Articles by van-jensen
Sun May 11, 2008 — by Van Jensen
Stanford Class Creates Graphic Novel
'Shake Girl' explores history of Cambodian acid attacks
In what is being billed as the first full graphic novel to be created as a classroom project, a group of Stanford students this past year completed Shake Girl, a fictional story about a Cambodian woman who is attacked with acid as revenge on an affair.
The 224-page book came from a writing class taught by Tom Kealey, and signalled a new step in the advancement of graphic fiction into traditional college campuses. The San Francisco Chronicle has a nice long story on it.
"In a normal writing class, you'd write a poem or finish a chapter and you'd own it," Kealey said. "In this class, we had to collaborate every step of the way, every idea, and make compromises. It was the most difficult and rewarding class I ever taught."
While the study of comics and graphic novels has steadily become an acceptable part of college curricula - "Maus" creator Art Spiegelman taught a course at Columbia University last year - the project-based graphic novel class offered at Stanford appears to be the first of its kind.
In case you're interested in the project, Stanford has made Shake Girl available online, so click right here and grade it for yourself.
Fri May 9, 2008 — by Van Jensen
Review: 'Harbinger: The Beginning' by Jim Shooter and David Lapham
The classic '90s superheroes return in slick new collection
I had forgotten how much superhero comics had changed in the past 15 years when I picked up Valiant's new Harbinger: The Beginning collection ($24.95), which revives the book's first issues from 1992.
It's impossible to evaluate the stories without looking at the context of their era. True, Harbinger never reached the excessive silliness of Liefeld's X-Force, but it's populated by edgy characters with dated nicknames like "Torque," who spout even more dated phrases like "buttlick."
Since the crash of the '90s, comics have largely moved toward a more serious and realistic tone, and Harbinger (created by Jim Shooter and David Lapham) stands in stark contrast. All the same, in many ways the book holds up, probably no surprise since it once garnered a great number of fans.
What's especially appreciable about Harbinger is how it strays from the superhero stereotype, something even today's books struggle to do. The protagonist, Pete, is not a clear-cut hero; instead he's an immature and often egotistical teen who doesn't understand the dangers of his powers. The villain, Harada, is no great man, but his central goal is to protect the world from Pete.
As much as anything, Harbinger is about the folly of youth and the lessons to be learned from those mistakes. It falls into cliché and hollow edginess, but more often jumps in surprising directions and offers a new (again, in context) take on heroes.
Thu May 8, 2008 — by Van Jensen
Where Are The Superheroine Movies?
Few females featured in Hollywood adaptations
Over at Cinematical, Elisabeth Rappe responds to all the acclaim for Iron Man by pointing out a deficiency in the booming business of comics being adapted to film.
Looking around the cinematic landscape, at the likes of Tony Stark, Bruce Banner, Bruce Wayne, Hellboy and the like, Rappe notices something missing: superheroines. And, even worse, Marvel's recent announcement of more male heroes headed to the screen and ongoing delays in a Wonder Woman project, it looks like no female heroes will be hitting the big screen anytime soon.
It has been eight years since X-Men made comic book movies big business, and we have yet to see a proper superheroine. Ant-Man is on a faster production track than Wonder Woman – and who is more recognizable to the general public? Why is Thor more palatable to the mass audience than Black Widow? I don't buy that there isn't a mass appeal for these stories.
It probably doesn't help the studio perspective that the only two comic heroines allowed to fly solo were disasters. But was there ever a smidgen of care given to either Elektra or Catwoman during the writing or production process? Neither film was entered into with that Iron Man spirit; they were careless and cheap, and turned out predictably awful. It's no surprise that a movie bombs because it sucks – but surely, the suits are ascribing that largely to heroines being lousy sells. It says volumes that neither are worth the kind of relaunch The Incredible Hulk is getting. Why not bring back Elektra to revise big screen history? I'd pay to see it in a heartbeat.
A lot of food for thought, and plenty to agree or disagree with. Interestingly, Rappe doesn't place any of the blame on the comic book industry, which has been called out for giving women short shrift plenty of times.
