Showing posts with label Ottawa Comic Book Book Club. Show all posts
Showing posts with label Ottawa Comic Book Book Club. Show all posts

Saturday, 28 March 2015

Book Club Report: A Discussion with Julie Delporte on Everywhere Antennas


It is difficult to understand the toll that a chronic illness can take on someone. The constant uncertainty; the feeling that you are losing a battle against yourself can be overwhelming for many. In Everywhere Antennas, we follow a protagonist who suffers from a disease known as Electromagnetic Hypersensibility or electrosensitivity. We see her struggle with this illness as she tries to adjust to her condition. As crazy as it may seem, and regardless of whether you believe in this disease or not, this is a fascinating book that goes deep beyond the core of chronic illness and the isolation that comes with it.

The Ottawa Comic Book Book Club met this month to discuss Everywhere Antennas. We all enjoyed the book. It is hard not to; it's such a lush package, the colours are fantastic and the use of cursive text to frame the drawings are phenomenal. It's unique and beautiful. Our discussion would have been quite short as we would most likely only talked about how much we enjoyed the book, except that we had the chance to welcome Julie Delporte to discuss her latest English book. She gracefully joined our group for an evening to talk about the book and provide us with perspectives on her process, loneliness, illness, her diary style and the difficulties of being an artist.


In tackling the topic of Electromagnetic Hypersensibility, Julie talks about illness, but also about loneliness. Our modern world encourages connectivity: Wi-Fi, radio, Bluetooth, infinite waves coursing through our homes, through our bodies, linking us instantly to each other. I look outside and I see them, I see these antennas, but I cannot feel them. But what if you were unable to cope with it. If you weren`t able to be in the modern world. Turning away from where you've been your whole life, in a world you can hardly escape, would be unbearable. Modernity being an unescapable reality and the present an unwelcome moment to be in. The future would be bleak. Her protagonist is going through this in a constant state of loneliness, unable to connect or be understood. She goes through an array of friends and acquaintances, never being fully engaged.

This loneliness is also reflected in the form of the book. A diary, a journal, is something one keeps for themselves, not meant to be shared. It is a lonesome endeavor, which, just like the magnetic waves, is something that isn't seen. Delporte's protagonist keeps this diary as she goes through this illness and expresses, day by day, the toll it takes on her and how she copes with it.


Julie was kind enough to talk about the creation of the book. Everywhere Antennas was conceived as part of a "24 hour comics challenge". She came up with the first chapter and liked it enough that she wanted to expand on it. However, the form it was going to take wasn't exactly as clear as she originally thought. Conflicted between the idea of keeping her work in color and doing it in a more standard comic style (black and white, with panels and speech bubbles) she experimened with the form. This experiment eventually became the third chapter of the book. She discovered she preferred to keep the style consistent throughout and finished the book in color. Although the Black & White chapter clashed with style of the rest of the book, she was able to integrate it. It is not, however, an unusual graft. It serves a story purpose. It is the only part of the book that involves a discussion between the protagonist and a friend. It breaks from the diary format, who was colorful and introspective to a black, white and grey, which has a more severe and stern feel to it reflecting the bleakness of human interaction. It is grey because it doesn't come from the self. The final chapters return to a diary format with colours. And something phenomenal also happens as we move through the book. Julie's art gradually evolves. You can actively track her progress as Julie grows into her artistic skill and technique throughout the book. And the most incredible thing is that it fits with the protagonist`s state of mind as she also gets progressively better as time goes by. Julie Delporte may have delivered the best constructed comic our group has read so far.


Why a diary? Because, as Julie Delporte graciously mentioned, the diary form is the closest reflection of reality she can get to. The comic book language works well, but as she tried to illustrate feelings, the traditional comic book style - the speech bubbles, the panels, the grid, all of those - got in the way of what she was trying to express. Panels are not lifelike enough for what she was trying to accomplish. You can hardly express loneliness when your figures are surrounded by lines or narration box. And the colours were needed as they reflected the feelings of her protagonist. They are never completely clear. There are so many shades of blue in the sky, yet if we were to convey it on a page from memory alone, I doubt we would be able to reflect just how many colors that represents. In a sense, the colours become a way to inbue the text with emotions, while trying to reflect both the reality of the protagonist, and the impossibilty of capturing this reality.



