Review: THE ENVIOUS SIBLINGS and Other Morbid Nursery Rhymes

THE ENVIOUS SIBLINGS AND OTHER MORBID NURSERY RHYMES
W.W. NORTON & COMPANY – @wwnorton

AUTHOR/ILLUSTRATOR: Landis Blair
ISBN: 978-0-393-65162-1; hardcover – 7.3” x 7.3” (October 8, 2019)
240pp, Color, $20.00 U.S., $27.00 CAN

The Envious Siblings and Other Morbid Nursery Rhymes is a book collection of nursery rhymes and cartoons from comics artist, cartoonist, and book illustrator, Landis Blair.  A hardcover book (7.3” x 7.3” dimensions/trim size), The Envious Siblings and Other Morbid Nursery Rhymes is a collection of rhyming vignettes or stories.  Each vignette/story is divided into multiple verses; each verse has its own page featuring a cartoon that illustrates the contents of the verse.

The Envious Siblings and Other Morbid Nursery Rhymes (which I will occasionally shorten to The Envious Siblings) contains eights vignettes/stories.  They are “The Malicious Playground,” “My Suspicious Sister,” “The Envious Siblings,” “The Refinement Tree,” “The Awful Underground,” “Honourable Beasts,” “Grounded,” and “Danse Macabre.”

I am not familiar with Landis Blair's prior work, but it is obvious that he is influenced by Edward Gorey, the American writer and artist whose drawings were macabre and unsettling.  In fact, Blair holds Gorey for special notice in the acknowledgments page at the back of the book.  The contents of The Envious Siblings can also be favorable compared to the work of Roald Dahl (renowned author of children's books like Charlie and the Chocolate Factory), Quentin Blake (children's author best known for illustrating Dahl's books), Charles Addams (legendary cartoonist at The New Yorker and creator of what became known as “The Addams Family”), Shel Silverstein (beloved children's book author and illustrator), and Tim Burton (director and filmmaker known for his 30+ year career making films with macabre sensibilities).  I would also add to that list cartoonist and comic book creator, Richard Sala, who is far lesser known than the aforementioned authors and visual artists, but whose work is also true to the spirit of Edward Gorey.

I have seen the term “pop macabre” used to describe the work of Charles Addams and Tim Burton.  I assume that the term separates Burton and Addams from horror novelists like Stephen King, Peter Straub, and Clive Barker, “masters of the macabre” who emerged in the last quarter-century of the twentieth century.  The authors' novels were sometimes both macabre and violent, while Addams and Burton's work is macabre, but gentle and humorous.

I would call Landis Blair more “pop gruesome” than “pop macabre,” but the stories and cartoons in The Envious Siblings are both gleefully gruesome and grotesquely macabre.  They have a kind of absurdist horror to them that, to me, redefines the nursery rhyme, the fairy tale, and the folk tale.  Or perhaps what I see as a redefinition is actually a cartoonist and visual artistic voice that is truly unique.  Edward Gorey may have inspired Blair, but Blair has gone on to create his own aesthetic, the way American blues music inspired The Rolling Stones' Brian Jones, Mick Jagger, and Keith Richards, before Jagger and Richards took those influences and invented their own sound for the Stones.

I want to pick a favorite story in The Envious Siblings, and I actually think a few of the stories here would get Landis Blair jailed in countries ruled by authoritarian regimes.  First, there is the pantomime comic strip (of sorts), “The Awful Underground,” a sort of Brothers Grimm fairy tale-warning about getting lost.  It mixes a bit of Shel Silverstein and Maurice Sendak and has a blood-chilling ending.  I really don't want to spoil this, so I'll say no more.

Right after that is “Honourable Beasts,” a Satanic Aesop's Fable about talking to strangers.  The ending is ghastly, just not the way you think it would after reading the first 15 pages of this 16-page tale.  And right after that (dear Lord) is “Grounded,” a middle-grade (not nursery) rhyme about an incorrigible child in a test of wills with his exasperated and none-too-bright parents.  About that ending, all I can say is “Wow!”

All the stories here are delightfully macabre, but these three are the little monsters that stand out.  If every music album needs one great song, The Envious Siblings and Other Morbid Nursery Rhymes has three great rhymes/songs and that makes the entire book a great work of the macabre and the gruesome.

If you like Roald Dahl, Quentin Blake, Charles Addams, Shel Silverstein, and Tim Burton... and Richard Sala, do I have a book of cartoons for you!  The Envious Siblings and Other Morbid Nursery Rhymes is a must-have, and its author, Landis Blair is a revelation.  Encore! Encore!, you sick and devious new master of the macabre.