Thu May 8, 2008 — by Van Jensen
The Weekly Haul: Reviews for May 8, 2008
Rounding up the latest comics issues
Simply put, a huge week in comics, with a full load of books even before we get into Skrullapalooza 2008. Though a few decent indies came out, superheroes dominated the shelves, and Marvel's superheroes especially, including a couple of big debuts.
Book of the Week: Nova #13 -- A comic has to be pretty dang good to overcome a cover like the one at right, which seems to show Nova and Silver Surfer en flagrante as Galactus serves as an interstellar peeping tom.
Despite that, Dan Abnett and Andy Lanning's space book shows no Annihilation hangover, keeping the pedal all the way to the floor. Back to trying to serve as a cop of the cosmos, Nova responds to a world being destroyed by Galactus. In a great catch, Nova realizes the world is already doomed, so he focuses instead on the rescue mission (with nice allusions to FEMA and Hurricane Katrina).
As if that wasn't enough, the writing crew throws in the complicating villain Harrow, a malevolent and vague force that feeds off suffering -- a clever parallel to Galactus' appetite.
No kidding, this is one of the best superhero comics right now, and easily the most enjoyable space story in recent years.
Runners Up:
The Boys #18 -- The comic known for its raunchiness is as bellicose as ever, with a constant peppering of cursing that almost makes Deadwood seem prim and proper. While that's what the series has come to be known for, this issue surprises in how well it captures interactions among the characters in low-key ways.
Of course, there's also a lengthy scene of a floating corpse peeing all over...
The All-New Atom #23 -- Escalating craziness is the proper description for this series. Ryan is now in some sort of alternate universe, where his friends (thought to have been eaten by last issue's monster) are fending off bizarre monsters. A classic bad-to-worse issue, with lively art from Pat Olliffe and another great cliffhanger ending.
Thu May 8, 2008 — by Van Jensen
Arrests Made in Shooting of Comic Shop Owner
Two suspects in custody, another sought
Late last month, we heard the sad news that David Pirkola, owner of Apparitions Comics and Books in Kentwood, Mich., had been shot in an apparent robbery. Now, as reported by Kentwood's NBC affiliate, two men have been arrested in the shooting.
The two suspects have been in custody for about a week, with police holding their identities until now as they tried to track down a third subject, according to the station's report. I'm not sure that's right, as police are required to immediately make a public log of every arrest. It could be that the arrestees are juveniles, whose identities can legally be withheld. The article doesn't list their ages.
James Muriel-Neal Thompson and Marvin Michael-Marquis Jones are accused of shooting David Pirkola at his Kentwood comic book store on April 25. Thompson and Jones were in court more than a week ago, but police did not release their names because they're looking for a third suspect.
That man, Jevon Sawyer, is still being sought. Pirkola remains in critical condition.
Again, best wishes to Pirkola as he recovers.
Wed May 7, 2008 — by Van Jensen
Review: 'Mome' Vol. 11
Latest Fantagraphics collection offers dark entertainment
The image at right isn't the cover of the latest MOME ($14.99), Fantagraphics' collection of vignettes from various cartoonists. That's because the actual cover features full male nudity and a body gushing blood.
As much as that might create a challenge for the volume's shelf presence, it sets a fitting tone for the stories within, all beautifully illustrated pieces that are in turn harsh, ugly, violent, depressing and hilarious.
The best of the lot is "Einmal Ist Keinmal," a wordless story from French cartoonist Killoffer (that's his work at right, though not a page from MOME). His two-tone work, reminiscent of Jaime Hernandez's art, elegantly portrays the life of a woman living in a world where all men literally look the same, featuring the grim, Cro Magnon-ish visage that Killoffer uses to represent himself. It's a story that begs for repeated readings to decipher the author's thoughts on the ugly side of masculinity.
The 20 other pieces are an assortment of new chapters in continuing stories, standalone pieces and a lengthy Gary Groth interview with Ray Fenwick (a must read for those interested in typography). Tom Kaczynski crafts a mournful diatribe against new age businesses and Nate Neal weaves a bizarre tapestry of cartoon oddity, among other highlights.
