Archive for Review

‘Legends’, an anthology by IndieManga

Posted in Review with tags , , , , , , , , , , , on March 7, 2010 by comicmole

‘Legends’ by IndieManga, 130 pages, A5, black and white with colour covers, £6


“What discerning eyes have you,

to notice here our humble book,

now there’s just one thing to do,

open it and have a look!” – Legends

And thus begins my adventure into Legends, the newest anthology from the comic circle IndieManga.  This book contains five short comics revolving around the central theme of exploring fantastical tales, and in some cases their ties to the real world.

Every member of IndieManga is featured here: Kate Holden, who was one of the winners of this year’s Manga Jiman competition, Anna Fitzpatrick, who writes and draws Between Worlds, Sally Jane Thompson, who created Little Thoughts, Rebecca McCarthy, who’s writing also appeared in IndieManga’s first anthology ‘Origins’, and this time they introduce a new member in the form of Sarah Burgess, who also writes and draws the webcomic Far-Out-Mantic.

Below I’m going to give an example of a page from each comic in the anthology to show their different art styles, and also say a little about what I took away from the story in each short as well.  First up is the 23-page Lucky, by Sarah Burgess:

Lucky is about a lowly squire who loses his pride and joy – his silver-haired horse – to some otherworldly thieves.

The story overall is well-paced, carrying the reader through the fantastical events with ease.  The ending could possibly have used an extra page, just to slow it down and give it more impact, though it closes out with an interesting resonance to the real world.  Similarly to her webcomic, Far-Out-Mantic, Sarah’s art for Lucky has a sketchy, emotions-first-accuracy-second, kind of feel to it.  This means elements like her characters’ expressions and the organic flow of a lot of the pages, are practically perfect.  However, some parts come across as rushed or even just anatomically wrong, which jerks the reader out of the story a little.

But what will bring you back in though is the hand-written text.  Hand-drawn speech bubbles settle comfortably into the layout of each page, and parts where the text breaks free and takes your eyes all around the page as you read are really quite special.

Sharing Lucky’s page count of 23 is the next comic – Vitality, written by Rebecca McCarthy and drawn by Anna Fitzpatrick:

Apothecary shop assistant Bryther had been drinking a vitality elixir to keep herself going thorugh a day’s work, but when the shop gets demolished one day she gets a lesson in how much of a good thing might be too much.

Unfortunately I didn’t quite ‘get’ this story.  It felt very much like it was trying to say something, but I’m still not entirely sure what that thing was.  The plot begins in quite a slice-of-life way, focusing on the main character and her shop, but then introduces a lot of characters and big world events in quick succession.  The reader does not really have enough time to digest all of this information before being taken back to a focus on the main character again for the ending.  It seems like this story either needed to be much longer, with time given to introduce world events and the significance of these characters within them, or more stripped-down and simplified to fit into a shorter page count.

Art-wise, this comic has a painterly feel brought about by a use of flowing organic shapes to portray real human anatomy, rather than reducing the forms down to a more graphical style.  Backgrounds are present and correct, and range from a riot of sketchy detail that can be hard to follow, to some wonderfully balanced and atmospheric scenes.  It seems like some of the pages were a labour of love for the artist, and some were more rushed through.   As a lover of small press endevours, I feel that the atmosphere brought out by the tighter, more considered, pages in Vitality makes this comic worth reading.  However a more mainstream audience would probably expect the entire comic to be presented at this standard.

The impact of popular fantasy stories is considered in the next comic from the Legends anthology: A Walk – or a contemplation on fairy tales, viewpoints, creativity and growing up, by Sally Jane Thompson:

A Walk is 11 pages long.  The story follows a young girl, who at the beginning is being read to before bed.  As she hears the tale being read to her, a beanstalk begins to grow out of the book, and take her on a journey where she encounters lots of the stories and artistic styles that inspire her as she grows up.

These inspirations range from simple fairy tales to sparkly romance, into realism, and even some tinges of menace.  As she interacts with each scene the girl visibly grows up, and at the end of the comic she clicks the lid back onto her pen as an adult artist.

This comic is obviously a very personal one that portrays several stories that have been inspirations or influences on the creator’s own development as an author and artist, perhaps also as a person.

