The Forbidden Planet International Blog

The Earthbound God
Anthea West

There is a level of sophistication about this comic, a graphic novel encompassing a whole story, that is indicative of what is happening in the Republic of Ireland. In the last ten years, writers and artists have come up through various routes, but quite a few from the small press, and broken into the international comic scene.

British Comics and American have seen, not so much an invasion, as the discovery of some fantastic talent.

Yet comics, as we know from developments over the years, is a medium not exclusively the (reign) of superheroes, or action characters, and The Earthbound God is the type of intelligent and gentle comic, that has a different type of story to tell. The Independent, non superhero comic is a vital facet to the comic oeuvre, and here, is a fine story, beautifully told, and for me, a sign that small press has moved from an amateur to very professional stance, while remaining true to the desire to tell unique and in many ways, more oblique stories.

It is winter, and Eusha, a skilled Inuit spear hunter, is with her friend, Yaeya, spotting, as they hunt deer.

They are from the Ocean and the Beach, and they are on a quest, to find a great deer, that is also a God for an elder. This quest sees them meeting other people, of the Mountains to hear their stories.

They continue up the mountains into a hard winter in the pursuit of this fantastical creature who is not just a spirit. Their adventure has a serious side to it, both the elements and the creature are to be feared, and in their pursuit, Eusha is faced with trauma. Soon it is a question of life or death, desperation and survival.

The artwork is a clean and nice black and white style, simple yet facially expressive and gentle enough to provide a real feeling for the landscape. The characters are distinctive, the movement of hunting and of the animals is superb. The deer are especially accurate, and capture a real sense of energy.

To illustrate a past story the style changes, and this is nice, while the language used, is not so much simplistic as slightly different to what one would expect, allowing a sense of identity for these people, and also marking cultural differences.

It is really quite lovely. There is a manga influence, anyone who likes the fantastical settings of Studio Ghibli will appreciate this, but it is distinctly original. A huge amount of research has gone into the work, and there are a selection of notes, sketches, preliminaries at the back, that demonstrate how much care and attention has done into the story, and it shows.

Overall, I was very impressed and when one considers that this is the work of an individual from cradle to grave, more so. Irish publishers are missing something here.

It can be bought from the Dublin branch of Forbidden Planet International and online from Anthea West’s website.

More from IDW’s very welcome large hardback series of classic Judge Dredd collections -  a second helping of Dredd from the artist who originally visualised him, the mighty Carlos Ezquerra (this volume includes the epic Apocalypse War, oh yes, warm up your Stub Guns!), coming late this summer. Available to pre-order now!

Don Smith posted up a long interview with writer Erica Schultz, mostly talking about her Indy series with artist Vicente Alcazar, M3, following a reluctant female assassin:

Conversation with Erica Schultz from Don Smith on Vimeo.

West – Autumn Dusk

By Andrew Cheverton and Tim Keable

Autumn Dusk is the final comic in West Volume II. It is, as everything Cheverton and Keable have created with Jerusalem West, a quite stunning thing.

But final parts of a volume are troublesome things to talk about. Because I’ve talked plenty of Jerusalem West and his weird adventures before, and given that there’s essential, shocking stuff in here that I really can’t tell you about this could probably best be summed up thus:

1. Go read the reviews, in order:Justice, Distance #1, Distance #2, Stray Bullets – a West Anthology,Confederate Dead, Points West

2. They sound great yes? Well this is every bit as great, and there’s an ending that will simply leave you agog.

Thus far the furthest we’ve ventured into the life of Jerusalem West is 1896, the autumn of West’s years, where he was looking forward to settling down, no more fighting, no more weirdness.

It never works out that way.

Last time, in Points West, it was West’s past come to haunt him, killers riding into town. This time we’re even further into the autumn of his years, it’s 1901, and both West and zombie killing pal from the Confederate Dead Wil Frohickie look to be settling peacefully into old age. But the lure of an easy case draws them into the big city…

Yeah, how much trouble can it be?

You just know how this is going to turn out don’t you?

