The Iliad

One of my favorite graphic novel adaptations is Gareth Hinds's The Odyssey, which is colorful, vibrant, and captures so much of the spirit of the epic poem. Here, he did things a little in reverse and adapted that work's predecessor, The Iliad, which chronicles the tenth year of the Trojan War. Personally, I prefer the poem The Odyssey to the poem The Iliad, mostly because the latter has a lot more battle scenes that read more as info dumps. I was curious how this poem would read as a graphic novel, because of those sections, but I feel that Hinds has made the whole enterprise work. Certainly, the moments where the days' casualties are noted and listed stand somewhat in contrast to the rest of the soldier/leader/gods drama, but Hinds does the work to make them feel integrated into the whole narrative. Also, their deaths are intimately tied into the machinations of others.

Of course, the banner plot of the book involves the conflict between King Agamemnon and Achilles, his best fighter, over Briseis, a concubine who is treated as a spoil of war. And there is much interaction between the gods and goddesses, with Athena and Hera (and by extension Zeus) on one side and Aphrodite, Ares, Apollo, and Artemis on the other. Clearly, there are many characters, plots, and moving parts, but I feel that Hinds weaves them all into a cohesive, artful whole. I love how he uses symbols and color to differentiate characters that might otherwise be confused, and also how he grounds the tale in reality through maps and front-pieces identifying the characters.

Although I must admit it was not as enjoyable as The Odyssey to me, it was not for lack of effort or craft. I just like the one story better. Both graphic novels are masterpieces that stand well together.

Hinds is no stranger as an adapter of classic works into graphic novels. Already he has created a number of them like The Merchant of Venice, Beowulf, and King Lear. He speaks more about the process of creating his adaptation of The Iliad here and in this interview. He speaks about his work in general in this interview.

The reviews I have read about this book have been very positive. Publishers Weekly gave it a starred review that concluded, "Hinds’s relatively plain language retains just enough meter to hint at the cadences of the work, and, together with the dynamic art, creates an accessible entrée to an enduring classic." Dominic Umile called it "magnificently realized." Kirkus Reviews summed up, "An expertly crafted rendition and a welcome invitation to younger readers to immerse themselves in the ancient past."

The Iliad was published by Candlewick Press, and they offer a preview and more here.

The publisher provided a preview copy.

Hey Kids! Comics!

Today, the properties that originated in comic books are big business. Superhero stories spawn huge franchises that cross over various media platforms and used to sell a myriad of products. But the people responsible for creating these often beloved and highly commercial characters and stories are often buried in obscurity, relegated to a single line of a movie credit (if they are lucky), or often cut out of receiving any credit at all. Famously, Jerry Siegel and Joe Shuster sold Superman to what would be called DC Comics for $130 and spent decades trying to be compensated for their creation. Jack Kirby created or co-created pretty much every character in the original Marvel Universe, but he received no royalties, and worse yet mostly people attribute his work to Stan Lee. Even more recently, Thanos creator Jim Starlin feuded with Marvel over compensation over the main villain for a movie that had a $1.2 billion opening weekend. Such situations of inequity are the focus of this book, Hey Kids! Comics! that chronicles the lives of several fictional comics creators.

It features several characters over the course of eight decades, and they appear to be based on specific familiar figures as well as some composite characters. The main three, Ted Whitman, Benita Heindel, and Ray Clarke, all shed a unique light on the comics industry. Whitman is an African American artist, working in a field dominated by white men. Heindel is a white woman also trying to navigate this world. Clarke is a white man, but he is a freelancer who bounces between companies and gets a wide look at goings on in comics as a whole. Over the years, they deal with the low regard and low pay of the job, ego-maniacal publishers and editors, turbulent years when comics companies were in financial distress, and the need to be adaptable in order to survive in multiple times of change.

 

 

 

As a person pretty well versed in comic book history, I recognize that a bunch of the stories told here cleave closely to actual events, albeit in fictionalized fashion. They are fascinating, gripping tales that offer a counterpoint to the glam and glitter associated (especially with) superheroes today. The storytelling is tight, the characters are strong and memorable. The biggest issue I had with the book was keeping up with it large cast of characters and time shifts, but after the first chapter I got into the swing and rhythm of the book and everything clicked along well. I feel this book is complex enough that rereading it is rewarding, so it has that in its favor as well.

This volume collects what was a five-issue series, and it was created by Howard Chaykin, a veteran comics maker with decades of experience. He cut his teeth in the industry as an assistant to legends Gil Kane (who I feel is the inspiration for the Clarke character) and Wally Wood. He notably drew some of the initial Star Wars comic books for Marvel in the 1970s, but it was in the 1980s that he really began making his mark transforming comic books with his independent series American Flagg! and the X-rated Black Kiss. He has numerous comics credits since then, and he speaks more about his work on Hey Kids! Comics! in this interview and also writes more about it in this article.

