All Summer Long. By Hope Larson, colored by MJ Robinson. Farrar Straus Giroux, May 2018. Paper: ISBN 978-0374310714, $12.99. Hardcover: ISBN 978-0374304850, $21.99. 176 pages.
All Summer Long is as interesting for what it doesn't do as for what it does. A teen-to-tween story of nervous friendship and awkward changes experienced over one summer, this middle-grade graphic novel hints at the familiar transition from palling around to the first tentative steps of romance—but it doesn't go there, and it's the better for it. Protagonist Bina, a thirteen-year-old girl, lives in suburban Eagle Rock, California, and has just completed seventh grade. As summer looms, she rather possessively longs for the usual months of uncomplicated fun with her best friend and neighbor Austin, but instead finds Austin changing, and her own social life unmoored. The novel recounts the ensuing summer, a bewildering stretch that, for Bina, climaxes in discoveries that kick up her musical aspirations and sense of self a notch. Romance plays a part in all this, but it's not the romance of Bina and Austin, nor indeed any kind of courtship story for Bina; instead it's about growing up a few small steps. Bina's story is not starkly gendered, nor does it follow a heteronormative romance plot. Rather, it's about one particular girl with a passion for music, anxious not to be left behind by her best friend but also learning that the two of them can be separate, different people. Modest in scope—the book spans just ten weeks or so—All Summer Long does not boast a complex, nail-bitingly suspenseful plot or pose terrible moral dilemmas. It's all about characterization and observation, in one short, focused, tightly-written arc. As such, it plays to author Hope Larson's strengths.
The plot setup is simple. Austin's month-long sojourn at soccer camp upends his and Bina's fond summertime tradition of keeping a "combined summer fun index" (a playful numeric scoring system):
Bina, feeling adrift, gets mad, sad, bored, and, finally, musical, playing her guitar and getting into a favorite new band:
Bina tries to keep up contact with Austin via texting, but long silences from him, and then telltale signs of separateness or withdrawal, leave her feeling lost. She strikes up an odd friendship with Austin's much older sister, Charlie, but there the age differences prove too great for anything like an equal friendship. Austin returns from camp different than when he left, and needs space; Bina feels rejected. Even the shared experience of a gig by Bina's favorite new band doesn't help. The two friends fall out—but then Bina learns what's really been going on with Austin, a discovery that brings reconciliation while also definitely canceling any possibility that the two will pair up romantically as per the stereotypical adolescent courtship plot.
The book ends by affirming Bina's budding sense of identity as a musician (an emphasis hinted at by the cover and the chapter breaks, which suggest her dedication to guitar practice). Mild spoiler: her friendship with Austin, though now less exclusive, endures. The events of the summer look different in the rear view mirror, so to speak, and Bina enters eighth grade with a newfound sense of who she is and what she wants. The denouement is both definite yet open-ended enough to invite the reader to think about what's coming next (online info suggests that All Summer Long is part of an "Eagle Rock Trilogy," though I saw no signs of this on the book itself).
All Summer Long recalls Larson's early graphic novel about summer camp, friendship, and coming of age, Chiggers (2008). Aesthetically, its tangerine-soaked two-color scheme (courtesy of colorist MJ Robinson) gets closer to her adaptation of A Wrinkle in Time (2012), in which a light blue served as the second color. Larson has become increasingly fluent and emotionally nuanced as a cartoonist (Wrinkle, a demanding project, seems to have tested and extended her skills). All Summer Long is not a subtle or elusive text; the important thing is that the art communicates, words and pictures working in tandem, keyed to physical action but especially to the rhythms of dialogue. In fact, dialogue is one of Larson's not-so-secret weapons. Her characters have a sense of humor, and know how to spar verbally. Dialogue exchanges are brisk, and Larson has a playful way with language:
I confess, though, that I don't find Larson's drawings very transporting. They are good at conveying the in and out of relationships and the lived-in business of feeling and negotiating. They're likewise good at putting characters in spare but habitable spaces, and working out their interaction visually and physically. Only occasionally do they give off any mystery or magic. This was a problem for some of my students, and for me, when I recently taught Larson's Wrinkle alongside Madeline L'Engle's original novel. Larson's adaptation does many things well: it is patient, thorough, as close to the details of L'Engle's text as it can get, and yet eminently readable. Larson (and her publisher) made a good decision in letting the story breathe and expand (up to near 400 pages), a call that too few makers of comics adaptations of literature are willing to make. Larson's Wrinkle cleaves to L'Engle, parses out the action carefully, and seeks to uphold the original's weirdness (despite Larson's confessed aversion to L'Engle's religious themes). She does all she can to give the novel a measured, thorough, and deep treatment. But when it comes to depicting the spiritual, the metaphysical and cosmic, the book falls oddly flat, with prosaic images that, perhaps inevitably, cannot capture L'Engle's use of paradox and self-cancelling figures of speech. My students were quick to pick up on L'Engle's impossible descriptions, which at once invite but frustrate any literal visual depiction. They were also quick to criticize Larson's pages for not living up to those mystical, or I might even say theological, moments. Those passages appear to call for an escape from the grid, from careful, measured steps, and a plunge into the odd and disorienting. Larson doesn't really deliver that, though. She does use layout ingeniously to convey the impossible experience of tessering (transporting), but her alien vistas and creatures tend to be rather ordinary. It's clear from Larson's work as a comics writer (for example, the seafaring adventure of Four Points, with artist Rebecca Mock), or indeed from the magical elements of her early graphic novels (e.g., Gray Horses; Mercury), that she has a yen for the fantastical, but her own drawing seems more methodical than dazzling. All Summer Long, again, plays to her strengths.
Larson has been a prolific creator, from her early burst of original graphic novels (2005-2010), through the long haul of Wrinkle, to a lot of subsequent work writing for other artists: again, Four Points, but also Who is AC?, Goldie Vance, and Batgirl. (She has also written and directed a short film.) All Summer Long is her first solo, self-drawn book since Wrinkle, and comes after a brief period during which, it appears, she struggled to sell a new graphic novel, but then moved into a long spell of collaborative work, much of it in periodical form. After all that, All Summer Long seems to tack in the direction of current tastes; it's the kind of book that is all the rage in graphic novels today: namely, a middle-grade coming-of-age story about and for girls. This is not startlingly new territory. But Larson is good, very good, and if All Summer Long leads to a series of books in a similar vein, they will be worth the reading.
5 Worlds: The Red Maze. By Mark Siegel, Alexis Siegel, Xanthe Bouma, Matt Rockefeller, and Boya Sun. Random House, May 2019. Paperback: ISBN 978-1101935941, $12.99. Hardcover: ISBN 978-1101935927, $20.99. 256 pages.
5 Worlds — the epic science fantasy series by brothers Mark and Alexis Siegel and the artistic team of Xanthe Bouma, Matt Rockefeller, and Boya Sun — has been overstuffed with invented worlds, scenic wonders, and dizzying plot twists from the start (that being 2017’s The Sand Warrior and its 2018 followup, The Cobalt Prince). The series has bounded from one setup to another with a breathless energy and worked up a sprawling, spiraling plot. Its delights are many, but its confusions too, inspiring mixed reviews from yours truly (the first here, the second here). It’s a labor of love, obviously, and the complex collaboration behind it has wrought visually seamless results: a remarkable artistic and editorial feat. There have been times, though, when 5 Worlds has seemed to rush narratively from one thing to another: this world, and then that; a tip o’ the hat to this influence, then that one; another disclosure of tangled backstory, another "huh?" moment. I’ve sometimes wondered if the influences were going to cohere into something distinct, and if the long game wasn’t getting in the way of the individual volumes. But no longer. The recently-released third book, The Red Maze, gathers up, extends, and deepens 5 Worlds with confident character and thematic development, careful pacing, and a troubling relevance. It’s the strongest, most sure-handed of the three books to date, also the sharpest and most topical. An ambitious entry, it gains depth on rereading, while still pulling this reader eagerly on, toward the next volume. Now we’re talking.