Many different artistic styles and drawing media are used throughout this comic.  The girl herself is always drawn with Sally’s trademark brushpen strokes, which both links her character to Sally as a person and brings all of the disparate art styles used in the comic together as one piece.  As she takes her walk we pass panels drawn in a shojo (girl’s) manga style, simplified cartoons, patterns inspired by art nouveau, use of natural media, ink and screentones.  Its a completely wordless comic, but you won’t miss the words at all.

Also making quite a sparing use of text is the next Legends entry: the 15 page 5 Finger Discount, by Anna Fitzpatrick:

In 5 Finger Discount, when a girl tries to steal a transformation potion from an old witch, an amazing transformations occurs…that could get her into a lot of trouble.

Stand out characters here are the old witch and the horrible blob monster you can see on the page above.  They’re gloriously grotesque!  The entire comic is of course drawn in Anna’s signature painterly style, but compared to Vitality, which she also drew, the screentones used here are of a larger scale (meaning that the dots are larger and further apart than the screentones used for Vitality).  This means that some of the forms of the characters and backgrounds are a little bit less solid and more confusing to the eye, but it also gives the comic a lighter, more airy feel than Vitality, and thus its own personality.

The digital text used for the lettering in 5 Finger Discount is certainly very readable (which should be the first priority), but its also a little jarring over such natural-feeling artwork as Anna’s.  On the other hand, the hand-written sound effects used here (such as the ‘wugableeugh!’ in the page above) are a real high point of the comic – perfectly legible throughout, balanced very nicely with the artwork on each page that they are used on, and suiting the unique personality of the story extremely well.

Showing yet another side to the personality of IndieManga as a group is the final entry in the Legends anthology, the 17 page Adventure, by Kate Holden:

At a foreboding castle in the desolate mountains, a group of three adventures goes toe-to-toe with an ancient foe and his army of automaton minions.

…did I mention the foe had epic flares?

The story and chracters in Kate Holden’s Adventure are pretty simple and archetypal: plucky heroine, brutish warrior, semi-naked elf…but the injection of Kate’s own personality makes it into a fun quirky parody piece.  Her villain here is a good example: you can tell that he’s an epic foe right out of a fantasy story or RPG, but he also has a bit of a shonen (boy’s) fighting manga look to him.  On top of this he wears a superhero-style mask, but forgoes the cape-and-tights for 60s style flares instead.

You might think that all of these influences would make for a bit of a muddled comic, but nothing could be further from the truth – its a very streamlined reading experience.  The only thing holding it back is that, though the experience is fun, it is perhaps not quite hilarious enough as a parody comic to surmount the use of the very stereotypical characters and setting.

But setting aside,a high point to look out for throughout Adventure is the creator’s proficient use of solid blacks and whites in her artwork, giving a punchy, eye-catching finish.  The only hiccup in the art is that, with such a structured style, it seems like buildings and interiors in the backgounds would need to be drawn with straighter, more confident, lines in order to make the best use of accurate perspective and have more impact alongside the characters.

Presentation:

Legends is a tidy and good-looking little book.  Its perfect bound with black and white interior pages and full colour covers.  The covers have a matte finish which gives a high quality look and feel to the book.  A unifying, tongue-in-cheek, graphic design style throughout the book really brings the creators’ different styles together and makes this anthology into one cohesive volume.

The price was a bit hard to find as it wasn’t printed in big friendly numbers on the front cover like you get with a lot of comics.  This may have been a conscious decision not to mar the cover design, and the price was mentioned in the blurb on the back, but something a little easier to spot would have been helpful.

If you enjoy UK manga, or dare I say it even small press comics in general, then I think you will find ‘Legends’ by IndieManga to be a rewarding pickup.  As their name suggests, the group is inspired by manga, but certainly not a slave to stereotypical ‘manga’ art tropes.  Barring some confusing sketchy pages pulling the reader a little out of the experience, overall I was struck by the unique personal creativity on show here – something that is hard to find in the mainstream, and I’m sure one of the reasons why us avid readers love the small press so much.

More books are available, including their first anthology ‘Origins’, on the IndieManga website.

Sarah Burgess has an ongoing webcomic, ‘Far-Out-Mantic’, and more of her work can be found on her portfolio website.

