OUR EXPANDING UNIVERSE, by Alex Robinson

 

The latest book by Alex Robinson, OUR EXPANDING UNIVERSE, published by Top Shelf Productions, is Robinson’s best book yet.  [or, put more honestly, my favorite of his books]  Revolving around three buddies—Billy, Scotty, and Brownie—in their mid to late thirties, it’s a book about growing up, and about being a grown-up, that I found relatable in a way I hadn’t with Robinson’s earlier works.  Not that I didn’t appreciate Box Office Poison or Tricked, but the subject matter, as much as anything, in Our Expanding Universe just hit a nerve that elevated the book for me. 

The drama for Expanding Universe comes from the various familial entanglements of the three men—Scotty is married to Ritu, with one child and a second on the way; Billy is married, and he and his wife Marcy are just beginning to try to get pregnant; and Brownie is divorced, currently single, and ever the voice of authority, expounding upon marriage, child-rearing, and every other subject, regardless of his personal experience—and their efforts to hang out with one another, as if nothing has changed in their lives.  The trio gets together to play box ball (or 4-square), go to Funcle’s novelty shop, and grab a beer and talk about old times (the underlying sentiment being these were also the “good times,” especially as far as Brownie’s concerned).  It’s a quiet existence, with our characters comfortably settled into their lives.  It’s real life, one might say. 

The couples also get together for dinner at one another’s places, allowing readers to learn who Marcy and Ritu are.  The book may be about the dudes, but Robinson doesn’t forget about the women in the story, because they are essential to the lives of these men.  And these women become the lynchpin for a major turning point in the narrative, when Marcy happens across Scotty, in a café, having coffee with a woman from the school where the two work.  The philosophical conundrums that branch off this single scene—Marcy detecting a sexual vibe between Scotty and his co-worker, the ethical considerations of sharing this with Ritu, for both Billy & Marcy, along with the possibility of Scotty being innocent of any infidelity—propel the narrative forward through the rest of the book.  And—without giving anything away—though some could find the ending to be unsatisfying, as things are not neatly tied up with a bow, I felt it was a very real, very honest, very human place for the story, and the friendships, to end up. 

Robinson’s writing in Our Expanding Universe is as good as it’s ever been.  His dialogue is natural and genuine, sounding a lot like conversations I’ve had, or overheard, while getting to the important (and not so important) philosophical questions that plague all of us.  It’s engaging, while also entertaining.  And the plot points develop effortlessly, following not only from what goes before, but also from character, with nothing feeling forced.  Robinson keeps his readers, and his characters, in the moment, allowing things to progress at a pace that keeps the audience wanting to turn the page without ever feeling lost. 

Our Expanding Universe also benefits from being a shorter book with a smaller cast of characters than Tricked or BoP.  This book feels more accomplished, never wandering in its narrative, remaining focused and on point throughout the book.  Though I enjoyed his earlier works, it feels as if Robinson managed, with Expanding Universe, to cut all the chaff that, in my opinion, bogged down parts of these longer works.  It’s impressive how concise the book is, while also packing in a lot of great story. 

 

Alex Robinson’s art, like his writing, is also spot on with this latest book.  He has always been a rock-steady artist, simplistic (but not simple) figure work clearly relating the story he is telling.  But with this book, his art is not only accomplished, but he also injects some new approaches (or, at least, some approaches I don’t remember seeing previously) into his storytelling that work incredibly well.  In one scene, after Scotty’s second child has been born, he is feeling claustrophobic and a bit overwhelmed and needs to get out of the hospital room.  When Billy arrives with Marcy, Scotty and the guys head into the hall and make for the stairwell leading to a side exit, and once outside, with the sun looking down on Scotty as he takes a deep breath, Robinson forgoes his traditional inking and, instead of outlining the figure, fills in the body with hatching and uses the negative space to create the figure.  It’s a perfect example of form following function and enhancing the storytelling, in the process.  In another section, Robinson plays not only with the art but with his writing, as Marcy and Ritu get together with a bunch of their female friends.  In this scene, the images are snapshots of the party, while the dialogue is typed out, outside of the panels, like a film script.  This approach allows the women, seven in all, to carry on their various conversations, over one another, without the panels getting jumbled with word balloons or the audience becoming confused about who is speaking.  It was masterfully done, and something that, though non-traditional, worked very well and never pulled me out of the story. 

