On this interview show, Andy and Derek do something different. They talk with both Nate Powell and Andrew Aydin, the artist and coauthor of the recently completed March trilogy (Top Shelf Productions), but instead of interviewing both creators together, the guys talk with them separately and then combine the two recordings into one long episode. So in this show, over two hours and fifteen minutes long, you'll hear about the genesis and the creative turns that went into the March books from both the artist's and the writer's perspectives. Nate and Andrew also discuss their time working with Congressman John Lewis, his wealth of experiences from the Civil Rights Movement, and the creative choices that each of them had to make when representing those events. For example, Nate explains the challenges that faced him when illustrating the unspeakable violence, and Andrew describes his strategies for scripting the chronology of the congressman's young life. Both guests also share a few words about current projects they have underway and what we can expect from them post-March.
On this week's review episode, the Two Guys with PhDs discuss three recent titles, a couple of which are probably not on most listeners' radar. They begin with one of these, the latest issue of Smoke Signal, a quarterly tabloid comics anthology published by Desert Island Comics (a shop in Brooklyn, NY) and edited by Gabe Fowler. Andy and Derek focus mainly on the summer 2016 issue, #25, although they also mention several comics in the previous spring issue. Some of the standouts in the latest include Tim Lane's contributions -- the Steve McQueen-inspired "Barnstormer" and the tabloid's center spread, "The Assassination of Billy Lyons by that Bad Man Stagger Lee" -- a new "Cosplayers" story from Dash Shaw, another in Al Columbia's "Pim and Francie" series, Siobhan Gallagher's experimental "Apartment to Be," the portfolio of Jay Rummel art, and a cover by the great Will Elder, a painting that was intended for the third issue of Harvey Kurtzman's Trump (the magazine was canceled after the second issue).
Next, the guys turn to Andy Warner's self-published Fool's Gold: The True Story of the Greates Lost Treasure in American History and the Man Who Had the Bad Luck to Find It. This a twenty-four-page story of the SS Central America's sinking off the Carolina coast in 1857 and Tommy Thompson's efforts at salvaging its lost gold in the 1980s. As the long subtitle suggests, things do not go well for Thompson after his success, leading some to believe that the treasure is cursed. Derek tells how he was already familiar with Andy Warner's comics, and that this is the kind of reality-based and journalistic story you'll find in many of his other self-published comics and in the work he does in for such outlets as The Nib and KQED. Learn more about Andy Warner's work at his website.
Andy and Derek then wrap up with a look at the first issue of Briggs Land (Dark Horse Comics), the much-anticipated series from Brian Wood and Mack Chater and under development for AMC. In fact, the guys start off by discussing the written-with-television-in-mind phenomenon in comics and what it might mean for storytelling practices in the medium. Neither of the guys fault Wood and Chater -- or Dark Horse -- for the transmedia nature of Briggs Land, although they had different reactions to the title's potential. Derek was more taken by the story, seeing it as a return to the kind of narrative Wood created in DMZ, while Andy thought the premise less original and too close to the family crime-related television series Sons of Anarchy and Justified. Still, it's a title with great promise, whether you follow it eagerly in the monthly comics or more casually wait for the trade.
On this interview show, Andy and Derek have the pleasure of talking with Leela Corman. Her latest book, We All Wish for Deadly Force, was just recently released by Retrofit/Big Planet Comics, and it's a collection of shorter comics spanning a wide range of topic and tone. These pieces have previously appeared in such publications as The Nib, Tablet, Women's Review of Books, and Nautilus, and the guys begin by asking Leela about her work with these magazines. As both Derek and Andy point out, the comics in this collection fall into one of three main (and, at times, interconnected) categories: stories addressing the loss of her first daughter, Rosalie; those focusing on Leela's family and her Jewish roots; and tales involving bellydancing, one of Leela's passions. Indeed, the loss of Rosalie arguably pervades this entire collection in some form or another -- see the guys' earlier interview with Leela's husband Tom Hart for more on this topic -- and the guys talk with Leela about the role that art can play in dealing with trauma. But there are also lighter moments in this collection, such as the occasional comedy found in Leela's Jewishness as well as her exercise in live drawing the Eurovision song contest. The guys also take the opportunity to talk with their guest about her earlier works, such as Unterzakhn and Queen's Day, and her upcoming fictional narrative set in the 1940s.
Although some kids may not be so excited to be heading back to school, Gwen and Andy (the Two People with PhDs) give young readers cause to rejoice this month with the upcoming release of two new graphic novels: Mighty Jack (First Second) by Ben Hatke and Ghosts (Graphix/Scholastic) by Raina Telgemeier.
Andy starts things off with Mighty Jack, the story of a kid named Jack who’s not having a very fun summer. To make ends meet, Jack’s single mom finds a second job, but that means Jack will have sole responsibility of keeping an eye on his autistic sister Maddy. Maddy never speaks, until one day at a flea market she shocks Jack by telling him that he must buy a box of seeds from a sketchy-looking man. Later, as Jack and Maddy plant a garden with their new seeds, weird, magical, and dangerous things begin to happen.