Kate Holden’s ongoing webcomic is Fan Dan Go, and she also has a portfolio website.

Sarah Jane Thompson also has a portfolio up online, plus an art blog.

Rebecca McCarthy has a website/blog.

Anna Fitzpatrick regularly updates her webcomic Between Worlds, as well as keeping a portfolio site and an art blog.

A review copy of this comic was provided.

Journey, by Caroline Parkinson

Posted in Review with tags , , , , on February 6, 2010 by comicmole

This review was originally written for REDEYE magazine.

‘Journey’ by Caroline Parkinson, 9 pages, A5 full colour stapled single issue, £2.50.


Journey is a one-shot single issue wordless comic that tells the story of a relationship as it begins, blossoms, and matures, all under the watchful gaze of an underground station’s security camera.

The comic tells a subdued story with little action or passionate romance, however the reader’s attention is held by Caroline Parkinson’s attention to detail in the layout of her pages.  A feast of different angles are utilised in the panels: wide-angle establishing shots, close-ups, overhead shots from the security camera’s perspective, and even top-down views where appropriate.  The cover showcases this style: it features a crowd of people at an underground station, all drawn from a demanding overhead perspective.

Most of the art is drawn very accurately, however proportion is sometimes a little off in close-up shots of the characters. The colour palette is quite bright and the colours have reproduced very well in print, giving a light and airy feel.

I can’t say too much about the story here as it would be too easy to spoil 9 pages worth, but the characters are easy to relate to, and lets just say that the course of love as told here doesn’t necessarily run smoothly.

To some readers, Journey will be a worthwhile read that leaves them pondering over their own experiences in love.  However, the somewhat experimental art might leave others feeling that it is a little dry: rather like it was an extended drawing exercise for the creator.

Personally I would like to have seen the concept of a relationship as seen through the eyes of a security camera pushed a little further than it was in Journey.  For example, I wonder what Caroline could have come up with if she had restricted herself to only using shots taken through the ‘eyes’ of a network of security cameras, and perhaps with a more muted colour palette to reflect the dull, fluorescent light of underground stations.  But I have to commend Caroline on basing her comic on normal people.  Her characters don’t have any special abilities, they’re not from some crazy parallel universe, and they’re not suffering from any out-of-the-ordinary angst.  They are believable everyday people: anyone you might see whilst waiting for the underground, or even yourself.

I would recommend this thought-provoking short comic to those who enjoy stories that are predominantly told through quiet pictures, rather than lots of text and effects.  This is one to absorb over a calming tea break.

Journey can be read for free on Caroline’s website http://carolineparkinson.co.uk/ (just go to the ‘comics’ section and scroll down until you see a thumbnail for it – click on the numbers to read each page in order).  More of her work, and contact details, can also be found there.

A review copy of this comic was provided.

Dusharbi: Do Not Feed the Bear, by Caroline Parkinson

Posted in Review with tags , , , on January 23, 2010 by comicmole

This review was originally written for REDEYE magazine.

‘Dusharbi: Do Not Feed the Bear’ by Caroline Parkinson, 12 pages, A5 black and white stapled single issue, £3.

Before I start on the review I was just visiting Caroline’s website to check if she had prices listed for her comics and wow this comic is an oldie!  It was drawn in 2005!  By the looks of her sketchblog (linked from her website) she’s still drawing, but I can’t help feeling I’ve somewhat missed the boat on this one, even if I did get a copy provided for review.

In another interesting internet-based development – I’ve just found that the comic is free to read on Willie Hewes’ old short-webcomic-hosting site, aptly named ‘Webcomic Shorts’.  So if you’re curious about it but see no way of getting your hands on this hard-to-find issue, you can still read it! (the wonders of modern technology)

And so before I stumble upon any other stupendous finds, to the review!

In ‘Dusharbi: Do Not Feed the Bear’ a young girl called Li gets sent out shopping in the market, but when the greengrocer’s is shut and she is pointed in the direction of some likely-looking trees on the East side of town, she finds more than she bargained for…

This issue is a standalone side story to the author’s main ‘Dusharbi’ comic project, which revolves around a mobile library that serves villages in an Eastern desert.  ‘Do Not Feed the Bear’ is a neat little one-shot that wraps itself up tidily within the page count.  This comic could therefore be enjoyed on its own without needing to buy any of the rest of the main series.

