Page 45 Comic & Graphic Novel Reviews August 2017 week two

Featuring Natasha Alterici, Pamela Ribon, Melissa Jane Osborne, Veronica Fish, Brian K. Vaughan, Cliff Chiang, Mark Millar, Greg Capullo plus the WWI anthology returns with Eddie Campbell et al.

The Wendy Project (£11-99, Emet Comics) by Melissa Jane Osborne & Veronica Fish.

“The life of every man is a diary in which he means to write one story but writes another.”

 – J.M. Barrie

“Man” has been crossed out and replaced by “girl”; an ‘s’ has been prefixed to “he”.

Three figures float, silhouetted and suspended underwater. The water is dark and evidently deep, the girl and two boys helpless, unconscious, their arms and legs all akimbo. A full, rippled moon is reflected.

Imagine the worst mistake you could ever make. Then imagine trying to live with it.

16-year-old Wendy Davies is driving her car late one summer’s night in New England. In the back seat sits her younger brother John, immersed. In the passenger seat her other, bespectacled brother Michael is listening to music through headphones, though it’s evidently still loud. Tetchily Wendy shouts at him and, perhaps reaching for his headphones with her right hand, her left pulls hard on the steering wheel and the car careens into the lake.

There is a frantic struggle, breath escaping in bubbles, as the car’s headlights sink from view. They all reach the surface, gasping for air, but Michael doesn’t stop there, flying up into the stormy sky.

“Michael! Where are you going?”
“Wendy, come with us,” the clouds seem to say.
“I can’t… I have to stay.”

Her blue eyes gaze mournfully upwards.

“I know what I saw.
“So I told them.”

This is such an important book, and it’s so deftly done by writer and artist alike. The parallels with Peter Pan – which we later learn Wendy’s read from a book hidden beneath another dust jacket and a Neverland poster affixed to her wall – are very well struck, as are the marked departures. There’s the ever-open window, the ill-fated arrow, the acorn kiss, the jealousy of a fairy, the free-roaming shadow (oh, the shadow!) and especially the loss of memory: the ignorance and the bliss. That particular twist on what was originally written is of primary importance as to why this works so well (it is not Wendy’s, but that’s all I shall say), so into our much-thumbed Mental Health section this goes.

Dealing with any bereavement is difficult, but dealing with the burden of guilt as well…?

Unsurprisingly Wendy doesn’t deal with it at all well. Never once is she blamed by parents or police, yet nor do they believe her story.

“Does your daughter have a history of substance abuse?”

She is assigned a therapist called Dr. Barrie whom Wendy dismisses as far too young to know what she’s talking about, and is depicted by Fish in Wendy’s mind’s eye as sitting in a high-chair. She’s given a sketchbook to write and draw whatever she finds too painful or even too crazy to talk about. She opens it up and a rainbow of colour flickers across her face.

“No thanks.”
“You owe me two pages next week.”

Which brings me to my first observation about the art and production: the graphic novel comes with rare rounded corners (Marc Ellerby’s diary comics collection ELLERBISMS is one of the first I saw) and faux-leather texture reflecting the Moleskine she’s given. It’s more than a neat gimmick; it’s a very clever clue, for Wendy is our narrator.

The art throughout is rendered by SLAM!’s Veronica Fish in exactly the sort of loose pencil sketchwork which Wendy herself eventually, reluctantly then absorbedly, obsessively starts filling her book with. It also adds to the immediacy, intimacy and accessibility which I loved so much in Sina Grace’s NOTHING LASTS FOREVER. But it is Fish’s use of colour which mesmerised me most, reserved for the recurrent, free-standing shadow, very special items (like the book itself which to begin with is ditched on more than one occasion only to magically reappear), and for the illusions which will eventually come to an all-colour crescendo.

Over and over again, Wendy remains recalcitrant, but then we’re given the impression that she always was which is critical to the credibility of her reaction to this abrupt bereavement and torrent of defiantly repressed guilt, redirected towards her parents as judgemental antipathy. It doesn’t hurt that her social observations are so often astute.

“High school is like developmental purgatory.
“It’s a cesspool of hormones and emotion.
“And everyone is looking for a life raft.”