Briefly, 5 Worlds depicts a system of five planets (to be visited over the series’s five volumes) that are dying of heat death and can only be saved by the lighting of a series of ancient “Beacons,” one on each world. Each new volume of the series focuses on one of the worlds and uses an integrated color scheme implying the dominant culture(s) of that world. The protagonists, a classic heroic triad, are Oona, trained in the ancient discipline of “sand dancing,” who is tasked with reigniting the Beacons; An Tzu, a street urchin of unknown origins and powers, still coming into his own; and Jax, a sports star and (secretly) an android, though archly nicknamed “The Natural Boy.” Each has an unfolding origin story full of twists and surprises, from Oona’s true heritage (revealed in The Cobalt Prince) to the newfound humanity of the Pinocchio-like Jax (who was waylaid for most of the second book but returns and grows more complex here), to An Tzu’s “vanishing illness” (i.e. disappearing body parts) and newly discovered oracular powers. All three have nonstandard, stereotype-defying qualities and hail from vividly realized cultures (carefully imagined in terms of ethnicity and class). In The Red Maze, all three have arcs, problems, and discoveries, without any one of them being overshadowed by the others. From the book's opening, a frantic action scene that reintroduces Jax, to its final pages, which tease the forthcoming Volume Four, the plot rockets along, and yet, more so than in past volumes, makes room for quiet, character-building exchanges and epiphanies. The Red Maze made me want to reread all three volumes with an eye on that proverbial long game. If the second book improved on the first, this new volume overleaps them both.
The Red Maze’s special power comes partly from its pointed political relevance. The book allegorizes the current politics of our world in a way that's pretty much on the nose, and crackles with urgency. At last, it seems that 5 Worlds is discovering (or perhaps I am just belatedly discovering?) its themes, which include, broadly speaking, fighting impending ecological disaster while speaking truth to power, and finding one’s identity in principled resistance without losing the joy of life. The Red Maze depicts its heroes saying "hell no" to the short-sightedness and greed of oligarchs and false populists who have vested interests in denying that anything is wrong. Along the way, of course, it tells multiple coming-of-age stories, as each of our three heroes has self-discoveries to make — but it's the constant backdrop of world-threatening climate change that sharpens everything and raises the stakes. This particular volume takes place on “the most technologically advanced of the Five Worlds,” the supposedly free and democratic Moon Yatta, against the background of, ah, an election campaign that pits the ordinary mendacity of a self-serving incumbent politician against the demonic scheming of a populist gazillionaire challenger, a demagogue boosted by authoritarian media and keen to exploit xenophobia. Both would like to silence our heroes’ message of looming environmental collapse. Basically, we’re dealing with climate change denial here, as well as a stew of political chicanery, nativism, and bigotry. Familiar?
There’s more. The Yattan regime, we learn, suppresses a minority of protean “shapeshifters” who have the ability to change bodily form (and gender) but who are subdued by “form-lock” collars (clearly, signs of enslavement). Signs of oppression are everywhere, most obviously in a diverse crew of rebellious street kids who become an intriguing if perhaps under-developed new supporting cast. Despite the kids' help, though, our heroes' attempts to penetrate the industrial complex or “maze” around Moon Yatta’s Beacon come to nothing. So, desperate measures are called for. Jax, athletic superstar, is coopted to play in a much-hyped televised championship that becomes a propaganda coup for the challenger, supported by the obscenely wealthy “Stoak” brothers. And if all that doesn’t come through clearly enough, allegorically, consider this blurb on the book’s inside front cover:
...Moon Yatta is home to powerful corporations that have gradually gained economic control at home and on neighboring worlds... [Its] democratic system of government is widely admired in the Five Worlds, but there is increasing concern that it may be undermined by the political influence of its corporations.
Indeed, a cabal of super-rich profiteers, aided by the rantings of a Limbaugh or Alex Jones-like media blowhard, works to undercut the Yattan democratic system. Everything, it seems, is about money, even health care: a hospital scene depicts a boastful, tech-savvy doctor determined to leech every penny from his patients. Other scenes show populist xenophobes towing the oligarchs’ line and condemning the shapeshifters for threatening the social order. Racism and homophobia are implicitly evoked (you have to read between the lines, but what’s there isn’t that hard to see).
Unsympathetic readers might call this propaganda, but children's fiction, including fantasy fiction, has always been value-laden if not didactic. My description may make The Red Maze sound less like a story than a screed, but it actually is a story, and a thrilling one, a rattling good yarn. At its heart is a spiritual crisis for Oona: the weight of expectation on her is so great that it crushes her joy in dancing, in using her near-magical art. She falters, bewildered and panicked by the retreat of her powers. (This recalls, for me, Kiki’s temporary loss of confidence and magic in Miyazaki’s adaptation of Kiki’s Delivery Service.)
Late in the book, a training sequence, that is, a mentor-mentee sequence, allows Oona — and the story — a calming and refocusing moment, a catching of breath. Thus Oona is able to take a perspective beyond that of the looming crisis, and learn a crucial new power. Her dilemma has to do with finding ways to sustain her spirit in the face of overwhelming environmental and political odds: how do you keep going when things are so terrible? That’s a kind of dilemma, and story, that needs telling right now.
Oona's mentor Zelle (one of a long line of mentor or donor figures in 5 Worlds) tells her, “We each have our own red maze. We can be lost there.” What’s needed, Zelle suggests, is joy and inspiration: some delight in the doing, right now, whatever the odds against us. Oona, though, admits that she feels stuck “inside the red maze. I feel confused just thinking about the place.” She has to look for other perspectives on her task, other angles on the problem. Out of that crisis comes the through-line that gives The Red Maze its depth and integrity.
This third volume of 5 Worlds makes everything click. It's aesthetically dazzling, of course; 5 Worlds has always been beautifully designed, rendered, and colored. The Red Maze is another master class in revved-up graphic storytelling, the pages at times bursting into frenzied action, during which bleeds, diagonals, and unframed figures spike the book's ordinarily measured and lucid delivery (dig, for instance, the ecstatic climax). The series has always been good at that sort of thing. Yet now 5 Worlds is jelling narratively and thematically. The Red Maze builds smartly on the previous books, and brings fresh nuances to its heroes, growing each into a deeper, more interesting character. The myriad artistic influences are still there, but the world-building no longer feels, say, stenciled from Miyazaki; instead the story-world has gained enough heft and momentum to draw this reader into its own singular orbit. And the stakes feel genuinely high.
I expect that, when 5 Worlds is completed, rereading it all and watching it come together is going to be a very rewarding experience. Granted, The Red Maze won't make sense to those who haven't read the first two volumes: though 5 Worlds has a modular structure (one world per book), it is definitely one continuing story, not an episodic series. (Start with The Sand Warrior.) But this third volume is a terrific reward for those who've been following along: a timely, urgent, artfully layered adventure. I think we’re looking at some kind of monument in the making.
Random House provided a review copy of this book.
