Page 45 Comic & Graphic Novel Reviews November 2017 week one

Featuring Mac Barnett, Jon Klassen, Coralie Bickford-Smith, Lizz Lunney, Kevin Czap, Geof Darrow, Seth Fishman, Isabel Greenberg, Jonathan Hennessey, Jack McGowan, Ray Fawkes, Tim Pilcher, Dave Gibbons, Warren Ellis, Bryan Hitch, more!

Futchi Perf (£14-50, Uncivilised Books) by Kevin Czap.

“Now you can run for days on a single good memory.”

Down with dystopia; up with utopia, as close as it needs credibly get!

This beautiful book full of thought, thoughtfulness, optimism and kindness is something for which I am grateful.

I find it profoundly moving that a powerful imagination could so sincerely project such a positive future, especially in this day and age. But this is the way we create one.

In the face of hostility, hatred, division and derision, all spread with contempt from on high, this is defiantly loving, embracing and inclusive of all, putting hierarchy it in its place where I hope it will sit all alone, bereft, unattended.

The same goes for heavy industry, pollution and environmental degradation, replaced by a balanced and sustainable harmony through human ingenuity which reaps rather than rapes our rich natural resources in order to provide for all. I will repeat:

“Now you can run for days on a single good memory.
“And you can give this happiness to others.
“Seventh Energy.”

 

 

The script is succinct. Each word, phrase, neologism, reclamation or association like “Seventh Energy” has been so carefully chosen.

Instead this is as much driven by the smooth, strong drawings of individuality, diversity and naked affection, at one and so at peace, sharing and so finally satisfied. The colours are of the cold reignited or pushed back by warmth either through individual interactions or communal gatherings and community spirit. The predominant, winning pink is that of the heart which is blood-pumping and thumping with life; mind-muscles being stretched to summon elation in each other’s presence, then pass it on unencumbered by any sense whatsoever of being beholden.

 

 

It begins thus:

“It’s Election Day so you’re reviewing the candidates and issues one last time to be sure you’re making the right choices for your city.”

Can you imagine such diligence where it is due? Can you imagine this too?

“Thankfully everyone has easy access to such straightforward information and as a result, Cleveland is one of the best governed cities in the country.”

Kevin Czap has imagined it, then put it on paper to give us all something to aspire to, and actively pursue with renewed vigour.

 

 

A world in which we are well served by helpful, informative facts rather than factional, emotive, propagandist fiction, opinion and lies from the vain and vested interests, the powerful and power-hungry, the corporation-controlled broadcasters and politicians alike. I would emphasise “as a result” and, as a result:

“All the right things are winning!
“A continuation of this legacy of progressive and humanist policies… Nowhere else is the arts infrastructure so solid.”

We’ve been shown not only the way but also its rewards. Now it is time for us to pay Czap back by putting it all into action.

“Your best friend is moving to Cleveland – to your street!
“This neighbourhood is swarming with all your closest friends!
“Oh my god! They’re throwing you a surprise birthday party!!”

This is no pipe dream; it is entirely within our collective power to turn things around through our individual actions, which together can make all the difference, and fashion a future which we’d all love to live in.

“You’ve never been so happy!!!”

 

 

It’s time to dance.

SLH

Buy Futchi Perf and read the Page 45 review here

The Worm And The Bird (£14-99, Particular Books) by Coralie Bickford-Smith.

“There’s not much room where I live
“And all the earth around me is filled with life.”

Ah, life!

If you stop to look around, so much of it both thrives and abounds; as above, so below.

The subterranean pages teem with tiny beetles and gleam against the black with a shining ink which highlights the passage of the worm though buried, senescent, autumnal leaves as ants also scurry forth. There’s even a slug and a safety pin.

In this immaculately structured graphic novel – so much of whose story is image-delivered – Bickford-Smith, creator of THE FOX AND THE STAR, presents us with much to make us think, much to make us grin, and no inconsiderable drive of dramatic tension as the Worm goes about its determined business oblivious to the patience of its early Bird up above.

 

 

“I am too busy to rest,
“I can rest later,” says The Worm.

But The Bird isn’t busy. It’s resting on the handle of a garden spade, even as the wind blows, night falls and then the rain pours down from the heavens. Its subtle, comedic expressions are as priceless as those of Sage the fat, feathery Owl from The Herb Garden!

