The Indy Graphic Novel Library Project

I managed to finally land a full-time job a year ago.  It's at Fogler Library at the University of Maine, my alma mater.  It has been fantastic.  I was already in love with the campus after my four and a half years there almost twenty years ago, so getting an opportunity to work there, in the library, is amazing.

The library has the beginnings of a respectable graphic novel collection (though they are found in various spots throughout the stacks) including books by Joe Sacco, Art Spiegelman, Chester Brown, Neil Gaiman, Brian K. Vaughan, G. Willow Wilson, and others.  But I really wished they had more.  And then I noticed the suggestions sheet in the main reading room on the first floor.  So, a few months back, I began putting suggestions there.  One a month.  And the library has purchased every one, thus far.

I've steered away from the obvious books and tried to get in some eclectic work from small publishers.  So far, the University has added the following books:

Vietnamerica by G.B. Tran.  No, not a small publisher (Villard), but a book worthy of a wider audience and one I don't believe has gotten the attention it deserves:

Inanna's Tears by Rob Vollmar & mpMann (Archaia Press).  I was introduced to this story by Brett Warnock, when he discussed its online serialization at the Topshelf blog.  Great book that I featured in my Pulse column, back in the day.  Plus, it has a quote from me on the back cover.  So, cool!

Storeyville by Frank Santoro (Picturebox Inc.).  Santoro is an artist who has shot to the top of my must-read list since I first encountered his work in Cold Heat after the MoCCA Fest in 2007 (I believe).  His colors and fine-art background, coupled with a wealth of comic historical knowledge, makes everything he does interesting and challenging.  Great, great stuff.

and the latest addition is Joshua Cotter's Skyscrapers of the Midwest (AdHouse Books).  I only have a screenshot from the online catalog, as I am currently reading it.  At the halfway point, I can tell you the plaudits it has received are well deserved.  Emotional, heartfelt, and compelling - Cotter's story and art mesh together nicely to create something special here.  Well worth checking out.

As more graphic novels get added to the collection, I'll drop them here on the blog.  And if you have suggestions of some great independent graphic novels, let me know.

Thanks,
chris

FYC replay: Elk's Run with Joshua Hale Fialkov

Here's another one from the archives. I remember Warren Ellis touting this online comic, Elk's Run, on his website, and I remembered the name when I saw the book at my local Borders. I was intrigued, so I pulled it off the shelf to check it out. I didn't stop reading until I got to the end. At that point, I realized that Joshua Fialkov and Noel Tuazon were two creators to keep track of. Since then, they have collaborated on the Harvey and Eisner-nominated graphic novel, Tumor, which is available from Archaia, and Tuazon did the art for NBM's The Broadcast last year while Fialkov will be part of the DC relaunch in September. These two creators are a couple of my favorites, and Elk's Run is a great book. Check it out.

-chris

For Your Consideration: Elk’s Run

By Chris Beckett

FRONT PAGE: One of the most compelling graphic novels released this past year was Elk’s Run from Villard Books. Created by newcomer Joshua Hale Fialkov and veteran illustrator Noel Tuazon, this book has been praised by the likes of Stuart Moore, Phil Hester, Warren Ellis, and Brian Michael Bendis. If you haven’t read this book, you’re missing out. Come in and get the 4-1-1 on an important graphic novel that should be in everyone’s collection.

The 411:

Elk’s Run

Written by Joshua Hale Fialkov

Art by Noel Tuazon, colors by Scott Keating

216 pp. color

$19.95

What It Is (with apologies to Dave the Thune):

John Kohler was a patriot. Heeding his nation’s call, he went off to the jungles of Vietnam and fought for his country, but the price he paid was dear. Watching friends die all around him, he lost a part of himself as he slogged through the rice paddies of Southeast Asia. Unlike so many, John survived his tour and returned home, but the country to which he returned did not welcome him. Like so many other veterans of this misguided war, John was shunned, considered “broken” and never given a chance to move back into society. For risking his life, and for suffering like none of those who did not serve, he was rewarded with a “scarlet letter.”

For a time, the pain and the frustration simmered hotly beneath the surface as John searched for direction in his life. But salvation was eventually discovered in the form of Walt Gronski, who dreamed of creating a utopia. Using his family fortune, he wished to help out these veterans who had fought valiantly on the other side of the Pacific. The coal mines his company had worked in Elk’s Ridge had been picked clean. In what had once been the mining village, these soldiers and their families would be allowed to live their lives in peace.

