{comics} welcome back to Hereville

Thanks to Abrams and NetGalley I got a sneak peek at the sequel to Barry Deutsch’s Hereville: How Mirka Got Her Sword. It should be noted that the advanced copy/peek was pre-color and still sketched at the end, so I cannot speak to the color throughout or any detailing toward the end, but I can say that it is drawn and formatted consistent to the first book (that is good news, by the way). Love the cover.

 

How Mirka Met a Meteorite by Barry Deutsch

Amulet Books (imprint of Abrams), 2012. 128 pages.

Mirka is back, and she’s still the only sword-brandishing, monster-fighting Orthodox Jewish girl in town. Or so she thinks.

When a misguided troll aims a meteor at the witch’s house, the witch grabs hold of the closest thing possible to transform the flying, flaming rock-and that would be Mirka’s hair. The meteor is changed, all right: it’s now Mirka’s identical twin.

Doppelganger Mirka, vowing to be a better version of the real girl, sets out to charm all of Hereville, including Mirka’s own family. Our heroine challenges the meteor girl to a three-part contest . . . and the loser will be banished from Hereville forever!—publisher’s comments.

————————————————————-

How Mirka Met a Meteorite picks up after the events in the first, unsurprisingly grounded. So while she finally has the sword to fight dragons, she is stuck in the house—knitting. Before she gets unleashed on the world (trading curtain rods for an actual sword) it is a nice time for those new to Mirka to get to know her. You should really read the first, but Deutsch acquaints (and reminds) readers just who our lovely protagonist is. And it becomes of vital importance to know who Mirka really is—for Mirka and her family and friends.

“Isn’t there anything special about me at all?”

How Mirka Met a Meteorite provides a very nice exploration on identity, of knowing who you are and who you want to be; the things you wish you were good at, and the things you already are good at—and the things you are actually good at. It’s a nice exploration because Mirka is funny and earnest and so so brash! And her half-sister Rachel is so sweet and earnest and wise. And it’s a nice exploration because the adventure that facilitates it defies expectation. Mirka is one of a kind.

 

{page 87 (via bk site, see below). I really appreciate what the fluidity, his lack of hard edged (or any) paneling, does for the story. for instance, the bottom half of this page could be read chronologically or in simultaneity.

How Mirka Got Her Sword is a success and I was pleased to find Mirka’s encounter with the Meteorite as thoroughly enjoyable in story and illustration. I am eager to see the effect of some of the sequences in book form (and with color) even though they were still fun to view in my Adobe Reader–Deutsch does movement really well. And expression. For example, the above image emotes and storytells quite effectively without text or true context (though I’m sure you are recalling the publisher’s synopsis).

That previous characters return is of no surprise, but Deutsch does thread elements and references from the first, like the very covers, the ball of yarn, grapes, a pig, and I find Mirka knitting very amusing. I enjoy Deutsch’s sense of humor and his imaginative flair; as well as his inclusion of that charming little Totoro doll on Rachel’s bed (43). And those glimpses into the culture and language of our Orthodox Jew protagonist?–yeah they are still present and influential to the story. Thank you Barry Deutsch for offering us something so different from our standard fare.

How Mirka Met a Meteorite is a delightful follow-through of How Mirka Got Her Sword. I am very much looking forward to exploring it again with you upon its release in November.* So mark your calendars for the 1st (or pre-order/request).

—

*convenient timing for Christmas? I think so. This is one of those series you should be adding to your shelf; for your young person and you.

recommendations… ages 8 & up;  girls & boys; readers of comics or no; lovers of tales, fantasy, the comedic, the cultural, and/or the highly dramatic yet short lived games of chess. this one is for fans of Jimmy Gownley’s Amelia Rules! without a doubt, and I would add that Jeff Smith’s Bone fans would probably like it, as well as Will Eisner’s (as his illustrations certainly came to mind during the read; and coincidentally, he speaks to this in the interview below).

of note: this review is my pleasure. I was not paid or bribed in anyway. one of these times, though…

my review of Hereville: How Mirka Got Her Sword.

do checkout Hereville.com

{all images belong to Barry Deutsch (found via the book’s site)/Abrams; after the cover, (1) penciled title page. (2) from page 87. visit the site for more images and information about the author/illustrator}

I found this great interview on the Hereville site; thought I would embed it here, too.

I love his suggestion that we exchange “strong” for “rich” in reference to female characters.  and hey, he went to Portland State, too!

he does school visits, so Portland friends, check that out.

{comic} level up

After American Born Chinese I was eager to read something else by Gene Luen Yang and the Library finally got a copy of Level Up. If I had written this review after reading Level Up it probably would have consisted of a copy/paste synopsis and a shrug. I don’t expect to connect nor identify in some way to every book I read, but this one was fairly inaccessible to me after the first read. I would say that the primary reason was the cultural gap—not the nintendo gaming part, I got that; I had a few friends in college who would rather play than go to class. And while I do have the juvenile sense of humor to get the potty jokes (both literal and figurative), for some reason I had little patience for it. And as for the magical realism…the “four adorable angels” were just creepy. It really comes down to the fact that I hadn’t expected the novel would require the patience it did. And for the most part, it does pay off. Yang is unusual in his storytelling technique. While he may be trying to entertain the reader throughout, Level Up  does require a thorough sitting—and perhaps a much more specific audience (which I can respect).

Struggling with bad grades, a video game addiction, and his father’s death, Dennis Ouyang is on the verge of dropping out of college when four adorable angels appear and take charge of his life. But nothing is ever what it seems when life, magic, and gaming collide. ~back cover copy.

Thien Pham’s art is really good; looser in form than I would have expected. I really responded to the color choices, texture, and the use of the wash with the pen/ink. The clean straightforward formatting of the panels is refreshing. I like creative use of illustration/text in the comic medium, don’t get me wrong, after so much of it though, the clean pages are a pleasure. The subtleties, however, should not be underestimated. Pham knows what he is doing. He definitely sets the tone/mood of the piece.