The reviews I have seen about this book have been mixed. Dan Traeger concluded, "I highly recommend this if you’re a fan of comic book history, or if you’re a fan of Chaykin’s historical fiction." Alan Boon wrote, "If you’re even a casual student of comic book history, and aren’t averse to seeing Stan Lee pulled down off his pedestal and given a beating with a rock in a sock, then this could hold some interest for you." Cole offered some interesting insights in his review at The Perfect Bound Podcast. Derek and I also discussed the first two issues in this episode of The Comics Alternative podcast.

Hey Kids! Comics! was  published by Image Comics, and they offer a preview and much more info about it here.

The Long Con, Volume 1

The Long Con is what I'd call a high concept series, based on the premise that a bomb went off in the southwestern United States, killing everyone in a 50 mile radius and giving rise to some horrific mutations. Five years later, a desperate newspaper reporter is sent into the forbidden zone to explore and report on the site of the Long Con, the hugest popular culture event of the year (a thinly disguised San Diego Comic-Con). What he finds is astounding, the convention center was somehow shielded from the destruction and fallout, and in the interim a small society of survivors has evolved that lives on processed foods and occasional cannibalism.

Of course, the survivors being comics fans, sci-fi geeks, and random featured celebrities, their society ends up consisting of factions based on fandom and the level of their access badges. This set-up makes for a satirical look at those folks, as they conduct purity tests to assess who is and is not an outsider and just behave in the most extreme sorts of manners. They still engage in cosplay, though the stakes have become much higher over time. I enjoyed this book well enough, and I had been looking forward to reading it for a while, but in the end I was left a little cold by the whole thing. It has lots of geek culture references to satisfy those in the know, and I appreciated them (or at least the ones I got), and it comes from a place of love for fandom, but I feel that almost all the characters are too one-dimensional for me to care about. What could have been an interesting premise just went to typical sorts of humor and jokes about rabid fanboys and fangirls.

 

My favorite part of the book was the artwork, which is fun, energetic, and full of vibrant details. And it really pulls off the trick of depicting parallel narratives from the past, present, and fictional TV versions of Skylarks (a Star Trek pastiche). Overall however, the book left me feeling that maybe I am not its target audience, so others' mileages may vary. Perhaps book 2 will have a better payoff, when the whole story culminates.

This volume collects the first 5 issues of the 10 issue limited series. It was written by Dylan Meconis and Ben Coleman, drawn by EA Denich, and colored by M. Victoria Robado. Meconis is a member of the creative collective called Helioscope, and an Eisner, Reuben, and Kim Yale-nominated cartoonist. She has worked on lots of comics in the past including the series Family Man, the graphic novel Wire Mothers, and the forthcoming Queen of the Sea. Coleman writes for the Portland Mercury and does not seem to have any other comics credits. Denich has also drawn the graphic novel Yes Roya. Robado has lots of illustration credits and also works on the webcomic #Blessed. The creators speak about their work on this series in this interview.

The reviews I have read of this book have largely been positive. Charles Hartford described it as "fast paced, lots of fun." Christopher Scott concluded his review, "This first volume is a send-up of the chaos that is a convention and uses it for an interesting twist, loving fandom for what it is and never crossing the line from respect into meanness." Lonnie Webb wrote, "Dench’s art is full of cameos and beautifully drawn with great characterization. More-so than a parody might have deserved. Tops on that. Colors by Victoria Robado are nice and completely fit the bill."

The Long Con, Volume 1 was published by Oni Press, and they have more info about it here. Currently the series is up to issue 8.

Cannabis: The Illegalization of Weed in America

First off, I meant to have this post up for April 20, but life has been hectic lately, and as you might tell, I have not been posting as regularly as accustomed. Hopefully, this is the book to get me back on track. I am a big fan of Box Brown's work, and in the past his stuff has appeared on my "Best of" year-end lists. This book is unique though in that I am not really that familiar with the topic and it's not something, like professional wrestling, video games, or comedy, that I have been a fan of. So this book was more of a learning platform for me. Cannabis: The Illegalization of Weed in America covers a lot of ground and includes lots of different insights. It shows, among other things,

the science behind getting high on marijuana

an origin myth from the Hindu tradition

a history of false assumptions and spurious science.

And I gleaned much here. For instance, I had no idea who Harry J. Anslinger was before I read this book, let alone that the man almost single-handed created the "war on drugs" as we know it. It is horrifying to see how much he relied on false claims, racism, and prejudice against immigrants to push public policies that have led to decades of abuse, misinformation, and incarceration. A large portion of the book focuses on his work, and he definitely comes off as a villain, which seems appropriate and sadly familiar to some contemporary voices I hear.