Hidden within the mountains of West Virginia, they were insulated from the hypocrisy and injustice of the outside world. Creating a charter, they established rules for the town and made a simple life for themselves. Mr. Gronski provided a tractor trailer full of supplies each month so that the inhabitants needed only work when they felt like it. Sure, there were the everyday maintenance issues found in any small town, but these were quickly taken care of and nobody balked at pitching in for the few hours a week it necessitated. All was well.

But over time things change, and change drastically, especially within a closed society such as Elk’s Ridge. Years passed and families grew. Children were born into this utopia, and though they realized there was a world outside the mountains within which they called home, they never had the opportunity to experience that world. Their parents didn’t wish them to be hurt. They had lived in that world, and it had brought them nothing but pain. So life proceeded without incident.

But when Arnold Huld’s wife decided finally to take her children and leave the stultifying town, it set things in motion that would have repercussions for everyone. Arnold turned to alcohol as a salve – becoming moody, staying inside, waiting at the window for his wife to return. But she did not, and one night – having drunk too much – Arnold took his car to the old coal tunnel, a popular spot for the local boys to prowl at night. Arnold, unable to drive straight, ran into Michael Taylor, killing him instantly in front of his friends.

The precarious balance upon which the town’s survival rested finally tipped, and the question of justice reared its ugly head. When they initially arrived in Elk’s Ridge, they all agreed to the oldest law of the land – an eye for an eye. But the decision must be made by Michael’s father. He hesitated, but there was nothing else to be done. Arnold Huld had to be killed.

Joshua Hale Fialkov has created – with the able assistance of Noel Tuazon, Scott Keating, and Jason Rodriguez – a very powerful tale that examines the insecurities and desires that all people have, whether they wish to admit them or not. Taking these emotions to the extreme, which does not seem as extreme in a world where politicians see terrorists hiding behind every tree but refuse to give those imprisoned any chance to prove their innocence, Fialkov lays bare the ugly truths of humanity that lie so very close beneath the surface. Elk’s Run is an incredibly engaging tale that is a clarion call to those citizens wishing to close off our borders to any “outsiders” they deem harmful to our way of life – conveniently forgetting that this country was built upon the backs of immigrants.

As engaging as its storyline is, Elk’s Run also incorporates a novel approach to storytelling. Jumping back and forth within the tale’s timeline, Fialkov relates the narrative from various points of view, allowing readers to experience the major events through the eyes of parents and children alike. This is a technique not used often enough, and it is incredibly effective in bringing across the horror lurking within this small town.

Noel Tuazon and colorist Scott Keating also turn in a wonderful job. Tuazon, an “overnight” success who has been working in comics since the early nineties, deftly handles the art chores with a brush stroke that utilizes negative space and closure to evoke the somber mood of this story masterfully. Tuazon also differentiates his style during flashbacks, creating murkier characters for the scenes in Vietnam while delineating in a style more reminiscent of a children’s story book for those scenes where the children are reminiscing. Each style decision is made to convey the various emotions within the scenes, and rather than intruding upon the reading experience, each change integrates smoothly into the overall narrative, a testament to the artistic talent of Tuazon. And the palette chosen by Keating is again, darker and moodier, adding yet another layer to this powerful book. It is a wonderful meshing of creators on an important graphic novel that should be on every fan’s shelf. Check this book out. If you’re like me, once you open that first page you won’t be able to put it down until the final one is turned.

An Interview with Joshua Hale Fialkov:

Christopher Beckett: Why comics? What was it that attracted you to this storytelling medium?

Joshua Hale Fialkov: I come from a film and theater background. My real first passion was theater, but, after producing a few of my own plays the reality of how fleeting theater can be (which is also part of its magic) really turned me off of it. I like the idea of a permanent record. That led me on to Film and Television writing. I spent a few years working in both industries in a production capacity, and had a pilot in development at one point, but, the reality of Hollywood also started to set in. There is no way to do what you want the way you want to do it, unless you're extremely lucky.

The frustration of Hollywood led me to find another outlet that allowed more creative freedom. Frankly, after I started comics, I feel like a found a medium that suits the way I tell stories. You can decompress and really stretch your wings from a style and characterization standpoint that is wholly unique to comics. I think that's one of the things that a lot of guys who try to 'cross over' don't get. You can't just 'port' a screenplay into comics form... it takes a totally different set of muscles to write comics.

