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 

Saturday, 21 March 2015

The Forgotten Past of 1989: Street Heroes 2005: Super Cops with Mustaches


Mustache Power
It's hard to image what the future will look like in 16 years. This is a problem that plagues most narratives taking place in the future. You can only speculate and extrapolate on what the future will look like, you can never know. But you know what you can always count on? Mustaches! Here comes Street Heroes 2005. A real look at the real cops of the future of 2005. I found this comic in a back issue bin at Red River Books n Winnipeg, a surreal used book store with an endless supply of back issue bins.

What's it about? We are in the distant future of 2005. Crime and violence runs rampant. The police forces are doing their best to stop it. One night, American mob bosses prepare to ship illegal weapons to Canadian rebels across the northern border. You heard that right. The police jump in and bust the deal.

Waist high
However, they are ill-equipped for what they find in one of the crates: A Super-Villain! This bad guy was just casually waiting to slice through the police forces, crouched in a crate for who knows how long. He shoots everyone, but one cop, our protagnonist, manages to escape, licks his wounds and vows revenge on the man who killed his squad. If this plot feels familiar, it's only because it's been repeated ad nauseam in every single comic published since the mid 80's. It's a superhero deconstruction, and it's not a classic in any way shape or form.

Anyway, our cop gets assigned a new partner, Wyatt Wolverstone. He likes to be called "Wolverstone Warrior", either because this was his "X-treme" superhero code name or he has low self-esteem and picked a nickname for himself. Forget about skills, this guy seems to be all about posturing

Badass Mustache and weird proportions
They reluctantly agree to team up to hunt the bad guy. But it turns out that the hunters are really the hunted, by the original hunter (the super-villain). Lots of hunting in this book. They eventually fight and, surprisingly, both parties end up in rough shape. Our mustachioed super cops retreat to once again lick their wounds. So much happens in this book. Then the super-villain attacks our main protagonist at his house. I'm hooked!

I'll try to track down the other issues. It shouldn't be too hard, there are only 2 other issues. This was published in 1988 by Eternity Comics, a short-lived comic publisher that was a part of Malibu Comics and active for a few years in the late 80's and early 90's. They eventually folded with Malibu when they were acquired by Marvel. 

The awesome cover was drawn by Bruce Jones, a name I was vaguely familiar with because of his involvement in "The Incredible Hulk" in the early 2000's. I will talk at length about another of his books in a future edition of "The Forgotten Past", where I'll be covering his Marvel Comics Graphic Novel "Arena: Feel the Terror". The cover looks really great, and the colours were done by none other than Bruce Timm, he of Batman: The Animated Series and Black Canary & Zatanna: Fishnets Ahoy!.

Would I recommend this? It's nothing particularly exciting. If you've seen any procedural crime show, you know how this is going to turn out. It's pretty simple. It's a "police seeks revenge story" with superhero elements throw in because, well because comics I guess. The art is standard comics fare. Nothing fancy, experimental or noteworthy about any of it. It's competent, professionnal and a little lifeless. And once again, I can't tell any of the mustached men apart, a problem that also happens whenever I read Satelitte Sam. What's up with those mustached dudes all looking the same? Also, weird choices were made with numbering. On two ocassions, I thought it was a narration box. It's the same lettering and it's overlapping the drawings, even if this is placed near actual narration box.

It's no wonder that it fell victim to the longbox graveyard. I'm not sure it would have even been breaking new ground in 1989. 

My verdict: Come for the Mustaches, stay for the competent work!