Next, Gwen introduces the highly-anticipated new book by Raina Telgemeier, Ghosts. It's the story of Catrina and her family as they move from Los Angeles to the Northern California coast, hoping the climate will agree with Cat’s sister Maya, who suffers from cystic fibrosis. Cat is shocked to discover that everyone in their new town seems obsessed with ghosts, even Maya. Cat just wishes they could just go back to L.A., but her parents -- and perhaps the ghosts -- have other plans.
Gwen and Andy point out elements common in both books: parental issues, sibling rivalries and bonding, freedom, danger, and fear of the unknown. Both books are multilayered, superbly told, and they should appeal equally to readers young and old (something of a rarity these days). Although their art styles are quite different, these two books demonstrate that Hatke and Telgemeier are both masterful storytellers. These creators are producing what are perhaps their best works. It’s an exciting time for comics readers of all ages, and these are two books to pick up with confidence.
This month for the on-location recording at Collected Comics and Games in Plano, TX, the discussion table is rather crowded. Derek is joined by many of the regular Collected customers -- Craig, Matt, and Nick -- but joining the conversation for the first time are Tristan, Chris, and Carrie, as well as Brian, the shop's newest associate. The talk begins with Craig's recounting of his own experiences at this year's San Diego Comic-Com, but then it segues into a discussion of recent comics that folks have been reading. Some of those titles include Grant Morrison's Klaus, Divinity II, Black Hammer, Backstagers, Giant Days, Voltron Legendary Defender, Fight Club 2, Black Panther, Wonder Woman, and various Brian K. Vaughan titles. They also discuss several comics-related Netflix shows, DC's upcoming Young Animal series, and writers in other media who have tried their hands in comics. Needless to say, this is a packed episode with a full table of participants and plenty of topics to go around.
This week the Two Guys with PhDs visit grounds they rarely tread: superhero comics. Don't worry, they don't completely forsake their mission statement, but they definitely approach the line. While each of the titles they discuss reflect the mainstream and/or the superhero genre, in one way or another, they all nonetheless stand outside of the usual machinations of the Big Two.
The guys begin with Tarzan: The Complete Joe Kubert Years (Dark Horse Books), a 600+ page omnibus collecting almost all of Kubert's DC Tarzan run. Or at least those stories on which he served as artist, in some way. In fact, Andy admits at the outset that this idea for a superhero-tinged episode springs from him wanting to discuss Kubert's Tarzan. And as both he and Derek make clear, this is an impressive volume that is well worth reading. It contains adaptations of three of Edgar Rice Burroughs's novels -- Tarzan of the Apes, The Return of Tarzan, and Tarzan and the Iron Man -- and a wealth of short stories Kubert wrote for the 1970s series. Some are more traditional jungle adventures, while others (such as "The Magic Herb" and the one Korak story in the collection) delve into the fantastic.
Next, Derek and Andy look at the first issue in the new ongoing Faith series from Valiant Comics, written by Jody Houser with art by Pere Perez and Marguerite Sauvage. Last year the publisher began a four-issue miniseries based on Zephyr, the crimefighting identity of Faith Hebert. That was apparently successful enough to warrant an ongoing series. What makes this title so appealing is its lighter tone, contrasting sharply with the dark and gritty atmosphere found in most superhero comics, and especially its handling of the female protagonist. Through the figure of Faith, Houser explores popular (mis)conceptions of female body image and heroic ideals. In this way, Faith can be read as a meta-commentary on the superhero genre and pop culture fandom, as a whole.
The Two Guys wrap up their sorta-superhero show with a discussion of Jeff Lemire and Dean Ormston's Black Hammer (Dark Horse Comics). Issue #2 comes out this week, and guys point out the possible similarities between this title and Lemire's Plutona for Image Comics. The premise is intriguing, although it participates in the kind of alternative superhero storytelling often found in non-Big Two publishers. Both Andy and Derek are on board for this title, especially given Ormston's art, although they're not sure if they're going to read this on an issue-by-issue basis or if this is a title that might better be read in trade collections. It's something they recommend that listeners should definitely pick up and then decide for themselves.
On this interview episode Derek has the pleasure of talking with Koren Shadmi. His latest book, Love Addict: Confessions of a Serial Dater was released last month from Top Shelf Productions. They begin the conversation by discussing the genesis of this semi-autobiographical project and Koren's own experiences on singles dating websites. He describes the challenge of making his protagonist, K., both identifiable and problematic, all the while walking a fine line between authenticity and potential charges of misogyny. But they also discuss Koren's other works, including his experimental story collection, In the Flesh, and his webcomic-turned-book, The Abaddon. Koren also discusses his latest webcomic on the Vice channel, Motherboard, and his plans for future projects. Derek also asks his guest about last year's Mike's Place: A True Story of Love, Blues, and Terror in Tel Aviv, his own Israeli roots, and his thoughts on being identified (and perhaps pigeonholed) as a Jewish or Israeli cartoonist.