 

 

“I am too busy to look,
“I can look another day,” thinks The Worm.

But The Bird is looking. The Bird is looking right down at the ground.

“I am too busy to listen.
“I can listen when I am finished,” believes The Worm.

Possibly… Or you could start listening now.

There’s so surprisingly much to take away from such a brief book, which is far more mischievous than its equally eloquent predecessor. If you’re not too busy to look, you will find hidden treasures, feet firmly planted, leaves, leaves, leaves, leaves and an evasive-action manoeuvre reminiscent of the hours you spent playing Snake on your Nokia 3310.

 

 

There’s a certain degree of black humour in its irony – dramatic then otherwise – as two different perspectives mirror each other, before a third is presented by implication. For, if you really do stop to look around and perhaps far further afield, so much quiet life both thrives and abounds; as below, so above.

SLH

Buy The Worm And The Bird and read the Page 45 review here

The Wolf, The Duck & The Mouse (£12-99, Walker Books) by Mac Barnett & Jon Klassen…

““I may have been swallowed,” said the duck, “but I have no intention of being eaten.””

Comedic collaborators Mac Barnett and Jon Klassen return following on from their previous farcical frolics (SAM & DAVE DIG A HOLE, EXTRA YARN & TRIANGLE) to entertain us with a most unusual story of symbiosis.

Our titular timid rodent, having been gobbled up in the forest by the roving wolf and fearing his story will thus come to a rather abrupt end is completely astonished to find himself greeted by a dashing duck and promptly introduced to a world of fine dining. It’s all inside the wolf’s seemingly TARDIS-like stomach, complete with a fully equipped kitchen and resplendent dining room…

 

 

 

 

Now, I will grant you, this does seem like a most unlikely locale for cooking up a storm and enjoying your high-end nosh, but the duck and the mouse are soon having their time of their lives, knocking back the wine like Keith Floyd and enjoying candle-lit, music filled soirées. Their hedonistic rich-living and incessant demands for more top quality ingredients, however, under the crafty auspices that it will cure the wolf’s increasingly sore stomach, soon start to make the unlucky lupine realise that these two particular menu items are going to prove impossible to digest.

But then the poor wolf finds himself firmly in the sights of a passing huntsman, and with the gravy train in mortal danger of hitting the proverbial buffers and the claret catastrophically spilling every which way, it’s up to our dynamic dining duo to prove this isn’t just a parasitic relationship and save the dinner, I mean, day!

 

 

As ever, whilst Mac Barnett crafts an entertaining nonsensical story, Jon Klassen delivers on the art front with his trademark deadpan expressions and deliriously daft scenes. I won’t spoil for you precisely how the mouse and duck combine to run the huntsman off, but suffice to say it involves a fair amount of clanging culinary equipment… and a hockey stick!

JR

Buy The Wolf, The Duck & The Mouse and read the Page 45 review here

A Hundred Billion Trillion Stars h/c (£15-99, Greenwillow) by Seth Fishman & Isabel Greenberg.

Would you like to know what one sextillion looks like?

Of course you would! Here we go:

100,000,000,000,000,000,000,000.

Goodness! I wouldn’t mind seeing that on our end-of-day checkout! Would one of you like to win the lottery, please?

For someone who considers the decimal point on a till highly overrated, I found this riveting.

Sub-titled “Can you imagine so many…of anything?”, that is precisely what this book will facilitate both in adults and Young Readers alike, along with how to name ridiculously big numbers in ascending order from hundreds and thousands to millions and billions and trillions and quadrillions and quintillions and sextillions!

 

 

 

 

Illustrated by Isabel Greenberg, creator of THE ENCYCLOPEDIA OF EARLY EARTH and her subsequent THE ONE HUNDRED NIGHTS OF HERO (both of which we made Page 45 Comicbook Of The Month without batting an eyelid), it comes with a colossal sense of scale and an endearing diversity which embraces all, from each of us as individual human beings to the plethora of life on this planet.

Fishman infuses the book with infectious enthusiasm for what our world holds and into which mind-boggling numbers they have grown: from people and trees and ants underground, to the weight of the world on one girl’s young shoulders. She balances it with commendable agility and grace, one foot firmly planted on a set of bathroom scales.

 

 

“On the other side of the planet, where the sun isn’t shining, you can see bright lights like little stars on its surface.
“Those are the lights that come from 2,500,000 cities and towns and villages filled with people…
“Some even reading books.”