KinderComics, alas, has been away for too long. This spring and summer, I have had to channel my energies elsewhere. I hate to admit it, but my academic-year workload does not make room for frequent blogging, and when the summer or intersession comes around, well, then I end up having to advance or complete other long-simmering projects. Lately I’ve had to cut back, refocus, and make a point of not driving myself nuts! Still, I am going to push for several reviews this summer; I want to keep KinderComics alive. The field of children’s comics is too important, and my interest in it too intense, to let go.
I’ll have a review of 5 Worlds: The Red Maze up later this week, and then a few (probably short) ones between now and Labor Day, in order to keep the engine humming. Thank you, readers, for checking out or revisiting KinderComics. I’ll keep pushing.
There has been a great deal of news on the children's comics front during my four-month absence. Would that I could go into all these stories in detail:
Besides all that news, awards have been given out:
My gosh, what a busy and exciting field. Keeping up is a challenge! I hope to do a better job going forward.
A sad postscript
When it comes to public-facing scholarship and comics criticism, one of the most inspiring figures to my mind was the late Derek Parker Royal, co-creator, producer, and editor of The Comics Alternative podcast. Derek, a major critic of Philip Roth, Jewish American literature and culture, and graphic narrative, passed away recently, leaving a grievous sense of loss in the hearts of many. He was a scholar, innovator, and facilitator of a rare kind, generous, engaged, and prolific, and will be greatly missed in the comics studies community. He brought many people into that community; for example, at the Comics Studies Society conference in Toronto last weekend, his longtime collaborator Andy Kunka spoke movingly of how Derek encouraged him to enter the field. I will think of Derek whenever I post here, and the soaring example that he set.
RIP Derek. Thank you for your scholarship, your advocacy, and your spirit.
Sadly, this blog has been temporarily waylaid by academic duties (insert drawn-out Schulzian sigh here). However, I can poke my head out of the ostrich hole long enough to report, albeit belatedly, that the graphic novel Archival Quality (Oni Press, 2018), by Ivy Noelle Weir and Steenz, recently worn the 5th Annual Dwayne McDuffie Award for Diversity in Comics given out at the Long Beach Comics Expo. Geoff Boucher had the news, at Deadline Hollywood, back on Feb. 15. I'm sorry I didn't catch this fast enough! I reviewed Archival Quality last March.
This year's other nominees for the McDuffie Award for Diversity were: Papa Cherry by Saxton Moore and Phillip Johnson (Pixel Pirate Studio), Exit, Stage Left!: The Snagglepuss Chronicles, by Mark Russell and Mike Feehan (DC), Destroyer by Victor LaValle and Dietrich Smith (BOOM!), and The Carpet Merchant of Konstantiniyya by Reimena Yee (self-published, about which, more here).
Tempus Fugit Dept.:
What follows is a rundown of English-language comics newly published in North America in 2018 that have left strong impressions on me — but it is NOT intended as a "best of 2018" list. Frankly, it's too quirky, too patchy and selective, to qualify as a professional survey of the field's best. It testifies to a comics-reading life hemmed in by other obligations, and by the amount of time I've spent rereading, teaching, and writing about titles from before 2018. For example, this list is manga-less, testifying to the fact that I tend to binge-read manga seasonally, guided by nudges from my daughter Nami Kitsune Hatfield (and those binges usually consist of older titles; my time lag on manga is considerable). Likewise, this list is Eurocomics-free. These are sad omissions, but a fair take on how my year has gone. Also missing are webcomics, as I don't yet have a steady webcomics-reading habit or a firm sense of that huge, and vital, field.
That said, I stand by the following list, which contains, IMO, some of the best print comics published in North America this past year. They are not all young readers' comics, i.e., not all books I'd review for this blog — but those I have reviewed on KinderComics are mostly up top. (Doing KinderComics has certainly shifted the balance of my comics-reading toward kids' titles.) Two picture books round out the list, at the bottom.
The Prince and the Dressmaker, by Jen Wang (First Second Books). A gorgeously drawn, progressive, Belle Époque fairy tale about couture, gender, desire, hiding out, and coming out. Its nuanced artwork, tender and expressive, is charged with complex, unspoken feeling. I dig both the aesthetic loveliness and generous spirit of this graphic novel, which is positively swoonworthy. KinderComics reviewed this on March 14.
The Dragon Slayer: Folktales from Latin America, by Jaime Hernandez (TOON). The first children's book by the great Xaime (see Love & Rockets, below) is a treasure: a set of three stories that have the off-kilter, arbitrary, but oh-so-perfect logic of traditional tales. These are droll and lovely comics, delivered with the author's trademark classicism, clarity, and verve. Just a plain delight. In a better world, folk and fairy tale comics like these would be reaching millions of young readers every month, in affordable comic book form (I dream of a more culturally diverse Fairy Tale Parade for the 21st century). May there be more of this kind of work from Xaime! KinderComics reviewed this on April 5.
Be Prepared, by Vera Brosgol (First Second). The author of Anya's Ghost switches gears, from children's Gothic to a Raina-style memoir of summer camp. An ambivalent, though affirming, tale of cultural heritage, tween awkwardness, and hard lessons. Sharp, funny, and refreshingly unsentimental, with killer cartooning and comic timing. I like the fact that Brosgol sometimes lets her kid protagonists be jerks and that she indulges in bodily and occasionally raw humor. KinderComics reviewed this on May 21.
The Cardboard Kingdom, by Chad Sell et al. (Knopf/Random House). A paean to creativity and community: a diverse bunch of kids get together, make stuff, and transform their suburban neighborhood into one nonstop live action role-playing campaign: a shared game of let's-pretend, populated with stalwart “heroes” and gleeful “villains.” Remarkably, this novel follows almost twenty distinct characters (each chapter focuses on a different character or group, and each is co-written by Sell and another creator) and yet it all hangs together, building to a big, punchy climax. Along the way, many of the characters defy societal norms — especially around gender and sexuality — and Sell and co. build a utopian vision of community that happily incorporates and celebrates difference. I’ve admired this book from the first, but when I reviewed it back on May 28, I did complain a bit, saying that the story seemed a bit too perfect, too quickly and neatly resolved, and that the book telegraphed its punches too obviously. However, having reread and taught The Cardboard Kingdom this past week, I’ve come to see it as a remarkable achievement, and I expect that it’s going to be a watershed for middle-grade graphic novels. Sell’s cartooning, lively and eminently readable, is the unifying factor, and should not be underrated (he hides his painstaking work in plain sight: everything seems effortless). I don’t think I’ve ever seen a better treatment of what superheroes can mean for young children. (What is the “Gargoyle” chapter, if not the story of a young Batman fan?)
On a Sunbeam, by Tillie Walden (First Second). Walden has great artistic courage, and a genius for comics. Like Jillian Tamaki and Eleanor Davis, she shows such skill and daring that she leaves me gobsmacked. Collecting and revising her epic webcomic, this graphic novel could serve as Exhibit A of her dumbfounding excellence. It’s a tale of love and community, exile and rescue. In a boarding school. In space. A first-class genre-masher, it works as both a heartfelt queer romance and a caroming space opera. Walden's graceful, economical art conjures up a fantastical world and a found family of diverse, shaded characters. The work is generous, yet dares you to take it on its own terms. I read this in one breathless, late-night sitting, wow, and reviewed it on October 26. Book of the Year?