The best thing about this issue is the way it is presented.  The peephole in the front cover gives a handmade feel, the library stamps on the inside front cover and the advertisement for the travelling library on the back cover point to this being a series with a lot of personality.

However, having seen these elements before reading the one-shot story inside, I was a little disappointed that this issue wasn’t about the library itself.  I think, in the end, picking up issue one of the main Dusharbi comic might be more satisfying than a short side-story – however, this did succeed in getting me interested in the series in general.

The artwork has no glaring problems and I could understand everything that was going on.  Some of the smaller panels may have benefited from having less detail though, in order to help the pace of reading.

It looks like the grey tones that the comic is shaded with were originally laid down with marker pens, which was then converted into screentone-style dots before printing.  This results in some areas of muddy mid-grey tones.  The detailed linework here would probably benefit more from some simple, flat areas of screentone that provide some contrast but allow the linework to speak for itself.

The comic consists of black and white printed pages with a black and white lightweight card cover.  The pages are stapled together.  Printing is clear and easy to read, with no smudging.

‘Dusharbi: Do Not Feed the Bear’ is a neat one-shot side story to an intriguing main saga about a travelling caravan in the desert. The presentation of this comic is quirky and fun, although hearing about the caravan that is only hinted at here might have made for a more satisfying read.

More of Caroline’s work can be found on her website.  This comic is free to read online at Webcomic Shorts.

A review copy of this comic was provided.

Mini review of Manga Shakespeare: Much Ado About Nothing

Posted in Review with tags , , , , , , on September 28, 2009 by comicmole

It seems life has taken away most of my review time of late, so rather than write a few semi-decent notes about a UK manga such as ‘Much Ado’ on my Goodreads page and promise myself I will write more here on Comic Mole at a later date (but then never get the chance), I will try to write a proper mini-review here instead, so sorry for the shortitude. (yes ‘shortitude’ is now a word..)

Note: this review was also written for REDEYE Magazine 2.2

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(William Shakespeare, adapted by Richard Appignanesi & illustrated by Emma Vieceli, 208 pages, A5 softback book, Self Made Hero, £7.99)

Benedick and Beatrice are old flames who are now at each other’s throats in an on-off battle of cutting remarks on each other’s characters. When Benedick and comrade Claudio come back from the wars, Claudio proceeds to fall madly in love with Hero, daughter of the local governor. The villainous Don Jon has other plans though, meaning to put a stop to Hero and Claudio’s wedding using trickery. With a backdrop of hijinks as police constable Dogberry investigates what is really going on between Hero and Claudio (with a fake death thrown in for good measure), another plot is hatched; this time to see Benedick and Beatrice fall in love and marry happily…

If you couldn’t already tell from the somewhat convoluted plot description, ‘Much Ado’ is one of Shakespeare’s best-loved comedies. I might not have been able to successfully bring it across in so few words, but the pacing and story elements of this play really complement each other. Yes, it’s a collection of crazy antics and melodrama, but it never falls into confusion and always remains amusing to read.

Unfortunately, as I’m not a scholar of English Literature, I can’t comment on Richard Appignanesi’s adaptation of the original text to comic form. However, I can say that Emma Vieceli’s artwork suits this particular play very well. Emma’s character designs appropriately pick up on each character’s unique personality traits. The strong and witty Beatrice keeps her hair done up out of the way and has a slightly more sharp look to her face than the beautiful Hero, who keeps her hair down and flowing, and has larger, more ‘girly’ features. The artist’s light touch with the pen throughout also suits the comic’s sunny setting of period Italy.

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The production values for ‘Much Ado’ are very high. It has glossy, full-colour covers and interior pages are printed on good-quality white paper. If someone wanted to use this book for study purposes (i.e. read it through many times, scribble notes in the margins etc.) it seems like it would hold up well to that treatment, whereas a book printed on the newsprint-style paper you get with a lot of mass-market manga wouldn’t.