She spies two teenagers flirting by their lockers, depicted as Captain Hook and a mermaid, then a lone Peter Pan figure bathed in a wash of leaf-green, his hair golden yellow, a fellow rebel to her cause…?

“I know you.”

The colour vanishes and his aspect shifts instantly from what she perceives to how he really is. He doesn’t know her and does not respond, but is swept up instead by another girl who wonders “Who’s the weird new girl?” Returning to the life raft:

“And just when you think you’ve found it…
“You’re lost at sea again…”

We’re only on page 11.

Grief manifests itself in so many ways. Individuals, by their very nature, react differently. Some rail angrily against a God whom they once believed in, go into denial or attempt to cauterise the wound immediately. I make no judgements. At first Wendy’s parents refuse to enter, alter or in any way interact with Michael’s room. Later, they bundle all his effects up into the attic.

“They packed up all his things like he didn’t exist.”

Wendy makes plenty of judgements, but I don’t judge Wendy nor does Melissa Jane Osborne. I cannot even begin to tell you how impressive this is: a ridiculously tricky subject handled with compassion, kindness – and surely some considerable knowledge, I’m afraid.

“The worst thing that could’ve possibly happened to you already did.
“These are just drawings.
“Your feelings can’t hurt you, Wendy.”

I beg to differ, but still, without them you are lost. I’m not saying that there isn’t a time or a purpose to walls, but what one builds up must surely come down if you are to remain connected.

I’ve a page of notes devoted to the shadow alone, another to the colour. They give too much away to risk revealing here, but I hope their existence implies how intricately and thoughtfully crafted the whole is.

It’s another of those graphic novels like the Tamaki cousins’ THIS ONE SUMMER which I firmly believe should be taught in schools at a teenage level because so many mistakes are made in a vacuum when discussion could surely avert them; and, as anyone who’s read A MONSTER CALLS already knows, such profound sorrow as that experienced here is too often endured all alone when friends no longer know what to say… and so say nothing.

That behaviour is far from unique to young adults, but education early on might help us improve our open communication later in life too.

Poor Wendy simply doesn’t understand the vital importance of any funeral which is to say – solemnly or otherwise – “good-bye”. It’s not a rejection, for everyone remains ever-present so long as one is fondly remembered, but it is an admission or concession that a great life has passed. Without that, you cannot move on.

Please don’t think I’ve forgotten the other surviving sibling, John. His immediate, post-traumatic reaction is to shut down or at least shut up, refusing to confirm or deny his sister’s account of that evening. But it’s his secondary reaction that proves far more interesting and one that’s given me much pause for thought since my second reading, once the truth has been established during a climax which is no cop-out, I promise.

So we conclude as we began with another quotation from Peter Pan playwright / prose author J.M. Barrie:

“To die would be an awfully big adventure.”

It’s the first line of this book, but “die” has been crossed out and replaced by “live”.

As an opening line, it could not have been better chosen.

SLH

Buy The Wendy Project and read the Page 45 review here

Heathen vol 1 (£14-50, Vault) by Natasha Alterici.

Under a cover as soft to the touch as a horse’s hide resides a tale of love, resilience and fortitude told with lithe beauty, great supple strength and the odd dash of light, bright, unexpected humour when it comes to the wight and the wolves.

“I liked him.”
“Me too. I’m glad we didn’t eat him.”

HEATHEN is born from a deep love of stories and storytelling. Alterici proves exceedingly proficient in that art, and judicious in both her timing and selection, for it is constructed with impressive precision, as you shall see.

“Do not be coy. We immortals live cyclical lives, playing out the same dramas over and over again.
“So when a key plot point changes, it’s bound to be noticed.
“And indeed someone has noticed.”

So speaks Ruadan, trickster god and spy. He may well be immortal, but our protagonist Aydis most certainly isn’t.

She is, however, resourceful, fearless and well versed in the legends of Odin and his female Valkyrie.