Sabrina, by Nick Drnaso (Drawn and Quarterly). Not a children’s book. Chill and frightening, but oh so terribly human and believable. Here's what I had to say about this timely and upsetting graphic novel on its initial release: "A tense, quietly devastating clockwork of a book—drenched in unease and punctuated by moments of muted terror. A study of misinformation, fake news, post-9/11 paranoia, and epistemological doubt—and, more importantly, how it feels to live with these things, on an everyday human level. Sterile, clip-art like drawings, deadpan, seemingly emotionless, and inscrutable, become, as you read in deeper, perfect conveyors of dread." I stand by that: reading this book was an unsettling experience that stayed in my head, haunting me, nagging me, for days.
Why Art?, by Eleanor Davis (Fantagraphics). A satirical allegory of sorts, smart and stinging as a whip, but humane and thrilling too. It starts by poking fun at the fatuous self-regard of artists, but then upshifts into a poignant, confounding fable about how much (too much?) we demand of art in catastrophic times. Davis is one of the best comics artists today, an impeccable cartoonist and designer, also a great writer. Again and again, she turns mockery into sympathy, unsettles settled opinions, and overturns smug knowingness in favor of a more complex, and earned, humanity. Small book, big yield. I reviewed this at Extra Inks (the Inks and Comics Studies Society blog) on March 24.
Girl Town, by Carolyn Nowak (Top Shelf). I discovered Nowak through her erotic minicomic, No Better Words (which is great — see my mini-review here). Soon after, Top Shelf released this, her first big collection, which includes the celebrated story "Diana's Electric Tongue" and other tales. Aptly named, Girl Town is a queer-positive anthology of young woman-centered tales that evoke uncertain, often unspoken feelings (it could be considered Young Adult fiction, though I don’t think it’s YA by design). The stories are perhaps uneven, some more finished-seeming than others, but every one of them hits home. The best of them are great. Nowak does tenderness and feeling so well; you can feel the desire welling up in her characters. Her cartooning and timing: flawless. I bet we’ll be raving about Carolyn Novak years from now.
Flocks, by L. Nichols (Secret Acres). This memoir about growing up queer in a fundamentalist community depicts its protagonist as a rag doll, surrounded by characters rendered in more conventional fashion. At the same time, the pages are full of scientific notation, as if guilt, fear, and alienation could be drawn out as a physics problem — aesthetically, I’ve never seen another comic like it. Flocks does that thing that I long for comics to do: communicate feeling through a complex visual language of its own. Remarkably, this story about how to find your identity within and between your “flocks” (your communities, or social worlds) avoids rancor in favor of a comprehensive love and understanding, even as it criticizes and ultimately rejects fundamentalism and its protagonist literally transitions into a new life. A beautiful, affirming book, deeply personal, and a compelling addition to the growing comics literature on trans experience. I wrote about this briefly on KinderComics, on October 9.
From Lone Mountain, by John Porcellino (Drawn and Quarterly). John P is a national treasure. From Lone Mountain is an exquisite collection of four to five years’ (seven issues’) worth of comics and stories from his indispensable zine King-Cat. Tender, heartbreaking remembrances of everyday life and of life-changing loss and struggle, all distilled down into John P’s crystalline, oh-so-spare, Zen-minimalist style. A record of a hard passage in the life of one of America’s greatest cartoonists — and that rare thing, a truly moving comic that brings tears to my eyes. I reviewed this wonderful book for The Comics Journal, back in March.
Poochytown, by Jim Woodring (Fantagraphics). Woodring returns to the Surreal, dreamlike world of Frank (bucktoothed zoomorph of uncertain species) to rewrite, or unwrite, an earlier episode. It's as if the jury has been instructed to disregard earlier testimony (but who can ever forget such testimony?). The result feels like having a recurrent dream with variations, or like winding back to the start of something that seems oddly familiar but then fails to stick to what you expected. No matter: the wordless misadventures (joys, sufferings, weird trips) of Frank and company are among the most hypnotic comics I know, and also the most alarming, as the characters' surface cuteness often gives way to amoral selfishness, self-defeating foolishness, and even downright cruelty (these are adult books). Behind the mask of cuteness lies a loving terror at the mysteries of life. This graphic novel is an especially loaded example. In short, Poochytown (rendered as ever in the mesmerizing Woodring Wavy Line) is strange and delightful. Whenever I finish a Woodring book, I feel as if I've come back from a journey to a distinct and unnerving place — one I always want to revisit.
In addition to the above self-contained graphic books, I have, of course, continued following a number of comic book (i.e. pamphlet or floppy) serials this year. Most, but not all, have been direct-market series in the traditional sense. Here are the four that have impressed me most. None began this year, and so none is quite new, but of all the floppies I've tracked, these have been the most meaningful for me:
Tongues #2, by Anders Nilsen (No Miracles Press). It might not be quite right to call this a "floppy" serial, but it is literally that, i.e. a saddle-stitched comic book periodical (or sporadical). Really, it's as lavish as any of the books listed above: a real art object. It's also narratively dense and, frankly, mind-boggling. At once a fable, myth fantasy, puzzle, and brutal take on our brutal world, Tongues consists of multiple intertwining stories that promise some kind of awful shared meaning. Nilsen uses the fantastic to probe and trouble, never to back away from what's hard. I have no idea where this is going, but each new issue startles and then haunts me. And its beautiful, oversized format is narratively meaningful: not just sumptuous, not just lavishly drawn and printed, but insinuating, teasingly coded, designed down to the last significant detail. These are masterful comics, eerie and destabilizing in the best way. (I reviewed the first issue of Tongues for Extra Inks on August 1.)
Frontier #17, by Lauren Weinstein (Youth in Decline). Like Tongues, Frontier might be considered a kind of "art floppy," one that few comic book stores will carry. That's too bad, because this quarterly anthology is outstanding. It devotes each issue to a single artist, and there have been some wonderful ones: Jillian Tamaki, Eleanor Davis, Rebecca Sugar, Emily Carroll, Michael DeForge, and more. Honestly, every issue is strong. This issue, by Lauren Weinstein, consists of "Mother's Walk," a memoir of childbearing and parenting, in fact the story of her second child’s birth. Gutsy, explicit, tender, alarming, and funny, it’s a wonderfully frank comic about a dimension of life too often soft-pedaled, sentimentalized, and mystified. Weinstein paints and cartoons in a way that's deliriously free and unconventional. As soon as I read this book, I decided to add it to the reading list in my comics class next semester. Weinstein says she has more stories to tell in this vein — a whole book, even — and, wow, I would queue up for that. She is great. I wrote about this briefly on KinderComics, on October 9.
Love & Rockets #4, 5, and 6, by Gilbert Hernandez and Jaime Hernandez (Fantagraphics). I love no comic book series more than this one. Launched in 1981, L&R has lasted long enough to come to terms with its own history, and recent stories by Gilbert and Jaime have done that, with lived-in characterizations, loving revisitations, reflections on growth and change, and, most importantly, fresh, disconcerting, surprises. Just when I think I’ve got them pegged — just when I’m getting all nostalgic about their work — they throw another curve ball, and I get a little shock, a mild sense of disorientation. And I love it. Funny, poignant, masterfully drawn comics, always a pleasure. This year’s issues have been particularly great, confirming yet again that Los Bros are two of the best cartoonists alive.