Saturday, 14 March 2015

Yoshihiro Tatsumi, A Master

My first Tatsumi book
It was a very powerful moment when I discovered Yoshihiro Tatsumi’s work. I mentioned in my review of Lost cat that I discovered Jason’s work at a time when my interest for comic books was waning. I needed something better to read. This medium has so much potential, how can the landscape be littered with only garbage corporate crap? Hey, Wait… may have kickstarted my love of comics, but Yoshihiro Tatsumi cemented it. I was looking for novelty in a pile of sameness when something bold, innovative and touching came right out of the mass to punch me in the face with it’s wonder. I knew I was holding a powerful piece of art.
A filthy city
The Push Man and Other Stories will forever remain amongst the best historical work I’ve read. It was so ahead of it’s time. I have a hard time processing how anyone reading it back then must have felt. I’ve kept it on my bookshelf, periodically revisiting it and always surprised to find such strong and innovative stories. It is fascinating to read these short stories that are so profound and honest yet very bleak and with a dark sense of humour. It will forever stay amongst the best works I’ve read. Yet, I have never gone beyond it. I always knew I should, but I kept pushing it back. Never reading Black Blizzard or Drifting life. I always postponed it until the next day, the next time I`d be at the library, the next bookstore visit. And almost 10 years after being so enthralled with the work, I still haven’t explored Tatsumi’s oeuvre. I will remedy this, sooner rather than later. I will forever be grateful for the place Tatsumi’s work had in rebuilding my appreciation of the medium. Without him, I never would have read Seiichi Hayashi, Gilbert Hernandez, Susumu Katsumata, Shigeru Mizuki, Seth, Joe Sacco. He unlocked the door to so many good stories. He changed the way I read, the way I think. I will recommend to anyone who isn’t familiar with his work to immediately seek it out. Go to your comic shop (the better one in town if there is more than one) and get his book. The shops usually close at 6:00 pm. Or encourage your local library. Get Black Blizzard. Get A drifting Life. Get to know the life of this man, one of the great masters.
I’m reminded of this show from CBC: Michael: Tuesdays & Thursdays. It was about Michael, a man with mental health issues, who saw his psychiatrist every Tuesday and Thursday. Michael was a huge fan of Tatsumi and whenever you saw his apartment, he had a Black Blizzard poster in the background. It was referenced once, when his new girlfriend visits his apartment for the first time. He tries to impress her by not looking like a comic book nerd and changes the poster to a boring Paris photofrom IKEA. But try as he might, he couldn't get rid of his Tatsumi poster. She eventually goes to his apartment and is surprised it looks so bland, "You don't even like Paris". He then shows her what he normally has on the wall. She makes a snarky comment “If you're going to have a Tatsumi poster, why'd you go with Black Blizzard? A Drifting Life is a masterpiece”. I was stunned that his work was referenced in such a way. You can watch it here.

My sincerest condolences to his family on his passing last week. He will be missed by his fans and peers. 

Friday, 6 March 2015

Believed Behavior Season One: Poetry, Experiments & Distribution Methods

Onward to the future
What is Believed Behaviour? It's a multimedia comics experience. A collection of short form comics printed on newsprint as well as an online web platform to read the comics the way you want. Once you buy Believed Behavior, you get a copy of the physical object and have access to the full issue online. You can grasp at the ephemeral aspect of the comics in two ways that are completely disposable, newsprint and data. And somehow, this isn't a bad thing. I'll get into this later.
The comics contained don't appear to be tied to any themes, but they are connected by their page structure and an apparent desire and intent to experiment with the panel while maintaining a rigid structure. 12 panels per page, 2 pages per comic, that is all a artist gets. The results are varied and very interesting. We first get Floriculture by Krystal Difronzo, who illustrates her tale with wonderful colours and gruesome details. The majestic life of the flora contrasts brilliantly with the failures of the flesh. Difronzo creates a wonderfully eerie experience as the poetry reminds us that even nature decays with each season. 


We move on to another short comic by Edie Fake in which a demon tries to get into a faceless protagonist's house through the window. We only see the window as a demon teases and slowly infiltrate the house. Each panel acts as a window over time. It's a pretty clever use of the rigid panel structure to do something new. 


The final comic by Andy Burkholder explores a protagonis`s state of mind. It uses an extremely slow action, a water droplet from the condensation of an AC unit falling down on a man's head, and uses it to explore mental health issues (Autism I think). The character's thinking about writing an email to Rose, and uses narration boxes in overdrive to reflect his train of thought. He is constantly forming incomplete sentences and beginning anew with more information before finishing up. It becomes so large that the narration box overwhelms and take up more than half a panel at times. 

This first collection from Believed Behavior is interesting and I thoroughly enjoyed it. Above all else, I liked how they experimented with the distribution process. You can get a surprisingly long preview online and you unlock the full comics of the issue once you buy the book, you also get a newsprint of the comics. Both of the mediums used, newsprint and data, are unreliable and ephemeral. The newspaper pages are flimsy and likely to be destroyed, while the website and data are just as likely to disappear for a variety of reasons. Beyond this elusive longevity, there is something really refreshing about Believed Behavior. Perhaps it is its innovative online platform or it may be that it embraces the disposable aspect of physical comics, which was for a long time a staple of comics themselves. I would recommend it to anyone interested in looking at an experiment in webcomics and publishing. This is a look at possible alternative models in publishing.