On this, the second episode of the new Euro Comics series, Edward and Derek discuss two recent publications that involve journeys, but in vastly different ways. They begin with the latest translation from IDW's EuroComics imprint, The Adventures of Dieter Lumpen. Written by Jorge Zentner and with art by Rubén Pellejero (and translated by Carlos Guzman and Dean Mullaney), this volume collects all of the Dieter Lumpen stories the two originally published between 1985 and 1994. The eleven tales contained within are standalone adventures of the titular protagonist. And his travels take him all over the globe. In fact, the guys spend a good deal of time discussing the adventure genre and how The Adventures of Dieter Lumpen taps into the rich tradition of this kind of comic by Franco-Belgian creators. But what distinguishes these stories from those of Hergé's Tintin -- and even from the kind of American adventures found in the Indiana Jones movies -- is the inadvertent, reluctant, and even unheroic nature of Dieter Lumpen's encounters. The Two Guys first talk about the eight narratives that open the book, all short stories and tightly interconnected, and then turn to the three longer pieces that close out the volume. Edward particularly appreciates the more complicating or less-than-heroic tales of Lumpen found in "Games of Chance" and "The Bad Guy," and Derek is drawn to the fantastical and even surreal quality of "Caribbean" and especially the final story, "The Reaper's Price." Indeed, both believe that the latter is Zentner and Pellejero most ambitious collaboration.
After that, the guys turn to Come Prima, recently translated into English by the Delcourt (and offered through ComiXology). Written and drawn by Alfred (the pen name of Lionel Papagalli), the book won the Angoulême International Comics Festival Prize for Best Album in 2013. It's the story of two brothers, Fabio and Giovanni, as they journey from France to their childhood home in Italy. The older Fabio is estranged from his family and has a bad track record with relationships, and Giovanni arrives unexpectedly to help suture the emotional wounds his brother may have caused. The travel they undergo in their Fiat 500 is just an outward manifestation of the much deeper inner journeys both brothers make both separately and together. This is a powerful narrative showcased, first and foremost, by Alfred's art, although Edward finds the translation of this album, by Studio Charon, to be uneven in places. Nonetheless, this is an award-winning book that should be on the reading list of anyone interested in contemporary European comics.
On this episode of The Comics Alternative, Derek and Andy celebrate their 200th regular review episode! They begin by sharing some of the messages and well wishes they've received from listeners in the past couple of weeks.
After that, they get into a discussion of this week's review titles. They begin with Eric Powell's new series, Hillbilly (Albatross Funnybooks), the second issue of which was just released last week. The guys focus on Powell's use of folktale tropes and storytelling techniques, pointing out that this title reads more somberly than does The Goon and Billy the Kid's Old Timey Oddities (at least so far), although it does have its humorous moments. Albeit subtle.
Much more in-your-face is Satan's Sodomy Baby #2 -- branded as SSBII for "safer" consumption -- Powell's other Albatross Funnybooks publication. This is a follow up to the 2007 one-shot Satan's Sodomy Baby, and like the earlier issue this comic book will not be reprinted nor will it be released digitally. And, appropriately enough, it comes in a sealed bag and parental advisory warning, so as to avoid any immature hands. While this issue of Satan's Sodomy Baby isn't as scatological as the first, it's over-the-top in an entirely different way. Current politics is what drives this story, and Donald J. Trump is the butt (pun intended) of Powell's scathing satire, small hands and all.
The Two Guys wrap up this week's episode with a look at Leslie Stein's Time Clock: An Eye of the Majestic Creature Book (Fantagraphics). Very different from last year's Bright-Eyed at Midnight, this book is a follow up to Stein's other Eye of the Majestic Creature releases from 2011 and 2013. Andy and Derek discuss the the phantasmagorical stories that make up the text, wondering if the protagonist's life events -- e.g., her sand counting and the relationship with her anthropomorphic guitar friend, Marshmallow -- may have any allegorical connections to Stein's own life. But what drives the narrative is Stein's seemingly mundane observations, clothed in the fantastic, and especially her art style, a curious mixture of cartoon and creepy.
This month on the webcomics series, Sean and Derek delve into three tonally different titles. They begin with Sam Logan's long-running Sam and Fuzzy. This is a series that has been around since 2001, starting off as a gag strip in Logan's college's student newspaper and then becoming a webcomic in 2002. The creator diligently keeps his Monday/Wednesday/Friday schedule of publication, and with almost fifteen years behind it, that's a substantive webcomic. In fact, the Two Guys discuss the intricacies of its storylines, the expansion of its cast, and the evolution of Logan's art. One would be hard pressed to find a webcomic with a more dynamic history, and the guys try their best to cover as many points as possible.
Next, Derek and Sean's discussion takes a decidedly literary turn with Ulysses Seen, a webcomic adaptation of James Joyce's masterpiece. Illustrated and adapted by Robert Berry, this is a project that attempts to capture the novel it the fullest sense. This is no mere graphic Cliff Notes version of Ulysses, but one that tries to represent Joyce's voice and style. Accompanying the webcomic proper are analytical blog postings by Mike Barsanti, contextualizing the story and explicating its many facets. This is certainly an ambitious endeavor -- it even has its own app in the iTunes store -- although the guys do note the webcomic's biggest weakness: its design. It's not easy to navigate the website and find your way around, and there are too many duplicate pages or links to nowhere. What's more, the webcomic doesn't seem to have been updated since 2011 or 2013 (it's not easy to determine each page's publication date), and the adaptation is only up to Episode Five: The Lotus Eaters. But if you're a fan of the classic and have patience, then Ulysses Seen can be worth the wait.