PWANDA! from Dimensional Entertainment

Posted in Review with tags , , , , , , , on September 22, 2009 by comicmole

This is a lengthened ‘director’s cut’ version of a short review originally written for REDEYE magazine issue 2.2

Created by Dil, 300+ pages, A5 digest format, Dimensional Entertainment, £9.99

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In a fantastical land beset by demonic powers from other worlds, one small village holds the key to stopping them:  the pyramid vortex.  When the village is all-but-destroyed by the sorcerer Adurag, presumably not from another world but still bent on using the pyramid vortex for his own evil whims, a young villager called Hoshi becomes determined to help his people.  He is ordered to guard the village rather than leave on an epic quest, but Hoshi is distracted on one of his rounds by a small panda-like creature: Dipsyfear, the Pwanda.

Hoshi was told that if he went outside of the protective influence of the pyramid vortex, he would go mad.  After chasing the Pwanda all the way out of the village, he hears a voice telling him not to be so sure of the teachings of his people, and not to be afraid of seeing what else the world might have to offer.  Thus begins the adventures of Hoshi: across many realms, and befriended by an assortment of Pwanda allies.

Overall, ‘assorted’ seems like a good word to describe Pwanda.  What makes the comic unique is the sheer amount of different cliches, parodies, crazy character designs and crazier situations that are present, all tied together with a massive dose of off-the-wall philosophical ramblings.

“’You’ are now inside your oneness…the point of creation.  At this level, everything in existence is connected…you have access to all knowledge and understanding beyond your structured mind…” – pgs. 136-137

Unfortunately the main thrust of the comic – the parody element – wasn’t made evident straight away.  My initial impression of the comic was that it was pretty much a collection of tired clichés that lacked in enough comic exaggeration to distinguish them otherwise.  The creator uses an incredibly mainstream main character design coupled with some well-trodden storytelling methods: Hoshi is a young man with spiky hair and a giant sword, a la Bleach’s Ichigo Kurosaki or Final Fantasy’s Cloud Strife, and chapter one includes a section where a character who had passed away comes back to speak to Hoshi via clouds in the sky, as played seriously in The Lion King and subsequently famously parodied by The Simpsons several years ago.

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It becomes more evident that the comic is trying to be funny at around page 15, but overall throughtout Pwanda the main stumbling block is that it doesn’t know whether it’s a goofy parody comedy, or an introspective philosophical epic. The comedic style reminded me in part of zany anime series such as Excel Saga or Abenobashi Magical Shopping Arcade, but incongruously mixed in with a dose of Ghost in the Shell (if Ghost in the Shell had been written by someone a lot younger and more naive than Masamune Shirow).

“My biggest goal began by creating stories that no-one else has ever seen.  Through this exploration I discovered that there were big fundamental points and concepts that I wanted to share with people – like the importance of showing you that a structured/complex mind is not necessarily as good as having a simpler mind like [the Pwanda] Dipillow.  This is probably the reason why there is so much war and conflict in the world today” – pg. 289, from the creator interview at the back of the book.

Initially the idea of a book like Pwanda seems like it would make for an interesting (or at least different) read.  However, the writing style often involves a very large amount of words per page, which slows the pace of the comic and makes it come across as clunky.  Sometimes its actually hard to tell if the writer is being serious or whether it is part of the parody, such as the massive overuse of quote marks, or passages like this:

“…stepping outside of the range the vortex held for many years, would make you insane, mad and even hallucinate!” – pg. 21

In the past, storytelling master Ozamu Tezuka managed to mesh comedy with philosophy in works such as ‘Black Jack’, but unfortunately in Pwanda they act a little like oil and water.  Crazy situations and cutesy Pwandas mix uncomfortably with long, wordy sections detailing the thinking behind Hoshi’s journey.

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Though it hasn’t been 100% successful, it is still nevertheless admirable that Pwanda’s creator has set out to make a comic that has a little more depth than a run-of-the-mill comedy.  If creator Dil really wants to share some more fundamental and eye-opening concepts with his audience in the future, along with trying some new genre-bending experiments in writing, I can’t say that would be a bad thing for indie comics on the whole.  It would certainly be more interesting than some of the generic ‘lets pick a popular genre and make somthing similar to what’s already out there’ style small press comics you can get.  What I would hope that he would do though is learn from the audience’s reaction to books like Pwanda, perhaps read more comics that include philosophical elements, and work out how authors like Shirow manage to include these aspects in their work whilst still retaining readability.  Its a difficult thing to do, and personally I don’t think even Shirow managed to come across as particularly readable by Ghost in the Shell 1.5, but that doesn’t mean that creators should stop trying.