“They were strong, beautiful, and struck terror in even the bravest men’s hearts.
“Charged with escorting the souls of fallen warriors to Valhalla, the Valkyrie were given power over death itself.
“But their power is not without limit, for Odin still dictates the fate of every warrior. No warrior lives or dies without Odin’s consent.”

Except that warrior one did: a king whom Odin determined would be victorious in war was struck down by Brynhild of the Valkyrie, for which temerity Odin banished and cursed her, forcing Brynhild to marry a mortal and live out her endless days in exile.

Evidently, however, Brynhild was not without her bargaining power, for although she agreed to this sentence, she did so on her own terms: on the condition that she chose the mortal in question through a test of her own. As so often with these things, it was a test of worthiness. She ascended Mount Hinderfall and encircled herself in fire – magic fire – to await a mate courageous enough to breach the barrier and free her.

Every element of what I have told you is vital for what follows. Writer and artist Alterici has left nothing extraneous in the mix and thought everything through.

There is, for example, a degree of due ceremony both later on in Aydis’s construction of her helmet from fallen stag antlers – which male deer use in combat with each other for dominance in securing their mates – and in her telling of this tale to her horse. Just as a silhouetted Brynhild raises her arms to ignite the blazing curtain and in welcoming wait of whomever should succeed, so Aydis raises her own in front of her fire and welcoming that challenge.

“That story was passed through our clan for hundreds of years…”

Her arms drop down, lank, to her side, in time to a perfect moment of pomposity-puncturing deflation enhanced by a modern colloquialism:

“If it’s true, she’s been waiting an awfully long time.”

Alterici has made everything here look effortless, including Aydis’s hand-to-horn combat with the bull. Oh yes, that’s more male power conquered.

The choreography is exceptionally slick but, in addition, behold the energy in a broken line!

She doesn’t seek to confine her virile steeds, stag or stampeding bull in a rigid outline, so sapping their movement and might; instead she suggests their exterior contours and body mass in relation to their environment with flurries and flashes of instinctive slashes, while her colouring is equally loose and lambent.

 

I promised you that nothing in Aydis’ opening recollection of the Valkyries (and Brynhild in particular) was random. It’s not. For Aydis too is in exile – a self-imposed exile for everyone believes she is dead. Moreover, she is in exile because she dared to break a taboo, and was caught kissing a girl. Her father (not she) was given an ultimatum by the patriarchal Elders: execute his daughter or marry her off against her will to a man.

Thank the gods for one good soul, then, for he chose neither. Instead he pretended to mourn his daughter at her graveside in order to cover her escape.

Two other things you should know about our Aydis in addition to being fearless, resourceful and very well versed: she is determined and ambitious:

“On some mountain top, a Valkyrie waits alone.
“And I intend to free her.”

Should she succeed, there yet remains Odin’s curse and although you may be thinking “Hooray, for Aydis, for she is mortal and will have Brynhild’s hand in marriage!”, Aydis’s ambition is not for herself, but to prove women equal in courage to men. Also, she has had quite enough of marriage being imposed on others by the dictates of males, be they local leaders or the all-father Odin: she would see Brynhild liberated from her curse rather than further confined by it.

In any case, she won’t have been the first.

“All the men who’ve crossed the flames have been brave, but that trait is often coupled with stupidity, recklessness, cruelty. Not Sighurd, though. He was different. And not just because of his unfortunate immortality. He was good.
“Brynhild really loved him.”

What went so wrong that Brynhild once more waits in that circle of fire? With his limited lifespan, did he die like so many others? Not at all: Sighurd The Broken Hearted is very much alive, though lost to a terrible turn of events and a mightily cruel twist.

“Odin’s curse was very specific…”

All this is narrated to Aydis by Freyja, Valkyrie Queen and Goddess of Love, who has taken a shine to Aydis. Bare-breasted, sybaritic and ever so alluring, Freyja overtly offers Aydis a less lonely alternative to her societal ostracism in sexual fulfilment.

Is that what Aydis’s about?

The final page will tell you precisely what Aydis’s about, and it’s delivered with a fierce, unflinching resolve and an eye to the future.

SLH

Buy Heathen vol 1 and read the Page 45 review here

SLAM! vol 1 (£13-99, Boom!) by Pamela Ribon & Veronica Fish.