Well, actually, I reckon you don’t. I certainly didn’t. Sure, it’s obvious the turn of the page is going to plunge West and Wil into weird west trouble, and since we’ve done werewolves and zombies, this wasn’t the surprise either…

Oh, yes. Undead bloodsuckers, just the latest in a long line of weird stuff West has had to deal with.

But you still have no idea how it’s all going to turn out. Because Cheverton’s done it again, managed to completely surprise, using the non-linear retelling of the West saga to deliver a great, and completely unexpected finale to Volume II. This is brilliantly told work, complex, inventive, playing with multiple genres to create a true saga. The non-linearity provides the unusual structure, throwing you off kilter slightly and making you piece it all together. There’s much to enjoy here, and even more to be gleaned from multiple readings.

Keable’s art is so strong, obviously drawing something he enjoys, his characters look the part, authentically old, character delivered in body language and subtle lines, clarity of storytelling to the fore, yet still full of great, great images.

You can (and dammit, should) buy copies of West from the Angry Candy store (print) or from Comicsy (digital).

Following last week’s discussion of the major Lichtenstein exhibition at the Tate and the comics creator’s own response to his ‘borrowing’ from the genre (without permission, credit or payment) with Image Duplicator (see here), James visited the exhibition at Orbital Comics in London, and it seems that it may have a life of it’s own.

The feeling of joy and pleasure that washed over me, experiencing the impact of the full size of ‘Whaat?’ by Dave Gibbons after Ira Novick, was like the missile explosion in the image -I was blown away.

I had not expected Gibbons to recreate it to the same scale as Lichtenstein, the image in two huge panels, the red background only highlighting the strength of this amazing colours. I was transfixed, and already like everything to do with this project steered by Rian Hughes, all expectations were exceeded.

Inside, the exhibit space had been really carefully hung. I understood that there was a late addition, and what an addition it was.

Gary Leech created ‘Plop Art’, a huge Popeye piece. One could see this was freshly painted, the texture of the paint visible as the huge image filled a wall from ceiling to floor. He allowed some space at the top, where I understand Leech himself installed a toilet roll holder, dispensing a statement in a matter of visual seconds that words would fail to achieve.

Mark Blamire’s piece, utilising the original panel layout of a war comic was very clever. In a delightful way Blam’s art was stealing from Lichtenstein, focusing on the dots doing each panel in a predominant colour, which I found neat.

The accompanying comic also in a frame is exactly why this is an exhibit which captures my thoughts. Comic art has never been precious, many covers and designs have been utilised by others, but not in a way that ignored and discarded the original art with disdain.

Vicky Stonebridge’s piece, after Tony Abruzzo, was really nice, the blues somehow setting her image apart. The painting sent a clear message both in words and images; type from pulp SF was included in the art, as well as hand drawn script, all adding a delicious texture to the art.

Before Lichtenstein by Strictly Kev after Tony Abruzzo is a superb riff on Before Watchmen, in the style of a comic book cover was also striking.

There was so much here, every wall was full, but not to the detriment of the viewer. It was just right and anyone would be content with that.

Rian Hughes had produced a catalogue, and there were really nice promotional cards with the Gibbons after Novick image and also badges for sale.

As if this were not enough, there will be an Image Duplicator debate on Thursday 23rd of May at 7.30 at Orbital Comics. Artists and curators will discuss the issues raised by Lichtenstein and ask ‘Is ‘reappropriation’ in art justifiable and if so where does one drawn the line?’.

Chris Thompson will be chairing the debate, with Rian Hughes (exhibition co-curator), Daniel Brant (gallerist,curator, A&D Gallery ), Paul Gravett (author,comics expert, Four Colour Saint) and Jason Atomic (exhibition co-curator) slated as the key speakers. There is also an invitation to contributors who may come along to voice their thoughts.

And finally, I understand that efforts are underway to see the exhibit transfer to another gallery.

The exhibit is on until the 31st of May and I would say regardless of your view on the Lichtenstein question, there is some superb artwork of the highest calibre on display here, and it’s well worth getting to.

Over the past few weeks, a number of fairly recent new publications have caught my eye that bridged the gap between visual (fine) arts and comics. Here’s one : Rembrandt by the Dutch creator Typex, published in Europe by the very fine Oog En Blik (who I see have been revamping their website recently).