Finally, the guys wrap up with an already completed webcomic, Adam Szym's Biome. This is a short piece that can be found at Szym's website Good Show Sir, along with a number of his other comics. This webcomic stands out for intricacy of art and especially its design for reading. Sean points out that it employs some of Scott McCloud's ideas behind the "infinite canvas," and Derek feels that the reading experience is similar to what you will find with Study Group Comics. But however you approach it, this highly stylized work, with its fantastical tone and sci-fi leanings, is standout example of what webcomics are capable of.
This week on the podcast, Andy and Derek discuss the August Previews catalog. Even more importantly, the Two Guys celebrate the four-year anniversary of the podcast! That's right, The Comics Alternative is now four years old, having its first episode published on August 1, 2012. So this episode begins with a brief assessment of the many episodes they've done over the years. But the core of this week's show is a discussing of the solicitations in the latest Previews...and there are a lot of them worth mentioning. So many, in fact, that this is another extra long episode. Among the many upcoming title Derek and Andy highlight are from publishers such as
Andy and Derek take a few moments to make a special announcement. August 1st will be their four-year anniversary, and the Two Guys with PhDs would like for listeners help celebrate by responding with their well wishes! That's right, get in touch with them via voice message, phone, email, and various forms of social media to tell them happy birthday!
On the July manga episode, Shea and Derek discuss two recent publications that highlight, in different ways, the history of the Japanese medium. They begin with Seiichi Hayashi's Red Red Rock and Other Stories 1967-1970 (Breakdown Press). All but two stories that compose this collection were originally published in Garo, examples of the avant-garde coming from that publication in its heyday. Although not nearly as abstract and non-linear, Hayashi's manga reminds the guys of Sasaki Maki’s Ding Dong Circus, which they discussed in December's manga episode (and also a Breakdown Press publication). As both Derek and Shea point out, the stories collected in Red Red Rock represent some of the earliest of Hayashi's efforts, and they're noticeably more experimental, or at least less linear, than his other work available in English, such as Red Colored Elegy and the stories in Gold Pollen and Other Stories. Adding to this collection is an astute contextualizing essay by Ryan Holmberg, also the book's translator.
After their trip down Garo-inspired memory lane, the Two Guys turn to a work that delineates a much earlier chapter in manga history. The Osamu Tezuka Story: A Life in Manga and Anime is a graphic biography of a man often called "the god of manga" and published by Stone Bridge Press. Created by Toshio Ban (who served as Tezuka's "sub-chief" assistant) and Tezuka Productions, and translated by Frederik L. Schodt, the book appears to be a collaborative, or even corporate, effort to tease out the dynamism and the many facets of its subject's life. In fact, both Shea and Derek feel that there are too many details embedded in the narrative and that the book's 869 pages of story (not counting the substantive Appendixes) could have been paired down significantly. What's more, the tone of the the biography is blatantly reverential and becomes almost too much at times. Readers are presented with example after example of the seemingly superhuman nature of Tezuka, and with little insight into the contradictions and complications that would define any artist's life. Still, The Osamu Tezuka Story is a recommended read and a useful, albeit lengthy, introduction to this manga legend.
This week the Two Guys with PhDs turn their attention to three recent noir titles. But before they jump into their reviews, they talk about comics news and recent awards.
First, they congratulate Sonny Liew on receiving this year's Singapore Literature Prize for English fiction for his best-selling work The Art Of Charlie Chan Hock Chye. This comes on the heels of him getting the Book of the Year accolade at the Singapore Book Awards, held in May.
Next, Andy and Derek say a few words about the results of this year's Eisner Awards, announced at SDCC last Friday. The guys note that there are really no surprises in the winners, and that with perhaps one or two exceptions, those coming out on top in their categories make perfect sense. They are particularly pleased that so many of the titles and creators that they've discussed on the podcast received this recognition, and they are especially excited that so many friends of the show -- such as Craig Yoe and Tom Heintjes -- received the coveted Eisner.
After all of the awards talk, the guys get into the nitty gritty of this week's episode. They start off with an adaptation of James Ellroy's The Black Dahlia (BOOM! Studios/Archaia), the first in the novelist's L.A. Quartet. Adapted by Matz and David Fincher, and with art by Miles Hyman, the story springs from the real-life murder of Elizabeth Short in 1947. As with the original book, this graphic novel reveals the dark underside of Los Angeles and the post-war days of its entertainment industry. And it contains all of the icons and tropes that define noir narrative.