We were able to gain a thorough understanding of Julie Delporte's work by the end of our meeting. It was a very humbling and phenomenal experience to meet a comic creator of this caliber. Although I won't proclaim that we all thought Everywhere Antennas was a masterpiece, we all realized we were facing something incredibly unique. We were particularly grateful for the opportunity to discuss it with Julie. We can only hope that our future comics landscape includes her work, whatever shape it may take. I for one am eagerly awaiting her next work.


Merci Julie, nous espérons que ta carrière sois longue et fructueuse et que tu puisse poursuivre les opportunités qui te plaisent.

Follow Julie Delporte on Tumblr or read her blog.
Everywhere Antennas is published by Drawn & Quarterly 

Monday, 23 February 2015

Book Club Report: Marvel Knights: Spider-Man by Matt Kindt & Marco Rudy: Extreme Highs and Lowest Low

Excellence & Mediocrity
It's been awhile since our group met for Comic Book Book Club, November was cancelled, and December, well everyone's busy in December so that was also cancelled. So here we are, in January 2015, with our first book of the year. This is one of the rare occasions in which we've done a superhero book. We tend to stay away from those for a variety of reasons. They're repetitive, stale, and often time limited in their perspectives. We've done Batwoman: Elegy about 2 years ago as a way to discuss LGBT and style and we haven't done any superhero comics until today. We looked at the terribly uneven Marvel Knights: Spider-Man. The members of the group had very mixed opinions about the book. Some loved it and praised it's artistic boldness, while others hated it, with myself fitting in the latter category. It was an interesting discussion because the book is flawed beyond belief, but there are also some incredible moments within. Let's take a look.

I don't normally split reviews into different components of "art" and "story", but I feel I must in this case. Mostly because superhero comics have long ago compartmentalized those 2 aspects. The focus is usually first placed upon writing the story, and then a group of people will be tasked with illustrating it, often trying to respect the publisher's house style. Specifically here, the story accounts for most of the problems of the book. What is this book about? Well, the book seems to have 2 subtitles, Fight Night and 99 problems. I couldn't tell which one was the correct one, maybe they were both correct. Anyway, Spider-Man (Peter Parker, not any of those guys) is drugged and must fight his way through his entire rogue gallery for no apparent reason or purpose. The back cover says 99 villains, but I honestly couldn't tell how many there were. Not that it matters much anyway. It could have been one elongated fight sequence against 1 enemy and it would have achieved the same effect. Spider-Man is the underdog and he wins, I guess? He goes from one set piece to the next to fight villains, then collapses and wakes up in a new environment where he dukes it out with more villains. Repeat for 120 pages and you got yourself a book! It's revealed in the last couple of pages that it was a bet between the Kingpin and his nephew to see if he could survive fighting 100 people. Are they part of the 99 or are they the people who started this, so 101? That's it, that's all it is. 

The glorious art!
Unfortunately, this is the only thing you'll find in this book. There are no themes, no effort has been put into making this any more than it is. It's really as exciting as an old school video game without cut scenes. It's empty. And yet, this is the first point where our group disagreed. Some of us were thinking, is it enough for a book to simply have a confused guy fighting other guys for 120 pages? Can we expect more from a Spider-Man book than a constant rehash of his concept? Yet some of us, not necessarily superhero comics reader, thought it was just fine. As a standalone comic, it works perfectly well. If it's a standard action plot, should we be expecting more than what we got here? And can we see this book, as an artist showcase and nothing else? I will leave this to the readers to decide. None of us found the story to be particularly good, even those who adamantly defended it. What was surprising was that the writer was Matt Kindt, who most of us knew for writing Mind MGMT and his Top Shelf Spy books. All of his other work we were familiar with is incredibly superior to this. This felt like a wasted opportunity as we were all certain that it could have been much better than it was. 

Pain and memories, Spidey can't manage his mind...
What we could all agree with, though, was that this book was saved by Marco Rudy's incredible art and page design. This is truly what sets this book apart. Rudy cleverly designs his page to reflect the state of mind of our protagonist. At first, when he is stressed out by his life, the page is full and very crowded. When he is drugged, the page design becomes more fluid. It's a mix of painting and standard art. We'd have love to have a longer version of the book with some process pages at the end. 

