Well, a day after my final turn at FP I go to check something on the FP Blog and… It wasn’t there. Taken down already, virtual corpse not even cold. That’s an extra kick in the pants, I thought it would be archived online so those years of articles, reviews, interviews and guest pieces wouldn’t just vanish. As one person remarked, she was upset as she had several items bookmarked to read. Just as well most of my reviews are also here on the Woolamaloo Gazette, including that final post which was up for basically a day on the actual FP blog before it was zapped. Sad to see all of that work just wiped away like that.
Meantime the search for a new job goes on – hint to publishers and arts and culture organisations out there, knowledgeable, experienced, passionate bookseller with a flair for promoting good writing and reading online, available for hire…
Well, the day I have been dreading for several weeks has come to pass: I’ve been living under the cloud of imminent redundancy, and as the termination date has crept closer and closer I felt increasingly bad. It isn’t just the practical side of things – having to look for a new job, the crushing feeling of not getting posts you are well suited to, the way it saps your morale and sense of self worth, the worry about being able to pay your bills – it’s the emotional side. Not just that it fuels the wee black voice, there’s also a sense of loss: having drinks with some of my colleagues yesterday was very odd, I’ve worked next to some for thirteen and a half years, I’ve known them since before some of their children were born and it is very peculiar to think we’re not going to be part of each other’s daily lives anymore, quite upsetting. We’ll see each other from time to time, but it won’t be as it was before.
Always hard moving on, even when it is by choice, when it is forced on you it makes it harder. Here’s a copy of my final post from the Forbidden Planet Blog:
Richard has already taken his final bow on the blog (see here), and now it’s my turn. Truth be told I have been putting this off all week, and here I am typing it now, on my last day at FPI. Quite emotional, as you can imagine; I’m trying to persuade colleagues in the Edinburgh store, beneath which the Blogcave lurks, deep under Edinburgh’s ancient Old Town, right above the haunted undercity, that they should play the sad piano music from the end of the old Hulk TV show as I walk out for the last time tonight.
Thirteen and a half years: I started the blog when I began working on the webstore for Forbidden Planet International, looking after the graphic novels and books. I had pitched the idea to Kenny of using a blog so we could highlight some of the titles we sold in the stores and online, celebrate them, draw reader’s attention to them, recommend books, use it for announcing news, not just our own but news and events from others in the comics community, to give them an added voice (especially in pre-Twitter days). To his and FPI’s credit they agreed and also supported the idea that we would keep the blog pretty non-commercial – of course we’d trumpet our store events and offers, we’d link reviews to the webstore where you could buy the graphic novel we were reviewing, but that was about it, it was left mostly as a space to celebrate comics, science fiction, fantasy, horror and animation, all our geek loves. I think Kenny saw it as a nice way to give something back to the comics community, and that’s a nice way to think of it.
As time went by more contributors came onboard, allowing us not only to cover more, but also to take in a more diverse range of tastes. Richard continued from the sort of recommendations and reviews he had done when he worked in our Nostalgia & Comics store in Birmignham – it was something we had in common as I too had organised mini-reviews and staff recommendations in my old bookstore, and I knew that A) readers loved those personal recommendations and B) it often gave a new creator a chance to be spotted by readers. To be honest, as time went on Richard was less a reviewer and more a co-editor with me; I can’t imagine having run the FP blog this long without his help, as well as his articles and reviews, and while we all reviewed numerous small press works, Richard was king on those, writing up on so many small press comickers that it often felt like they saw us as “their” site, which frankly we loved.
Then Our Man In Belgium, Wim, provided us with Our Continental Correspondent columns, bringing European works and comics trends to the Anglophone audience. I think any of us who truly love the medium are in awe of the status of the Franco-Belgian comics market, where bande dessinee is seen as “the ninth art”, a respected status those of us in the UK, Canada, America and other countries could only dream of (although that has changed a lot – look at Mary and Bryan Talbot’s Costa Award win for instance – and is still changing for the better here). Wim not only brought us news and reviews of European comics, from new talents and revered veterans, he did it the way I hope everyone on the blog did, with their own personality and passion for the medium (I think we all used our own voices, kept it personal, never a house style or corporate tone, and I think that’s another reason readers liked it).
I learned a lot more about European comics through editing Wim’s posts, and it only sharpened my hunger to see more of these works translated and published in English. And, rather wonderfully, that sometimes happened because of his pieces, especially his Translation, Please columns where he would champion some astonishing new comics work he’d seen in French, Dutch, German, Spanish, Italian, and highlight why this was an author and a book Brit and North American publishers should be looking at and thinking of buying English language rights to. Several publishers told us they looked specifically for those European publishers and creators on their trips to continental conventions on the back of reading about them through Wim’s columns, and several ended up making deals and translating those books. I call that a pretty good result.