Reading the dedications is a good habit to form, and Yang and Pham’s dedication creates a nice primer for the story: “Dedicated to our brothers Jon and Thinh, both of whom work in the medical field, for being the good Asian sons.” Their protagonist feels the pressure of being a good son and to excel within the expectations given him. Where Dennis’ passion and obvious talents lie in video games, that is not considered a valid pursuit according to his parents. He eventually folds to the pressure, haunted by what first appears to be “adorable little angels” to help him succeed in fulfilling his destiny—which lies in a field that he can hardly stomach (no pun intended). Dennis’ pursuit would seem more noble if it didn’t come off as such a painful ordeal. Even great friends and a potential romance cannot offset impending doom. The story takes its time before culminating in the Dennis confronting that which haunts him and his future, to say nothing of his sense of self worth. I liked Yang’s use of the angels and what they represent as well as the pac-man imagery.

The ending is a bit clean, with an all was not for nothing kind of gesture; a necessity after all the time and angst expended in the course of the story. To be fair, Dennis is shown to have choices; he could be successful in any of his decisions. This is important to understand because it focuses on the self-imposed limitations like familial and cultural expectations—which in this novel, creates a conflict between his Chinese heritage and his American one. I think part of my not understanding his choices (and the story overall) comes down to not being able to discern where to apply the idea of “we must learn to eat bitterness of our own” (82) aspect of the conflict. Dennis’ mother confused me, which may be due, in part, to the story being told from Dennis’ (first person) perspective.

While I didn’t enjoy Level Up as much as American Born Chinese, I could enjoy it after the second read and spending time letting it steep. Is it to obvious to say that Level Up will resonate more easily with those who can do more than intellectualize the scenarios played out? Because I think Yang has another gem here given the right audience. I’m happy to see First Second continuing to support his work.

——Level Up——

Story by Gene Luen Yang; Art by Thien Pham

First Second Books, 2011.

hardcover, 160 pages.

Check out: Moye for 8Asians.com hosts a great interview in her article “Level Up’s Gene Luen Yang & Thien Pham on Asian Parenting & Video Games”

{comics} pluto vol 1-7

If you are going to check out this manga series by Urasawa x Tezuka from your local library, please be sure they have all 8…As it is, I need to carve out time to find the 8th volume somewhere. Believe me, one volume will throw you into the next and you’ll not want to hit a wall. You know that dramatic Noooooo! that one can hear outside the house as it echoes down the street, from above the city, and even into outer space? Yeah, that was me.

URASAWA Preeminent manga artist Naoki Urasawa, collaborating with editor, producer and manga writer Takashi Nagasaki, creates a daring revisionist take on Osamu Tezuka’s timeless classic Astro Boy. Conceived under the auspices of Tezuka’s son Macoto Tezka, a visual artist in his own right, Pluto: Urasawa × Tezuka is more than just an homage piece — Urasawa takes Tezuka’s masterwork and transforms it into a new groundbreaking series of his own. Pluto: Urasawa × Tezuka will surely delight loyal Tezuka fans, but it will also capture the imagination of anyone who loves a compelling work of great science fiction.

× TEZUKA The legendary Osamu Tezuka is arguably the most influential person to shape the landscape of the narrative art form known as manga. In 1964, Tezuka created a revolutionary story arc in his Astro Boy series called “The Greatest Robot on Earth.” Tezuka’s engaging tale struck a chord with the children of that time to become the most popular story line of the series. It would also prove to profoundly influence and inspire a generation of manga artists to come. –Powells “about the author“

This is where I admit to not reading much manga and my touches with Astro Boy are fleeting. I’m proof that Pluto will be accessible to just about anyone. It will help to know how to negotiate the right to left movement of the book and page, but it isn’t that hard to figure out. And Pluto is well worth the effort to step outside your norms and pick up manga.

note the mimicry of the top two panels. this portion of Pluto: 001 involving the story of North .02 is beautiful and heartbreaking.

Theirs is an idealized world where man and robot should coexist. But not everyone cares for robots and someone or something is out to destroy both the seven great robots of the world and key robot’s rights figures. Gesicht, a Europol detective and one of the seven, is brought in to investigate the serial murders marked by the composition of the remains, horns coming from the victims heads. What follows is a puzzle steeped in a near past and a race against time to stop the murderer from striking again.  Visiting Asimov’s rules, the conversations on Artificial Intelligence and its potential evolution fascinate. As for the political messages…who didn’t find weapons of mass destruction and declared war anyway?

All destruction and creation is not without consequence.

Pluto was created as a tribute to Urasawa’s hero Tezuka and the challenge was, in part, to commemorate the 50th anniversary of Astro Boy. Loosely based on Astro Boy, Urasawa refers to Atom as he’s called, and apparently references the original series throughout, including imitating a few classic images.

{image: source}

———————————————————

Gesicht could use a vacation from his work, and he and his wife keep talking about it, even as his work interrupts the best laid plans. Pluto writes a familiar script for both human and robot alike. Indeed, many people in the story have a hard time discerning the differences between the most advanced robots and humans. Even so, Urasawa creates very human connections with the most obvious looking robot, primarily by placing them in very human situations. There is some discussion as to the fairness and the value of creating humanizing expectation while yet holding robotic expectations as well. The conflicts on the level of characterization as well as the greater arcs are beautifully balanced and interconnected. There are a lot of philosophical ideas, and historical parallels, a lot of action, an incredible amount of intrigue. Not one piece works without another.

