worked in animation, and she has been working on this book for about 6 years because of a variety of circumstances. She speaks extensively about her career and work on MFTIM in this interview, and I highly recommend learning more about her.

There has been an avalanche of well-deserved praise following this graphic novel. Oliver Sava wrote, "It’s hard to think of a debut graphic novel in recent memory that has the visual splendor, narrative ingenuity, and emotional impact of this 413-page tome, and with this book, Ferris immediately establishes herself as one of the most exciting, provocative talents in the comics industry." Calvin Reid opined, "She’s found new ways to tell a powerfully literary visual story." John Powers raved that "this extraordinary book has instantly rocketed Ferris into the graphic novel elite." And I agree with Paul Tumey who summed up his review, "Currently, my favorite thing is My Favorite Thing is Monsters."

My Favorite Thing is Monsters was published by Fantagraphics Books, and they have lots more info about it here.