Beckett: The concept behind Elk’s Run is really quite complex, incorporating Vietnam veterans and that post-war climate, small town politics, and post-9/11 fanaticism, among other things. How did the story develop, was it all mapped out before you began or did it take some unexpected detours through the course of its telling?

Fialkov: I grew up in Pittsburgh, PA, which, I could be mistaken, but, had the highest rate of serving soldiers in Vietnam anywhere in the country. So, I grew up with many of my friend's parents as Vets, or at the very least, had friends who were vets. So I spent a lot of time with these guys, one in particular, who served as sort of a basis for John Sr. I also spent a good year and a half in a small town on the border of Ohio and Pennsylvania as a pre-teen that really affected me for the long term.

I've always been obsessed with the ideas of closed societies... things like cults and militias, but also ethnic enclaves (for example, I live in Glendale, CA now, which has the highest population of Armenians outside of Armenia...) and religious orders. There's something about a community that shuts itself off that really fascinates me. And certainly, as a hermit-y writer who barely leaves the confines of my apartment, I can see the attraction.

All of that was where the story came from... the characters and plot were all just functional representations of those ideas.

Beckett: I liked the manner in which you would carry one story thread to a conclusion, and then in a following issue return to the same starting point but follow that same timeline from a different point of view. How was the decision made to tell the story in this manner?

Fialkov: Well, I always felt that stories like this were so one-sided. The one everybody sites the similarities to is John Milius's Red Dawn. The thing about Red Dawn, though, is the bad guys, aside from being cackling stereotypical terrorist types, have no motivation. Why the hell are they there? Why would they cage up people, etc. "They're evil." That's pretty much the explanation. But, the fact is, nobody thinks they're evil. Hitler was convinced he was doing the right thing, just like Churchill was. So, for me, the way to tell a story like this, and yet make it something wholly unto its own was to really explore the 'whys' of the community.

Beckett: Another technique that impressed me with the book was the variety of styles utilized by Noel Tuazon for the flashback sequences. Was this something initially in the script or did it come from conversations with Tuazon and Jason Rodriguez, the editor? And were there any concerns regarding the shifts in style?

Fialkov: Yeah, I'd intended from the beginning to really mix and match the style to the characters. Between what Noel and Scott Keating (the colorist) did, I think each chapter stands as its own little mini-story, with 'art direction' that befits the character represented. Noel's really an amazing talent, and while his stuff is really non-traditional (at least in comics), I think he's doing things within the medium that very few people have ever tried before. He's one of the best.

Beckett: What other projects are you working on that you would like to tell readers about?

Fialkov: Well, my big creator owned work right now is Punks the Comic, which is about as different from Elk's Run as it comes. It's a collaboration with Kody Chamberlain that's our tribute to 70's and 80's pop culture and comedy. It's really, really different from anything else on the stands right now, and I'm extremely proud of it. You can get more info on it here: http://www.punksthecomic.com. Aside from that, I've got a story in an upcoming Marvel Comics Presents, and I'm the regular writer on Harris Comics' Vampirella Quarterly, the fourth issue of which should be in Previews right now. There's a bunch more on the way, and the best way to keep track of me is at http://www.joshuahalefialkov.com.

FYC replay: Some New Kind of Slaughter

For Your Consideration: Some New Kind of Slaughter ~or~ Lost in the Flood (and How We Found Home Again): Diluvian Myths from Around the World from mpMann and A. David Lewis
By Chris Beckett


The 411:
Some New Kind of Slaughter ~or~ Lost in the Flood (and How We Found Home Again):
Diluvian Myths from Around the World
Written by mpMann and A. David Lewis
Art by mpMann
136-page HC, full color, $19.95
Archaia Comics



What It Is (with apologies to Dave the Thune):

Ziusudra, the Sumerian predecessor to Noah, is restless. Having convinced friends and family to join him, they now sail across their flooded world in a great wooden ship, and he finds himself alone with the darkness, questioning the wisdom of that choice. Ziusudra erected the vessel at the behest of the god Enki, who spoke to him through a crack in the wall of the city Shuruppak. Is that the action of a sane man? He has no answer, and none is forthcoming in the damp night. Haunted by visions, Ziusudra wonders at how calm the beasts are and wishes that same solace could blanket the rest of the crew.