Moving in and out of time, ranging all over the planet, the transitions are easier than one should expect. The progression of the story wasn’t expected. I’m not going to give anything away, but there are moments of absolute dread. I really need to read volume 008, except I worry. But I have to read it. I need to know how it could possibly end happily. And I have to know more about that creepy teddy bear. Yes, Urasawa manages to make a teddy bear more terrifying than a demented robot kept in pieces and raving in the boiler room.

If you get to very little manga in your time, consider Pluto worth some of it; especially you sci-fi fans.

*also Hiromu Arakawa’s Full-Metal Alchemist (Viz Media).

————————————————————–

 Pluto by Urasawa x Tezuka

Viz Media, 2009 (orig. 2004); tradepaper.

w/ post scripts and interviews and the like in each volume.

—-2012 Science Fiction Experience–@ “Stainless Steel Droppings”—-

{comics} womanthology: heroic

“Womanthology is a large-scale anthology showcasing the works of women in comics. It is created entirely by over 140 women of all experience levels, from young girls who love to create comics all the way up to top industry professionals. All of the short stories will center around our theme for this volume; Heroic. There will also be features, such as Professional How-Tos, a Kids/Teens section showcasing their works and giving tips, as well as a section dedicated to some Iconic female comic creators of the past, such as Nell Brinkley, and much more. Profits of this book will go towards the Charities of GlobalGiving.org.” publisher [IDW publishing] comments.

I heard mention of Womanthology a while back, I believe it was on The Mary Sue; and they’ve since hosted a preview. Recently I encountered it on NetGalley, and w/ IDW’s permission I caught a glimpse of what is to come this month! I can’t wait to get a hold of the whole book. Womanthology has a blog, so check it out, they hosted a preview, here. Meanwhile, let me share my free and honest glimpse of this excellent collection of comics created by the females of the industry.

——————————————————

Super Less Hero : story by Kelly Thompson, Art by Stephanie Hans : p. 5-12.

This story is a gorgeous lead, all the way around. The art, color, lettering, the story is wonderful… It is waiting to be unseated as my favorite.

—–Each contribution shows its creators at the bottom of the page, where you are introduced and can then follow-up via their website information; a touch of loveliness there.

—–there are “Womanthology Statistics” here and there, balanced within & between comics, at bottoms of pages. p. 10: “Contributors come from over 11 countries; and range in age from under 10 to over 70.”–exciting, right?!

The Spinster : by Ming Doyle, pencil, ink, writer; & Jordie Bellaire, colorist : p. 29-31.

A classic and classy story that has you smirking at ridiculous social/gender expectations.

—–lest you mistakenly believe that all comics involve are a writer and an artist: you’ll meet those skilled in lettering, pencils, ink, color, editing. Plenty are skilled in multiple ways, like Kate Leth who is a writer, penciler, inker, and colorist. Womanthology: Heroic would show off the different facets of comic work and their collaborators.

——there are “Pro-tips” tucked in corners, laced along edges; they range in type, like drawing, editing, writing… p. 12:

“Don’t give up. Everyone who can draw beautifully now was a beginner once. And don’t get frustrated if your work doesn’t yet look the way you want it to. Perseverence is the most important skill you’ll need, and it’s one you can start using right now.” –Laura Morely.

——-check out the extended preview on the blog-site. You’ll note the range of style and story. All center around heroic and are female-centric. I adored Renae de Liz and Nei Ruffino’s contribution (of which I am unsure of the title, High School?) featuring a non-thin heroine called Lady Power Punch (the result of a last minute scramble for a name). She is an awesome figure in red and gets crap for not being empty-headed or Barbie-esque in proportion. It is a smart and beautiful comic that shows off positive girl values, great story-telling, and fantastic color. (p. 18-22)

——-there are How-Tos; Interviews; a section on “Women in the Past.” Womanthology proves itself to be an ambitious project, without being burdensome.

   Womanthology : Heroic is project worth spending time with, lover of comic or no. It isn’t only about informing us or contributing in support of the women in the comic realm, but to share a love of the comic arts–where it just so happens to have a place for women and their stories, too.

   So, I only had a taste (pages 9-34), and then the previews. It was enough to hook me and share it. The release says February 07, 2012–er, tomorrow. Keep your eyes out for this collection, make sure your Library is going to have this, and think about ways you can support them in any future projects, as I hope Heroic will not be the last we see of Womanthology.

———————————————————

Womanthology: Heroic ed. Barbara Kesel.

contributors credited: by Camilla D’ Errico, Ann Nocenti, Anya Martin, Barbara Kesel, Kimberly Komatsu, Gail Simone, Trina Robbins, Samantha Newark , Renae DeLiz,Ming Doyle, Colleen Doran, Fiona Staples, Stephanie Buscema, Bonnie Burton.

to be released Hardcover, 300 pages.

–

{cover & banner-work (1st/last images) by Renae de Liz. other images are attributed their creators, and can be found via womanthology.blogspot.com}

{book} Amulet series, 1-4

How many heroines in juvenile fiction have lost their mother early on? Now how many have brought their mothers along on their adventures? Thanking the daughter for lending me her copies of Amulet to re-read up to the latest: (book 4) The Last Council, we started listing all the things we love about the series. We both smiled over the mom being a mom while both her children have and continue to become the heroes. “I like the idea of the mom getting to stay,” to which Natalya replies with a pat on my arm and a humoring smile. I’m pretty sure she would have made me go home.I can’t believe I have not reviewed one Amulet book here, I’m pretty sure I go on and on about them, certainly about Kazu Kibuishi anyway. Well, here we go–an in general, spoiler-free (as I can get talking through bk 4) “review:”

I felt sure, at some point, I related the incredible opening to Amulet: The Stonekeeper where we are introduced to the tragic loss of the father that leaves its audience breathless. Fast forward two years and still mourning, Emily, her mother (Karen), and her younger brother Navin are moving into (maternal) Great-Grandfather Silas’ house. In the first days, Emily finds the amulet and the mother is eaten by a creature that then carries her off through a door and into another world. Emily and Navin follow, determined to save their mother.