Sex Criminals, by Matt Fraction and Chip Zdarsky (Image Comics). This risk-taking genre mashup, a ribald, at-times explicit tale of desire, shame, romance, and crime, no longer quite works as a traditional comic book serial: long wait times have attenuated its suspense, and these days each new issue requires me to reread the previous ones just to stay more or less unconfused. (I’ve had that same experience with L&R.) Sex Criminals is an odd duck, pushing at the seams of several genres at once, and sometimes it falters. Further, its queasy comedy may sometimes seem glib. But I think it's terrific; from my POV, Fraction has far outgrown glibness. Further, I delight at Fraction and Zdarksy’s self-questioning way of complicating, perhaps even sabotaging, their initial premises. Gutsy, weird stuff. So, I look forward to reading this series to its end.
And, on the more obviously commercial, work-for-hire side of serial comics, there's the final arc of Mister Miracle, by Tom King and Mitch Gerads (DC Comics). By rights I should hate this, but I don't. A dark, depressive update on Jack Kirby's beloved Fourth World character — the super escape artist, emblem of freedom and possibility — this story begins with the hero trying to kill himself, and goes downhill from there. But then uphill, maybe? The final movement, and last couple of issues, are enigmatic but guardedly affirming. Overall, though, this series is harsh, troubling. King, the direct market's laureate of depression and trauma, works in an Alan Moore-ish vein, with a similar clinical formalism that offsets the bruising emotional content. At times ultraviolent, at other times perversely comic, this is one revisionist superhero comic that actually seems to be trying to say something. I can't say I love it, but it has a mind, and some genuine ache, behind it. Increasingly, I find myself rejecting nostalgically literal takes on Kirby, and this came as a sort of tonic relief from that mode — something oddly personal. So, yeah.
Finally, I also want to mention two picture books from 2018 that do not seem to be "comics" in the usual sense but happen to be by established comics artists and are wonderful visual poems:
They Say Blue, by Jillian Tamaki (Abrams). A young girl looks at the world around her in light of what people conventionally “say” about it — and her thoughts deliver up the world anew, richer and more beautiful than convention will allow. The landscape, the weather, the water, the sky, and small observations about everything: They Say Blue builds out from these, in lyric rather than narrative form. The book steers into Romantic conceptions of the Child as naively wise and gifted with unblinkered sight — yet at the same time Tamaki thankfully includes notes of mundane business and everyday frustration, touches that ground the book’s sense of wonder. Very much an observational picture book in the modernist here-and-now tradition — Tamaki does not regard it as a comic — They Say Blue is visual poetry of a high order, and a drop-dead gorgeous book. Is there anything this supremely gifted artist cannot do? KinderComics reviewed this on April 26.
We Are All Me, by Jordan Crane (First Second). Lately I've been teaching this picture book in English 392, and Crane recently came to my campus to talk with my class and other visiting students. This too is a lyrical picture book rather than a storybook, and in fact it is even less "narrative" than They Say Blue. Built around the concept of interdependence, We Are All Me is a brief but very rich poetic evocation of the web of life. It balances figural and abstract forms and creates its own system of colors and color-transitions, taking us from the individual human figure to the cycle of life and then into the atomic, even the quantum, level. As it moves toward the infinitesimal, it embraces the infinite. Finally, it brings us back to the human form, the individual "me," yet also the affirming collective "we." This is not a very original conceit -- indeed, the book builds upon a familiar, almost proverbial, wisdom -- but Crane realizes it with beautiful, glowing pages and a suite of braided and nested forms and inspired visual rhymes. The total effect is transporting. I have never seen a mass-market book with such fluorescent, eye-boggling color. Quite lovely: a book to get drunk on.
The above are the graphic books that have meant the most to me in 2018. They have stood out in mind and stayed with me, and in many cases moved me. I’ve read and re-read them, stared at and savored and wondered over them.
In my opinion, it's been a great year for comics in the US, and there's lots more to love beyond these few titles. Man, do I have a lot of catching up to do as a reader! For example, there are new titles or new US translations by Emily Carroll, Junji Ito, Nagata Kabi, Hartley Lin, Héctor Oesterheld & Alberto Breccia, Katie O'Neill, Keiler Roberts, and others that I want to experience. Plus, there's a number of ongoing floppy-to-trade serials I am seriously behind on, such as Monstress, Saga, and Paper Girls, and there are promising new floppy series to track (The Seeds and Bitter Root, among others). In fact, there's a ton of promising new work out there! (And what about the comics I don't yet know anything about, the genuine surprises? Maybe this week's CALA festival will once again introduce me to a few. So much to learn!)
And, no, I haven't yet finished Jason Lutes's collected Berlin. I'm saving it. :)
PS. I have to say, First Second Books is my Publisher of the Year. They have put out such strong books in 2018 (including ones by Sarah Varon, Graham Annable, and Aaron Renier that very nearly made the above list). Theirs is one amazing catalog. Twelve years and counting, they've been bringing great comics into the world, but 2018 in particular has been a superb year for them.
Comic Arts LA (CALA), the annual festival for independent comics lovers here in Los Angeles, is coming this Saturday and Sunday, Dec. 8th and 9th, from 10am to 5pm each. This will be the fifth CALA ever, and the fifth that I have attended. I wouldn't miss it! CALA will be held at:
Homenetmen Ararat (Elevate Fitness Complex), 3000 Dolores St. Los Angeles 90065
(This is in the Atwater Village neighborhood of Glendale.) Further information about the venue, travel options, and parking can be found on the CALA website under Location.
CALA, organized by Jen Wang, Angie Wang, and Jake Mumm, is a free, public event that aims to promote (as its website says) "the appreciation of comics, graphic novels, and sequential arts among the broader Los Angeles public." It's WONDERFUL: a friendly, inclusive, diverse space that offers you a chance to interact with great artists whose work will be defining comics for years to come.
I always go to CALA. If you're interested in comics as an art form — not comics-based movies or other media, but comics purely as an artistic and literary form, as an expressive outlet, and as a culture of makers — then CALA will be right up your alley. I always get "schooled" at CALA (and I've been studying comics for a good part of my life). It's one of Los Angeles's great events for independent publishing and art-making. This year's lineup is super-strong: special guest artist Ronald Wimberly, panelists Nalo Hopkinson and Rachelle Cruz, panelists/exhibitors like Yumi Sakugawa, Richie Pope, Julia Kaye, and Molly Knox Ostertag (and many more), plus exhibitors like Robert Goodin, MariNaomi, Sophie Yanow, Malachi Ward, Czap Books, Youth in Decline, and the Center for Cartoon Studies (and, oh, about a hundred others). And who knows what artists unknown to me I'm going to learn about this time?
Plus: CALA is doing this once again, which is awesome:
This Friday: KinderComics's favorites of 2018!
Lest we forget, the bulk of the comic books Stan Lee wrote were children's comics. The effect they had on childhood "me" would be hard to overstate. At my Jack Kirby-themed blog, Hand of Fire, I pay tribute to the late Mr. Lee and grapple with complex feelings about his reputation and work:
On a Sunbeam. By Tillie Walden. First Second, 2018. ISBN 978-1250178138. 544 pages, softcover, $21.99.
Tillie Walden has an uncanny gift for, and dedication to, comics. Her newest book On a Sunbeam (compiling and adapting her 2016-2017 webcomic of the same name) is a gift in itself: a queer romance that starts as a young adult school story—an acute exploration of tenderness, social anxiety, and the keeping of secrets—but then blossoms into a breathless adventure tale. At the same time, it's a paean to queer community and found family, while also being, wow, a space opera. I'm not kidding. In other words, On a Sunbeam is a miracle of genre-splicing and of unchecked, visionary cartooning—one in which Walden does whatever she wants, while yet upholding a traditional, eminently readable form. As soon as I got a copy, I was pulled along, pretty much helpless, for an ecstatic 540-page ride.