This brick of a book, three years in the making, had creator Typex morph his style to fit the clair-obscure, brown tints and the fluent, vague and suggestive lines of his subject’s paintings. in a number of short tableaux, Typex tries to evoke key moments in the life and times of famed Dutch painter Rembrandt van Rijn, from his early days as an apprentice in Haarlem to the twilight of his days, alone with his much lauded (and often very honest) self-portraits.

Typex paints a portrait of a man who was to big for his contemporaries, who refused to market his work, but rather spent his time perfecting his craft. Rather than enumerating the creative history of Rembrandt’s most famous paintings, Typex focuses on his daily life, his friends and competitors and how he dealt with them.

It’s as if we read an account in pictures from that time itself, not bound by any constraints or convention of the medium but rather totally expressive. Whether all the anecdotes in the book are real, or whether Rembrandt really went about his business as he is portrayed here, is not that important, it is not the essence of this work or the man it depicts. This is Typex’s Rembrandt – his view on an artist who lives for his art, for whom life is an inconvenient obstacle in the perfection of his work, and does not care about social conformity or grace. Whether there’s a lot of Typex in this Rembrandt is a matter for psychologists.

(Typex interprets one of Rembrandt’s most famous works, The Night Watch)

Sometimes there are books that impose themselves on you, that you simply can’t ignore – you have to read them, you have to let yourself be overwhelmed by them. They’re called masterpieces, and Rembrandt is a prime example, and not translating it would be a crime. Which is why I am so delighted this is not going under my occasionally used ‘translation, please’ banner, where I highlight a remarkable piece of comics work in Europe that deserves to be translated and read more widely. Because others have already read this book and obviously share my opinion, having it translated for the pleasure of the English language readers too – the English language edition of Rembrandt is coming from the good people at SelfMadeHero this summer and is a book we’ve already highlighted in our monthly FPI’s Most Wanted, where our blog crew pick out some of the upcoming releases they want to read (it is available to pre-order on our webstore here). You are in for a wonderful reading experience.

I first saw Tom Jobbins‘ My Face is in Space in one of the short animation strands at the Edinburgh International Film Festival the other year, and I’m delighted to see it is now up for everyone to enjoy online. The film uses some suitably 70s styles in its retelling of one of my favourite scientific endeavours of the last few decades, the astonishing Voyager missions to the outer planets and beyond. But this isn’t so much about astronomy and exploring the final frontier, it’s about Larry, just a schoolkid at the time, but his face was one of the images on the famous ‘golden disc’ which was put aboard the spacecraft, containing images and sounds of Earth, its people and wildlife and data on our location in the galaxy, our DNA and other important facts, on the remote chance that some alien intelligent life might one distant day find this battered old probe drifting through space, a way to let them know we exist, a cosmic message in a bottle. The animation follows Larry and the impact – not all of it positive – that this fame had on his life:

My Face Is In Space from Tom Jobbins on Vimeo.

This was my third trip to Toronto for TCAF – a slightly truncated but massively enjoyable visit this time round. Like most convention reports I write now, it’s get checked in, go to the con and sell for two days. Took some quick photos and then all too soon it’s time for home. So if this tails off, sorry in advance!

I was staying in the Marriot, the con hotel and this made for a more relaxed experience as the Toronto Reference Library was only about five minutes away. Previous visits have involved a lot of walking to and fro, and a sense of slight detachment. I arrived on the Thursday and after checking in  went  to the Pilot for a launch/ talk introducing some of the European guests who were being published by SelfMadeHero – I had the chance to meet David B, Frederik Peeters, Ulli Lust and Judith Vanistendael. I also got to talk to Glynn Dillon about Chelsea, one of the few comickers  who I have football conversations with. Then it was back to the Hotel for a nice sleep.

Next day was spent in the library doing some research and using the wifi to update some projects and generally just laze around. It’s an amazing library and hanging around and working in a library space is something I rarely get the opportunity to enjoy, so it was cool. On previous trips to Toronto I wandered great distances to see as much as possible so, again a nice and easy pace this time ahead of the main show was quite welcome.