Rabbits, raindrops and a slightly random fact about shark’s teeth, this is one big insight which will generate much household conversation along with a giggle or two.

“Now take a deep breath and hold it for five seconds.
“Just do that another 6,307,200 times and you’ll be a year older!
“Or don’t.
“You’ll be a year older in 31,536,000 seconds anyway.”

I counted each and every one of those at school.

 

 

Truly, this awe-inspiring album puts everything into perspective, its concluding perspective being that there may only be one of you amongst all these masses – ever so tiny and dwarfed by the universe – but also this: that there is only one of you, and that you are just as important, wonderful and unique!

SLH

Buy A Hundred Billion Trillion Stars h/c and read the Page 45 review here

Relatable Content (£10-00, self-published) by Lizz Lunney.

At the laptop:

“I can relate!
“I can so relate!
“Ha ha oh boy I relate!”

Outside:

“I just don’t relate to anyone.”

There’s a word for this, isn’t there? Otaku, I think.

Some of us are sliding into self-sequestration, living our lives only online – or at least presenting a vague approximation of them. Or lying through our teeth. Don’t think that eludes Lizz Lunney, either: the veneer, I mean. I’ve seen some pretty gleeful holiday postcards written teeth-clenched in anger. I guess I’m not easy to get along with.

 

 

I wish more people could empathise online: there’d be far fewer angry and ill-informed knee-jerks, and a lot less click-bait. That’s what comes from staring at a screen all day. You couldn’t get so furiously steamed if you were out strolling in the Cotwolds, could you? We were probably socially doomed from the day we stopped hunting and gathering.

The creator of AT THE THEME PARK, STREET DAWGZ: BOX LIFE, TAKE AWAY etc is back, back, back with big batch of full-colour, one-page comics you all can relate to. So long as you’re a socially awkward, cripplingly self-conscious, over-thinking, agoraphobic, responsibility-shirking, neurotic wreck.

 

 

Like the sun. Why do you think it keeps going in?

Some physical conditions are more easily treated by the doctor. Well, more easily prescribed.

“I’ll prescribe these painkillers for your back. The side effects are nausea, dizziness, financial difficulties, stress and death.”
“But will my back be pain free?”
“No guarantees.”

 

 

Lizz Lunney laughter is pain relief of the most efficacious order. It’s a tonic, laced with gin; a potion of a notion which you can administer like lotion and bring a broad grin to your face.  It’s like physiotherapy for the soul. Although your ears may prove another matter:

“Doctor, I’ve caught Copacabana…” had me cackling with laughter until I realised it was a pretty serious condition whose cure quite literally sounds worse.

 

 

I don’t know if Lizz has realised she stopped drawing cats years ago. They look more like blanched devils or demons. Oh, cats, then.

“I can leave the house in this weather without covering myself in Factor 50.”
“Why does it smell so sweet? That’s… that’s sun cream not ice cream!”
“Oh! Did I say Factor 50? I meant pistachio.”

Of course you did.

It’s the gleefully absurd delivered deadpan.

SLH

Buy Relatable Content and read the Page 45 review here

The Comic Book Story Of Video Games (£16-99, Ten Speed Press) by Jonathan Hennessey & Jack McGowan…

“Holy…! That’s the largest blip I’ve ever seen on an oscilloscope!”
“Don’t worry about it.”

That was Pearl Harbour.

And I don’t mean the Attack On Pearl Harbour flight simulator game which was pretty decent, though I was more of a Capcom’s 1942 man myself. Give me a vertical scrolling shoot-‘em-up over a flight simulator every single time. Anyway, that quote from was the real Pearl Harbour. And Naval HQ deciding that the huge blip which the radar operator had seen on his new-fangled oscilloscope couldn’t possibly be real. Ah…

Now what, you might be asking, has that possibly got to do with the history of video games? Well, apparently, to fully understand the development of video games we need to go right back to 1857 when German scientist Heinrich Geissler discovered that electric voltage passed through gas-filled tubes caused them to glow different colours. It then took another forty years before Karl Ferdinand Braun invented the Cathode Ray Tube. Plus, not mentioned in this work (oddly given the first sixty odd pages are almost entirely given over to how the science of visual telecommunication developed), John Logie Baird gave the first public demonstration of television in 1925.