This is one of the more cohesive and consistent volumes of MOME, with a handful of great pieces and no weak links. Recommended reading, at least for those who like their comics with a nasty edge.
Tue May 6, 2008 — by Van Jensen
Review: 'Willie & Joe: The War Years' by Bill Mauldin
Collection of Mauldin's World War II cartoons is one for the ages
In the new massive two-volume set Willie & Joe: The War Years, Bill Mauldin's World War II cartoons are given a deluxe treatment, from the Army-green canvas covers to the oversized printing of Mauldin's voluminous output.
The only thing publisher Fantagraphics couldn't overcome in producing the book was the rough condition of much of Mauldin's cartoons depicting the life of soldiers. As much as that might seem a drawback, editor Todd DePastino turns it into one more thing to appreciate about Mauldin: His cartoons often suffered because the young soldier/illustrator created them on the front lines.
It's a truly beautiful collection, and one befitting the legacy of Mauldin, who died in 2003 (I reviewed DePastino's biography of Mauldin right here). The first volume picks up with Mauldin's first cartoons in a school paper (DePastino faced the tough challenge of tracking down all of Mauldin's published work), then transitions to his time in the Army, first in Oklahoma and then overseas.
Through the cartoons (and DePastino's well researched notes), we can see Mauldin grow as an artist, a person and a soldier. His first cartoons offered harsh stereotypes of Native Americans, but after Mauldin served with a largely Cherokee unit, his lasting desire for equality began to come to the fore.
Continue reading Review: 'Willie & Joe: The War Years' by Bill Mauldin ›
Tue May 6, 2008 — by Van Jensen
More Will Eisner Films on the Way
Hollywood agency buys up Eisner's estate
Will Eisner's seminal comic book series The Spirit is on the way to theaters, adapted by Frank Miller. And it looks like more of the legend's creations could be following.
Wired has the news that Creative Artists Agency picked up the rights to Eisner's estate and will push for more movies based on those books, including A Contract With God.
CAA, a heavyweight talent handler that represents Steven Spielberg, Tobey Maguire, Cameron Diaz and scores of other A-listers, will be pushing for movie adaptations of Eisner titles as a result of the deal, which was announced last week. Eisner comics that could make it to the silver screen include A Contract With God and Other Tenement Stories, John Law, Lady Luck, Mr. Mystic, Uncle Sam, Blackhawk and Sheena.
Eisner died in 2005. Widely credited with helping establish the graphic novel as a respectable art form, he was honored in 1988 when Comic-Con created the Will Eisner Comic Industry Awards to recognize cutting-edge comic book talent.
Tue May 6, 2008 — by Van Jensen
Video: The 'Iron Man' Nick Fury Ending
Samuel L. Jackson's secret appearance now online
Did you happen to, like me, not stay through the credits of Iron Man to see that top-secret meeting between Tony Stark and Nick Fury of S.H.I.E.L.D.? Well, now you can catch it on YouTube, or by clicking the video player below.
It's some bootleg, Blair Witch-style footage, so we'll see how long it stays up.
Fri May 2, 2008 — by Van Jensen
The Comics-to-Film Review: How 'Iron Man' Matches Up
Sure, it's a good film... but is it accurate?
If you read fellow ComicMixologist Matt Raub's review of Iron Man, you already know the new Marvel Studios movie is a relentless blast of entertainment. Even for those who've never picked up an Iron Man comic, it's a top-rate summer film.
But there are also those of us who have picked up an issue (or a few hundred) of Iron Man over the years, and for us the movie is a different experience, as we can't help but compare and contrast it to the comics that have come before. So, in that respect, how does the film hold up?
Tony Stark is the place to start, as he's always been the real draw of any Iron Man tale (though the costume is plenty cool). In the comics, Stark is a calculating man both as a hero and in the business world. He enjoys his wealth at times, but is more taskmaster than playboy.