I watched the busy TCAF crew begin to set up. I spotted Art Speigleman  and Françoise Mouly as I was leaving. I love this – the moment when the realisation kicks in that for a few days I’m in a comics village and bump into all sorts of cartoonists.

Back to the hotel room. The nice spacious room. Changed and then time to head out for the opening launch ceremony. Introduced by TCAF and the Beguiling‘s Chris Butcher this is the tenth year of TCAF. It was interesting to hear about the history of the festival. Then there was Comic Reporter’s Tom Spurgeon talking to the Hernandez brothers. I was sat with Clark, Mark and Adam, who are not the Hernandez brothers. It was a good conversation. Gilbert was the chattier of the brothers, which is fine by me as I enjoy his work. It was really fascinating to hear them talk about how they saw their thirty-odd year career – they are still young enough to have at  least another twenty, I hope.  Yet they are considered old in comic terms, clearly a nonsense idea. Also an interesting theme was how they related to younger cartoonists, a theme that surfaced a lot over the weekend. Later on I spoke to Adam about what he had been doing, and the struggle to get more work out every year. To generate published material. It really highlights what an amazing achievement it is that the Hernandez brothers have produced such a large body of work across the years.

Later I returned to the library and to my relief my comic box had arrived safely. I set myself up and felt the thrill that I was in Toronto at TCAF. Looking forward to the gig.

Saturday: it was a mad, busy day. I was situated on the second floor, and apart from a brief dash for coffee, I was there pretty much all day. The crowds seemed busier than last year. My table buddies this year were Maris Wicks and Joe Quinones, who were excellent company throughout the weekend. I got chance to say hello to all of the UK folks present, also Annie Koyama who is such an amazingly friendly/generous person. It was Oli East‘s birthday, so I gave him a couple of my comics. The day progressed, people brought comics off me and some people remembered me from previous TCAF trips, which was nice. It was an excellent day. The evening I spent with Jason Turner, who rescued me from being billy no – mates. Jason is excellent company, and I finished the evening in the Pilot with Box Brown. Nice night upstairs, avoiding the rain and Jocks.

Happily on Sunday I was not hungover, and made my way back to the library. I got chance to view the festival briefly without people, then it started to fill up. It was Mother’s Day in Canada, and a Sunday, so the day began slowly. But it aoon became busy and I sold more of my comics again. I also spent. Just ran round spending as much as I could. I got to chat to Jordan Shiveley, then Dustin Harbin, and naturally brought off them while I was there. But I wasn’t a punter so had to dash back to my table. I was telling Joe that he should visit Thought Bubble and talk to TB’s Clark, and that I knew Jamie McKelvie was around somewhere. Later they both dropped by and I made the introductions, so I looked more impressive than I actually am!

(all pics by Sean, borrowed from his Flickr)

Then it was time to finish. I was happy, and loved that I had replaced my own comics with some new reads. Again a lovely touch at the end of the show – selling stock to the Beguiling. Nice. I got invited for food but ended up in a Mexican on my own and stuffed my face with veggie Fajitas. Then it was the after party and got chance to hang out with happy, shiny people. Jamie Hernadez was happily drinking with no one bothering him,  got say hello to Brendan Leach, who was minus beard, drank beers with Box and Jason, then it was last call.

I dogged the karaoke bar ( 5.30 finish, apparently) and ended up back at the hotel, where I then got dragged off by a gang of rampaging Fantagraphics people, along With Tom Spurgeon – they all helped me buy one last drink ( Thanks, Jen, Jacq and Caitlin) listened to my verbal leakage. Three in the morning and that was it for me.

The next day was my last day, so I went to take in the Taiyo Matsumoto exhibition (excellent) and then mooched around Toronto. Finally, all over, it was time to go home.

It was another great show. I really enjoy TCAF every time, and this year’s was excellent. Thanks to Chris, Peter  and Miles and everyone else behind the scenes for organising an excellent celebration of comics. Also thanks to the volunteers for supplying me with coffee (vitally important!). This is an event that if you self publish you should exhibit at, at least once in your life. Just so inspiring.