If you’ve enjoyed Alex Robinson’s books before, then you owe it to yourself to check out this latest work (though, if you are a fan you probably already have).  If you’ve never checked out Robinson’s work, seek this book out.  It’s a smart story, well told and entertaining, which will make you think.  And I don’t think we can ask much more than that of Robinson, or any creator. 

-chris

OCTOBER COMICS (2015): From Hell by Moore & Campbell

From Hell, written by Alan Moore, art & lettering by Eddie Campbell.

Warren Ellis called From Hell the best graphic novel ever published.  I think he may be right.  The story of Jack the Ripper as told by these two masters of the medium, From Hell is an incredible read. 

Moore & Campbell’s approach to this story was novel.  Most Ripper yarns start with the perspective that the identity of Jack the Ripper, over a century later, is still unknown and thus, a mystery.  These authors, through their works, treat the material as a whodunit, working to enhance the suspense of their narratives by keeping the face of the killer in the dark, teasing out the clues that ultimately reveal the truth of who was behind the ghastly murders haunting Victorian London in that year of 1888.  Moore & Campbell, on the other hand, chose not to keep the Ripper’s identity a secret, instead following Jack (Sir William Gull, royal physician to Queen Victoria) on his rapid descent into horror and debasement.  As Moore stated in interviews, From Hell is a “wha’happen” rather than the typical “whodunit,” and this elevates it above most Ripper fiction. 

Although a fiction—and both Moore and Campbell have stated they do not necessarily hold that Dr. Gull was indeed Jack the Ripper—From Hell is incredibly well researched.  Copious notes can be found at the end of the book, explicating scenes and offering theories that have been put forth by other Ripperologists, and the narrative connections that Moore threads within this horror enrich and enliven the story, even as the facts may turn your stomach.  From Hell is a wildly ambitious narrative that expands across the whole of London—incorporating the freemasons, the architecture of Nicholas Hawksmoor, John Merrick, the Elephant Man, the royal machinations of Queen Victoria and her family, the inspectors of Scotland Yard, and the dregs of humanity left to founder by an uncaring aristocracy in the East End of London—while also keeping it personal by revealing the narrative through the eyes of its characters, including Mary Kelly, Inspector Abberline, and Sir William Gull. 

Of course, as engaging and complex as the story is, it benefits greatly from the masterful artwork of Eddie Campbell.  The frenetic, scratchiness of his linework and heavy use of blacks add so much to the reading experience.  This London is dark, is dirty, is a place where one can see how a serial killer could make his way easily through the blackened night and get away with these horrors.  I cannot imagine this book being drawn by anyone else.  The cartooning adds so much to the feeling of the narrative while also drawing readers in with its more naturalistic and less rigid line.  If you’re looking for a great book to read on these dark, October nights that will chill your heart and tingle your spine, this is the one book you need. 

chris

Published Stories – where you can find 'em.

In 2005, Dan Fleming and I self-published the first issue of Warrior27.  Since then, there have been three other issues and a collection, weekly columns for the Pulse in 2007-08, year-long blogs from both of us on Crime and Watchmen, respectively, as well as stories published in other venues.  That January, as we began planning that initial anthology, I decided I start taking my writing seriously – emphasis on “start” – and, after ten years, take a look back to see where I stood and if it was something I should continue to pursue.  At this point, I have met with some success and couldn’t stop even if I thought that was the way to go.  So, let’s take a look at where my writing has been published.  [hey, it’s my blog; I get to be self-indulgent, if I want]

2005 –

1.  Pacesetter #6, “Breaking the Mold,” published by Tony Lorenz.  

This was the first thing I ever had accepted for publication.  Pacesetter is a fan-produced magazine centered on the work of my favorite superhero artist, George Perez.  It includes interviews, little-seen artwork, and articles, all focused on that issue’s theme.  This one revolved around Wonder Woman, and I did a piece on how Perez and the rest of the creative team worked to make distinct, strong female characters in the relaunch of the title, in 1987. 