More people joined us through the years, some for a short time, others longer, but all added to a plurality of voices and tastes and subjects covered. My old Irish chum from our days on The Alien Online (early SF & comics review site some of you may recall fondly) Pádraig contributed some long, thoughtful interviews, not least with the mighty Alan Moore, Zainab brought a new perspective with her own tastes and an eye for creators and titles that were not as well-represented as they should be, especially women and ethnic creators (an increasingly happening area in comics coverage, I am glad to see, but Zee was doing it well ahead of the curve and continues to do it now), Nicola, then working at our Glasgow store (now a Grande Fromage at the Glasgow Comic Con) brought an impassioned fangirl rush to her picks from the week’s new releases (and got me reading some I would otherwise have walked past).
Matt Badham would do us some great pieces and some cracking interviews, which, in what I thought was a nice touch of solidarity and cooperation, would be published by ourselves and John Freeman’s Down the Tubes at the same time. There was something nice about that – not competition, working together, all part of the bigger community. Hannah Chapman wrote some great pieces on the Indy scene and on women in comics and webcomics, now she’s a creator and pushing the splendid Avery Hill comics. Malachy from our Belfast store and my book group chum Misti joined me in my eternal love of good science fiction and fantasy, so we could cover more of the prose side of geekdom as well as the graphic, Stephen, under his Garth Cremona pen-name, was our resident movie fiend, and another Irish chum, James Bacon, would contribute not just reviews but all sorts of interesting articles, from a gallery exhibition of comic art to some science fiction stage plays and reporting from San Diego Comic Con (along the way also chatting to local comic store owners in California and getting their views).
And that’s not counting everyone – a lot of others would contribute when they could (remember most of us were doing all of this in our own free time), and then we had numerous guest blogs. That was something I always wanted – when we ran our guest Best of the Year posts each December we would have a different writer, artist, editor, publisher, reviewer every single day in December, picking their favourites, before the blog crew chose their own; it meant we got a wider net, more reading tastes, that works we hadn’t seen or had time for got shout outs. Most sites would have a Best of the Year article around December, but I don’t think anyone did it quite the way we did with so many diferent guests getting a chance to shout out their faves.
Similarly our guest posts gave creators free reign to use the blog as a platform to talk directly to the readers about their work. We had reviews, previews and interviews, but it seemed to me there was something missing – reviews are our opinion, in interviews creators only get to answer the questions put to them… Why not have a feature where we removed ourselves from it and gave the slot entirely to them, to talk about their new work in their own words, in any way they wanted to. It gave readers some insight into the creation process, what elements of the story meant to the creator and why they worked the way they did, and at the same time served to highlight their new work and interest readers.
I remember one year we did a whole themed Director’s Commentary run with not just the winner but all shortlist nominees for Myriad’s First Graphic Novel prize, after one of the judges, Bryan Talbot, commented on the high standard of all of them, so we arranged to let each and every one of them do a guest spot about their entries. I know I am biased, but I think that was a damned good use of the platform we had to share. After the debacle of the all-male creator Angouleme shortlist a few years back a whole bunch of women writers, artists and publishers did a coperative guest spot with each highlighting women in the medium.
We loved being able to use the blog for something like that and other things, and as we’ve been seeing with certain sad groups attacking women, LGBT and ethnic creators virulently, it’s important those with a decent platform use it to defend diversity: more diverse voices means more intersting and unusual reading for us, which is a win-win situation. And, simply, it is the proper and decent thing to do; comics and scifidom are communities, and communities support and celebrate one another, and when we do that, we all win. Many are continuing that push, and all power to them; the blog here may be going quiet, but those of us who worked on it still have your back in the comics and SF community.
We’d all love to have done more, to turn the blog into a virtual journal, perhaps. But we all had work and life and other commitments, and we were all doing most of our reading, viewing and writing in our own time, after the day job. That’s a lot of hours of our own time, and always there would be more good stuff out there that we just couldn’t get time to cover. In a way though, that is a sign of how much comics, especially in the UK, has changed even just in those thirteen and a half years of the blog’s existence. When we started we had a pretty vibrant small press scene, with a couple of yearly events like Caption and then Thought Bubble celebrating them, and just a handful of UK graphic novel publishers, like Cape, or veterans like Knockabout. But then more events – mainstream and small press-friendly, from tiny local, small town events to European style comic art festivals like the Lakes were added to the calendar, and the already thriving small press scene got bigger, better, more diverse and interesting.
And the number of Indy publishers also grew in the UK: Myriad, Blank Slate (run by our own Kenny), SelfMadeHero, Soaring Penguin, Avery Hill, Nobrow and more. And many of those bloomed over those following years: suddenly UK comickers went from thinking why don’t we have our own Drawn & Quarterly, Top Shelf or Fantagraphics here to having those and seeing them prosper and reach new audiences. Just last month I chaired events with SelfMadeHero and Nobrow authors at the Edinburgh International Book Festival, the largest literary festival on Planet Earth, and there were our Indy comics presses strutting their funky literary stuff, alongside small press creators given their own comic fair on opening day. We also saw some of those new Indy publishers here translating European comics for an English language audience, and then, oh so gloriously, taking their UK titles to European festivals and seeing them picked up for translation there. Wow. So many good changes over those years.