Robert Downey Jr.'s take on the character is much more like the raconteur persona that Bruce Wayne takes on, only for the movie version of Stark, it's no act. Much like Johnny Depp in Pirates of the Caribbean, Downey Jr. offers a weird riff on his role that's entirely new and impossible not to enjoy. Count that as a win for the film.
The film's plot, meanwhile, is essentially an updating of the classic Iron Man origin story, and the modernization is handled quite well. There's nothing directly lifted from the comics, and instead the comic references come in an array of winks and nods (S.H.I.E.L.D., War Machine, Nick Fury, Tony's drinking, etc).
My main problem with the movie is a fault it shares with the comics, in how the plot tries to incorporate real-world issues without really delving into them. Comic books regularly feature stories set in vague, war-torn countries in the Middle East, and the Iron Man film follows suit with its shallow usage of terrorism and Afghanistan.
But those are forgivable defects, and Iron Man easily makes a successful transition from page to screen, thanks to a director and cast that know what elements to take from the books, and which to leave behind.
Thu May 1, 2008 — by Van Jensen
New 'Incredible Hulk' Trailer
Edward Norton goes a-smashin' in first full-length trailer
The second trailer for this summer's The Incredible Hulk is up at Apple's trailer site. We get to see a lot more of the story, which looks to be lots of Bruce Banner (Edward Norton) running around the world, fleeing the military, then a string of battles.
Most notably, this trailer also shows a lot of Tim Roth as the Abomination, and how he gets to that point. Still a ton of question marks on this one that the trailer doesn't dispel, most notably whether the CGI is up to par on the big monsters, which is what everyone wants to see out of a Hulk movie anyway.
The trailer's also up at YouTube, which you can see right here.
Thu May 1, 2008 — by Van Jensen
The Weekly Haul: Reviews for May 1, 2008
Rounding up the latest comics issues
War is the topic du jour in comics this week, with battles breaking out or warming up in darn near every issue. But instead of mindless battling, most of this week's comics gave a deeper look into the costs and reality of violence. A reflection of our times, perhaps?
Book of the Week: DC Universe #0 -- A very good issue, though not on par with Countdown to Infinite Crisis, which was a more lucid preamble to a big event. But that's to be expected with Grant Morrison, who sets up Final Crisis with a series of vignettes that introduce the personal hell in store for many heroes.
The narration -- leading to a very well done reveal that I won't spoil -- is appropriately vague and ominous, letting us know that storm clouds are brewing (though without falling into such cliché). The issue appropriately establishes the seriousness of the war on the horizon, though the elements of that war remain opaque.
While DC still has a lot to make up for after the painful Countdown, this issue goes a long way toward that end, not so much picking up from Countdown #1 as hitting "reset" on it.
The best scene is that with Batman and Joker, a meeting that starts out almost exactly like all of their interactions at Arkham, then twists in a new, foreboding direction. The layouts, which are extremely creative if not consistent, offer another highlight.
In the long run, though, this issue is only as good as the event that follows it.
Runners Up:
Elephantmen: War Toys #3 -- In what could be just an excuse to draw some cool human-animal hybrids fighting with big guns, this series has offered a very solemn look at war. The Elephantmen are next-gen Hessians in a war between humans, and their animal instincts lead to atrocities.
It's a gruesome reflection on how people wage war, that in battle humans become as ferocious and bloodthirsty as animals. A female guerilla soldier opposing the Elephantmen, Yvette, serves as the point of reason in this tragedy, her life in exchange for the animals gaining some humanity.
New Avengers #40 -- The latest Skrullapalooza prequel that actually came out after Secret Invasion #1is a very worthwhile read, and manages to overcome its tardiness. In Mighty Avengers #12 and now this, Brian Michael Bendis has illuminated some of the anciliary issues to the big war between Skrulls and Earth, with this issue focusing on the Skrulls.
Giving motivation to villains is key to making a great comics event, and the plight of the Skrulls becomes very relatable, as does their turn toward religious extremism and their hatred of earth's heroes. He loves you indeed.