FPI would like to thank Sean for being kind enough to take time to write up a report on TCAF; you can learn more about Sean’s work via his site and follow him on Twitter; you can see all of his 2013 TCAF pics on his Flickr here.

One Good Thing

By Rachael Smith

One Good Thing is described on the back cover as:

“A diary comic that tries to find the good in life. Because the little good things are more important than the big bad ones.”

And that’s genuinely a sentiment you can feel throughout these two issues, where Rachael Smith (of the great The Way We Write) celebrates everything good in her life, large and small, silly or important. It’s something that could have been syrupy sweet and I reckon some will find it too much, but I think it’s  handled just right, and a lot of that comes from Smith’s effervescent tone, a determined optimism to keep going, and it makes me smile a lot throughout.

If One Good Thing is Rachael Smith’s attempt to deliver something good into the world, and make the reader’s day a little better by sharing life’s ups and downs, then this smile on my face says she’s done the job.

Just having a book full of happy positive stuff could get a bit dull after a while, but Smith is only doing this because she felt the need, because it’s an alternative that helps her deal with the bad in her life; the doubts, the fears, the black moods. And that may well be a reason I like it so much, because of that sense of shared experience, a kindred spirit, plagued by black moods, struggling at times with depression. And Smith has a handle on it, a way of coping, a method to look beyond it and celebrate the good stuff. It’s something we should all try harder to do.

When Smith does talk about the black stuff she does so in such an open and honest manner that you’re along with her for the ride, sharing and empathising all the way. There are pages here when the pain comes through so strongly, but Smith is seemingly determined to keep this comic positive, so they’re mentioned and then she moves on, the reader allowed to absorb her pain, and then pass to the next, lighter moment.

Don’t get me wrong, Smith really, really does try to put a positive spin on everything, and she really does find so much to celebrate in her life that the reader simply can’t help but smile along. But behind her ever present smile is a fragility and a sense of an artist plagued by doubt and fear and depression.

The thing is, I don’t think she needs to, she’s got a winning voice, an easy to like style, and after reading One Good Thing I think you’ll find, just like me, that there’s a smile on your face, because Rachael Smith’s intensity, positivity, and determination to enjoy this life, even knowing another black moment may well be round the corner is rather infectious.

When I reviewed The Way We Write I said she was one to watch, and One Good Thing is merely further proof of good things to come.

You can buy January’s One Good Thing from Rachael Smith’s Etsy shop, and I’m sure the March comic will appear on there very soon. You can find her at Rachael Smith Illustration and still read the One Good Thing strips at the blog.

James reports that The London Literature Festival has a nice selection of items for comics and fantastic genre fans.

For Comic Readers, ‘Drawing the Story’ will be taking place on Saturday the 26th of May at 2pm, as part of the London Lit Festival, in the Southbank Centre. Mary Talbot, Glyn Dillon and Stephen Collins will be in conversation with the fantastic Paul Gravett. All three creators have been among our Commentary guests over the last year and a half, so whet your appetite for their event by having a look at their guest posts about their recent work (Mary’s Commentary, Glyn’s Commentary and here’s Stephen’s recent guest post)

(Mary Talbot at the Dundee Comic Expo in March, pic from Joe’s Flickr)

The Horror genre is represented by Christopher Fowler, (OK, his Bryant and May books are CRIME as well, and bloody brilliant) as he leads the Polari session, which showcases a mixture of established and reognised authors. Fowler tops the bill and will be joined by Sophia Blackwell, Andrew Belshaw, VG Lee, Anny Knight plus newcomer Greg Mitchell on the 28th of May.

Of interest to Science Fiction fans will be the ‘Visions of London’ conversation with the brilliant SF&F (and now comics too) scribe China Miéville as on the 2nd of June.

As the site explains; ‘the multi-award-winning author of The Scar, The City & the City, Embassytown and London’s Overthrow uncovers some of London’s neglected visionary literary voices. These include Somerset Maugham Award-Winning novelist Jane Gaskell, whose London is every bit as strange and powerful as her fantastic worlds.’

Booking details on the London Literature Festival website