10 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"

https://www.landisblair.com/
https://twitter.com/LandisBlair
https://www.instagram.com/landisblair/


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: THE UNSTOPPABLE WASP #1

THE UNSTOPPABLE WASP No. 1 (2018)
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Jeremy Whitley
ART: Gurihiru
COLORS: Gurihiru
LETTERS: VC's Joe Caramagna
EDITOR: Alanna Smith
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Gurihiru
VARIANT COVER ARTISTS: Yasmine Putri; Ben Caldwell
28pp, Color, $3.99 U.S. (December 2018)

Rated “T+”

The Wasp created by Stan Lee, Ernie Hart and Jack Kirby

The Unstoppable Wasp is a Marvel Comics character that is a new version of The Wasp, a classic superhero character from the early days of Marvel.  Like the original, the updated Wasp is depicted as having the ability to shrink to a height of several centimeters; fly by means of insectoid wings; and fire bio-electric energy blasts.

The Unstoppable Wasp is Nadia, the daughter of Hank Pym (the original Ant-Man) and Maria Trovaya.  Nadia starred in her own Marvel comic book series, The Unstoppable Wasp, which ran for eight issues in 2017, before being canceled in Marvel's jihad against so-called “diversity” comic book titles.  Well, you can't keep a good girl down.  The Unstoppable Wasp returns in the two-oh-one-eight.  The new series is written by Jeremy Whitley (who wrote the 2017 series); drawn and colored by Gurihiru; and lettered by Joe Caramagna.

The Unstoppable Wasp #1 (2018) finds Nadia and Avengers' butler, Jarvis, on the way to Nadia's driver's license test, when she gets a call for her mentor, Janet Van Dyne (the original Wasp).  It seems that Monica Rappaccini and her A.I.M. offshoot have targeted a small Horizons Labs facility.

Nadia a.k.a. “the Unstoppable Wasp” dumps her test so that she can head into action.  She even has her own mission control that helps her on missions.  It's the girls of G.I.R.L. (“Genius In action Research Labs), who operate out of Pym Labs in Cresskill, NJ.  The Agents of G.I.R.L. are Taina Miranda, Priya Aggarwal, Ying, and Priscilla LaShayla “Shay” Smith.  But the A.I.M. operatives are led by “Seeker,” and she has a past with Nadia.

I was not feeling the first six pages of The Unstoppable Wasp #1.  I thought to myself that if the rest of this issue were like those six pages, the entire thing would be a disaster.  However, things kick into gear with Page 7, and the story turns into a sparkly superhero comic book adventure.  The way writer Jeremy Whitley presents the mission's interplay between Nadia and the Agents of G.I.R.L. is part Mission: Impossible and part Iron Man.

Artist-colorist Gurihiru makes the art pulse with a quality that reminds me of an animated television series.  It made me feel like I was watching a Saturday morning cartoon, so this is a Gurihiru illusion that works.  Joe Caramagna's lettering fits right in, giving the story a lively vibe.

I did not think that I would want more of The Unstoppable Wasp, but now, I know I do.  I hope this new series runs at least a little longer than the first – 12 issues?

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for syndication rights and fees.

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Review: SHURI #1

SHURI No. 1
MARVEL COMICS – @Marvel

[This review was originally posted on Patreon.]

STORY: Nnedi Okorafor
ART: Leonardo Romero
COLORS: Jordie Bellaire
LETTERS: VC's Joe Sabino
EDITOR: Wil Moss
EDITOR-IN-CHIEF: Akira Yoshida
COVER: Sam Spratt
VARIANT COVER ARTIST: Travis Charest; Jamal Campbell; Skottie Young; John Tyler Christopher; Carlos Pacheco; Rafael Fonteriz with Laura Martin
28pp, Color, $3.99 U.S. (December 2018)

Rated “T”

Black Panther created by Jack Kirby and Stan Lee; Shuri created by Reginald Hudlin and John Romita, Jr.; Dora Milaje created by Christopher Priest and Mark Texeira

“Gone”

Shuri is a Marvel Comics superhero character.  She was created by writer Reginald Hudlin and artist John Romita Jr. and first appeared in Black Panther (Vol. 4) #2 (cover dated:  May 2005).  Shuri is a princess of the (fictional) African kingdom of Wakanda and is the daughter of the late king, T'Chaka.  Shuri is best known as the sister of T'Challa, the king of Wakanda and the Black Panther.