Wed Apr 30, 2008 — by Van Jensen
Review: 'Bill Mauldin: A Life Up Front'
From desert rat to soldier to counterculture hero, the life of a great cartoonist
In many ways, Bill Mauldin lived out the American Dream, starting out as a physically unimposing 'desert rat' in the southwest, then joining the army and becoming a star soldier-cartoonist, and retiring as one of the best known editorial cartoonists in the country. He died in 2003.
In his new biography, Bill Mauldin: A Life Up Front, author Todd DePastino takes that famous life and digs out all the strange truths, the contradictions, the unknown motivations. Mauldin was a deeply conflicted man, DePastino finds, alternatively successful and unhappy because of his deep drive for acceptance.
Born in 1921 to a rough and tumble family, Mauldin had little going for him as a child besides an aptitude for art. In his teens, he went to Chicago to study, but despite a prodigious output he had little success landing his cartoons.
With no other options (like many other enlistees), Mauldin signed up for the army and started cartooning for a service newsletter. From the start, his work focused on the lives of the grunts, who trudged through mud and faced the disrespect of superiors.
Using Mauldin's writings, interviews and those cartoons, DePastino follows the young, driven man as he developed as a person and illustrator. And, soon enough, followed him over the Atlantic into the hell of World War II.
Wed Apr 30, 2008 — by Van Jensen
Interview: Paul Azaceta on Daredevil, Monkey Art and 'B.P.R.D: 1946'
There are always big shoes to fill when you're working with a Mike Mignola story...
One of this year's big additions to the Hellboy universe has been the series BPRD: 1946, which features Hellboy's father-figure, Trevor Bruttenholm, as he investigates the occult legacy of the Third Reich.
I recently spoke with series artist Paul Azaceta, who discussed the ins and outs of playing in Mike Mignola's sandbox. Azaceta also provided insight on his many other projects for Marvel and BOOM! Studios, and on the joys of drawing monkeys.
Though still a relative newcomer to the comics scene, Azaceta has churned out an impressive amount of books in the past few years. His future looks to remain busy, with the possibility of more B.P.R.D. and a mystery project for Marvel.
COMICMIX: How did you get your start in comics? I noticed that you worked on manga books a few years back.
PAUL AZACETA: Oh CPM, how I miss you. Those old manga books are when I first got into the business but not as an artist. Those were the good old days when C.B. Cebulski was the editor of a manga line and I was his assistant. I used to make copies for him and scan in manga art and other things I'm not too proud of. C.B. was a very loving boss.
CMix: How did you end up making the connection with BOOM! Studios?
PA: After doing a couple of small books here and there, I met [BOOM! Publisher] Ross Richie through a friend and it just so happened he was looking for someone to draw these two gritty-type books. When I heard that Mr. Mark Waid was behind one of those books, I jumped at the chance.
Continue reading Interview: Paul Azaceta on Daredevil, Monkey Art and 'B.P.R.D: 1946' ›
Tue Apr 29, 2008 — by Van Jensen
Review: 'A People's History of American Empire' by Howard Zinn
The ugly side of America, now in comic form
With the recent invasions of Iraq and Afghanistan, it's no surprise that Howard Zinn has something to say. The author of A People's History of the United States, Zinn retold America's story through the eyes of all those who were beaten down in the country's expansion.
Now he's back with an updated account, albeit in a strange form. A People's History of American Empire (Henry Holt, $30) is an illustrated version of the previous People's History with notes on the current imperialistic efforts of the United States, as seen by Zinn. No graphic novel, it's more of a slideshow of Zinn's lectures. Here's a sample put together by the publisher and narrated by Viggo Mortensen:
For those long familiar with Zinn's writing, there's nothing especially new here, though he does effectively tie in his past lessons to the current mess in the Middle East. And while Mike Konopacki's art is impressive if sheerly for the quantity (a dense 250-plus pages), it's not worth seeking out the book just for that.
The purpose of this book, more than anything, is to take Zinn's message to new readers in a new way. In comics form, that message becomes easily digestible, though without losing any of its intellectual punch.
The story of the dark side of American history remains an important ones for the country's youth. Now that story comes in a book they're more likely to enjoy.