Wednesday, 25 February 2015

The Best Comics of 2014

THE YEAR 2014 IN REVIEW!

The year 2014 has been over for awhile, and I thought I should do a best of the year list, regardless of how late I am. So here it is, my favourite comics of 2014. I wrote them in the order I remembered them, not in any sort of be-all end-all accurate list of what the best comics were. I found it almost impossible to quantify what was the best book, the best comic, I've read this year. I try to base it off the one that had the biggest impact on me. I've a read a ton of books that I thoroughly enjoyed, but didn't leave as big of an impression. I'll provide a description on why I think the titles selected mattered or a link to a longer piece I did when available.

COPRA #14, Michel Fiffe


Michel Fiffe slows down the pace for a muted and discomforting story about one of Copra's team members. A tale of alienation, murder and quiet violence amidst family drama. Clever page design and an eerie beige colour scheme representing boredom.

Everywhere Antennas, Julie Delporte (Drawn & Quarterly)


I'll actually wait to talk about this book more in-depth. This is the book club book for February and I'll have a longer post about it at that time. I saw Julie Delporte's work at TCAF 2014 for the first time. I got her book Journal from the Koyama Press table and I thought it looked splendid. I read it that night and went back to grab her newest book Everywhere Antennas the next day, hoping to be able to meet her and hear her talk about her process, her colours, everything. I'll have a longer write-up once the book club has a chance to weigh in. It's superb, the soft colours and raw emotions are simply fabulous.

Wicked Chicken Queen, Sam Alden

Sam Alden had a very good year, with It Never Happened Again and various other projects. Wicked Chicken Queen turned out to be a revelation, for the book, but also for Retrofit Comics. I had seen a handful of other Retrofit publications, but they never struck me as being as excellent as this one. 2014 was home run after home run; a year of solid gold for them. I haven't reviewed any of their books yet because I'm still insecure about talking about books I truly enjoy. Theth and Debbie's Inferno were phenomenal and deserve to be read by a large audience. Back to the topic at hand. Wicked Chicken Queen was a fantastic exploration of myths, cultures and modernity. From cover to cover, this book was fanastic.

Hellberta #3, Michael Comeau

The final issue of one of the best Canadian political statements in Comics form ever made.


A mini comic by Box Brown, an in-depth exploration of colour, technology, religion and depth itself. 

Through the Woods, Emily Carroll

The most hauntingly beautiful book of the year. Long Live Emily Carroll.


She-Hulk, Charles Soule, Javier Pulido & (particularly) Ron Wimberly

A consistantly fun and innovative superhero/Ally McBeal hybrid comics. Surprisingly published by Marvel Comics. Jump in now before they cancel it and kill the fun. Oh wait...Damn it. Well, now at least you can read Charles Soule's essay on the series right here. This series was the most enjoyable superhero comic I've read in a really long time. And Ron Wimberly's issues were fantastic. Look at those angles!

Ritual #3: Vile Decay, Malachi Ward
A thoughtful sci-fi exploration of surveillance, government control and uneasy feelings at the heart of rebellious behaviour.

Horror Vaccui, Jono Currier

Jono Currier, whoever you are, wherever you may be, don't stop making comics and art.

For as Long as it Rains (Les Deuxièmes), Zviane

A man and a woman are on "vacation", and as the rains pours outside, they find themselves unable to go out. Yet underneath their words lies something else. This book is set to be translated and released around May. Seek this out!



The Wrenchies, Farel Dalrymple

The story, the design, the world, the colour, the characters, the themes.


Believed Behavior #2, Michael Deforge, Anya Davidson, Lyra Hill, Lale Westvind & Sophia Foster-Dimino (Edited by Andy Rench)

A collection of short stories available on a very attractive platform online and on paper. The comics themselves were good, particularly the one from Lyra Hill and the one from Sophie Foster-Domino. The online platform to read the comic is sharp and allows the reader to pick the way they want to read it (panel or grid) and provides a short biography of the author. It is also a bold statement on publishing: to print on newsprint paper, a dying medium in it's current paper form, while giving the reader multiple ways to access the content. It was both innovative and surprisingly well done.