2010 –

1.  Ape Comics’ online UFO Anthology, “Life is Funny,” with artist Jason Copland,  published by Ape Entertainment.   

This story came as a result of my first time submitting to an open call for stories.  My initial idea was rejected – it was tired and clichéd – but the editor, Troy Dye, accepted my second pitch.  From there, we went back and forth on five or six drafts of the script, until it was ready for publication, which was a great learning experience.  After that, I had to find a team to draw, color, and letter the eight-page story.  I got lucky enough to work with a group of great artists, including Jason Copland, who has since worked for Marvel, Boom!, and Dark Horse.  The site for the anthology is no longer available, but I’ve made it available at the link above. 

2011 –

1.  Top Shelf 2.0, “Sin Titulo,” with artist Jason Copland, published by Top Shelf Productions.

I was lucky enough to work with Jason again, when he posted a series of images he’d drawn while on vacation in Las Vegas.  He had no story in mind, as he drew, and offered them up to any writers who might want to craft a narrative around them – similar to the Marvel style popularized by Stan Lee and the stable of artists at Marvel Comics in the early 60s.  I could re-arrange them as I liked, or leave them in the order Jason posted them.  I opted for the latter and created a strange, neo-noir short that I was quite proud of.  Brett Warnock, at Top Shelf, really liked it and agreed to publish it on their online anthology, Top Shelf 2.0.  Top Shelf is one of my favorite publishers, so this was a huge deal for me.

2012 –

1.  Indie Comics Horror #1, “Minister to the Undead,” with artist Dan Lauer, published by Aazurn Publishing.

This story was one that initially ran in our anthology, Warrior27.  The third issue, from Fall 2008, to be exact.  The prologue to a longer story that I might get to one day, I was really impressed with Lauer’s art on a story he did with my buddy Dan (Fleming) and was really happy when he agreed to draw this short story.  When it found a home in the inaugural issue of Indie Comics Horror, I was stoked.  The longer narrative revolves around this minister who welcomes all people to worship, even those afflicted with vampirism, lycanthropy, and similar magical/demonic possession.  He also harbored a secret that would lead to a chilling climax. 

2013 –

1.  New Orleans by Gaslight, “You Gotta Give Good…,” published by Black Tome Books.

I caught the open call for submissions for this anthology when Greg Rucka retweeted the announcement.  A prose, steampunk anthology revolving around the city of New Orleans during the American Civil War, I did a lot of research for this one – not only reading books on steampunk, but also finding a wonderful book on voudou that treated this religion with the respect it deserves.  I tried to incorporate that same respect into my story, and I think it shows. 

2.  Unfashioned Creatures, “Big Man,” with artist Gary Fitzgerald, published by Red Stylo Media.

This was another story that involved research.  An anthology from Red Stylo Media revolving around the themes and scenarios of Mary Shelley’s Frankenstein, I read the book, for the first time, over a weekend, in order to get ideas for a story.  From there, I made my way through the open-call gauntlet and was lucky enough to work with an artist I was familiar with, Gary Fitzgerald.  He really did a great job with a script that was, at times, a bit trying.  I can’t thank him enough for this. 