These visions come unbidden to Ziusudra, heightening his anxiety. A woman in his far future – our present – worries for her daughter as a hurricane rapidly approaches. In Arnhem Land, the rainbow serpent Yurlanggur raises a flood, taking the lives of two boys he’d orphaned when their mothers attracted his notice. In Africa, a magical pot that never runs out of water is carelessly shattered. Flowing endlessly for a year, the torrent it releases not only creates the great river Nile and the Mediterranean Sea into which it flows, but also drowns the family to which the pot had been entrusted. And all the while, the tale of Noah moves across Ziusudra’s visions, passing in and out among these multiple tales while the fate of the mother and daughter from his future is also revealed to Ziusudra.

One thing that makes humankind unique is our need to tell stories. Across millennia, and around the globe, bards have shared their tales of wonder and despair with all willing to listen. There were no twenty-four hour news channels centuries ago, and the spreading of news relied upon the memories and the tongues of travelers. Over time, many of these stories were lost to the ages, but just as many – if we are allowed a hint of optimism – survived in one form or another. And today the tradition continues with new stories, as well as old, being written and rewritten for a newer generation.

A close reading of these fictions, particularly the ancient texts that have survived, can more readily illuminate a culture than any direct observations. These stories open up our collective souls, and lay bare the deepest fears and greatest hopes of generations. It is interesting to note that, despite the wide expanse of geography and time, many of the same stories – or at least similar ones – can be found in almost every society. This is the motivation for Some New Kind of Slaughter by Lewis and Mann. Within this four-issue series from Archaia Studios Press, these two creators have brought together multiple flood myths from across the world – China, India, Australia, Africa, and the Americas – in order to create a compelling and emotional narrative that touches upon the most basic of human instincts – survival and acceptance. It is a creative use of ancient stories that sheds light upon the fears and desires of modern society through comics.

When I first learned of this series from artist mpMann, I made the assumption that Slaughter would be an anthology, but that would have been the easy way out and not as entertaining. Instead of taking that route, Lewis and Mann chose to create one single narrative that ties in all of these myths. For a medium that seems to thrive upon the perpetuation of the status quo, this was certainly a gutsy decision to make, and readers should thank them for taking that risk.

What Lewis and Mann offer with Slaughter is an incredibly complex story that effortlessly moves in and out of these various tales. Although the first narrative jump could be jarring for readers, once they are aware of the intricate fashion in which this series has been crafted, they can settle in for an enjoyable and thought-provoking ride. The authors utilize both written and visual cues to help transition from one period to the next, and subsequent readings will offer readers a better understanding of the multiple depths hidden within this tale.

Some New Kind of Slaughter is another step forward for the comic medium, showcasing a complexity sorely lacking in most of the comics found on racks today. Co-written by Mann and Lewis, who live on opposite coasts, it is a testament to these two creators that the text reads seamlessly, and Mann’s artwork is again a wonder to behold. His pared down style evokes more emotion than a more “photo-realistic” artist might be able to. Not only is this a well-written book, but it is also a “pretty” book that fans of great storytelling will enjoy.

The only way for comics to continue to evolve is if challenging books such as Some New Kind of Slaughter find an audience. The first issue is in the October edition of Previews, and if you enjoy great comics that are challenging and will make you think, then you should inform your local comic shop. That’s the only way to guarantee you won’t miss out. And if you want to check out a behind the scenes look at the creation of this book, head over to A. David Lewis’s website and read the production blog he is posting there. It is a rare and interesting look at the creative process.

An Interview with A. David Lewis and mpMann:

THE PULSE: Why comics? What was it that attracted you to this storytelling medium?


A. David Lewis: Some people have argued that we're wired for comics. That is, our brains enjoy processing images and words together, combining them together for even more potent messaging. To some degree, I agree, and that makes comics rather rare. On the other hand, I'm just a fan of good storytelling, whether it's through film, song, prose, or what-have-you. As it stands, I've simply found that I have greater success -- whether that's skill or luck -- performing storytelling through comics than through, say, short stories or poems. (Trust me on this.) It fits for me, in short.

THE PULSE: When you first mentioned Some New Kind of Slaughter as a collection of flood myths, I expected the book to be an anthology. I was very impressed at how you interwove all of the stories in order to tell one long tale. How did the idea for this book, and its narrative form, come about?

Marvin Mann: Dave is the one who first broached the idea of doing something with *all* of the world's flood myths. It was quickly obvious that we couldn't do ALL of them, but would have to give a representative sampling, with an emphasis on several, based on the similarities and differences, plus the amount of story available for each.

We settled on four.

The story of Ziusudra comes from Sumeria by way of Babylonia through the Epic of Gilgamesh. It is thus the most ancient known to us, and it became the throughline for the entire book, with the other stories occurring as his "visions.”