The story ought not to work, in theory. On a Sunbeam is galaxy-spanning science fantasy in an undated future, one governed less by grounded scientific extrapolation, more by poetic metaphor. The spaceships resemble fishes, swishing across the skies and through the cosmos on fins. Buildings float through space looking exactly like earthbound buildings: a church, say, or a schoolhouse. This is deliberate; Walden treats space like terrestrial geography, only bigger. Ditto architecture. Much of the action involves the repair of damaged or derelict buildings out in space, by a "reconstruction" team whose job falls somewhere between renovation and archaeology. They deal in statuary, stone, and tile as well as high tech. Often the settings don't feel like "space" at all—until they do. No one wears spacesuits, though everyone's bodies must somehow adjust to being in deep space. Oh, and the cast seems to consist solely of women and genderqueer characters. What sort of universe is this? To hell with what would work "in theory."
The story, for its first 2/3 or so, shuttles back and forth between two main settings: an upper-crust boarding school (in space), and the Aktis (or Sunbeam), the reconstruction team's spaceship. But it also shuttles back in forth in time, across a gap of years: the "school story" part of the plot happens in flashback, five years past, while the story's "present" follows Mia, formerly of the boarding school, now a (green) member of the Aktis crew. Walden skillfully uses layout and coloring variations to set these two timelines apart (and ultimately to bring them together).
What really ties these timelines together is the bond between Mia and her schoolmate Grace, a socially withdrawn girl of unknown origins. Grace and Mia share a romance that is tender and profound: a genuine love story. However, their bond breaks when Grace is mysteriously summoned home from school. Her home is an enigma. Mia longs to see Grace again, but the years go by and a reunion seems impossible. About midway through the book, though, Mia and her Aktis family undertake a fantastical quest for Grace's homeworld, tying the book's several plotlines together. The final third brings the Aktis (and us) to an otherworldly setting worthy of Jack Vance or Keiko Takemiya.
On a Sunbeam has tremendous emotional and tonal range. The anxious school scenes of the first half capture budding relationships, first steps toward intimacy, and uneasy social maneuvering, resonating with Walden's great memoir Spinning. The bonding of Mia and Grace recalls, for me, the lyrical evocation of young and growing love in the book that introduced me to Walden, the dreamlike I Love This Part. Walden is great at conjuring the rivalries and vulnerabilities of young women in social groups, the tension between ringleaders and outliers, and the no-bullshit demeanor of girls among girls, at once strong and fragile. On a Sunbeam carefully builds the relationship of Mia and Grace, two believably different young women, into a deep, unqualified love; their unspoken understandings and gestures of mutual care and self-sacrifice make them a couple to root for (and the book, delightfully, suggests that queer romance is common in their school and world). Yet Mia's later initiation into the Aktis crew creates other deep relationships, both among the crew and between Mia and every other member. The tenderness of the Grace/Mia dyad suffuses everything that comes after, and what begins as a rough, contentious team gradually becomes, emphatically, a family, one of Mia's own choosing yet defined by complex bonds with and without her.
The book's range broadens dramatically in its final third, as the plot upshifts with a vengeance: Walden leaps headlong into phantasmagorical SF, but also abrupt, jolting violence, frenzied cross-cutting, and nail-gnawing suspense. This is the very stuff of pulp adventure, yet made more urgent by a reservoir of earned emotion. Lives are risked, a world uncovered, and secrets revealed (my favorite being the backstory of Ell, the ship's non-binary mechanical whiz). I could hardly hold on to my chair during the last hundred pages!
Yet mostly On a Sunbeam is a story about love. The word that keeps coming back to me is tenderness, and Walden hits the tender spots again and again, not with cynical knowingness but with the thrilled self-discovery of an explorer who has just realized what her explorations are about. Relationships deepen, and at some point we realize—that is, Walden shows us—that On a Sunbeam is not simply the story of a single idealized love but of loving community, and of what it means to take others as they are. It's a story about unlike people forging bonds of mutual respect and care.
Among the many exciting climaxes in the book, the most important ones, to me, are embraces. On a Sunbeam wears its heart on its sleeve.
All this is delivered with the utmost grace, with a style whose delicacy reminds me of C.F. (Powr Mastrs) and whose out-of-this-world gorgeousness calls to mind Takemiya and Moto Hagio, those masters of shojo manga SF. Remarkably, Walden's style hardly ever betrays signs of underdrawing; the characters and panels seem to have found their perfect form without hesitation. Her style might be considered a variation on the Clear Line—clean contours, no hatching, and the use of contrasting solid blocks of color to solidify form—but without the cool meticulousness and literal, mimetic colors that such a comparison would imply. She's freer, and her light, unfussy lines are elegance itself. This is the more remarkable because her characters, emotionally, are all about undercurrents and anxiety; Walden renders their struggles with an unerring economy even as they're going through hell. Open white space, blocks of color and of darkness, the selective paring of background details—all these artistic strategies bring the story into crystalline focus. The spareness and cleanness of Walden's pages belie, or rather render all the more piercingly, the struggles going on among and within her characters:
In my comics classes, I like to say that every book of comics teaches you how to read it, becoming its own instruction manual. That is, no generalized understanding of "comics" as a whole is going to make every new comic you encounter easy to understand, because comics aren't as formally stable and consistent as that. Instead, the form shifts, or artists shift it, toward new strategies and purposes—but attentive readers will learn how to read in a comic's particular way. I think about this when I see pages like the above, or On a Sunbeam's climactic pages:
Coming at these pages unprepared, sans context, I would hardly know how to read them. But it's a testament to Walden's skill, and the gripping human story she tells, that these spare pages speak volumes to me now. On a Sunbeam is full of payoffs like this; it's masterful. It's also moving and exhilarating. As I said, uncanny.
PS. I was sorry to miss Walden's conversation with Jen Wang at L.A.'s Chevalier's Books on Oct. 8. But I look forward to her signing and exhibition at Alhambra's Nucleus gallery on Feb. 22.
First Second Books provided a review copy of this book.
(Note: It was particularly challenging to scan pages from On a Sunbeam, a roughly 6 x 1.5 x 8.5 inch brick!)
The Unsinkable Walker Bean and the Knights of the Waxing Moon. By Aaron Renier. First Second, 2018. ISBN 978-1596435056. 288 pages, softcover, $18.99. Colored by Alec Longstreth.
Eight years ago—my gosh, eight years ago—author-artist Aaron Renier and colorist Alec Longstreth gave us The Unsinkable Walker Bean, a gobsmacking pirate yarn and reckless feat of cartooning. It was, is, absurd and terrific, overfull and bursting with notions. Far-fetched and outrageous, rigged to the point of obsessiveness, it’s also generous and heartfelt, and a gushing testimony to Renier’s love of world-building. Reviewing it was a thrill. Now Renier and Longstreth are, yes, back with a second Walker Bean book that I can only describe as more of the same, but longer and even more ambitious: The Unsinkable Walker Bean and the Knights of the Waxing Moon, an adventure at once hectic and transporting, overbusy yet oddly soulful. When I first read it, it drove me a bit nuts, so mazy and bewildering is its plot. When I re-read it, though—well, I think I got it.