From there the guys turn to the latest collaboration from the superb crime-writing team of Ed Brubaker, Sean Phillips, and Elizabeth Breitweiser, Kill or Be Killed #1 (Image Comics). This first issue has all of the trappings of the kind of stories we've come to expect from Brubaker and Phillips (e.g., The Fade Out, Criminal, Sleeper), but there's a particular twist to the plot that recalls the supernatural tinges of Fatale. In fact, Derek and Andy aren't sure if what happens in the story is because of other-worldly forces or just the result of psychological imbalance.
Finally, the guys wrap up with yet another crime comic, Justin Jordan and Raul Trevino's Sombra #1 (BOOM! Studios). This story revolves around a young DEA agent, Danielle, and the mystery surrounding the disappearance of her father, also an agent. This first issue takes the narrative into some dark places, and the guys focus on this comic as a retelling of Joseph Conrad's Heart of Darkness. In fact, the missing DEA agent is name Conrad Marlowe. How appropriate!
This month, Andy and Gwen discuss a three graphic novels for young readers that are written by pairs of comics creators. Compass South (Farrar, Straus and Giroux) brings together Hope Larson (Chiggers; A Wrinkle in Time) with Rebecca Mock, a New York-based freelance illustrator, while the other two titles are written by Gene Luen Yang in collaboration with Mike Holmes on Secret Coders 2: Paths and Portals (First Second) and with Thien Pham on Level Up (Square Fish).
To begin the show, Gwen introduces readers to the premise of Larson and Mock’s exciting middle-grade graphic novel Compass South. Set in 1860, this fast-paced, colorful text follows the adventures of a pair of twelve-year-old redheaded twins, Alexander and Cleopatra Dodge. Orphaned as infants upon the death of their mother, the twins are transported to New York City to be raised by the kindly Mr. Dodge, a working class immigrant from Ireland who had once been in love with the twins’ mother. The children have received as an inheritance a pocket watch and a knife, and it turns out that these objects hold secret information that a corrupt pirate and his gang hope to uncover. When the twins’ father mysteriously disappears, Alex suggests that they travel to San Francisco and pose as the long lost children of a wealthy industrialist. In order to participate in the ruse, Cleopatra cuts her hair, dons boys’ clothes, and escapes with Alex to New Orleans. There, things become very complicated when they run into another set of redheaded twins, Silas and Edwin, who also plan to sail to San Francisco and present themselves to the industrialist. Chaos descends as the two pairs of twins are split up, and everyone from a street gang leader in New York and a violent, blood-thirsty pirate chase the children across the globe. Andy praises the novel for its character development and technical brilliance, and Gwen notes that the use of cross dressing allows Larson and Mock the ability to comment upon gendered expectations, both in the nineteenth century and today. Compass South ends on a cliffhanger that will be addressed in the second volume of the series, Knife’s Edge, coming out in 2017.
Next, Andy introduced Gene Luen Yang and Mike Holmes’s second volume in their Secret Coders series, a set of STEM-oriented graphic novel for middle grade readers. Set in the austere Stately Academy, Secret Coders 2: Paths and Portals takes up immediately where the initial volume ends, with friends Hopper, Eni, and Josh using the principles of coding to solve mysteries. Andy notes that readers will want to be sure to have read the first book before moving on to this second, but he explains that the effort will be rewarding. Secret Coders 2 is action-packed, filled with humor, and encourages young readers to learn more about coding. Gwen agrees, pointing out that even though a lot of instruction goes on in the text, Yang and Holmes present coding lessons as part of a well-integrated plot that follows the experiences of three highly developed protagonists. Gwen also encourages listeners to check out the Secret Coders blog for more information on coding for kids.
For their final review, Andy and Gwen discusses Gene Luen Yang’s collaboration with illustrator Thien Pham on Level Up, a coming-of-age graphic novel that was first published in 2011. The reissued volume is printed on a heavy, glossy paper stock that serves as an excellent medium for Pham’s masterful watercolor illustrations. The story follows Dennis Ouyang, the child of Chinese immigrants, who struggles to reconcile his love of video games with his desire to fulfill his parents’ wishes that he become a gastroenterologist. Given that the comic takes Dennis from grade school through to medical school, Level Up will be of interest to a wide audience, from middle school readers up to adults. After Gwen provides young listeners with an enthralling description of gastroenterology, the two PhDs consider how Level Up incorporates Yang’s interest in faith and magical realism, as well as his interest in describing the immigrant experience.
On this special episode of the Young Readers edition of The Comics Alternative, Gwen and Andy take a look at the 2016 Eisner Award nominees and winners in each of the three young readers categories. The Two People with PhDs discuss not only the books and their creators, but also the categories themselves, the changes they’ve seen in those categories over the years, and changes they’d like to see in the future. Gwen and Andy know you’ll find some great books here and hope you’ll share your thoughts with them once you’ve read them. (You can find a complete list of all the Eisner Award winners here as well as the complete list of nominees here.)
In the lists below, the winner of the category is in bold face type.