You can't do a flood book without Noah, and Dave went to town culling variants and developing a vision of the story that shifts the usual focus. This is the crown jewel of the book.

I was able to collapse two distinct flood myths from China into one coherent narrative, and I'm proud of the synthesis. It comes together like one story.

And the fourth story, the modern one about a woman who enters a flood zone to find her lost family highlights the theme of mankind's responsibility to the world, which runs in a minor key through most of the myths.

There are around a dozen other myths and stories that pepper the book in quick hits, and we tried to pick up themes and ideas as we run from one story to the next and back again.

THE PULSE: The storytelling in Some New Kind of Slaughter is very complex. How did you and Marv come to the decision to write it in this manner, and did you have any reservations about presenting the story this way?

A. David Lewis: No reservations here. It'll challenge the reader, but I'm not one who likes playing to the lowest common denominator, generally.

The choice of narrator is largely Marv's, I feel, but I entirely stand by the decision. When I brought the idea of World Floods to him, he was already playing with the whole Ziusudra myth in his head. And, rather than foregrounding Noah any more than we had to -- audiences already being knowledgeable with the biblical story, perhaps to a fault -- I think we opted to go with a less familiar "proto-Noah.” It kinda decenters things from the get-go and signals the reader that this won't be the traditional story she might expect.

THE PULSE: With Some New Kind of Slaughter and Lone and Level Sands, you two seem to have carved out an ancient myths niche for yourselves in the comic publishing world. What is it about these ancient stories that speaks to you and convinced you that writing them would be a sound creative and business decision? And Marv, What is it about these ancient times that appeals to you as an artist?


A. David Lewis: For my part, I sort of backed into it. I mean, I didn't say, "You know, I should really focus all of my comics writing on adapting myths and biblical stories for comics!” So, at first, it really wasn't any sort of business decision. But, back when I was self-publishing my Mortal Coils comic, I found that's where many of my stories kept going: While set in the modern day, they all started naturally developing ties to various myths, classic stories, or pantheons. I found that I was writing pieces that were more satisfying (for myself, at least) if they had these nuggets lying in their cores.

After a while, though, I was inclined to go straight after those "cores" themselves -- thus, The Lone and Level Sands. There were aspects of the Exodus story that never sat right with me and, frankly, no adaptation had ever addressed in a way that worked any better. (Most often, these hiccups and obstacles were swept under the rug by, say The Ten Commandments or Prince of Egypt rather than confronted.) In collaborating with Marv on the project, I didn't know if it would be profitable or a quiet financial failure; I just knew that I wanted to do it and had a great artist (and storyteller in his own right) to do it with.

The Lone and Level Sands, ultimately, worked. And so, we were a little more inclined and a little less shy, I guess, about going after a whole world of sacred or mythic traditions for Some New Kind of Slaughter than only sticking with the Judeo-Christian-Muslim source. In a way, the full title of the series somewhat reflects how wide we're aimed with this one: Some New Kind of Slaughter, or Lost in the Flood (And How We Found Home Again): Diluvian Myths from Around the World. That's a lot to deliver, but we're eager to do it.

Marvin Mann: I wanted to do sword and sorcery.

Well, that's a flippant answer, but there's a kernel of truth. I like ancient history, and myth and origins. I also like to read books on evolution and cosmology (for laymen, mind) and stories about the gods. And these stories are the foundation of Conan and other sword and sorcery tales.

Still, I didn't set out to do this; it just developed, and my next project will be a comedy/horror western, so there's a change of pace. But I've some projects for next year that will bring me back to the ancient world.


THE PULSE: Since you were writing and drawing Slaughter, how did the creative process go for you on this book? Did you work from a full script or prefer to thumbnail and dialogue from that?

Marvin Mann: I work from a full script, mostly to develop the dialogue and narrative captions. My panel descriptions tend to be lean, and focused on the emotional nuance to be projected. Sometimes I'll indicate close ups or full shots, and key elements that must be included. For talking head scenes, it's not much more than the dialogue and emotional intent.

Dave and I went back and forth quite a bit on the first chapter, both during outlining and in the first draft. As we figured out what we were doing, the mutual edits became lighter. Dave had done huge research on Noah, and that was his chief focus. I tended to take the lead in pushing things forward, with Dave's consent, but the initial idea was his and this book would never have happened without him.

THE PULSE: What did you learn from your experience writing Some New Kind of Slaughter, and how will you be able to apply that to your artwork, and your writing, going forward?