The world of Walker Bean consists of salty pirate tales (in the Stevenson tradition) blended with high fantasy. It takes place in an odd variation on the known world that mixes real and invented geography, in an unspecified period that feels like a dreamlike rewriting of the nineteenth century. Walker is a shy, bookish boy, frankly a nerd: brilliant, but fragile and sensitive. People treat him as a softy, but he has steel in him; on the other hand, he can be a bit of a pill. Most unwillingly, Walker gets pressed into nautical adventures that carry him far from his home on Winooski Bay and introduce him to supernatural forces and secret histories. The first book concerned a magical skull, two monstrous “sea-witches,” and a seafaring quest, much of it aboard a tricked-out ship called the Jacklight, which could travel over land as well as wave. In that one, Walker was joined in his travels by Shiv, a powder monkey, and Genoa, an intense and mysterious adventuress. They are still together in the new book, and make for a sturdy triad (in a sort of Harry-Ron-Hermione way).
Knights of the Waxing Moon shares the spirit of its predecessor, and offers continued treasure-hunting, with many of the same characters (as well as many new ones). But there’s less sailing, now, because the story takes place mainly on the same haunted archipelago where Walker and friends were stranded at the end of the first book: the Mango Islands. Basically, this is a “mysterious island” tale. Something happened on the archipelago long ago, something that still casts a long shadow. Competing treasure-hunters, some much older than they appear, seek a source of power—a magical metal—and again supernatural agents and occult histories are high in the mix. Mistaken identities play a part, as do bemusing visits to the past. Mysterious shadow-beasts that guard the islands add a whiff of Miyazaki: the environment seems neither benign nor malevolent, but sublime and indifferent. As in the first book, the stakes are high, the violence consequential, and the scares properly scary; Walker and friends experience sadness, anxiety, and loss along with ripsnorting adventure.
If I faulted the first Walker Bean for getting lost in its unlikely, careening plot, I have to say the same of the second. Plot-wise, Knights is the equivalent of juggling cutlasses and cannonballs—tricky, that is. I confess that on first reading I had trouble following the story’s logic, its links and reversals, its mad, ambitious sprawl and ballooning cast of characters. In fact, I finished my first reading—a breathless, late-night binge—in a knot of frustration. For a moment, I thought of the book as a failure: a dream that had gotten hopelessly blurred en route. Hallucinatory flashbacks, inscrutable clues, magical MacGuffins, and sudden, disorienting setpieces, not to mention the many new characters, make Knights a challenging, even frustrating tangle. Transitions are often abrupt, and essential details and connections are sometimes left for the reader to intuit. The relationships among the characters are not easy to chart: motivations are shaded, and alliances form or fail on the spur of the moment. Doppelgangers and ghosts abound. Our three young heroes are called upon to change, and Genoa in particular goes through a startling self-discovery. So, there’s a lot to take in. A lot.
So confounded was I by my first reading that, in defiance of my schedule and good sense, I reread the book immediately—and reread the first book too. The second time around, Knights seemed to click: I grasped a number of hints and foreshadowings, better understood certain transitions, and, in sum, could more easily negotiate the plot-rigging. If on the first pass Knights seemed jumbled, with a hiccoughing rhythm and befuddling climax, on second read the book revealed an insinuating story with elaborately braided details, a designing shape, and knowing callbacks to its predecessor. As a self-standing graphic novel, Knights may seem overdense, or over-egged, but as one leg in a longer journey, a further unveiling of a big, big world, it’s a marvel.
Although Knights spins its own distinctive yarn, it does require readers to know the first book intimately (not for nothing did First Second reprint the first a few weeks ago). It refers back to its forerunner constantly, in ways both obvious and subliminal—and this was part of my problem on first reading, because I needed the first book in front of me in order to follow the second. Some of these callbacks fulfill mysteries teased out in the first book, while others deepen the mystery, or extend the original’s meaning. Knights, in short, asks to be read alongside its predecessor. At the same time, it outdoes the first book for scale and strangeness: for one thing, it’s about a hundred pages longer. Even then, it seems more compressed, with (often) denser layouts and too-small balloon text. Still, it’s an organic outgrowth of the first book. Revisiting the first, I notice that its back matter includes teasing “sketches of book #2,” and sure enough I do see elements that made it into Knights:
Renier clearly had some of this second book in mind more than eight years ago. Knights, then, is both a close sequel and yet its own strange animal.
The trickiness of the book’s plot may prove a trial for readers. Yet I take some delight in the way Renier refuses to talk down to us. Clearly, he digs a nested, baroque plot. In fact, his approach to story recaps, on a larger scale, the complicated maps, diagrams, and inventions that he so lovingly draws into the book. I like that. Still, I’d say that the plot is too compacted, and its logic a bit too implicit; this 280-page yarn packs in 500 pages’ worth of complication. At times Knights surrenders clarity for momentum, and, like the first book, sprints through transitions and critical moments that rather beg for a long double-take. What’s more, certain details are left dangling--bait for the next sequel, presumably, but maddening. For example, one of the book’s narrators, a crucial source of exposition, is left shadowed and unidentified, and Walker’s unscrupulous father, briefly glimpsed, remains a nagging loose thread. (I dearly hope it won’t take another eight years to tie off that thread.)
More than anything, a passion for worldmaking through drawing animates the Walker Bean books, and on that score Knights of the Waxing Moon matches its forerunner. It piles up, graphically, vividly, a surplus of environments and space, creatures and ships, devices and talismans, all rendered with breathless excitement. Renier, as he zooms ahead, leaves behind a trail of small delights: details that pop out upon rereading, to be savored or puzzled over. In fact the galloping momentum of the story and the luxurious world-building are at odds, making the book at once a sprint and a sightseeing tour, a plot-driven adventure and a dungeon master’s guide (oh man, Walker Bean is a role-playing game just waiting to happen). Judged by the standards of tight, Tintin-esque adventure, the book is a failure—it packs in too much stuff to attain that kind of crystalline form—but as a celebration of drawing worlds into being, man, it’s something. Renier and Longstreth once again turn out beautiful pages and spreads, with a loose, feeling line and sumptuous palette; at the same time, Renier tries out new things in layout, pacing, juxtaposition, and braiding. A labor of love, I cannot help but think.
Love and feeling are big for Renier. Both Walker Bean books brim with emotion: characters weep, fret, and startle—gulping, gasping, reacting. They sometimes panic. They get on each others’ nerves too, reproving and arguing with one another. They worry for each other. Walker and his cohort, and even the heavies, wear their emotions near the surface, and many scenes are raw with feeling. Even the quietnesses can be supercharged. Take for instance this loaded moment from early on, as Walker, feeling abandoned, starts an angry letter to his beloved Grandpa, but then thinks better of it:
Scenes like these show that Renier values not only the pleasures of drawing but also the vital emotive connection between characters and reader. Some of the relationships in Knights are tumultuous—in fact, testing or reaffirming friendship in the face of severe trials is a large part of what the book is about. The sheer feelingness of Walker Bean is a necessary balance to the baroque plotting and ecstatic drawing. Renier cares about his adventurers, and faithful readers will too.
Structure-wise, Renier may be aiming for the kind of unfolding epic that Jeff Smith crafted in Bone. Feels like it. But he isn’t working within the same serial format, one that allowed Smith an unhurried pace, a gradual unspooling and deepening of his imagined world. Nor is Renier publishing with the same momentum as, say, Kazu Kibuishi, whose Amulet series has yielded eight roughly 200-page volumes in a decade. The Walker Bean books are different: jam-packed, overstuffed, sort of obsessive. They bespeak, again, a love of drawing and knotty, puzzle-like storytelling. Renier, I think, loves world-building in a way that can barely be corralled into sensible, well-structured volumes (though he does strive mightily after an overarching structure). His penchant for overstuffing recalls, for me, Mark Siegel et al.’s elaborate 5 Worlds series, except it’s less mediated, more personal: not the result of a carefully managed collaboration that subsumes individual quirks, but the result of one artist running wild. And, you know, I kind of love him for that.