Best Publication for Early Readers (up to age 8)
• Anna Banana and the Chocolate Explosion, by Dominque Roques and Alexis Dormal (First Second)
• Little Robot, by Ben Hatke (First Second)
• The Only Child, by Guojing (Schwartz & Wade)
• SheHeWe, by Lee Nordling and Meritxell Bosch (Lerner Graphic Universe)
• Written and Drawn by Henrietta, by Liniers (Ricardo Siri Linders, an Argentine creator) (TOON Books)
Best Publication for Kids (ages 9-12)
• Baba Yaga’s Assistant, by Marika McCoola and Emily Carroll (Candlewick)
• Child Soldier: When Boys and Girls Are Used in War, by Jessica Dee Humphreys, Michel Chikwanine, and Claudia Devila (Kids Can Press)
• Nathan Hale’s Hazardous Tales: The Underground Abductor, by Nathan Hale (Abrams Amulet)
• Over the Garden Wall, by Pat McHale, Amalia Levari, and Jim Campbell (BOOM! Studios/KaBOOM!)
• Roller Girl, by Victoria Jamieson (Dial Books)
• Sunny Side Up, by Jennifer Holm and Matthew Holm (Scholastic Graphix)
Best Publication for Teens (ages 13-17)
• Awkward, by Svetlana Chmakova (Yen Press)
• Drowned City: Hurricane Katrina and New Orleans, by Don Brown (Houghton Mifflin Harcourt)
• March: Book Two, by John Lewis, Andrew Aydin, and Nate Powell (Top Shelf/IDW)
• Moose, by Max de Radiguès (Conundrum)
• Oyster War, by Ben Towle (Oni)
• SuperMutant Magic Academy, by Jillian Tamaki (Drawn & Quarterly)
On this interview episode, Andy and Derek are pleased to have as their guest John Porcellino. Issue #76 of his long-running (twenty-six year!) minicomic, King-Cat Comics and Stories, has just been released, and the Two Guys talk with John about how different this issue is from his previous one. That issue, a heartfelt memorial to his cat, Maisie Kukoc, was more of a long-form story that may have expanded his audience. Andy asks John what readers who came to his work through issue #75 might think of the latest release, a more traditional issue of King-Cat Comics and Stories, and that question sets the stage for the rest of the conversation. Among the many topics John discusses in this interview are his processes of note-taking, the stylistic turning points of his career, his views on autobiographical comics, his experiences as a self-publisher and comics distributor, his philosophy of personal revelation, and the roles that music continues to play in his comics. In fact, one of the more interesting takeaways from the interview is John's understand of his zines as being analogous to record albums. He constructs them in the same ways musicians might pull together a two-sided LP. Along the way, Derek and Andy also talk with John about his book-length stories and collections, specifically Perfect Example and The Hospital Suite. This is an engaging conversation, one that is really a long time in coming for The Comics Alternative. If there is indeed a King of the Minicomics, then John Porcellino should be the one wearing that crown.
This week on The Comics Alternative podcast, those funky PhDs, Andy and Derek, discuss three recent titles revolving around the mercenary side of crime fighting. They begin with Jules Feiffer's Cousin Joseph (Liveright Publishing), the second in a planned trilogy of noir-tinged graphic novels. It is the follow up to 2014's Kill My Mother, a text that Feiffer discussed with the Two Guys in a previous interview. The events in Cousin Joseph predate those of the earlier book, making it a sort of prequel. In fact, many of the major players in Kill My Mother make appearances in this new work. Most notable are the characters Elsie and Annie, whose husband/father Sam becomes the central figure in the current narrative. Derek and Andy note the fact that Cousin Joseph is a more tightly constructed, and even a more ambitious, work than its predecessor, especially in its engagements with the sociopolitical matters of its setting.
Next, the guys look at the first issue of a new series by Kurtis Wiebe and Mindy Lee. Bounty (Dark Horse Comics) is a futuristic adventure focusing on the exploits of two anticorporate criminal sisters who eventually become bounty hunters. Almost from the beginning, the guys compare this title to Wiebe's Rat Queens, but both Andy and Derek feel that the first issue in this new series lacks the humor and cohesion of the earlier comic. Indeed, there were parts of the story that were unclear -- some of it due to writing, and some because of the its visual perspectives -- and the exposition at the very beginning unintentionally compounded this confusion. Nonetheless, the premise shows promise, and Mindy Lee's art went a long way in carrying the narrative forward.
Finally, the Two Guys wrap up with another first issue...sort of. The Paybacks #1, written by Donny Cates and Eliot Rahal, with art by Geoff Shaw, is part of Heavy Metal's new initiative to produce monthly ongoing series, but this isn't the first time we've seen this title. Last year Dark Horse published the series' first narrative arc, four issues recently collected in a trade, and now this recent manifestation picks up where the earlier one left off. Derek and Andy set a context by discussing the Dark Horse series and then segue into the new issue. The transition between publishers is seamless, with Cates and Rahal sustaining the humor and action of their high concept. But what really gets the guys' attention is Shaw's art, with its detail of character expression and more realistic flourishes. Andy and Derek comment that if The Paybacks is the kind of story we can expect coming out from Heavy Metal Comics, then we might just have a publishing endeavor similar to AfterShock on the horizon.