 

 

We do eventually get around to a history of video games proper, and it is quite informative, telling us about the various machines, the games and the larger-than-life characters involved, though the end does come a bit abruptly. I just can’t help but think those first sixty pages could have been far better utilised, as interesting scientifically as they are.

I can completely see the intellectual journey Jonathan Hennessey is trying to take the reader on, I just would have rather he concentrated on the video gaming element more. It’s like he spent hours researching, forgot his brief, got carried away with including the science stuff in the first sixty pages and then had to cram as much as he could in at the end before he ran out of memory – sorry, space.

 

 

Plus, UK gamers of a certain age will feel somewhat short-changed by the blink-and-you’ll-miss-it appearance of a ZX Spectrum 48K and Commodore 64 sharing one solitary panel without even saying what they are. So consequently pivotal, keystone games like Elite don’t even get a mention. But then hopefully one day someone will do a graphic novel about the UK home computing explosion of the 1980s featuring the likes of Sir Clive Sinclair and Jeff Minter. I could very well imagine Darryl Cunningham tackling that!

 

 

Granted as the gaming industry has blossomed and burgeoned to the monster it is today (the revenues of the gaming industry now far exceed the movie industry in the USA), it would be utterly impossible to detail everything of significance in a single volume, but overall this just feels like it misses the mark. It’s a very engaging read, it just probably doesn’t deliver what the reader would be expecting, or indeed want. I do wonder whether, on the back of the hugely successful THE COMIC BOOK HISTORY OF BEER, Jonathan Hennessey fully realised the enormity of what he decided to tackle as a follow up.

Personally I think the author would have been far better advised to tackle this in three or four volumes split into, say, the early decades of proto-gaming, the seventies boom in arcade machines, the eighties and early nineties rise of home computing and the explosion in consoles, then the expansion of PC gaming and second wave of consoles, plus of course the evolution of modern massive, multi-online gaming, like errr… a certain game called Elite, plus the likes of World Of Warcraft, obviously. I am pretty certain there would have been a voracious appetite for it.

 

 

Ed Piskor took four volumes to lavishly detail a mere decade with his HIP HOP FAMILY TREE series, for example, so in retrospect, there was no way anyone could ever do justice to the history of video gaming in a mere 181 pages. Ah well, it’s a decent enough, if protracted, potted history, I suppose. And ardent gamers will certain enjoy spotting the myriad character cameos popping up left, right and centre in the most unlikely times and places throughout. That was a very cheeky conceit which I did enjoy very much.

JR

Buy The Comic Book Story Of Video Games and read the Page 45 review here

Shaolin Cowboy: Who’ll Stop The Reign? h/c (£17-99, Dark Horse) by Geof Darrow.

“Then I learned killing techniques using everything from sharp-edged weapons to social media.”

It’s amazing what a little meditation can achieve.

There’s never time for any such calm, self-centring shenanigans here: you get exactly what you see on the cover from start to finish: the most awesome, relentless, smack-down video game you’ve never played. The resolution is sharper than a surgical scalpel, its effects very similar too. Darrow is famous for his detail: like the band aids patching up not our protagonist but his shirt, belt and pistol-butt.

Nevertheless, if you’ve any sense whatsoever the character you select to play as will be the Shaolin Cowboy: never bet against him even if the odds are insane. Think Jackie Chan replaced by a chubby but equally acrobatic Beat Takeshi. Button mashing is not an option.

 

 

 

 

You don’t have to have read anything previously, but FYI this picks up almost immediately after SHAOLIN COWBOY: SHEMP BUFFET during which Darrow nimbly and fluidly fashioned variation after variation of meat-cleaving mutilation in what I can only describe as the ultimate chainsaw massacre before the juice runs dry and our Cowboy quick-foots it across the top his quarry instead (not a quarry or the quarry but his quarry), deftly dispatching the beetle-bearing shamblers on the stepping-stone hoof.

It was utterly relentless and all the funnier for it.

This instalment has a bigger bite to it, with satire splattered all over the background details including car number plates, car stickers, graffiti, advertising slogans, other assorted excrement (one dog to another: “Man… what have you been eating?”), cigarette-smoking spiders, street-walking komodo dragons, assorted other unhealthy animals and a piles and piles of discarded tins cans. It’s not a nice neighbourhood, is what I’m trying to say.

 

 

The radio shows are no better.