There is a lot going on in this work, and it is well researched, with a huge bibliography at the end. I think it may have benefited from some chapter headings to help steer the reader, but overall I feel it does its job well. It contains all sorts of disparate information and weaves it together into a portrayal of the modern take on marijuana use. It also makes a strong thesis for why current policies and views are misguided and wrong. I feel it is a strong piece of comics rhetoric and history, and I highly recommend it.

This book's creator Box Brown has left a big footprint in comics already, founding the indie imprint Retrofit Comics. He has also created a cavalcade of comics, mini-comics, and graphic novels, including his biographys of Andre the Giant and Andy Kaufman as well as his history of Tetris. He speaks about his work on Cannabis in this interview as well as this NPR interview.

The reviews I have read of this book have ranged from good to lukewarm. Jonathan O'Neal wrote, "Brown’s book presents an impassioned case for continuing the discussion over this very complicated issue, and with “Cannabis: The Illegalization of Weed in America,” Brown becomes an important voice in that conversation." Henry Chamberlain called it "a most remarkable book in how it packs together a disparate clump of facts and myths and makes sense of it all." Kirkus Reviews summed up, "Not as engaging as the author’s bio of Andre the Giant, but his uncluttered drawings suit his straightforward argument."

Cannabis was published by First Second, and they offer a preview and much more here.

To Kill A Mockingbird

It is dissertation defense season, and my plate has been full lately, so I apologize for slacking off here. I have been trying to read this book for weeks now, and I am glad I finally did. To Kill A Mockingbird is one of the most read and also most challenged books in the USA. It is a novel I have read a few times, and there was at least one point in my life when I would have said it was my favorite book ever. I have to admit, there were moments of nostalgia that tweaked me here and there in reading this very faithful and well rendered adaptation. It hews to the original, in its well researched illustrations as well as use of original language from the book (Yes, the n-word is in there, and they provide a justification for its inclusion in the endnotes).

All of this to say that the potential problems people have with the novel also exist for those who would read this graphic novel. The "white savior" narrative is still pervasive, but in this go-through I also noticed how much it highlights feminism and the role of women in this community, something I do not see given as much attention when discussing this book. The family dynamics also touched on my heartstrings, and I admit I did get misty eyed at the last pages of the book. It is very well paced as an adaptation, top notch work all around.

Still, there is a part of me that wonders why this adaptation exists. TKAM is one of the most-read and taught books in the country. There are millions upon millions of copies of it in libraries, classrooms, and in people's hands already. I guess having a graphic version of this book makes it available to some readers who might not want to tackle the novel, but I I have to say that I still found this version to be a time-consuming read. It is text-heavy for a graphic novel, with the text mainly displayed in caption boxes. It is not "easy reading, " which is often the rationale for making a graphic novel version. I get why some of the other adaptations I have recently reviewed exist: The Giver is pitched at YA audiences and graphic novels have proven a popular format for that age group; Anne Frank's Diary carries of the weight of not only being a literary text but also one tasked with preserving people's memories of the Holocaust. I guess it is a good commercial decision to adapt TKAM, as I imagine libraries and schools will snap up this version. But as much as I liked it, I still ended up asking myself if it was necessary. Perhaps as an answer to my question I can say that reading this book has dredged up all kinds of contrary and ambiguous thoughts, which I feel in many ways is the hallmark of a powerful book. In that way, I say this graphic version is successful. 

Harper Lee, of course, wrote the original novel on which this adaptation is based. For it she was awarded a Pulitzer Prize and a Presidential Medal of Freedom, which is remarkable given this was the only novel she published in her lifetime. Fred Fordham adapted the book here, and he has another graphic adaption, of Phillip Pullman's The Adventures of John Blake, to his credit. He has also created an original graphic novel Nightfall, which is currently available in French. He speaks about his work in adapting TKAM in this video.

All of the reviews I have read about this book have been positive. Esther Keller wrote, "The color on the artwork is what struck me most. I expected black and white pencil drawings, which would evoke the Gregory Peck movie. Instead, bright, soft colors are used. It works. It’s beautiful." Publishers Weekly called it a "thoughtfully crafted interpretation" and summed it up, "More loving remake than revelation, Fordham’s adaptation may be scrutinized by Lee’s fans, but does sufficient justice to her portrait of injustice." CJ Lyons declared it "a worthy partner to the original, providing a clarion call for civility, equality, and justice for all."

To Kill A Mockingbird was published by Harper Collins, and they offer more info here.

The publisher provided a review copy.