What a fresh and far from obvious start!

One of my favourite moments is when you finally discover what the direct, no-nonsense, not-easily-impressed cannon ball of a competitor, Velvet Coffin, does for a living. I drop that in early in order that you forget it, for SLAM! made me smile from beginning to end at its genuine joy and heart-felt belief in the empowering, bond-building nature of Roller Derby.

This contact sport, as I understand it, involves two opposing teams racing round a roller rink on roller skates but in the same direction, hell-bent on up-ending each other by any means necessary. Oh, I am told there are rules – there are certainly key and keen strategies which you will learn in chapter four – but it’s essentially hockey without the disingenuous excuse of why you really joined up: to knock seven shades of shit out of each other and score top marks in doing so.

“Are you a sportsman, Stephen?”

Clearly not, but I am a convert!

Moreover, its initial, innovative presentation – not so much as an A-to-B narrative, but as an experience and induction to Roller Derby – proved as engrossing and as exhilarating as the real deal itself. Were I of the correct chromosomatic configuration I would run right down to my local arena and sign up on the spot.

“10 Facts about your new Derby life:
“1. You will have fun.
“2. You will get hurt.
“3. You will want to quit this forever. Every time.
“4. You won’t. Because you love it more than you’ve ever loved anything in your life.”

Persuade me.

“5. You will find your voice.
“6. You’ll learn all kinds of new phrases.” Namely:

“Pop a squat! Get in her crotch!”
“Fill those holes!”
“Take up space! Wall it up!”
“Get on her!”
“Hit her, hit her, hit her!”

I rest my hockey-claim case, my lord.

But what I love most of all about my new-found Roller Derby is that this is a sport for women. Wait, wait (and correct me if I’m wrong) but instead of all these boys-only sports like soccer and rugby and especially cricket with its gender-exclusive pavilions, this was originally and initially – and may still be to this day – a sport for women only which, if the lads want a look-in, they will have to apply for thence be looked down upon for decades to come as second-best. Haha! The shoe’s on the other dismissive and disdaining foot, fellas!

If all that wasn’t enough, Ribon delivers a comic which is entirely congruent with this post-patriarchal experience. Men are barely even mentioned within. This is entirely about ladies getting together to rediscover themselves, their confidence and their individuality without comparison points. There’s one. There’s only one, and he is an absolute sweetie called Theo.

One of our two main protagonists, Maisie Huff (Derby-dubbed: ITHINKA CAN), has only just started dating again and has gone for a young artist that “gets it”. He instantly gets Roller Derby and although far from pushy and certainly not seeking to intrude, he won’t be put off by a no-show but turns up to the real show and cheers from the stalls. Only afterwards do they meet up.

“It looks like you’ve got a great team. But maybe don’t let that stop you from dating me? I’m pretty awesome and I like you a whole so much a lot.”

Lovely line.

“Can you do me a favour? Share an Uber to my apartment and get in my pants?”
“Yes, if that would be helpful to you.”

As to Fish, her art is ebullient yet controlled, imaginative and natural, depicting real women as they really are, relaxed in their own space with tall socks, baggy shorts and muscular, much sought-after thighs that are admired for their fearsome Derby downing-power, not frowned upon for their weight.

When the teams tear round the tracks it’s at such a keen speed, and Fish’s ability to choreograph the balletic jumps of the jammers working their way through the packs (or falling flat on their faces) is such that you’re impressed both by her dexterity and by the players’ on account of the evident edge and pin-point precision required for such tricky manoeuvres. Without that, all dramatic tension is lost.

Love the subtle bruises by colour-artist Brittany Peer who brings such warm tones to the Fish’s tender expressions and such rich, vibrant hues to their sports kits.

There is nothing about this that is angry. Everything about this is celebratory.

It’s not ‘Kicking Against The Pricks’, it’s “Hello, here’s all the fun!”

Although there is one prick managing the coffee house where Maisie works, who overlooks her promotion in favour of male employee who was there for no more than three months, but asked first. She thinks about this, then won’t take no for an answer.