The glorious art!
I'm not so sure we would recommend this book. In fact, we would recommend an equally gorgeous superior hero book by Frank J. Barbiere and Marco Rudy. New Avengers Annual #1 is the story of Doctor Strange (Benedict Cumberbatch) as he is asked by a group of techno monks to rescue a young girl who's been possessed by a demon. The story draws parallel with the character origin. Dr. Strange was an arrogant surgeon who, after a car accident, was unable to use his hands again. He began dabbling in the mystic arts and became the Sorcerer Supreme. He had to learn to be humble and discover that there were lots of things he didn't know. Yet to win against this demon and save the girl, he must set aside his humbleness and be confident in his own ability; if he wavers, he will fail. A book about humbleness and hubris, and the art is superb as per the example below. We highly recommend it. It's cheaper too, and your comic book store retailer will be happy to unload copies of back issues. Everybody wins.

New Avengers Annual #1
New Avengers Annual #1

Monday, 14 July 2014

Book Club Report - Shortcomings by Adrian Tomine: Gender, Identity, Sexual Politics and Whining

Meh'

Questions on Adrian Tomine's Shortcomings

Our Book Club met recently to discuss Adrian Tomine's Shortcomings. We all had very diverse opinions on the book. I personally did not like it, but in a way, it kept me wanting to rip it apart panel by panel to discover why. In my case, it was more visceral than anything. Others thought it was a well-thought out study on identity and sexual politics; some others felt the main character was such a whiner it was difficult to take anything he did seriously. I thought it would be easier to come up with some questions on the book rather than do a full book club report like I did on Dotter of her Father's Eyes. The goal being to foster discussion and help other book clubs who may wish to have a fruitful discussion on the book. In no particular order below:
  • How does the page layout affect the reading of the story? Does the inflexibility of the layout (its 7 to 9 panels per page) represent the inability of the protagonist to accept change? We were all quite aware that Tomine does not normally play with structure. Is it a conscious choice in this to mirror the protagonist's ineptitude to evolve?
  • Is it offensive that the book depicts Alice, Ben Tanaka's friend, as a sex-addicted lesbian? Does this character feel like a cliché as depicted by a male?
  • Is it offensive that the bisexual character of Sasha feels like a real character or is this one of Tomine's weird sexual fantasies?
  • Why is this a graphic novel? Tomine's theme suggests an affinity with the literary. So does Tomine wish to write, but illustrate instead? 
  • Does the pacing in the first chapter of the book affect the reading of the book? Segments begin abruptly in the middle of a page without any signs of transitions (7th panel on p.13, 7th panel on p.17, 7th panel on p.22, 8th panel on p.27). Is the lack of transitions too jarring? Is it clunky? It happens less and less as the story progress; was Tomine refining his work as he wrote his single issues?
  • Is Tomine writing a thinly veiled movie screenplay? Is this a graphic novel or a movie screenplay? 
  • Why was Ben Tanaka so attached to Berkeley? 
  • Does your appreciation of the book depend on your knowledge of identity in second and third generation immigrants in the US?
  • Does Ben Tanaka get upset at Miko for her betrayal or because he finally recognizes Miko's sexuality after he lost her?
  • Can the reader distinguish between the statement made about race and those made by the characters themselves? Is it really a book about ethnicity or single-mindedness?
  • Is Tomine's underlying theme that one's ethnic background matters? That denying your identity and heritage will make you unhappy?
  • By refusing to address ethnicity, is Ben Tanaka refusing to also aknowledge his own problems?
  • Does the book want to address acceptance of third generation immigrants in the social fabric of America? About how sexuality can act as a way to neutralize and suppress ethnicity? Or is it only about a whining man-child unable to deal with life?
  • Does the final page explain the rigidity of the page layout? 

There is much more that could be said about the book, but the bulk of our conversations centered around those. Can we recommend this book? We most certainly would. It is a deeply flawed book and brings its fair share of discussion. Shortcomings is a very interesting read in spite of its many problems.