The art team should certainly keep at it, they’ve done a good job (the front cover says ‘created by Dil’ but it was drawn by 3 different artists and a letterer).  On the whole, compared to quite a few other small press works, the art is a solid effort.  The proofreading is also very good, there are barely any spelling or grammar mistakes in the book.  The cute mascot Pwandas themselves could have had more personality injected into their designs (vacant stares are a bit scary for supposedly adorable characters), and there are also some anatomy and proportion problems here and there with the characters and animals (e.g. wolves with human shoulders), but there are also a lot of very imaginative page layouts, and the pacing of the panels never falls into a rut.

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Once you get to the end of the main story there are many pages of extras at the back of the book (I count over 110, though admittedly 34 of those are a bonus side comic).  Now usually I’m a big fan of extras: a page of notes by the author or some character design sheets adds to the unique personality of a small press comic.  However, with this many pages devoted to them it feels a little like padding the size of the book.  Some of the extras are quite interesting: there’s a one-page explanation of Dimensional Entertainment’s storytelling ‘Dimensions’ and a 4-page interview with creator Dil to get your head around, although the interview might have come across better as an author’s notes section written directly by Dil himself – I’ve not seen a lot of creators interviewed in their own books before.

If reading lots of text-heavy extras isn’t your thing, the bonus comic ‘Quantum Sheep’ by Philip Knott will probably appeal to you.  The comic is an amusing and cute read about quantumly displaced gruff-looking sheep appearing all over the place, and is really quite entertaining.

Apart from these, some of the more redundant extras include about 20 pages of character profile information, 12 pages of ads, and 13 pages of ‘Dipillow’s Dictionary & Encyclopedia’.  This covers a silly-sounding language that was made up for the Pwanda character Dipillow.  The language harks back to Star Wars’ Jar Jar Binks and is incredibly annoying.  Words are either cutesified, e.g. ‘rock’ = ‘wocky’, or just said with a lisp, e.g. fish = fithy or sausages = thotheetheeze.

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Pwanda is presented in chunky tankoubon format.  It’s a professional-feeling production: a little smaller than A5, about the same size as a standard Tokyopop manga volume and a bit thicker.  It has glossy colour covers.  Interior pages are printed in black and white on newsprint-style paper. The comic is marketed as a “Feature: a whole movie storyline in a book”.  This doesn’t seem to address the fact that a decent-sized comic should be able to cover at least as much storyline detail as you could fit into a movie, usually more, so its a bit weird – are they saying that they consider movie storylines to be better than comics? And they consider this a viable way of marketing to an audience of comic-lovers?

Personal confusion aside, I can’t say that many readers would enjoy this book at face value.  The artwork and production values are nothing to be sniffed at, but the storyline and writing style let them down: the adventures of Hoshi and the Pwandas which parody films and video games don’t mesh well with the more wordy philosophical elements of the book.  However, that said I found at points that the book made me think.  I wondered about what the creator was really trying to say underneath the waffle, and why he chose to say it in the way he did.  I then wanted to talk about it with those around me so I could better understand my own thoughts on the matter.  So in conclusion, if you’re after a solid story that’s a lot of fun to read, don’t buy this comic.  But if you don’t mind a challenge (and perhaps want to annoy those around you with some rants about philosophy and storytelling), then give it a go.  At the very least it will probably be quite different from anything else you’ve read recently.

Review: Leek and Sushi’s Manga Show

Posted in Review with tags , , , , , , , , , , on August 21, 2009 by comicmole

(This review was originally written for REDEYE magazine issue 2.1.)

Leek and Sushi’s Manga Show: 150 Years of Friendship

Anthology: various contributors, 204 pages, A5 digest format, ITCH Publishing, £6.00

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If you’re new to the world of UK small press manga-inspired-comics then Leek & Sushi’s Manga Show is a good place to start.  This anthology compiles 17 short comics by different creators, which were originally entries for the Japanese Embassy’s annual ‘Manga Jiman’ competition in 2008.  The tagline ‘150 Years of Friendship’ references the theme of 2008’s competition: to celebrate 150 years of co-operation between Japan and Britain, the creators were asked to somehow link their entries to the number 150.  This makes for some interesting and varied reading in the volume.