2014 –

1.  Firewords Quarterly #2, “I Gotta Get Outta Here,” published by Firewords.

I saw an open call for this new literary magazine.  The editors wanted flash fiction and poetry.  I sent in a grim short set in a dystopian future that revolves around a grisly scenario that I had conceived while picking blueberries with my wife a number of years back.  This is a story I had sold once before – but the publisher ran out of money before the anthology was published – and was happy to finally give it a home.

2.  Needle: a Magazine of Noir, “Silence,” published by Needle Magazine.  

Ever since I was introduced to Needle, I wanted to be a part of it.  I wrote a bit more about that here.   It’s 9,000 words of crime and horror with an ending that’s a shocker.  It’s the story I’m most proud of. 

Forthcoming –

I also had two comic stories accepted in 2014, which made it my most successful year to date.  One, “The Call of the Sea,” is still in need of an artist and is scheduled to be published by GrayHaven, once all the stories are drawn and lettered.  The other is an adaptation of my New Orleans by Gaslight story, with the steampunk stripped away, that was beautifully illustrated by AngelaAllen.  It is scheduled to be in the fourth issue of Indie Comics Quarterly. 

Warrior27 –

And there are always the original issues of our comics/prose anthology, Warrior27, which are available for purchase in the sidebar.  There’s some great stuff in there from Dan and Matt  Constantine (one of the “In the Mouth of Dorkness” dorks) and a slew of fantastic artists.  Worth checking out, but I might be biased.

Thanks for indulging.  Hopefully I’ll be updating this list sooner rather than later.  And, obviously, I’ll let you know when that happens

-chris

30 in 30: The Ticking by Renee French

#17: The Ticking
Storytellers: Renee French
Publisher: Top Shelf
Year Of Publication: 2005
Page Count (can be approximate or in # of issues format): 216 pages

WHAT I LEARNED ABOUT WRITING / STORYTELLING:

It’s the little moments – ones that could be most relatable – that can have the most impact in a story.  Early in this story, the son draws a picture of the scar on his father’s head, and he gives it to his dad. A few pages later, the boy sees that picture in the trash, and it was an incredibly affecting bit of storytelling.  French included moments like this throughout the book in a manner that seemed effortless. 

 
WHAT I LEARNED ABOUT ART / STORYTELLING:

French uses shadows very effectively to enhance the emotion of a sad scene, of which there were many in this book.  But she used this tool sparingly, which was smart, as it could lose its effectiveness if overused.  Maybe it’s an obvious tool, but it’s one to keep in mind.

 
RECOMMENDATION: A

NOTES / REVIEW / SYNOPSIS I had no idea what to expect with this or the other Renee French book I read for 30 in 30, but I now see why French is held in such high regard.  This story was told mostly through the pictures and the characters’ body language rather than through the dialogue, and I found it incredibly affecting.  I wish I hadn’t waited as long as I had to finally read some of her work, but I’m glad that I now have more work of hers to discover.

30 in 30: the Barefoot Serpent by Scott Morse

#10: The Barefoot Serpent
Storytellers: Scott Morse
Publisher: Top Shelf
Year Of Publication: 2003
Page Count (can be approximate or in # of issues format): 128 pages

WHAT I LEARNED ABOUT WRITING / STORYTELLING:

This showed me a different way to look at a comic. The main comic narrative is in the middle of this book, relating the story of a young girl and her family visiting Hawaii to forget about the tragic event that has befallen them.  This story is in black and white with grey tones. Bookending this story is a brief biography of filmmaker Akira Kurosawa.  These pages are lush, vibrant paintings with text. Despite these two very different stories, told in very different manners, Morse manages to weave them together to produce a book that is elevated by the threads binding the two narratives. 

WHAT I LEARNED ABOUT ART / STORYTELLING:

Using a sublime approach to the dialogue with animation-style art, one can make serious and tragic experiences within a comic narrative resonate long after the end of the book.  This is something that Morse does in many of his works and that juxtaposition  of a “weighty” scene with the “fun” style that Morse uses really makes these scenes more emotional, in my opinion.

 
RECOMMENDATION: A