Readers who loved the sheer outrageous overspill of the first Walker Bean will also dig the second. Me, I’ll reread these books and take pleasure in them, again and again. In this age of well-shaped, well-behaved, and precisely marketed graphic novels for children, Walker Bean is exceptionally weird, hence wonderful. My gosh, I hope for a third volume. And more....
First Second Books provided a review copy of this book.
Being a series on one of my favorite cartoonists
I first encountered cartoonist Luke Pearson’s work about eight years ago, in a curious, frankly mismatched pair of books, both put out by the London-based boutique publisher Nobrow. The first of these was Hildafolk (2010), a charming 20-page vignette in the form of a full-color, saddle-stitched pamphlet. Hildafolk was part of Nobrow’s 17x23 series (so named for its dimensions, in centimeters)—think of it as a sort of exalted floppy. A child’s adventure, it ended oh so quickly, but suggested a world of further adventures lying in wait. Little did I know: this was the project that would turn out to be the hub of Pearson’s career, to date.
The second book, Everything We Miss (2011), was emphatically something else: a melancholy visual poem about loss, loneliness, and our capacity for blind self-absorption, in the form of an even smaller (15.5 x 22 cm) hardcover of 40 pages. I rediscovered Everything We Miss on my shelves the other day: a compact book in an odd palette of black, grey, and two vivid shades of orange. It’s quite sad, and very much an alternative comic for adults. Both books are beautiful—and it was the combination of the two, rather than either of the books on its own, that clued me in to Pearson's talent.
I owe my encounter with these books to a family sojourn in London in summer 2011, and particularly to the splendid comic shop Gosh! (then still in its Bloomsbury location, opposite the British Museum, as opposed to its current space in Soho). These are the books that introduced me to Nobrow—these, and then Ben Newman’s Ouroboros (another 17x23 pamphlet), and then Jon McNaught’s two small, gorgeous hardcovers, Birchfield Close and Pebble Island. As I recall, it was Pearson’s work in particular that inspired me to seek out the Nobrow shop (then located on Great Eastern Street in Shoreditch), a visit I recall fondly. I’ve been fairly smitten with the Nobrow brand since.
Of the two Pearson comics I discovered in 2011, Hildafolk struck me as the more delightful, while Everything We Miss seemed the more determinedly “serious.” When first I read Everything We Miss, I thought of Chris Ware, not for drawing style so much as a strange combo of formal knowingness—that is, a kind of designing aloofness—and terrible poignancy. In part, Everything We Miss is about watching people suffer. But on re-reading, I think less of voyeuristically peeking into people’s suffering, and more of the poignancy. Also, the style, I now think, bespeaks Seth or Kevin Huizenga more than Ware, with something of Huizenga’s penchant for quiet unease and perhaps sadness, but also wonder—all this, again, allied to an ingenious formalism. Re-reading the book, I also recognized a vein of sly humor, via Pearson's low-key sifting-in of bizarre details.
Essentially, Everything We Miss depicts the sad, crumbling end of a couple’s relationship, but also their inability to see other people’s lives—and a host of peculiar, startling things—going on around them. Trees dance; bodies break apart and reassemble; asteroids nearly strike the earth. The estranged lovers do not notice. Their obliviousness stands in for human obliviousness in general, as the book's roving eye makes plain:
Meanwhile, braided visual metaphors lend heft and quirkiness to an otherwise despondent story: Shadow-shapes filter in and out of people’s bodies, grabbing at their mouths, their brains. Odd, semi-crustacean creatures observe human doings from the neglected corners of our everyday spaces, always slipping just out of sight. A two-headed skeleton (reminding me of Ware’s “Quimbies the Mouse”) graces the first page and the last (and, implicitly, the cover). Is this a metaphor for the couple's dying relationship, as opposed to either of the two individuals who made up that relationship? And/or for the miraculous, sometimes grotesque details of the world that continually escape us? The book closes ambiguously, with a near-suicide that ends in continued living—though whether this is a matter of life clinging to life, or life hanging on desperately to something that’s already dead, is hard to say. The willed darkness of the story seems indebted to other alt-comix, though Everything We Miss has its own muted shocks, and own loveliness.
The book seems to turn on a pun that conflates "missing" in the nostalgic sense (that is, pining away: I miss you) with "missing out" in the sense of failing to notice, or failing to take part in, the world. The climactic spread points out this double meaning with a mix of details both sublime and trivial, and in a tone that's hard to peg, at once melancholy and whimsical: A bear falls down / A tree shits in the woods. Self-reflexively, the spread seems to point to Pearson's own cartooning as a habit that may cause him to miss "his entire life" (a common concern among cartoonists: see Pearson's Ware- and Huizenga-like map of his working environment, from Solipsistic Pop #4, 2011). Meanwhile, ghosts and marvels abound, quiet places reserve dark secrets, and half-glimpsed mysteries impinge on mundane life:
A panel about a lady missing her family borders both a panel of, apparently, warfare, and another panel of someone perhaps watching the same warfare on TV. This domestic pathos, rather Ware-like, borders monsters and prodigies. The resulting spread is funny, yet sad. It's hard to tell whether Pearson's tone is a surrender to the familiar alt-comix vibe of melancholy and isolation, or a rejoinder to it: a reminder to open one's eyes and engage the world, in all its teeming strangeness. The anxiety feels genuine enough (and anxiety does come readily to Pearson: check out, e.g., this comic, or this one). I like the way the layout here reinforces the tonal ambivalence: the spread might be read as three more or less even tiers stretching horizontally across the page gutter, but for uneven borders that confuse our linear progress, jumbling the flow as we approach the bottom right corner. All this leads to a suggestive final panel that depicts our would-be suicide driving away, away, toward the page turn.
The fantastical quirks in Everything We Miss – the bizarre critters and happenings just beyond human sight – live on in the brighter world of Hilda, with its matter-of-fact approach to mystery and magic. Hilda has become Pearson's calling card: thus far he has created four further Hildafolk albums (2011-2016), with more in the works. He has done a wealth of other things too (his website is, no kidding, a trove), but it's Hilda for which he's best known. In fact, since Nobrow launched its children's imprint, Flying Eye Books, in 2013, Hildafolk albums have become one of that imprint’s best-selling mainstays.
And now, of course, there’s something else: an animated adaptation of Hilda has just joined Netflix’s lineup of original animated children’s series. As of September 21, it’s been possible to view the first season of Hilda, all thirteen 24-minute episodes, in Netflix’s usual bingeing way. Co-produced with London-born Silvergate Media and Ottawa animation studio Mercury Filmworks, this Hilda series involves Pearson as credited creator, co-executive producer, and occasional episode writer. That alone was enough to nudge me into renewing my lapsed Netflix account—and to inspire me to gather my Hildafolk albums into one place, the better to reread and review them. They warrant it.
Bookmark KinderComics, then, for a series of posts that I’ll call “Reading (and Watching) Hilda.” This series will cover Hilda in print and on screen (including the just-published novelization of the TV series, by Stephen Davies). Stay tuned!
See Hatfield, comics and children's culture scholar