The amulet, we’ll soon learn, is a stone she inherits from her Great-Grandfather, it speaks to Emily, advising her as to what to do. It also functions as a weapon. She inherits his robots and mobile home as well. And as the story continues, she has inherited so much more. In The Stonekeeper’s Curse (book 2), the rescue mission transforms into something more, and Emily can’t go home–not until something is done about the evil Elf King.

Little brother Navin is often underestimated, but he has skills as well as an prophecy of his own. His is the voice that challenges and questions, fleshing out Emily’s struggles to find her way. The amulet would take full control if Emily would let it, and at times it would be so much easier. But there are reasons why she should resist, and their revelation ups the tension even as it further develops the history and its characters. Further along, certainly by book 3 :The Cloud Searchers, you cannot deny that Kibuishi is crafting a finely turned adventure.

Between cliff-hanger endings that draw you into the next volume and perfect pacing, Kibuishi provides a brilliant balance of humor and peril and emotional conflict, of characterization and mystery. Who and what do Navin and Emily trust? And might there be times when they shouldn’t do as expected–or as someone in “authority” says? 

Kibuishi notes Star Wars and Hayao Miyazaki as inspirations. Learning this, I was not surprised–and not because the results are hokey. If anything, it is noticeable how hard Amulet avoids recalling Star Wars directly when talking about life-forces or harnessing skill and destiny, and resisting darkly lit temptations. As for Miyazaki: you know those gorgeous vistas? that is only the beginning. And yet, Amulet is undeniably its own creature.

Amulet progesses into greater complexity, and thrives in the unexpected turn. Most adventures should, if they want to be good, but Kibuishi is clever. I mentioned inspirations. In book 4 The Last Council we find a Utopia tainted. Ah yes, a dystopian novel published in 2011, shocking! And while N admits to anticipating a Hunger Games-like turn, she was pleasantly surprised to the contrary. I was fooled, too. There are a few reasons why, but primary is that Kibuishi has it in mind to do his own thing here. I have no idea how it will possibly go. True, he is consistent with characters, but what choices will they ultimately make in the face of what possible confrontation that awaits them. Also, he moves quickly through some plot-points and lingers in others. He introduces a character with information that changes everything (believably).

I am so very eager for the continuation of this series–and that is just the story.

The artwork. I mentioned beautifully rendered backdrops, this has as much to do with lighting and color and composition as the details. I just like to look at the pictures, honestly. The characters are accessible and expressive, another inspired take on Miyazaki, though unmistakably more Western. I love the palette. I adore the formatting, which is important to the visual expression of the atmosphere (setting). In The Cloud Searchers, we are introduced to dream sequences, black pages with fluid framed panels. There are the uniform sequences that become broken with skewed non-orthogonal frames in reflection of the change in circumstance.

I can register the composition of the page, of the sequence, or even a singular image, intellectually; however, I am registering it first on a more visceral level. Kibuishi understands his craft. And he minds his audience as well. The sequences are not hard to follow, frames are not indecipherable. Text and images take their turn in simultaneity.

Kibuishi is able to encode a great deal in a short amount of time, the pages turn and the action and humor draw the reader ever further. The story (via text/image) is intelligent, puzzling, and does not underestimate.

——————————————————————-

recommendation: this comic series is fail-safe. It is beautiful and adventurous and funny. It is accessible for the younger set, but smart enough for the older. Even the more recalcitrant (toward comics) adult could be charmed. For those who love Fantasy, steampunk, Miyazaki, Star Wars, epic adventures ala Tolkien.

Amulet series by Kazu Kibuishi

(Please read the “acknowledgements” for the collaborators he lists in each.)

Book 1: The Stonekeeper (Graphix, 2008) tradepaper, 192 pages.

Book 2: The Stonekeeper’s Curse (Graphix, 2009) tradepaper, 224 pages.

Book 3: The Cloud Searchers (Graphix, 2010) tradepaper, 208 pages.

Book 4: The Last Council (Graphix, 2011) tradepaper, 224 pages.

my review of Copper (Graphix, 2010) also by Kibuishi

————————————————————

{images (& video): via Bolt City Productions(Kazu Kibuishi’s site. 1- from The Cloud Searchers; 2- covers 1-4; 3- from The Stonekeeper, p31; 4-The Fueling Station in The Cloud Searchers, p126-7; 5-partial of p8 from The Last Council)

friends with boys (1)

in full disclosure: my ability to get my hands on the latest Faith Erin Hicks comic (advanced reader’s copy) was thanks to NetGalley and First Second. What follows is a free and honest review.

Being homeschooled and raised with three brothers had its problems, but Maggie’s life is about to get a lot more complicated as she faces her greatest trial yet – entering public school for the first time! ~Publisher’s Comments

Friends with Boys by Faith Erin Hicks

First Second—February 2012

comic, Teen/Young Adult

I know you love all those angst-ridden young adult novels, but Faith Erin Hicks’ Friends with Boys is not so overly dramatic. Okay, there is angst. Maggie is entering High School after all. Add the fact she has been homeschooled up to this point, her only real friends have been her three older brothers, there is some mystery surrounding her new friends, her father got a new job that requires a significant change, mom left without explanation, and there is this ghost that is following her around. Whew! It works, though—marvelously so. Between heart-warming interactions, a quirky character or two, and Faith Erin Hicks fantastic sense of humor, Friends with Boys has an effervescent quality the Young Adult readership will find refreshing. They’ll even ask for more. I know I will be seeking out more works by Faith Erin Hicks in the coming year.