On this week's episode, the Two Guys with PhDs discuss three very different recent titles. They begin with the comics adaptation of Albert Camus's The Stranger, written and illustrated by Jacques Ferrandez (Pegasus Books). Originally published in French 2013 -- and translated by Sandra Smith -- this is a graphic retelling of the absurdist classic. What is most notable about their discussion is that the guys are coming at this book from different perspectives of awareness. Derek knows the work of Camus very well, while Gene had never read the original novella. This leads them to slightly different interpretations of the story events as revealed through Meursault's narration. And the guys' experiential differences also come through in their readings of the text's absurdist theme.
Next, Gene and Derek look at Bryan Lee O'Malley and Leslie Hung's Snotgirl #1 (Image Comics). This is O'Malley's first monthly series, and the guys were expecting a lot from this title. While both appreciate Hung's art, they're not entirely sure what to make of the story...at least, yet. At times it seems as if O'Malley is trying too hard to capture a particularly younger voice. And this is strange, coming from the creator of the Scott Pilgrim series. For example, both Derek and Gene are unsure of the story's emphasis on the "hipness" of blogging. On the one hand this premise seems passé, but on the other hand the guys wonder if O'Malley is just establishing a tone that he will critique in subsequent issues. Ultimately, while the guys are intrigued by this inaugural issue, they're nonetheless going to adopt a "wait and see" attitude and discover how the story unfolds.
The final segment of the episode is devoted to the latest issue of Frontier, the quarterly monograph series of new talent from Youth in Decline. Kelly Kwang is the artist of the most recent release, #12, a non-linear narrative surrounding a game called Space Youth Cadets. This isn't so much of a story as it is an exploration of the contexts surrounding such a game: what powers certain characters have, their storyworld, their clothing and accoutrements, and the designs that would distinguish the game in the public eye. Kwang's black-and-white art is both intricate and intimate, revealing a closeness with technology and social networking. Derek and Gene also say a few words about Frontier #6, Emily Carroll's issue that has just recently come back into print, and about the Frontier series as a whole.
For the July webcomics episode, Sean and Derek discuss three titles that not only vary in content and genre, but are also different in the ways they are designed and consumed. They begin with two current and ongoing webcomics, Kenn Minter and Clarence Pruitt's Tales of the Emerald Yeti and Jim Francis's Outsider. The former is just one of the comics on the creators' publishing site, Near Mint Press. In fact, the Two Guys spend a bit of time discussing the presentation platform of this webcomic -- Minter and Pruitt use Google's free Blogger service -- pointing out that its navigation and consumption feels antiquated and isn't what they've usually come to expect from most webcomics. Nonetheless, Emerald Yeti is a fun pulp-infused read of post-Vietnam America that has the feel of an old Marvel serial of the 1970s.
After that, Sean and Derek turn to Outsider, a webcomic that began back in October 2001, but whose updates are so infrequent as to make this a relatively young narrative. The guys mention that Francis's combination of 3D settings and 2D hand-drawn artwork are an effective means in presenting this hard sci-fi story. But what gives Outsider such a sophisticated edge is the author's use of mystery and focalization. All the information we get is filtered through the protagonist, Alex Jardin, and his inabilities to thoroughly read the alien cultures he encounters generate more questions than answers.
Finally, the guys wrap up this month's show with a discussion of a webcomic that concluded just last month. Mike Norton's Battlepug is an Eisner and Harvey Award-winning webcomic that takes the sword-and-sorcery fantasy subgenre into parodic, and pet-friendly, avenues. This story has been running consistently since February 2011, and it has been collected in hardcover editions annually by Dark Horse Books. Although both of the guys enjoy Norton's storytelling technique, they differ on its ultimate effectiveness. While Sean feels that the frequency of narrating scenes -- that is, visual reminders that the story of Battlepug is being told by a young tattooed woman to her two dogs -- disrupts from his enjoyment of the story proper, Derek appreciates these constant shifts from one narrative level to another, as it highlights the complex dynamics of storytelling. And this is arguably one of the book's central themes. Still, the guys definitely agree that Battlepug is a sophisticated story well worth reading.
Derek is back at his local shop, Collected Comics and Games in Plano, TX, to talk with customers and shop employees about the comics they're reading. And for the month of July, the topic of conversation is summer reading. Many of the shop regulars are there, and store manager Sabrina and her associate, Stephanie, join in the discussion, as well. The conversation begins with DC Comics' Rebirth titles and how the quality of those stories are resonating with the gang (most of which are Marvel die-hards). That discussion leads to talk about the seemingly endless string of Big Two events and how even publishers such as IDW are seeing the need to create crossover events of their own. Other summer reading for the Collected gang includes How to Talk to Girls at Parties, Jade Street Protection Services, Bounty, Throwaways, Action Man, and Heathen (which was discussed in May's on-location episode). In addition, Sabrina also gives her take on some of the early releases she gets to read as shop manager -- e.g., Briggs Land and Black Hammer -- and Derek is appalled that at least one dedicated shop customer doesn't even know what Fables is. As is usual with the monthly on-location episodes, there's a lot of fun talk about a wide variety of comics, something to pique the interest of any Comics Alternative listener.