“And I was like, “If you won’t recognize my worth, then I will work somewhere that does”. And then that man gave me a raise!”
“Yes! I am so proud of you.”
“P.S. though – totally gonna take that money and find somewhere else to work.”
“Okay, good. Thanks for making me not have to tell you that.”

We were all a little worried that this would be a banal, band-wagon embarkation because, mark my words, you can see so many comics currently being green-lit simply for their demographic-ticking boxes. No, this is fabulous, and if the delicious cover screams Becky Cloonan meets Jamie Hewlett (a very fine pedigree), then let me assure you that it’s all THE WENDY PROJECT’s Veronica Fish who knows exactly what she is doing.

“7. If your life is too busy, Derby will destroy it.
“8. But if your life was destroyed, Derby will fix it.”

Excellent! This is going to be the exhilarating experience of a lifetime. You will meet new friends for life and you will celebrate during the after-party even if you cowered in the toilet at the prospect of your first-day’s performance. You will find those who will hold your hand and never let you down and never let you go. You may try war paint, you may breathe deeply, and you may scream at the full-on, physical excitement!

“Fun fact about Derby life #42:
“It gets complicated.”

It does. No life is all plain sailing and friendships as well as those thighs are going to take a battering. No one likes to feel left behind when they were there for you from the beginning, so please mind your manners when texting, especially if you haven’t seen each other for yonks.

“I thought we’d finally watch – “
“She’s so funny.”

Jennifer regards Maisie messaging her new mentor, sadly.

“She must be.”

I leave you with a top tip for blockers hell-bent on bashing opponents to the ground which doubles – as so much of this does – as a life lesson:

“Quit aiming for my butt. You gotta hit here, above my knee. That’s where you want to be. Don’t look where you want to hit – hit where you want to be. Aim for your future.”

SLH

Buy SLAM! Vol 1 and read the Page 45 review here

Paper Girls vol 3 s/c (£11-99, Image) by Brian K. Vaughan & Cliff Chiang.

It’s been a while since these ‘80s paper girls last did their rounds.

Last episode it was thirty years ago, which is exceedingly remiss.

This time they won’t be cycling round suburbia for twelve and a half thousand years!

*attempts to assess maths*

*ignores in favour of the getting on with the general gist*

It’s 11,706 BCE (the same thing as 11,706 BC, but a little more secular) right at the end of the Pleistocene era, just before homo sapiens had managed to wipe out most of the megafauna in North America, so expect something very big and shaggy to come shambling out of the woodlands.

One glance at the cover should inform you that our four girls – gradually getting to know each other and themselves better while being tossed through time – aren’t the only anachronistic visitors to this era. Nor, however, is either party the first, for the locals are wearing some interesting items round their necks and sporting some very familiar tattoos or pigmented symbols on their chests.

It’s another hugely entertaining and delightfully unpredictable account of young friends (and you’re reminded just how young they are during one unexpected development) encountering so much to test their powers of deduction and self-preservation while revealing far more of their past and their future than they are comfortable with.

We are also reminded, here, that our understanding of procreative biology has come a long way in the last… well, one hundred years.

Cliff Chiang and Matt Wilson deliver a deliciously different world to the last two volumes, full of dappled light under lush canopies and giant, multi-coloured, parrot-beaked flightless birds which one can only wish we hadn’t wiped out so assiduously within moments of the ever-expanding human migration.

The wider subplot ploughs ever onwards towards another shocking climax which is no mere jump to another era, for it seems that something’s unravelling.

Anything else risks spoilers, so please see our previous, extensive reviews on the wit and visual wonder of PAPER GIRLS.

SLH

Buy Paper Girls vol 3 s/c and read the Page 45 review here

Reborn h/c (£22-99, Millarworld) by Mark Millar & Greg Capullo…

“Don’t you believe in anything, Mrs. Black?”
“No, Danita. It’s all just fairy tales. I don’t think God would allow us all this suffering and tragedy we endure.
“I only believe what I can see with my eyes, Family and friends. Grandchildren and schoolchildren. Anything promised beyond all this was just made up to get us through the night.
“Do you really think any of us really make a difference?”
“Of course I do, Ma’am. Our lives are a constant series of random interactions, each changing things a million times a day.
“The longer we’re here, the more we have an impact. The world would be a different place, if it hadn’t been for you.”
“You know, that might just be the sweetest thing I’ve ever heard.”