We talk about voice in literature, and perhaps less so with its graphically rendered relative. I am still struggling to articulate what I mean when I note that Faith Erin Hicks’ work has a strong voice. Hicks engages her audience from the very beginning. There is an anticipation. Her form is fluid and the pages turn and track easily without insulting craftsmanship. Maybe it is her gift of characterization and the familiarity of her landscapes that feels singularly hers. The artwork is among the most accessible kind, and harbors a vibrant energy. Faith Erin Hicks is a capable author and artist whom I would recommend to both Readers of comics or no, any gender, primarily of the Young Adult audience.

Keep an eye out for Friends with Boys in February! Meanwhile, the wonderful Faith Erin Hicks has Friends with Boys up on the book’s site. Check it out! –and enjoy that school musical.

zebrafish

I picked up Zebrafish at the Library after seeing that “The Graphic Classroom” had reviewed it (though I had yet to actually read said review). I thought, haven’t seen this one, looks kinda fun for kids (and perhaps, myself).

Peter H. Reynolds and Fable Vision present:

Zebrafish as written by Sharon Emerson & drawn by Renee Kurilla

Atheneum Books for Young Readers, 2010

Hardcover, 120 pages. Juvenile Fiction, ages 7-10.

Vita Escolar is ready to rock. She’s got a band name, a used guitar, and three chords under her studded belt. All she needs are a few bandmates to complete the picture. Instead, an activist, two gamers, and an artist show up to her audition. none play a lick of music. But when she can’t shake’em off, she resigns herself to join’em. After all, a virtual band is better than no band…er, right? With a little help from Walt, Tanya, Plinko, and Jay, Vita learns you can’t always get what you want—but you might get what your friends need. And that’s way better. Oh yeah! ~publisher’s comments, jacket copy.

Welcome to a before-during-and-after-school special where we learn that “we can’t always get what we want,” friends and family are our greatest resource for getting what we need, and we can change the world in various and creative ways. Yep, a middle-grade offering driven by a message. But it isn’t all bad.

Zebrafish begins with the establishment of the three pairings of the six main characters whom all intersect in different ways before five of the six meet afterschool for the Vita’s band auditions. This culturally diverse cast must then find a way to pool their diverging interests for a cause. At first it is just an activity to do together as Vita still wants to rock and the others want to help her. As Vita learns more about her older brother’s medical research and new friend Tanya’s cancer, the band’s existence takes on greater meaning.

{pages 50-1}

Zebrafish works hard to quickly solidify personalities and honor them with a consistency throughout. Each have their troubles (some more mild than others) but they each also have triumphs. In essence, while each character has individuality (if not some caricature) these are normal kids. The pairs are quietly disentangled so as to form solid connections with other members of the “band.” None of this character development feels unnatural, especially in limiting the story to an accessible length for young readers. By book’s end, the once “randomly” intersecting sets of two successfully become a singular party of 6+.

Within Zebrafish, Family is represented in different ways and to great significance. Vita and her elder brother Pablo with whom she resides are orphans. Or at least, there is no mention of a father and their mother has died of cancer. There is also a reference to social services and a move. I’m not completely sure what that is all about. But you have a brother supporting his still-in-school sister, and they rescue a stray dog. The first pair you meet is Plinko and Jay and you get that Jay is the best friend adopted into the family. He goes out to dinner with them, is comfortable in their home. Walt and Tanya are siblings, and Walt is very attentive to his sister. Zebrafish, of course, becomes a kind of tribe. Notably these relationships are strongly steeped in empathy; as if the basis of what makes people family is our formation of a strong empathic connection.

{pages 40-1}

The title, Zebrafish, comes from an actual fish called zebrafish, and they are used by Pablo in his laboratory. He uses a mutant form to help him “watch cancer cells metastasize in real time” (40). So you not only gain insight into the lives of these children (of indiscriminate age/grade)–Tanya and Vita in particular–you get some interesting science information as well. Zebrafish is not subtle with its “teaching points.” The reader will learn interesting and important facts and they will gain insight.

I mentioned accessible length. I’m not sure Zebrafish had time to be subtle; that or it underestimates its critical audience. The book is 120 pages, but many of the panels are full-page, full-page with ~2 insets, or double-page; panels are large print, essentially–Child-friendly. Marjane Satrapi’s Embroideries came to mind in turns because of the occasional removal frames and the stacking of speech bubbles. There were times I was a little confused in a conversation’s progression, but I could see the form of each page/panel trying to mind the young audience. It was fun and flexible, playful.

Combined with the bright and warm colors, the book finessed a lot of movement and energy. The clipped chapters also kept the ambitious level of content moving. 120 pages and 19 chapters, it felt stilted at turns. The pacing was awful actually (i.e. yes, dogs are cute and inclusion of animals in elementary school fare feels necessary, especially purple ones, and to include them in your song at the end—aww!—& for Vita to actually get what she wants for once. However, proportionally speaking, the pages dedicated to this venture…). I didn’t understand the chapter titles (even on the second try). And the segues were time stamps, “One week later,” etc. There were also a lot of illustrated time lapses to a single page and those were cleverly done. Necessarily, we had to get to know the characters, their situations, and then Zebrafish couldn’t come together in a week. Zebrafish had a lot to do in a short amount of time. Vita has lessons to learn; the constant drumming of “you don’t always get what you want”, but “you sometimes get what you need.” Vita’s life is all about that lesson; and so are all the other characters’ lives to some extent. But Vita is the one with whom the reader is to identify.

Zebrafish should also be fun and culturally resonant. The cartoon styling is familiar for a reason, an attractive choice for its intended audience and their teachers. The humor is suitable and dispersed liberally, keeping the reader engaged. Plinko and Jay are comic relief; which works to balance out the weightier situation with Walt & Tanya–Tanya who is a vibrantly drawn character who when not getting treatment, or is sick, is the “average” girl, replete with crush. I guess she counterbalance her story line on her own.

The endpage for the “Afterword”, pre-text (via Kurilla’s blogsite).