It's the first of the month, and that must mean that it's time for the Two Guys with PhDs to take a deep dive into the latest Previews catalog. For the month of July, there's a lot for Andy and Derek to discuss. And in between speculations on solicitation-writing strategies and disagreements on how to pronounce "gyros," the guys pack as much as they can into this almost-two-hour episode. Among the many solicits they highlight are from publishers such as
For this interview show, Gwen and Derek talk with Benjamin Frisch about his new book from Top Shelf Productions, The Fun Family. In many ways, this is a parody of Bil and Jeff Keane's The Family Circus. The narrative concerns the family life of beloved cartoonist Robert Fun and chronicles the threads of domesticity as everything begins to unravel. Fun has a strip very much like Keane's, a family-oriented single-circular-panel daily, but Frisch doesn't demean the legendary newspaper strip or take it into obscene territory. However, there are dark places where Frisch travels, and that's much of the fun of this book. Both Gwen and Derek ask their guest about the genesis of his project, his history with newspaper dailies, and his recent experiences in the residency program, La Maison des Auteurs, in Angoulême, France. They also discuss Frisch's background in sound production and his own work in podcasting, specifically with Jessica Abel (a previous guest) and Out on the Wire. This experience with Benjamin Frisch is yet one more example of the fruitful intersection of comics and podcasting.
How do the Two Guys with PhDs celebrate America's Independence Day? Why, by using the July 4th holiday to launch their brand new monthly series devoted to European comics. That's right, similar to what the podcast already does with its monthly manga, webcomics, and young readers programs, The Comics Alternative now has a new series devoted to the discussion and appreciation of European works in translation. Cohosting this monthly effort with Derek will be Edward Gauvin (a prolific translator of bandes dessinées).
The guys begin by describing their plans for the new Euro comics series and laying out a rough mission statement. At the same time, they acknowledge that the format of this endeavor can take shape as it grows, and they spend a good deal of time defining their terms. They decided to call the show "Euro Comics" since it best describes what they are attempting with the series. Other potential titles, such as "Global Comics," "Bandes Dessinées," and even "BD" are limiting in one way or another, and they're not as targeted nor as accommodating as the continental designation. What's more, Edward and Derek point out that their understanding "European" is a bit flexible, as it will allow for the inclusion of translated comics produced out of other regions, such as South America, that owe an immense debt to the various European traditions.
That being said, the guys jump into the core of their inaugural episode. They begin with a discussion of Barbara Yelin's Irmina (SelfMadeHero), originally published in German in 2014 and translated by Michael Waaler. As Edward describes it, Yelin's is a "Grandma, what did you do during the war?" kind of fictional narrative where she uses as a springboard her own grandmother's diaries. It's the story of a young German woman, Irmina, during the 1930s and 1940s who feels distant from, or ambivalent about, the rise of Nazism in the days leading up to the Second World War. Despite her initial resistance to the propaganda, she ends up growing accustomed to, and indirectly sanctioning, the atrocities propagated by the Third Reich. Howard, a young Barbados student studying at Oxford, functions as both a counterweight and a touchstone to Irmina's ordeal. As both Derek and Edward point out, this is a text with novelistic breadth.
Next, the Two Guys take a look at Frédéric Bézian's Adam Sarlech: A Trilogy (Humanoids), a collection of three stories translated by Mark Bence and originally published in France during the late 1980s and early 1990s. Derek begins by contextualizing the book as a graphic cycle, a series of interconnected stories, each of which could stand on its own, but taken together read with more "novelistic" depth and complexity than a mere collection of short fiction. In other words, it's the comics equivalent of literary short-story cycles (or, as some have called it, composite novels). The three pieces in Adam Sarlech function in this way, where certain characters (particularly Doctor Spritzer), scenarios, and geographic setting bind everything together. This is a macabre work heavily influenced by the gothic and weird fictional touches of Edgar Allan Poe and H. P. Lovecraft. In fact, the guys describe Adam Sarlech as one of the most sophisticated and exciting books they've read this year, European and otherwise.
On this episode of the interview series, Andy and Derek talk with Rich Tommaso about his recent publications from Image Comics, She Wolf #1 and the trade collection of Dark Corridor. Both were released last week. The guys begin by trying to wrap their brains around She Wolf, a surreal lycanthrope narrative with a 1980s flair. Rich reveals that this is a planned four-issue arc, and that if the interest is there he has plans to continue and expand the story. He contrasts this publication strategy with that of his earlier series, Dark Corridor. That began as a more ambitious project with more of an ongoing storyline. But, due to the sales, he decided to wrap up the title sooner rather than later. In fact, Rich speculates that crime comics may not be a current interest with the comics-buying public, at least compared to horror and science fiction. He also suggests that autobiographical or slice-of-life comics -- as found in his earlier works, Let's Hit the Road and Pete and Miriam -- may not be his forte, and that genre stories are more his style. You'll also find in this interview a lot of talk about film, crime fiction, and the recent HeroesCon where the guys first met Rich. So whether you like your Tommaso comics plain or genre-flavored, this conversation has something for you.