Recidivist Vol. IV, Zak Sally

I'll have more to say about this in a separate post once I wrap my head around it. Recidivist is bold, innovative, blending it's themes to it's form. It's an immersive experience the like of which I have rarely seen before. Read more about it on Zak Sally's weblog

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

Friday, 6 February 2015

Le Démon du Hockey: Short Stories on Hockey by a talented group


Last year, I discovered Zviane's work and I've been meaning to read more of her books since. Bestiaire des Fruits was hilariously phenomenal, Les deuxièmes (soon to be published in English as For as long as it rains by Pow Pow Press) and Apnée were also incredible. What better way to discover new work than by using the public library. I entered Zviane's name in the Ottawa Public Library system and I came across this book, Le Démon du Hockey. It's a collection of short stories with the ice skating, rubber-slapping sport as it's central theme. These stories are the winners of a contest launched by Hachette publishing in 2008 and was later published by Glénat in 2011. Zviane and Luc Bossé contributed a story. 

I came to this book with a set of expectations. Some were met and some were shattered. The stories were surprisingly varied, ranging from the standard "Hockey is a magical happy thing for all" (which was the opening story of the book) and some less expected like "postapocalyptic world Hockey fight". In each case, the artists have infused their stories with what Hockey seems to represent for them, whether it be violence, comedy, family or drama. 
Hockey Demon
The six stories here were interesting for the most part. The art is superb in all cases and surprisingly varied. We go from a minimalist free flowing page with simple colours in Claude Auchu's story "Le démon blond" to an eclectic trash, ultra kinetic work with Richard Suicide and Denis Lord's story "Gump Worsley était un plat régional patagonien". The colouring throughout is phenomenal. In particular, Richard Suicide and Denis Lord use of bright yellows, purple and greens contrast nicely with the typical colour of the ice skating rink (white with red and blue lines). I'd love to see the original uncolored pages for Mathieu Lampron's story "La classique hivernale". The details of the linework is phenomenal.

In spite of all this, I didn't really care for this book. The subject matter didn't interest me much so it was hard to invest myself too much in the book. I'm not a big fan of Hockey. I have no skills or balance on skates and playing with people who are faster and more skilled than I am at manipulating a stick is not something I enjoy. I like to skate, but leisurely, on the Rideau Canal in Ottawa at my own pace, sometimes with a drink in hand. But a team sport while skating is not for me. I recognize the appeal, but I'm indifferent to Hockey. I recognize Canada's long history with the sport and the place it has in our lore (or culture*?%&*W?&$%&). The Canadian winter cannot be avoided, so might as well put all of this ice to good use. 

Damn Puck
However, the two major things I take away from this book are the following. Hiscam Absa's work looks fabulous. I will seek out more of his work. His story, the postapocalyptic world story "Maudite rondelle", had a distinct dynamism that I rarely see. The movement and flow of the world he created is quite astounding. This is again enhanced by the colours, which are expected for the type of setting (postapocalypse is somehow brown and grey) yet is truly cleverly handled. The second major thing is that the work of Zviane and Luc Bossé borders on genius. Their collaboration on "Devenir grand", loosely translated as "growing up", is simply astonishing. I expected yet another story on the power of sport, team spirit and boring explorations about feelings and being a better person through Hockey. What we have instead is a touching story on child abuse and the broken family structure which fails to recognize real issues. We see the story of a boy who doesn't want to go to Hockey practices anymore. His coach is too rough on him. His brother acts like a jerk to him and insists he just doesn't like the coach. His mother encourages him to persevere because the coach is only rough to teach him valuable lessons. Besides, you may not like it, but it's all part of growing up. At practice, Coach gives a pep talk to everyone, but keeps our protagonist in the change room. He closes the door, then turns off the light. 
Growing up
One can read this as many things, but sexual abuse seems to be the first that comes to mind. It could also be on the difficulty of receiving criticism from someone you don't like much. I'll leave the reader to interpret it as they please. However, the red palette found throughout the story seems to emphasize this dark theme. It adds to the eerieness and outcast feelings of dread the child has. His life forever changed by whatever happens behind closed doors. I also read it as a commentary on Quebec's difficult history and tense relations with the clergy. Hockey being the new altar at which people pray, the priests of this sports religion, the coaches, take advantage of their power to abuse the innocent youth while we are too blind (or cowardly) to confront the truth. Quebec's history with the Catholic church and sexual abuse is long and painful and this story tackles this in a new inventive way. I saw "Devenir grand" as a fantastic multifaceted work that was much better than it had any right to be in a book celebrating Hockey. 

Overall, an interesting book that I'd recommend mostly for 1 phenomenal story, 2 good stories and 6 competent tales by French-Canadian cartoonists.