Elderly Bonnie Black doesn’t want to die. She’s lived a good life, outliving her beloved husband Harry by fourteen years, who was killed by the infamous Minneapolis sniper along with a number of others, but still has a loving daughter and grown up granddaughter whom she adores. Bonnie’s just not ready to leave this world behind, particularly with no great faith in there being anything whatsoever afterwards. She’s going to die, obviously, very shortly, of a stroke. So it would be fair to say she’s not expecting what happens next: waking up in her twenty-year-old body in a fantasy land locked in a perpetual war between good and evil, being anointed the saviour of the free folk.

Which, when you put it like that, sounds a rather trite premise, I will grant you, but it’s the (re-) appearance of family like her father, high school friends (and enemies), and even her old cat and dog, which take this story in a stranger, altogether more interesting direction. Some, like Bonnie, are in their own youthful forms, whereas others have become more… representative… versions of themselves.

What is certain, though, is that much like in the real world, or at least the pre-death world, there are those who are intent on ruining it for everyone else through the usual megalomaniacal desires for total domination. Remember that pesky Minneapolis sniper? Well, he committed suicide at the end of his killing spree… Plus, if everyone else Bonnie knew is present in this new realm, for whatever strange reason, just where is her hubby Harry? I feel an epic quest coming on…

Speaking of epic, this is storming art from Greg Capullo who really throws absolutely everything at this. The battle sequences particularly are a visual feast of the utterly fantastical. As with a number of Millarworld works, this is merely billed as book one, but it feels complete to me. Still, given your chum Mark has just sold Millarworld to Netflix for a probably not unsubstantial sum, I suspect he’ll be rapidly revisiting more than a few of his properties for another volume or two…

I would quite like it if he started writing more comics with a view to them being adapted for longer form series actually, rather than to be adapted for films, as I sometimes feel the stories are getting wrapped up before they’ve barely got started e.g. CHRONONAUTS and MPH. I just want something with a bit more meat like the JUPITER’S LEGACY and JUPITER’S CIRCLE series, which are really great, and going a little bit further back, WANTED, which despite being self-contained had so much to it in terms of plot and character development.

It’s a lower risk approach, I get that, and it has produced some really great standalone stories like SUPERIOR, SECRET SERVICE and STARLIGHT, so I probably shouldn’t complain. Overall Millar’s quality hit rate is pretty damn good. Plus you can’t fault his commitment to single-handedly enrich the cream of comics artists! I always love hearing who he is going to work with next.

JR

Buy Reborn h/c and read the Page 45 review here

Back In Stock / Old Review

Above The Dreamless Dead (£17-99) by Hannah Berry, Stephen R. Bissette, Eddie Campbell, Lilli Carre, Lisbeth De Stercke, Hunt Emerson, Garth Ennis, Simon Gane, Sarah Glidden, Isabel Greenberg, Sammy Harkham, Kevin Huizenga, Kathryn Immonen, Stuart Immonen, Peter Kuper, James Lloyd, Pat Mills, Anders Nilsen, Danica Novgorodoff, George Pratt, Carol Tyler, Phil Winslade.

Eddie Campbell:

“It’s a bit preposterous us thinking we can illustrate this stuff that we know nothing of – sitting here in our air-conditioned rooms trying to imagine the horrors of being knee deep in mud with your feet rotting off.”

Well, quite.

Nevertheless, Eddie does a convincing impression of knowing precisely what it felt, looked and smelled like, at night, and throws it in front of your face. Towards the end there is a close-up of what’s left of a clod-encrusted cadaver, its skull-thin face with opaque eye-jelly being crawled round by maggots.

“A barb had pierced his eye and stuck there, rusting in the socket from which sight was gone.”