Before each short story begins, a cartoon version of its creator is welcomed to the ‘stage’ for a short interview by Leek and Sushi: quirky comedy characters who represent Britain and Japan respectively.  These introductory segments were designed and drawn by Willie Hewes, who also compiled and edited the book.  They help to tie together each of the 17 individual comics into a volume that is entertaining to read from start to finish, rather than pick-up, put-down affair.

Seeing as ‘Leek & Sushi’ is a compilation, artwork and writing styles do vary within the book.  However in general the standard is very high compared to a lot of other small press offerings; several of the stories that are featured in the book placed highly in the 2008 competition.  For example, among others, ‘B+’ by Susan Golton and Steve Cook won 2nd place and ‘Stars’ by Donna Pesani won 4th.

‘Stars’ is an 8-page story with a steampunk aesthetic, about a little girl who gets her first chance to visit where her parents work: hanging the stars in the sky.  The artwork is beautifully detailed and the story fits well into its allotted page count.

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A page from 'Stars' by Donna Pesani

Other creators of note featured here are: Kate Holden (who placed as a runner up in 2007’s Tokyopop Rising Stars of Manga competition), Faye Yong (who has just finished work on the Manga Shakespeare version of The Merchant of Venice for SelfMadeHero), Karen Rubins (who is currently comic-illustrator-in-residence at the V&A museum), Sally Jane Thompson (who created ‘Little Thoughts‘), and writer Fehed Said (who wrote the graphic novel The Clarence Principle, published by Slave Labour Graphics).

A page from 'Tales by Ghost Light' by Karen Rubins

A page from 'Tales by Ghost Light' by Karen Rubins

The comic is presented as a chunky 204 page, A5 digest format book.  Interior pages are printed on good quality white paper rather than the more flimsy paper you can get with mass-market manga.  The cover is a little thin and papery, but other than that it’s a good-looking volume, well worthy of a place on any UK manga fan’s shelf.

Information on contributors, page samples and online shop: http://www.itchpublishing.com/news/leek-sushis-manga-show/

Urban Beasts by Daniel Hartwell, Anna Rubins and Karen Rubins

Posted in New Comic, Review with tags , , , , , , , , on May 25, 2009 by comicmole

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“We’re all animals underneath” states the back cover of issue 1 of ‘Urban Beasts’, and within this comic, people very much are.  The comic is available to buy in print from ITCH Publishing’s online shop now.

We are introduced to Caipora, a Brazilian shaman who has the ability to use totems (magical charms that she wears on her person) to see the animal aspects of the people around her: moths fluttering around a club at night, cats primping in a coffee shop, or pigeons in the crowd.  She is called to action when a clash over animal rights threatens to cause trouble in her adopted home town of Oxford.

This 23-page issue is an introduction to the world of the series and its main character, Caipora, as well as an interesting secondary character who may well require her help.  Its an atmospheric start which has a firm grounding in the reality of modern-day Oxford, with a patina of fantasy laid over the top in the form of the way Caipora sees the world.

The highlight of the writing so far is the little touches of humour in the details, like an emo moth who sometimes burns himself, or the cats stating that if the people intruding into their territory don’t leave they’ll have to ignore them quite devastatingly.  Its not all fluffy humour though; the pages covering the reasons behind the animal rights clash make me wonder whether the series will have political overtones, or whether that aspect will become a backdrop to a more character-driven story in the end.

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With such a range of animal-based characters to portray, artist Karen Rubins has certainly taken on a challenge with this series.  The artwork overall is proficient and it shows that Karen is not afraid to tackle many different subjects (such as action poses or scenes with large crowds).  In particular, she has given the animal characters a unique look which is very memorable.  However, the human characters need to be drawn more consistenly and figure proportions need tightening up for a more professional feel to the artwork.

A big plus point with the art is the Oxford backdrops – I used to live in Oxford and immediately recognised a lot of buildings seen in the comic, which shows they have been well referenced.

Overall I very much enjoyed this offering.  Its a promising introductory chapter and I eagerly await the rest of the series.