Shuri has a genius level intellect which matches that of her brother, T’Challa, and she has also once replaced him in the role of the Black Panther.  Shuri gained additional fame when she appeared in Marvel Studio's record-setting film, Black Panther (2018), portrayed by actress, Letitia Wright.

Shuri now has her own comic book series in the obviously titled Shuri.  It is written by author Nnedi Okorafor; drawn by Leonardo Romero; colored by Jordie Bellaire; and lettered by Joe Sabino.

Shuri #1 (“Gone”) opens as Shuri directs the mission that will send Black Panther and the mutant, Manifold, into deep space on Wakanda's first human space mission (as seen in the current Black Panther series).  After a few weeks past with no contact from the mission, however, Shuri may find herself taking on an important mantle... again.

It is clear from the beginning that writer Nnedi Okorafor intends to establish Shuri as a both a personality and as a superhero outside of her relationship to T'Challa.  This book will be about Shuri's own identity, goals, motivations, desires, etc., and that is a good thing.  She is an interesting, indeed, even alluring character.

As for the art:  In Sam Spratt, Shuri has a cover artist with a bold, eye-catching style that captures the power and potential and regalia of an African woman who is full.  The interior artist and storyteller, Leonardo Romero, has become something of a Chris Samnee acolyte (if not clone).  Stylistically, Romero's illustrations here suggest a sense of wonder and discovery, as if Shuri was a child, seeing a world of possibility for the first time.  Thus, the storytelling seems a little disconcerting and disconnected to what I think Okorafor intends.

Jordie Bellaire's coloring goes right along with Romero's graphical angle.  Joe Sabino's lettering seems neutral, as if he focuses on merely efficiently finding place for the dialogue.  I am curious to see where Shuri is going, and while I have questions about this title's direction, I do recommend it to Black Panther fans.

7 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2018 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: THAT BLUE SKY FEELING Volume 3

THAT BLUE SKY FEELING, VOL. 3
VIZ MEDIA – @VIZMedia

STORY: Okura
ART: Coma Hashii
TRANSLATION: Jocelyne Allen
LETTERS: Joanna Estep
EDITOR: Joel Enos
ISBN: 978-1-9747-0797-3; paperback (October 2019); Rated “T” for “Teen”
248pp, B&W, $10.99 U.S., $12.99 CAN, £6.99 UK

That Blue Sky Feeling is a coming-of-age manga from writer Okura and artist Coma Hashii.  It was published from 2017 to 2018 in the manga magazine, Gangan Joker and is an adaption of the webcomic, Sorairo Flutter.  VIZ Media published an English-language edition of That Blue Sky Feeling as a three-volume graphic novel series.

The series follows two high school boys.  Noshiro Dai is an outgoing high school student who finds himself drawn to Hikaru “Kou” Sanada, the school outcast, who is rumored to be gay.  The rumors don't bother Noshiro; instead, they make him even more determined to get close to Sanada.  Thus, what is set in motion is a surprising tale of first love.

As That Blue Sky Feeling, Vol. 3 (Chapters 15 to 21 to Final Chapter) opens, everyone is seeking young love.  New student, Makoto Morinaga, who is gay, is determined to date Noshiro, but there is a girl with her eye on Noshiro.  Her name is Natsu Aikawa, and, with the help of her friends, is building up the nerve to ask Noshiro on a date.

Sanada is chagrined when his friends meet Hide, the 26-year-old man who was once his boyfriend.  Also, Ayumi Yamamoto wants to get closer to Sanada, although she has heard the rumors that he is gay.  Meanwhile, Noshiro and Sanada each seems to struggle to discover the true nature of their relationship.

[This volume includes a two-page character profile section and a farewell from the creators and staff.]

That Blue Sky Feeling manga may have a category, but I am not sure what it would be.  I would not call it boys' love (BL), because, although there are gay characters, That Blue Sky Feeling really does not depict romantic relationships between male characters.  Category aside, this series is filled with love, companionship, and friendship.

That Blue Sky Feeling Graphic Novel Volume 3 is the final volume of the series.  Writer Okura and art Coma Hashii wrap up this portrait of young love with gentleness and with a sense of humor.  The creators, as they relate in a closing note to readers, wanted to offer a snapshot of youth and a depiction of the trials of the heart that come along with being young.  They certainly do that, especially in this final volume, and it makes for an endearing tale, in part, thanks to Jocelyne Allen's excellent English translation.  Joanna Estep's lettering adds the fizz and shojo sparkles to this tale of teens exploring the landscapes of love.

The story ends without fully committing to a romantic relationship between the two leads, but we learn that what they have is special – because they say so.  So instead of calling That Blue Sky Feeling BL manga, we can call it what it is.  It is a delightful manga with LGBT themes that explores the first yearnings of straight and gay love.