Marvin Mann: I've had difficulty in drawing things I've written in the past. It becomes too precious, I think. Doing this gave me a lot of confidence in my ability to partner with myself in the future.

THE PULSE: For aspiring writers reading this, what is the most important piece of advice you can share that is often overlooked by untested talent?


A. David Lewis: It's important to remember that you're not just creating comics; you're creating stories. Therefore, it's important to be versed in storytelling both within the comics medium but also from traditions well outside of it. How stories are told are as important to me as what stories are told -- or why. Therefore, knowing your motivation, knowing your message, and knowing your medium is as important as your plot (or, heaven forbid, your style). Sometimes I manage to figure out all four!

THE PULSE: What other projects are you working on that you would like to tell readers about?

A. David Lewis: I had the opportunity recently to be part of Jason Rodriguez's Postcards: True Stories That Never Happened with art by Danielle Corsetto (Girls with Slingshots). And, I've done a little bit of changing gears for a bit by writing a series of upcoming role-playing adventures for Archaia Studios Press's Artesia: Adventures in the Known World system. Meanwhile, I'm co-planning a big academic conference at Boston University called "Graven Images: Religion in Comic Books and Graphic Novels" taking place in April. (Our patron, the Luce Foundation for Scripture and Literary Arts, has it listed on their site at http://www.bu.edu/luce/calendar/ .) Lastly, I'm developing a new series that still requires a lot of research, tentatively titled Stitches, but that won't surface for at least a year, if not more...

FYC Replay: Inanna's Tears with mpMann

For Your Consideration: Inanna’s Tears by Rob Vollmar (writer) and mpMann (artist)

By Chris Beckett

FRONT PAGE: Ancient Sumer, a civilization that has prospered for over a thousand years. But complacency can breed contempt, and things are afoot that will have tragic consequences for the Sumerians. Make with the clicky and check out what should be one of the must-have books of the coming year.

The 411:

Inanna’s Tears

Written by Rob Vollmar

Art by mpMann

5 issues, 32 pages each

Full color, $3.95

Bi-monthly beginning in August

Archaia Studios

What It Is (with apologies to Dave the Thune):

In ancient Sumer, the city of Birith has known prosperity and good fortune for over a thousand years. A civilization rich in tradition, the people of Birith worship the goddess Inanna. Through her consort – the En, who is the voice of the Goddess and the head of her temple – a strong devotion between Inanna and her people has flourished. One would be hard pressed to find a Sumerian who does not feel as if things are as good as it gets. But if one listens closely, murmurs of unrest can be heard, for there is always a price to be paid for such bounty.

Thanks to the good fortune bestowed upon the Sumerians they have seen a surge in their population, such that the walls of the city cannot hold them any longer. A large number of citizens, mostly unskilled workers, have found themselves relocated to the tents outside the walls of Birith. Those affected do not care for the forced emigration, but there is nothing to be done. The hierarchy is understood and challenging tradition is frowned upon, and rarely even considered. As long as the Goddess sees fit to bless her people with a good harvest, who is willing to argue for change? Of course, this tacit acceptance of the status quo only works for so long before a civilization becomes stagnant, at which point it must evolve or perish.

In the lands just beyond the city, the Lugal, a warrior king of the neighboring mountain people, has his eye upon the city. Feeling only disdain for the Goddess, he sees the city’s castoffs as an untapped source of power. With these dispossessed souls added to his followers, he could more easily enter the city and bring down the temple. Why follow an insubstantial Goddess when a man such as he can provide for them just as well?

As these dark clouds coalesce on the horizon, the En, Ardru, passes on to the next life, conferring his mantle to Entika, who has been serving as Ishib, the head of the religious arm of the Temple. Traditionally a male position, symbolizing a marriage between the Goddess and her earthly consort, the passing of this important office to a woman is vexing to many. While on the dusty plains, the Lugal sees this as a sign it is time to act. The people of Birith are at a tenuous crossroads and more restless than ever. It will be an easy conquest, for who is there to stop him? Some girl playing at a higher authority? Not likely.

It is within this ancient setting that writer Rob Vollmar and artist mpMann bring their tale to life. Inanna’s Tears, a 5-issue bi-monthly series coming from Archaia Studios this August, is an amazing tour-de-force. These two creators understand the comic page and how to use the confines of that page to tell an exciting, emotional story. Originally serialized on the Modern Tales website, once I started reading it – which, sadly, is not a possibility now as Archaia prepares the book for print publication – I was hooked and found myself anxiously awaiting each weekly update.