There is the “Afterword” on page 120 by Peter H. Reynolds encouraging the book’s close to function as an actual beginning. I can, of course, get behind being creative, and applying our creative interests toward a cause (see: TalyaWren). Zebrafish would be a book that could inspire, the “Afterword” is a mere punctuation mark. Big projects for causes for which we are passionate take creativity, organization, multiple talents, perseverance, cooperation… Zebrafish models this while providing the reader with the why. You get to use your gifts, your passions; you make friends; you learn the importance of/benefit from collaboration; you help people!—you could help people you know and love! Zebrafish does not go off without a hitch but it all works out. These children are capable, they are gifted and loving and determined—something with which the readers should identify. As Kevin Hodgson at “The Graphic Classroom” writes, “If you have students who are itching to do some community service project, ZEBRAFISH might be a nice companion story about how even young people can change the world for the better.” I think in a setting where you know you are in for something educational, Zebrafish will be more digestible treat. –or will it?

*********

the book’s website, wherein Vita’s song is available.

a fascinating interview (one the young reader’s will enjoy, too). Renee Kurillo on illustrating Zebrafish among other things. Wherein I also discovered a reference to Zebrafish 2.

—noted: “a portion of the proceeds from this book is being donated to the Children’s Hospital Boston.”~inside cover and website. so, will this be coming to a classroom near you? Children, and likely many educators, are much more forgiving a reader than I am; the pacing  may not even affect the younger reader the same.

chimichanga

in full disclosure: I had the pleasure of this read thanks to NetGalley, Dark Horse Books, and an advanced reader’s copy. What follows is my free, fair, & honest review.

Chimichanga

written/illustrated by Eric Powell

w/ colors by Dave Stewart

Dark Horse Comics/Books, Fall 2011.

When Wrinkle’s Travelling Circus’ most adorable little bearded girl trades a lock of her magic beard hair for a witch’s strange egg, she stumbles upon what could be the saving grace for her ailing freak show – the savory-named beast: Chimichanga! ~publisher’s comments.

If the bearded woman Sister Peace had befriended in her youth in Linda Medley’s Castle Waiting had had a child, I imagine she would be Lula from Eric Powell’s vibrantly precocious Chimichanga! This finger-snapping little girl is sassy!

Lula the bearded girl and her family-owned Travelling Circus are more than cute. They are hilarious. There is “The Amazing Randy,” a “man with the strength of a slightly larger man” (see below); Horace, “the man that once saw Elvis,” Ezmerelda and her amazing two-eyed goat; Gene, “The indifferent clown;” the list goes on. And with acts like these, how can Wrinkle’s Travelling Circus be suffering financially? Then there is Dagmar the Witch with whom Lula trades beard hair for the strange egg. Dagmar who has had chronic flatulence problems for years. There is plenty of silliness to go around. And then there are the more serious notes.

Cue the real villain. The Man. Rivalry amongst Freak Show performers and the magical properties of beard hair create a perfect storm and opportunity for Mr. Dinderly of Dinderley Pharmaceuticals Inc to sweep in and takes what whom he believes to be his: Lula. Can no one stop him? It doesn’t seem likely. And should they bother? Dinderly can fund the freak show’s retirement. Fortunately, the pluck of our heroine is infectious and Mr. Wrinkles and Heratio the boy faced fish come up with a plan.

Chimichanga is geared toward the older crowd, despite the young protagonist and sometimes juvenile humor. There isn’t much in the way of objectionable content, it is more of concern over an inability to get the humor. Unless you look forward to endlessly explaining why you are laughing, or enjoy conversations on corrupt corporate antics with a grade-schooler (as some of us do), you may want keep this one on your shelf a while. However, there is that self-esteem angle. Who could be more proud to be who she is and in the company she is with than Lula the bearded girl? Then there are lessons in how scary googly-eyed monsters make for good friends. Yeah, Chimichanga is a good read for the older crowd.

If you are looking for a brilliant entertaining read that will have you sporting beards to mustache parties, Chimichanga is a must. And if you aren’t a Hipster, you will likely appreciate Eric Powell’s candy colored comic just the same. Chimichanga is an expected delight and one to add to that formidable collection of comics.

——so noted—–the first two images are before coloring by the multiple Eisner-award-winning colorist Dave Stewart. and I know: I do try to have at least one paragraph on the illustrations. I got caught up in the character and story. The illustrations are so effective, so effortless, I had to revisit them. so here goes:

Chimichanga is reminiscent of early comic strips like Little Orphan Annie by Harold Gray, and there is a bit of nostalgia at work in the comic as it rises up to meet present day relevance.  There is a lot of movement and expression and depth that is achieved in the shading and light, and in the coloring. Yet, the illustrations do not appear complicated, thus providing an ease for even the most amateur comic reader to be charmed by the story and it’s occupants’ antics. Chimichanga‘s cute and sentimental mien is a lure and a balm. The comics accessibility is less a veneer and more a counter-balance, while yet providing its own implication. Chimichanga is as intelligently done as it is adorable.

courtney crumrin and the night things

in full disclosure: I had the pleasure of this read thanks to NetGalley, Oni Press, and an advanced reader copy. What follows is my free, fair, & honest review.

Courtney Crumrin (Volume 1) : The Night Things, Special Edition

Art & Story by Ted Naifeh

The Courtney Crumrin stories were originally released in digest form since 2002. Coming in March 2012 from Oni Press, “Fan-favorite and critical darling Courtney Crumrin is back in a series of newly remastered, full color hardcover editions.”

Young Courtney Crumrin and parents have recently moved into old Professor Aloysius Crumrin’s house. Having exhausted the means of supporting their desired lifestyle, Courtney’s hideously shallow parents are thrilled by any opportunity to hobnob with the very wealthy neighbors. As for Courtney, the only redeeming value the move has is her mysterious Great-Uncle and the strange creatures she catches lurking about. The Night Things are the stories a darkly accommodating neighborhood forest goblin Butterworm would tell of Courtney coming to stay, her discovery of the magical world around her, and her possible place in it. And although The Night Things are only a fraction of the telling, it proves a splendid appetizer.