A
8 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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Review: SUPERMAN: Year One #1

SUPERMAN YEAR ONE No. 1
DC COMICS/DC Black Label – @DCComics

[This review was originally posted on Patreon.]

STORY: Frank Miller
PENCILS: John Romita, Jr.
INKS: Danny Miki
COLORS: Alex Sinclair
LETTERS: John Workman
EDITOR: Mark Doyle
COVER: John Romita, Jr. and Danny Miki with Alex Sinclair
VARIANT COVER: Frank Miller with Alex Sinclair
64pp, Color, $7.99 U.S. (August 2019)

Mature Readers

Superman created by Jerry Siegel and Joe Shuster

Book One

Superman: Year One is a new three-issue comic book miniseries written by Frank Miller and drawn by John Romita, Jr.  It is published in an over-sized softcover format and is part of DC Comics' prestige imprint, “DC Black Label.”  Superman: Year One is a retelling of the early life of Clark Kent and of his first year as the superhero, Superman.  The rest of the creative team includes inker Danny Miki, colorist Alex Sinclair, and letterer John Workman.

Superman: Year One #1 opens on Krypton on the last day of its existence.  While the planet convulses in its death throes, a Kyrptionian man and woman send their infant son, Kal, off in a rocket ship to Earth.  There, under the Earth's yellow sun, Kal will more than thrive, and a human couple, Martha and Jonathan Kent, will make him their son, Clark Kent.

From the destroyed planet of Krypton to the bucolic grain fields of Kansas, this first chapter tracks Clark Kent's youth in Smallville.  He struggles to understand the nature of man and seeks to find his place in his adopted world.

If I remember correctly, Superman: Year One was meant to be the inaugural “DC Black Label” series and was supposed to debut sometime last year in the late summer or early fall.  [Batman: Damned became the first DC Black Label publication.]  DC Comics recently stated that Superman: Year One is to be Superman's official origin story.  I think Frank Miller also said that Superman: Year One is set in the world of his seminal comic book miniseries, Batman: The Dark Knight Returns.

All that aside, I find Superman: Year One intriguing.  There is a section of a line in the promotional material for Superman: Year One #1 that says “...the first chapter of SUPERMAN YEAR ONE tracks Clark Kent's youth in Kansas, as he comes to terms with his strange powers and struggles to find his place in our world.”  That is not quite accurate.

Writer Frank Miller does depict young Clark Kent finding a place to fit within the micro-world of Smallville High School (the freaks and geeks and outcast kids).  His only struggle is him trying to figure out when he should use his powers on bullies and to what extent he should use those powers.  In this way, Miller recalls the classic Superman character, a man of the people rather than as what he is now:  the greatest superhero of them all who is fighting the greatest threats of them all.  Also, by my reading, Clark does not seem to need to come to terms with his powers.  His powers are not something he doubts or fears; perhaps, he has to come to terms about when and where to use them.

Many previous stories about Superman's youth deal with the development of his powers in a physical context, especially concerning his strength and flight.  Miller delves into the development of Clark's super-powers in the context of his intellect and mental prowess.  Miller's young Clark Kent is thoughtful, but he is also devious and conniving.  It seems as if he is always thinking, learning, and planning, even when he is learning and receiving wisdom and knowledge from his parents, especially from his father, Jonathan.

Artist John Romita, Jr.'s storytelling is clear, offbeat, and, at times, quite dramatic.  I like how he captures the subtleties in Clark's nature and also his secretive side.  I am not quite sure that I like Romita's clear-line drawing style for this comic; Superman: Year One #1 is no where near Romita's best work, although it is better than most other comic book artists' best efforts.  Still, I am glad that super-inker Danny Miki's inking brings a lush, brushwork feel to the art.

Alex Sinclair's coloring pounds the sentimental shit out of this story; without Sinclair's power-hues, this story would, in places, trend toward the nostalgic.  Also, a book that aspires to be important needs an important letterer, and John Workman is a monumental letterer.

So I am happy to report that I am happy that Superman: Year One is off to a fine start.  As I said, I am intrigued, because I had been cynical from the time this project was announced.  Yes, let's see where Superman: Year One goes.  Maybe, it will be worthy of being the definitive origin of Superman.

7.5 out of 10

Reviewed by Leroy Douresseaux a.k.a. "I Reads You"


The text is copyright © 2019 Leroy Douresseaux. All Rights Reserved. Contact this blog or site for reprint and syndication rights and fees.

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