“You got Dick Jeezuz on all Christian, all American, all white, alright Radio K.R.O.S.S. – what’s your question, brother?”
“Dick Jeezus… big believer. Listen to you every day. What kinda gun do you think Jesus carries?”
“Well, bless you, son. To answer your question, the Son of God don’t carry no gun. He is a gun. Next caller!”

I think it’s fair to say that Geof (one ‘f’) Darrow is not a big fan of organised religion incorporated. Nor of so many modern priorities and propensities such as driving while using a mobile phone which, I would remind you, is quite rightly illegal in this country.

 

 

His books are full of such careless cretins and this is no exception: an endless convoy of cars and commercial lorries hogging the desert highway, either oblivious to our battered and blood-soaked hero or throwing cigarette butts at him as they speed noisily by, ejecting a seemingly limitless stream of beer cans and fast-food trash, as well as expletives at their children.

Following the all-eviscerating events in SHAOLIN COWBOY: SHEMP BUFFET our Shaolin Cowboy is much the worse for wear, but is doggedly pursued by vultures…

 

 

 

… a glowing green warden from Hell, knife-legged dogs, a gigantic porcine powerhouse with weaponized nipple piercings, plus all and sundry in service to cranky crustacean King Crab using their I’m-Hung cell phones to track him via drones and satellite.

Each with their own vengeful reasons, they’re out to enlighten the shit out of his high-flying ass using sass, secret origins and shotguns. Some might un-friend him Facebook.

 

 

How can a two-tonne, elephantine pig raised on Cola and pork crackling possibly be balletic? Geof Darrow, that’s how. Now here comes the sow:

“We ninjas are known as the accountants of the martial arts world, because we always keep our balance! And I’m going to put you in the red!”

What horrors did Hog Kong behold as a piglet to drive it so stir-fry crazy that it’s now craving Shaolin Cowboy cutlets? It’s as funny as it is upsetting. Vegans will weep. Oh, the final three pages!

 

 

I don’t know how more emphatically I can commend it.

This is the only graphic novel that will GPS you all the way to Nirvana.

“Buddha be praised.”

SLH

Buy Shaolin Cowboy: Who’ll Stop The Reign h/c and read the Page 45 review here

Underwinter vol 1: Symphony s/c (£8-99, Image) by Ray Fawkes.

“I keep having these nightmares and I think I know why.”

‘Symphony’ is all very sensual.

It’s also more than a little sinister, evoking early on the taut tensions of sado-masochism, the sharp string bow playing across soft, bared flesh.

Precisely worded, like any musical movement it builds beautifully.

“It’s my bruised ribs, struck, col legno, hit with the bow and not the hair…
“It’s my welted skin, the jete strokes, where the bow bounces again and again in ricochet.
“And then as the music intensifies, sautille, tremolo, bariolage… then it is also my voice.
“And there’s a pain that is beyond all imagining, beyond sanity
“And I weep…
“Because I don’t want it to end.”

‘Overture’ has two meanings, you know.

 

 

A string quartet is invited to play blindfold at an exclusive party at a secluded mansion. There is a lot of money involved: £10,000 each for this first session. If they are pleasing, and enjoyed, they will be asked back.

The gig is brought in by Kendall, the libertine of the group: well built, well racked and well packed, first seen laid back in the arms of an older man, his lunchbox painted to be prominent.

However harmonious they may be on stage, in private Ms Ortiz at least is fractious, sneering, until she sees the colour of the money.

“Welcome. I am Meister Maranatha.
“You will play the pieces in the order selected for you. Do not improvise. Do not speak during the performance.
“You will wear the clothes we provide. You will not remove your blindfolds.”

 

 

From the creator of the fiercely inventive ONE SOUL and THE PEOPLE INSIDE whose construction, specific to the medium of comics, you will never have seen the like of (no exaggeration), this is a complete change of delivery in watercolour washes reminiscent of David Mack, expressionistic flourishes which reminded me of Bill Sienkiewicz and Francis Bacon, then a raw, roaring, abrasive crescendo during which the blindfold slips and –

You might want to Google ‘Maranatha’.

SLH

Buy Underwinter vol 1: Symphony s/c and read the Page 45 review here

Wildstorm: A Celebration Of 25 Years h/c (£26-99, DC) by Warren Ellis, Brett Booth, Brandon Choi, J. Scott Campbell, Dan Abnett, Christos Gage, Ed Brubaker & Bryan Hitch, Brett Booth, Jim Lee, Neil Googe, Dustin Nguyen, Sean Phillips.