Despite being set over four millennia in the past, Vollmar’s story is as topical today as ever. On its surface, Inanna’s Tears can be seen as a simple tale involving the conquest of one society by another, but when readers peel away that outer layer they discover so much more. Vollmar threads themes of sexual prejudice, personal growth, religious intolerance, and a resistance against change throughout the narrative. He deftly handles these multiple themes, allowing them to simmer just under the surface while adhering to the first rule of writing: tell an entertaining tale.

Marvin Mann, artist for the highly-acclaimed The Lone and Level Sands, turns in another wonderful job with this book. His storytelling is clear and fluid, and he grounds everything in a reality that lends itself well to a tale set in the dark recesses of the past. Mann’s line work reminds me a lot of Alex Toth. Using a minimal amount of lines to elicit emotion in his figures, the looseness of his inking imbues them with a feeling of movement that is difficult for many artists to achieve on the two-dimensional page. Mann inks his figures even more loosely when the timbre of the story demands it, such as a scene where those outside the city are overcome by panic as a fire spreads through the camp. The thought he puts into his artwork, utilizing any tools at his disposal, takes advantage of the unique workings of the comic story and adds depth to the tale conceived by these two artists.

Out of necessity (see the interview below), Mann also does the coloring for the book. Using a reserved palette that services the story well, he is able to “shock” readers with sudden bursts of color and layer an added emotional response onto an already moving story. Again, this is something that is almost unique to comics – some art house films have utilized color to similar effect – and it is a testament to these two creators that they examined the medium within which they work and sought best how to utilize the tools at their disposal.

Inanna’s Tears is an exciting book that I heartily recommend you seek out when it hits comic shops this August. A true collaboration between two consummate storytellers, this is one of those books all fans should have on their shelves.

An Interview with mpMann:

Chris Beckett: Why comics? What is it about the medium that attracted you as an artist?

mpMann: I grew up reading comics, and drawing superheroes. It seemed like a cool way to indulge my fantasies. I drew a comic book as an art project my senior year of high school and my instructor said the pictures showed the best, most consistent composition I had shown all year. I was just thinking, "How should this look as a comic?" and spewing out all of the images I had internalized over the years.

As a considerably more mature artist today, I am fascinated by the interaction of words and images. It’s just something that has become deeply wrapped up in my self-image. I am a person who makes comics.

Beckett: Publishing to the web prior to a print edition is a relatively new publishing model that has gained a lot of interest in recent years. From your perspective as a creator, what do you see as the benefits and drawbacks of this model?

mpMann: I'm not sure I know, yet. I'm not all that web-savvy. I'm not all that clear on all of the ways in which people are trying to monetize web-comics. We wanted to use Inanna’s Tears at Modern Tales as a promotional tool. We hoped that people would read it, and there would be some good word of mouth. As of this writing (mid-June), we've topped 30,000 page views, so somebody is making an effort!

I should add that being associated with Modern Tales has been excellent. I had previously drawn Arcana Jayne for Lisa Jonte at Girlamatic, and it was clear to me then that Joey Manley is at the forefront in developing tools for web-comic creators.

If I have a pet peeve with web comics creators, it's missing deadlines. Newspaper cartoonists don't miss deadlines, and web-cartoonists should hold themselves to that standard. I had three months of Inanna’s Tears finished before we began uploading. Faithful readers got a steady and fairly sizeable installment each weekend.

Beckett: The coloring of Inanna’s Tears adds a lot to the atmosphere of this comic.

mpMann: Glad to hear it!

Beckett: Did you do the coloring yourself and what considerations went into the coloring of the comic?

mpMann: I did color it myself and one of the considerations was that I couldn't afford to hire a colorist! I don't fully understand the whole "professional coloring methods" flatting, etc. So I just take my Wacom pen and color it like I'm coloring a coloring book. Since I don't tend to connect my lines, there are very few places where I can just tap a space with Photoshop's paintbucket tool.

On the other hand, being a rather loose drawer/inker, I felt free to be loose with the coloring as well. I also started using the blur tool for a softer effect. Generally, I shifted color palette between scenes, trying to be consistent within the scenes. And naturally, I tried to use color for emotional effect. Towards the end, I began experimenting with some of Photoshop's lighting tools, and liked the results, so I went back and applied them to earlier scenes as well. This trick recalled my days doing 3D animation and using the lights for powerful coloristic effects. The Photoshop lights are not as versatile as those of 3ds max, but with discretion, they can achieve interesting results.