It opens with the occasional crack of sniper bullets whipping the sandbags as soldiers stumble about like phantoms in the miasmatic fog, barbed wire lit up in ghostly electric arcs or, later, glistening with spiders’ webs and dew drops as it resists being dragged down and sucked into the mud by the weight of what’s left of a once-living human being. What’s left of Loos church and graveyard is also lit up in a ghastly, bone-strewn son et lumière. The overall effect is like staring into old-school black and white photographic negatives: indistinct, often terrifying.

All interior art from the Simon Gane contribution.

Campbell chose to condense the closing chapter of a novel by Patrick MacGill, The Great Push (1916), but the rest of this black and white book is given over to the World War I Trench Poets – writers on the frontline responsible for breaking through the propaganda with their terrible truths – interpreted by an impressive array of comicbook creators:

Hannah Berry, Stephen R. Bissette, Lilli Carré, Lisbeth De Stercke, Hunt Emerson, Garth Ennis, Simon Gane, Sarah Glidden, Isabel Greenberg, Sammy Harkham, Kevin Huizenga, Kathryn Immonen, Stuart Immonen, Peter Kuper, James Lloyd, Pat Mills, Anders Nilsen, Danica Novgorodoff, George Pratt, Carol Tyler, Phil Winslade.

George Pratt takes on Wilfred Owen’s Dulce Et Decorum Est and Greater Love. He notes in the back that, wishing to avoid overshadowing the words, he deliberately used thick tools like paint rollers and knives which wouldn’t allow him to overwork the images with details. It works.

My other favourite is Simon Gane’s second piece here, Osbert Sitwell’s The Next War, using war memorials from Britain and France, trailed with ivy, their age and textures perfectly rendered, each improbably well chosen to match and so evoke what was written. I urge you to hit the internet and gawp at the man’s architecture and landscape sketchwork.

 

Here you go, a rare external link: http://simongane.blogspot.co.uk/

There is an excellent introduction by Editor Chris Duffy, and commentary by the creators bringing up the rear. Kevin Huizenga’s is particularly worth noting.

Further recommended reading: Dave McKean’s BLACK DOG: THE DREAMS OF PAUL NASH and THE GREAT WAR by Joe Sacco, both reviewed.

SLH

Buy Above The Dreamless Dead and read the Page 45 review here

Arrived, Online & Ready To Buy!

Reviews already up if they’re new formats of previous graphic novels. The best of the rest will be reviewed next week while others will retain their Diamond previews information we receive displayed as ‘Publisher Blurb’

Kill Or Be Killed vol 2 s/c (£14-99, Image) by Ed Brubaker & Sean Phillips, Elizabeth Breitweiser

Palookaville #23 (£20-99, Drawn & Quarterly) by Seth

Angel Catbird vol 3: The Catbird Roars h/c (£13-99, Dark Horse) by Margaret Atwood & Johnnie Christmas

Corpse Talk Ground Breaking Scientists (£9-99, David Fickling Books) by Adam Murphy, Lisa Murphy

Dredd / Anderson: The Deep End (£12-99, Rebellion) by Arthur Wyatt, Alec Worley & Ben Willsher, Paul Davidson

Eclipse vol 2 s/c (£14-99, Image) by Zack Kaplan & Giovanni Timpano

Rivers Of London: Black Mould (£13-99, Titan) by Ben Aaronovitch, Andrew Cartmel & Lee Sullivan

The Story Of Jezebel (£17-99, Uncivilised Books) by Elijah Brubaker

Justice League Of America vol 1: The Extremists s/c (£14-99, DC) by Steve Orlando & Ivan Reis, various

Punisher Max Complete Collection vol 6 s/c (£35-99, Marvel) by various including Jason Aaron, Rob Williams, David Lapham, Peter Milligan, Jason Latour, Skottie Young

Rocket Raccoon: Grounded s/c (£14-50, Marvel) by Matthew Rosenberg & Jorge Coelho

Thanos Rising s/c (£14-99, Marvel) by Jason Aaron & Simone Bianchi

Appleseed: Alpha h/c (£21-00, Kodansha) by Iou Kuroda

Attack On Titan vol 22 (£9-99, Kodansha) by Hajime Isayama

I Hear The Sunspot (£11-99, One Peace Books) by Yuki Fumino

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