“I’m not going to be here forever.
“When I go, you’re next up.
“So wake up and think.”

None of us are going to be here forever.

All of us will need our successors, so let us pray that they wake up and think.

Fortunately mine is a clear and indisputable upgrade, for our Jonathan gave you this very website precisely seven years ago upon which we published our first new Reviews Blog in November  2010, Week One.

Mark and I had been writing reviews a whole decade before that, but they were sent out only once, in our Page 45 Monthly Mailshot. If you weren’t signed up or never opened the email, then that was their only airing: they were subsequently lost to the world. Now old and new reside here together and forever I hope at www.page45.com. You can search by genre, title, creator or bits of creator. Please choose your appendages wisely.

Yes, anniversaries are awesome and this is Wildstorm’s 25th. Wildstorm was originally neo-classical superhero artist Jim Lee’s personal imprint of Image Comics, which he sold  to DC Comics where he has since become head-honcho / publisher. It was responsible for Brian K. Vaughan and Tony Harris’s EX MACHINA which most now assume was originally from Vertigo.

 

 

Along with brand-new stories by the likes of Warren Ellis and Bryan Hitch – reprising their run on THE AUTHORITY for the very first time since 1999 – this hardcover reprints many of Wildstorm’s past stellar moments both at Image and at DC, some of which are so rare that you may not have seen them, such as Brubaker and Phillips’s sequential-art intro / advertisement for SLEEPER SEASON TWO.

 

 

Others are reproduced in ways previously unseen, perhaps in black and white or uncensored, like two episodes of Millar and Quitely’s run on THE AUTHORITY which are in fact reproduced both in black and white and free from prior censorship.

I’ve done a compare-and-contrast and the original excisions are substantial and ridiculous, including turning the Engineer’s up-yours one-fingered salute into a fuck-you V sign whilst expanding “#$%hole” into a fully-fledged “asshole”. The rapist Colonel was re-inked and coloured up to disguise his Captain America mask as a gimp-suit mouth hole, all specific references to East Timor were erased and as for  Princess Diana’s final moments… ah, see for yourselves! 

But let’s take Ellis and Hitch’s THE AUTHORITY reprise, quoted above, for it is perfectly conceived and executed both as an anniversary celebration, as a piece poignant with hindsight, and as a re-visitation of their characters’ clipped, military precision when engaging effectively in a fist-fight. This Ellis invented, along with the mechanics and lateral-thinking logic of such a super-powered, problem-solving enterprise, and I’ve rarely seen that matched outside of Jim Kreuger’s, Dougie Braithwaite’s and Alex Ross’s JUSTICE.

 

 

By which I mean this: you are faced with a situation which can only be solved by specific power A once power B has enabled power C to free A from her (or his) restrictions using D’s specific knowledge and E’s unique, innate skills.

“Jack, we need you in play.”
“I’m dying. I get a day off for that.”
“Jack, name a city that hasn’t got any people in it.”

Why does Jenny Sparks need Jack Hawksmoor in play above all others? He can talk to cities. (You might recognise his surname.) Why do they need a city? They’re being assaulted by a giant Houseplant of Death. Why do they need it vacant? Because of what Sparks has in mind.

“Songliang, China. One of their ghost cities. Built, never populated.”

It’s time to open a door. But the aperture may need adjusting…

 

 

So many superhero series feature bland, repetitive pugilism devoid of dramatic tension (“I hit you, you hit me; I zap you with some nebulous powers”) but Ellis has always been exceptional at such site-specific or science-fiction-based riddles plus his historical knowledge is expansive so I cannot commend to you highly enough both his Cassady-illustrated PLANETARY and  THE AUTHORITY.

There will be material inside this hardcover which cannot match their ingenuity, for sure. I recommend the named creators’ own specific titles instead. But if you want just a little bit more, or are at all interested in the history of Wildstorm which Ellis is currently revisiting and re-inventing in his Euro-science-fiction series WILD STORM, then this is for you.

I loved Britain’s Jenny Sparks. She was far from invulnerable but she was entrusted with the protection of our 20th Century and she gave it her all, right up until her very last, pre-ordained, combative dying breath.

“Make it so the people of the 21st Century can sing a song of you.”