Anne Frank's Diary: The Graphic Adaptation

The Diary of Anne Frank is one of the most read books in the world, which may beg the question of whether or not a graphic adaptation of it is necessary, but I have to say that I was blown away by this work. It is expressive, incorporates disparate pieces of artwork into the story, and creates a context for both exploring humanity and horror at the same time. Anne and her family spent years hiding from Nazis in an annex in Amsterdam during World War II. Along with some others they shared the cramped quarters, living in as quiet and unobtrusive fashion as possible. And all the while they listened for scraps of news and hope while hearing bombing and shooting all around them.

As if this atmosphere was not bad enough, Anne also had to deal with lots of other personal dynamics, including a rivalry with her older sister, a crush on a boy, and having to share her room with an adult man dentist. What I feel this book captures best about the work is 13-year-old Anne's sense of figuring out the world and her place in it, ironically at a time when she was sequestered and eventually taken out of it. This book is full of humanity, wisdom, and sadness, and the artwork only exemplifies the beauty and thoughtfulness of its prose.

As an educator, I often think of how to use a book like this, and I feel that it could be used in several ways. It could be read alone, in tandem with the original book that it excerpts, or it could also be excerpted itself to draw attention to particular passages. I was very impressed with this book, especially in how it uses various visual styles and formats to adapt the diary entries. Sometimes, it plays with a single image, often cribbed from a classical art source.

Sometimes, it uses straight forward comics, and others it features an illustration with an entire diary entry. I think that its creators were savvy in selecting which sections to summarize and adapt and which to present in more whole fashion. This adaptation is superlative, and it is prelude to an animated feature that is nearing the end of production. If it is anything like this book, it should be excellent.

This adapted book was a collaboration between Ari Folman and David Polonsky. Folman is an Orphir Award and Golden Globe Award winning director and screenwriter. Polonsky has worked as an art director, children's book illustrator, and animator. Both collaborated on the lauded animated film Waltz with Bashir. This interview sheds light on both creators' work on this book.

The reviews I have read about it have been largely positive. Ruth Franklin wrote, "Their book is brilliantly conceived and gorgeously realized." Publishers Weekly's starred review concluded, "The beauty of Anne’s life and the untarnished power of her legacy—here further elevated by Folman and Polonsky—are heartening reminders of the horror of her fate." Gene Ambaum called it "spacious, interpretive, and altogether wonderful."

Anne Frank's Diary was published by Pantheon, and they offer a preview and more here.

The publisher provided a review copy.

The Giver

This month I'll be reviewing a bevy of graphic novel adaptations of literary works, and I decided to kick it off with this book I've both read and taught. The Giver is a classic sci-fi tale of a dystopian future by Lois Lowry, and here it is given the grand treatment in a graphic novel adaptation. I know that the knock on such works is that the adaptation will always pale in comparison, but I felt that this one is first rate in that it cleaves closely to the original in terms of its dialogue and language. Plus the artwork not only captures the spirit of the original work, it also extends its ambience with the clean, blue, black, and white lines that convey a cold, sterile purported utopia. Also, I know that there is a general assumption that  graphic novel would be a simpler, breezier read than the original, but I felt that this one was still substantive and weighty.

In case you are not familiar with the original book, the narrative takes place in a future where humans have engineered a perfect place. Everything is planned and organized in ways to optimize people's lives, from deciding who they marry to selecting their vocations at age 12. No one wants for anything, and they are content, safe, and docile. This book follows a boy named Jonas who turns 12 and is selected to be The Receiver, which means he will be the sole person to learn the history and experiences of his people. This role exposes him to many dark features from history but also contemporary practices that make this world possible. This knowledge radically changes his life as he begins to question much of he has learned as normal.

I very much enjoyed reading this book, and it was as compelling and moving as the original. I think what works best about it is that I feel it works well on its own merits and could be read and studied thus. Of course, it could also be read alongside or in conjunction with the original novel if one wanted to compare the two as well. As far as graphic novel adaptations of prose novels go, this one is one of the best.

This book's adapter P. Craig Russell has been making comics since the early 1970s. He has won multiple Eisner and Harvey Awards for his work over the years, particularly in the fantasy genres. He is known for his collaborations with Neil Gaiman and also for adapting operatic works into comics. He speaks about his work on this book in this interview.

All of the reviews I have read about this book have been positive. Kirkus Reviews gave it a starred review that concluded, "A first-rate visual reframing: sensitive, artistically brilliant, and as charged as its enigmatic predecessor with profound challenges to mind and heart." Anushka Girl wrote, "It’s a wonderful pick for young folk who are still not too keen on reading things comprised only of words, and it’s a great way for those who have already read the novel to revisit this particular dystopia." Publishers Weekly summed up, "An accessible version of the story for readers who have not yet encountered it."

The Giver was published by Houghton Mifflin Harcourt, and they offer more info about it here. There is a sizable preview of the book available here.

The publisher provided a preview copy.