Courtney Crumrin is darling in the way Wednesday Addams is darling. She takes the darker side of the world in stride. And she smirks at just the right moment. “If you wanted to become Courtney Crumrin, you should have done a little more homework. I’m rude, bad-tempered, and basically, I don’t like people” (107). This, of course, doesn’t mean she is invulnerable to loneliness. In fact, it is part of her loneliness, her otherness, that fuels her interest in her falsely infirm Uncle and the contents of his study.

Butterworm’s presence as narrator book ends The Night Things, as does Courtney’s and Aloysius’ meeting. The first is the initial introduction where Aloysius welcomes them into his home with a warning to stay out of his private chambers, which is followed by this amusing frame: a 3/4 image of creepy old Uncle Aloysius with the text and query: He shot her a withering gaze with his terrible eyes. “Would you care for some hot cocoa?” (6). Yeah, Crumrin House is hardly cozy at first. But not without effort does it become a home for the mostly ignored Courtney whom finally finds care and understanding with her Uncle by the final story of this collection. The development of their relationship is subtle, subtle enough not to alert the reader that this may be one of the more important threads lacing The Night Things together until that ending.

The Night Things has a lovely sense of humor. Courtney Crumrin elicits a lingering smile, and even her awful parents garner a laugh now and then, however derisive in affect. The stories/illustrations have a darkling charm that outpaces that of Thomas Siddel’s Gunnerkrigg Court; which came to mind during the reading. Courtney isn’t invincible, nor does her heroine status feel contrived. She isn’t distractingly pretty. She’s impish, and she has no nose.

The darkling aspects of faerie lore are not cute, no matter how darling Miss Crumrin may seem. I found certain disappearances surprising and Courtney’s participation in one of them in particular deliciously intriguing. Magic has its darker aspect and Naifeh explores them. For instance, the desire to be attractive is not a new story and Courtney falls prey to such a vein quest. She wouldn’t mind some glamour, or, at the very least, someone to share a lunch table with at school. The lengths to which the story plays out it is delightfully horrid. It is so nicely done, I felt robbed by most every earlier version of the story and their outcomes. Aloysius: “You’re lucky. You saw only the tip of the iceberg. It could have been much worse.” Courtney: “It was getting pretty bad for a while.” The understatements exchanged between Courtney and her Uncle at the end of this episode had me laughing out loud. Naifeh is good with those cathartic moments. And he needs to be, for all the grim notions introduced and explored.

Naifeh draws great creatures, but he shows any one or thing can be a monster via composition (ie. angles, shadows) and story (text, sequence). As the stories progress, Naifeh manipulates expectation, not turning them on their head per se, but sliding the black or white further into the grey.

The majority of the Reader’s Copy I was granted access to was in black and white. However, the color portion looked good, as expected. A nice palette, one that if I had to draw a reference, I think Kazu Kibuishi’s books. The Night Things style is more traditional comic illustration with a few contemporary notes. Don’t expect overt nods to manga or the cartoon-y. For young audiences, the effect is refreshing while yet maintaining popular aesthetics, i.e. it is completely accessible.

There were no visual signals between collected volumes in my copy ala title panel or page. I can’t say if there will be, but the shift in time and intent is abrupt enough to mark a change. I can say I preference a marked change, even with the evident beginnings and endings to each part. I think the continual development of the setting, situation (world), characters, and themes create a strong enough woven material, not to mention the book ends, that the visual breaks wouldn’t hurt. Regardless, I’m really excited to see how the final special editions of Courtney Crumrin’s adventures turn out.

It will be nice to revisit The Night Things in the Spring as it will allow a perfect break before another visit in the Fall. Courtney Crumrin will be a delightful autumnal read as scary things in one form or another seem to be waiting for Courtney to cross their path. But they are not the only Night Things creeping about. And while Courtney may be young, she is daring, studious, and fierce. She’s a marvelous heroine. She’s just darling.

—–so noted———

Courtney Crumrin and The Night Things has been recommended for all ages, but I would start at a morbid 8 year old, or otherwise 10&up.

{ the first image is of the Trade cover and is not necessarily the final cover of the special edition. quotes attached to page numbers are subject if not very likely to change. other images are from Naifeh’s site gallery (in b/w) which reads like an excerpt. expect nice color work with the new editions.}

here is a nice review at “paipicks” by James Ashelford. do check it out.

There is rumor of a film adaptation in the works; some say it is to be headed by The Orphanage (2007) director (and friend of Guillermo del Toro) Juan Antonio Bayona. a few links in this regard: here and here (nada on IMDb–yet).

the good neighbors (trilogy)

“Long ago, mortals called us The Fair Folk, The People of Peace, The Good Neighbors. They called us these things not because we were fair or peaceful or good, but because they feared us. As they will again.” ~Aubrey (The Good Neighbors: Kin, 77)

The Good Neighbors by Holly Black & Ted Naifeh

book one: Kin

Graphix, 2008. Hardcover, 117 pages.

When Rue Silver’s mother leaves her and her father, those things Rue would catch in the corner of her eyes, or the strangeness she could perceive while looking straight at them, “those moments were beginning to stretch wider and wider” (5). Rue is worried. Add the arrest of her father for the murder of one of his students, the alarming rate in which the plant-life is taking over the city, and discovering who she, her mother, and her kin really are and Rue has even greater worries. The boundaries between the humans and the realm of the faerie is about to break. And these two worlds who have always lived in an overlap is going to sharpen and collide.

book two: Kith

Graphix, 2009. Hardcover, 115 pages. 