They’ll only do that if you show steel and kindness.

SLH

Buy Wildstorm: A Celebration Of 25 Years h/c and read the Page 45 review here

How Comics Work (£16-99, Rotovision Books) by Dave Gibbons, Tim Pilcher.

“Remember, the key to creativity is always observing the world in different ways.”

An exceptional guide to how comics and indeed the eye works, this can, should you fancy, also kick-start your own creativity and, as important as anything else, catalyse some creative thinking.

For this is no mere “how to draw” but more – like Scott McCloud’s UNDERSTANDING COMICS and MAKING COMICS and so many other books in Page 45’s Creating Comics Section – a manual that delves deeply into the mechanics of how this unique medium of sequential-art narrative actually operates. There will be plenty of illustrated advice on lettering, colouring, cover design and all visual elements which can be incorporated into comics, but more than anything else, as Tim Pilcher emphasises, this is about telling stories, and it comes from one of the medium’s most respected storytellers.

 

 

You might have heard of Dave Gibbons: WATCHMEN etc. Yes, he has fair few comics under his belt. Largely, then, he draws on these fifty years of experience and his own body of work to illustrate the variety and complexity of techniques, many of which may never have occurred to you, which he and Tim Pilcher examine together.

However, Gibbons has his own heroes including co-collaborators like Frank Miller, and their contributions are also called upon in interludes. Of GIVE ME LIBERTY, Gibbons recalls:

“I also suggested a character who saw crime as a disease, and [Frank’s] response was, “Yeah, but what would be better is a character who sees disease as a crime”. That was the Surgeon General.”

His medical approach was quite militant.

 

 

It’s a huge book of enormous scope and depth, and I’m a slow reader (and writer) so please forgive me if I leave you largely to absorb the book itself, by yourself, rather than simply regurgitate it on this keyboard. I’d be wasting both your time and mine.

However, I found the pages on ‘Hot Spots’ fascinating, and this is what I meant by “how the eye works”.

“Basic art theory states that within a given area, there are certain points, or ‘hot spots’, that the eye is attracted to, so it makes sense that this is where you should place what it is you really want people to look at.”

 

 

He elaborates and illustrates, obviously. No, this art isn’t one that you’d necessarily identify upon reading a comic. Ideally you should be immersed. I cannot abide a comic whose script I can hear being typed and, as Edward Albee once wrote, “Symbols should never be cymbals”. The analyses do remain riveting, though.

Landscapes, vehicles, character design, grid structure, panel designs, pacing and movement, thumbnails, pencils, inks (manual and digital), the practicalities or printing, lettering, dead space, colouring, covers and even back-cover design are all delved into – along with the spine! – before daily exercises are suggested including ‘mind maps’.

 

 

I can show you how to operate a till if you like, but for this infinitely higher skill set I hand you over to Mssrs Gibbons and Pilcher. Avoid repetition and keep it kinetic even in conversations, folks!

SLH

Buy How Comics Work and read the Page 45 review here

Arrived, Online & Ready To Buy!

New reviews to follow, but if they’re new formats of previous books, reviews may already be up; others will retain their Diamond previews information we receive displayed as ‘Publisher Blurb’.

Black vol 1 s/c (£17-99, Black Mask) by Kwanza Osajyefo, Tim Smith 3 & Jamal Igle

The Complete Strange Growths 1991-1997 (£17-99, Spit And A Half) by Jenny Zervakis

Courtney Crumrin vol 1 s/c (£8-99, Oni) by Ted Naifeh

Elves vol 3 (£12-99, Insight Comics) by Marc Hadrien, Jean-Luc Istin & Ma Yi, Kyko Duarte

Freedom Hospital – A Syrian Story (£16-99, Jonathan Cape) by Hamid Sulaiman

Jackass! (£8-99, Sublime) by Scarlet Beriko

Pashmina (£12-99, FirstSecond) by Nidhi Chanani

The Senses h/c (£14-99, Nobrow) by Matteo Farinella

Justice League vol 4: Endless s/c (Rebirth) (£14-99, DC) by Bryan Hitch & various

Superman Action Comics vol 4: The New World s/c (Rebirth) (£17-99, DC) by Dan Jurgens & various

Assassination Classroom vol 18 (£6-99, Viz) by Yusei Matsui

Spirited Away Picture Book h/c (£12-99, Viz) by Hayao Miyazaki

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