Beckett: I know you write some of your own comics. How much input, if any, did you have with Inanna’s Tears? And following up on that, what are your thoughts, in general, on the separation of duties in comics?

mpMann: Rob had Inanna’s Tears pretty well worked out in his head. We talked a little about what I liked to draw (I prefer emotional scenes between people), but my biggest impact on the writing was when I didn't draw precisely what Rob asked for. He, by the way, was very accommodating of my efforts and asked for very little in the way of changes.

Creators need to understand what the other does, and of course, courtesy should always prevail. I have been blessed to work with a bunch of very considerate writers who have not tried to interfere with my way of drawing things. I do like the idea of the writer and artist being jointly the author of the work.

Another way of viewing it that I have occasionally touted, is to think of the artist as performing the work, with the writer as composer or librettist. In this conception, a writer may later take the script and have it "performed" by another artist.

Beckett: What other comics do you have in the works, and when can readers expect to see them?

mpMann: Beginning in December of 2007 (and therefore overlapping Inanna’s Tears) A. David Lewis and I return with Some New Kind of Slaughter ~or~ Lost in the Flood (and How We Found Home Again): Diluvian Myths from Around the World.

Some New Kind of Slaughter is a collection of flood myths tied together through the narration of Ziusudra, the Sumerian predecessor of Noah, who also appears in the book in a big way. Our working arrangement was different with this book than it was on our previous effort, The Lone and Level Sands. For Some New Kind of Slaughter we have functioned as co-writers, with me actually taking the lead much of the time. Dave focused largely on the Noah story, which he knocks out of the park, showing the same concern for human frailty and complexity as he did in The Lone and Level Sands. This is Noah as you've never seen him. I did most of the rest, but in truth, we both have our fingerprints all over all parts of the book.

Both Some New Kind of Slaughter and Inanna’s Tears will be coming from Archaia Studios Press, and along with The Lone and Level Sands starts to form a kind of library of ancient myth/stories/histories.

I am just beginning to color Some New Kind of Slaughter and expect to have it finished in time to begin a comedy western written by Josh Hechinger to be called The Grave Doug Freshley. This will be a refreshing change of pace for me. Josh has described it as "Sergio Leone meets Looney Tunes.” I plan to start on Doug in September, and have it wrapped up by early 2008.

After Doug I will be returning to the ancient Near East with Ba'al which will be a solo act. There are other ideas out on the horizon, but right now I look to keep busy for the next year, and provide a steady string of books.

Some New Kind of Slaughter - check it!

So, the Harveys are coming uo, with the nomination process already begun. Some New Kind of Slaughter by mpMann and A. David Lewis is a mini-series deserving of recognition, and to facilitate creators' decision, Lewis is offering the first two issues available for free download at his site.

I had the opportunity to read the whole thing when I spotlighted it in my Pulse column. This is part of what I said:

Within this four-issue series from Archaia Studios Press, these two creators have brought together multiple flood myths from across the world – China, India, Australia, Africa, and the Americas – in order to create a compelling and emotional narrative that touches upon the most basic of human instincts – survival and acceptance. It is a creative use of ancient stories that sheds light upon the fears and desires of modern society through comics.

When I first learned of this series from artist mpMann, I made the assumption that Slaughter would be an anthology, but that would have been the easy way out and not as entertaining. Instead of taking that route, Lewis and Mann chose to create one single narrative that ties in all of these myths. For a medium that seems to thrive upon the perpetuation of the status quo, this was certainly a gutsy decision to make, and readers should thank them for taking that risk.

What Lewis and Mann offer with Slaughter is an incredibly complex story that effortlessly moves in and out of these various tales. Although the first narrative jump could be jarring for readers, once they are aware of the intricate fashion in which this series has been crafted, they can settle in for an enjoyable and thought-provoking ride. The authors utilize both written and visual cues to help transition from one period to the next, and subsequent readings will offer readers a better understanding of the multiple depths hidden within this tale.

Some New Kind of Slaughter is another step forward for the comic medium, showcasing a complexity sorely lacking in most of the comics found on racks today. Co-written by Mann and Lewis, who live on opposite coasts, it is a testament to these two creators that the text reads seamlessly, and Mann’s artwork is again a wonder to behold. His pared down style evokes more emotion than a more “photo-realistic” artist might be able to. Not only is this a well-written book, but it is also a “pretty” book that fans of great storytelling will enjoy.

You should definitely check it out here. you won't regret it.

chris