The creatures in the realm of the faerie are wreaking havoc among her and her friends as Rue’s maternal grandfather’s plans progress. Everything Rue has come to know disintegrates and she is forced to see everything anew. The turns are darker, dangerous triangles are formed, and Rue is haunted by the question of what causes someone to betray the one they love? And what of the consequences?

book three: Kind

Graphix, 2010. Hardcover, 114 pages.

Rue has been forced to inherit her grandfather’s plans and their inherent conflict. But how can she save both the faerie realm and the human? Should she save them both? The solution means more to Rue than just the rescue of two worlds, it also means the sanity of her own being as the two halves of her threaten to tear everything apart. It is time to either choose sides or find a way to reconcile them, or is it both?

__________

Holly Black creates a complicated story of love and betrayal and it is necessarily dark. That the story is told in a trilogy is perfect because The Good Neighbors is all about threes; triangles are everywhere. It also all about two: author & illustrator.

In the first book, Rue Silver discovers a past that has been kept secret. In the second, the conflicts rise up to meet her in the present, with the consequences of past and present action culminating in an unexpected act. And the third installment looks to the future that is very quickly rising up to meet them all as the city is overtaken by nature and the faerie. Who she was, is, and will be collide within and without and it takes everything Rue has, and then some, to navigate the muddied waters. To favor one over another feels like a betrayal and she can’t help but wonder if there is supposed to be any other way. Where and with whom does she belong? Who is Rue Silver?

{Kith, p49, partial)

Conflict in threes not only reside within the protagonist but in the relationships all about her, to varying degrees and consequence. And they all circle the word betrayal. someone is oppressed, someone is lied to, another is cheated on, one’s addiction creates a rift that is in essence the choosing of it over their lover. I wrote this as if there were a character each, but the actors and their actions are plural.

“Their rules are no longer your rules, child. […] You think what they did is wrong, but this what they are. What they do. It’s their nature” (Kind, 30-1).

“Faeries aren’t like people. They don’t care about the same things. I don’t even know if they feel the same way that people do. But they’re magic, and I think long exposure to magic is like long exposure to radiation. It changes you. (Kind,78)

Romance takes on grittier definition, especially within the blur of differing moral codes. I appreciate how Holly Black creates believable conflict out of the different perspectives of the faerie and the human. How does one approach love when forever isn’t 50-70 some years of relationship, but much much longer? How must the diverse cultures interact? What do you do when you are caught in the between? Rue must decide which side she favors more, and which side favors her more. She also has to understand that relationships change, and those most damaging should be left behind.

{Kith, p 41}

There are plenty of abusive relationships in The Good Neighbors trilogy. Modes that are oft allowed a rosy glow are better lit. Illusions are seen as just that, illusions. At first we see beneath the glamour the faerie use to hide among the human, and some creatures are quite terrifying, but as the story progresses the monstrous creatures that reside behind the glamour the human manufactures are unmasked. The development of the relationships/characterization between/of Nia, Thaddeus, and Amanda was the most beautifully modeled. The Good Neighbors is not the paranormal romance we see played out with sparkles, but is the sort reminiscent of more traditional tales.

Holly Black is known for her cache of old stories and she shares some in The Good Neighbors, she also references them, to good and relevant affect. The moments of stepping away into past or other tales is a nice breather, even as it complicates the story at hand. The enslavement aspect is of fascinating import and Black doesn’t moralize, but neither does she glamorize it. The themes, like the actions, are dark and violent–and yet not inappropriate to its teen audience—not in the least. What may be sexy isn’t left to titillate, but is complicated by revelation. Like in the old stories, there are prices to be paid.

{Kin, p59}

My only real fault with The Good Neighbors is fairly minor, and can be found at the end of book 3, Kind. For all the betrayal and harsh reality the books are steeped in, there are moments of levity. Justin is our comedic relief, and his relationship with Lucy isn’t unpleasant. And while some of the ideas of romance don’t meet their hopeful end they are still warm at the beginning. Some love is “meant” and some relationships die a more natural death—very few in the books, but The Good Neighbors wouldn’t leave it on a completely depressing note. It has worked hard to create a difficult yet functional romance story throughout. It was how that comes into declaration that made my stomach sour. But I guess it had to be said—by her. “I love you, too!” Who isn’t vulnerable to the need for love and romance. sigh.

{Kith, p18}

Finally, to the art! Ted Naifeh was a fantastic partner in the storytelling. While Holly Black brings traditional stories to the mind of the Reader, Naifeh brings traditional comics to mind in the drawing—minus the color. The black, white, and grey, of course, work well as a thematic trio. It also lends greater drama.

The art lends verisimilitude. The renderings of each figure creates an actual character rather than a caricature. The draws the story out of Fantasy or abstraction. Naifeh’s attention to features in ethnic portraiture, in the more imaginative realms, and in the sometimes melding of the two are a refreshing study. Naifeh not only creates possibility in his illustrations, but probability as well.

Story in text and image are well-balanced, perfectly suited to one another. The tone of the illustration, as well as its elements facilitate a nuance to the text. Book one, Kin, page one: the splintering via mirror, the silhouette walking away, the bottle of tums. And then the things Rue tells herself (and the Reader). The tension, the conflict launched so magnificently in the very first page. The Reader can know to expect a great storytelling experience via the writer and artist from the very first. They should now Black and Naifeh never let up. That the cover reads “The Good Neighbors by Holly Black & Ted Naifeh” without delineation was a truth. Within the reading experience, the two are inseparable. And The Good Neighbors is all the more excellent for it.

***

so noted: if you’ve young ones about, don’t leave this one lying around–while imagery could have been more explicit, it is suggestive enough. This is a good comic for teen girls and boys and older, especially those taken with faerie stories. Needless to say this would also make a good Readers Imbibing Peril (RIP) read for Carl V. @ Stainless Steel Droppings annual Autumn challenge.