I’m honoured we got to be a small part of those changes, that we got to enjoy reading those works, and had a megaphone to shout out those creators and publishers and watch others pick them up, other sites like Broken Frontier coming along and adding their voices to this flowering of talent and creation. It has been a remarkable time for comics, especially in the UK. And it still is; if anything it is just getting better and better, and I hope very much that lending our voices to the chorus helped those creators and publishers, and I know more than a few readers who have told us over the years they only knew about a new work because of one of our articles, that they picked up a book they would never have seen otherwise. That, my comics chums, is a very, very nice feeling when you hear that.
(I’d like to think this is Richard and I going out in a blaze of six-gun glory, but fear we are more Pooch and Sunlounger than Butch and Sundance, and no, I don’t know which of us is which)
And… well, there’s more, but I have already gone on far longer than I intended to. I meant this to be shorter, pithier, but I am writing it on my last day here as it comes into my head, and I think I’m going on so long because I am reluctant to finish, because it is my last FP Blog post. Like David Tennant’s Doctor “I don’t want to go.” But go we must, things change, and let’s face it, thirteen and a half years is a pretty good innings for a comic blog. It has been a pleasure to be able to cover so many fine writers and artists, to celebrate the success of new publishers and watch comics culture flourishing as never before, from small press and Indy to the maintream, covering every subject from adventures to gender to health to science to poetry and more, and quite wonderful to have been a small part of that. I’m sad to leave the blog, to leave FP, the thought of not seeing colleagues I have worked years beside is, naturally, upsetting. But mostly I am proud of what we did, with few resources and a bunch of book and comics readers working away in our own time simply because we loved good reading.
So long, and thanks for all the fish. And always, always know where your towel is.
And keep reading. Always keep reading.
And there it is, the last post after thirteen and a half years. I think we did a lot within our constraints and I’m pleased we helped a lot of writers, artists and new publishers to get noticed. But it’s over, and I’m looking for new work, still. So any publishers out there, bookseller for hire with decades of literary knowledge, passion for promoting good reading, huge range of experience in highlighting good authors through events, reviews, interviews, social media and literary festivals. I’m also house-trained.
This was originally penned for my traditional Best of the Year, part of an annual series I run on the Forbidden Planet blog, following on from a month-long series of guest Best Of posts that ran daily from the first week of December:
It’s been another quite superb year for good reading and, like last year’s Best Of selection, I’ve been delighted at the diversity and quality of comics work coming out of the UK publishing scene, which seems to be going from strength to strength and like the more established science fiction and fantasy publishing in the UK, it’s putting out works that are getting worldwide attention. SelfMadehero and Blank Slate especially have had a cracking year. I’ll apologise in advance – as usual I’m going to go on longer than I meant to, but I blame all those too damned talented writers and artists for that, made trying to narrow down my selection extremely difficult and I must apologise to some because I know that there are some I have probably missed out, but we better get on with this list:
The new chapter has just started this very week online, but over the last few months few things have made me laugh out loud as much as Jamie Smart’s Corporate Skull, taking the mickey out of big business and corporate office culture, loaded with cynicism and sarcasm, decorated liberally with bad language, foul behaviour and violence and bodily excretions. It’s everything rude and crude but expertly and cleverly crafted. I said several months ago that it was “arse splittingly funny” and I stand by that comment, mostly because the aforementioned bum is still recuperating from the previous comedic splitting. Sick genius. The doctors say it is good therapy for Jamie to work it out of his system.
For my money Jacques Tardi is one of Europe’s great comics creators, a true maestro who can turn his hand and alter his style to suit almost any genre, from gruesome, angry It Was The War of the Trenches to hardboiled 70s crime and, of course, his famous Adele Blanc-Sec series. A plucky heroine writer who investigates the bizarre and always becomes entangled in the oddest conspiracies and plans. This second helping collects two of the original French albums and serves up a heady cocktail of conspiracies, secret societies, black magic practiocners, mad scientists (and boy does Tardi do a great, cackling mad scientist – he even brings in some from his brilliant The Arctic Maruader into this) and all set against a beautifully realised backdrop of Belle Epoque, pre-war Paris. Fantagraphics are translating a huge swathe of Tardi’s work and in fact I’d recommend and and everything they have so far translated and republished, but for the sake of this piece I’ll go with the wonderful Adele.
This is a superb, dark piece from SMH, a labyrinthean maze of childhood memories and how they shape and influence the character and outlook of the protagonists as adults, set in one of those depressing, featureless “it could be anywhere” type of towns, with emotional paths triggered by the reconnection between childhood friends and almost-sweethearts John and Naomi, it’s a fascinating through a glass darkly tale that I could see making an engrossing film in the hands of someone like Guillermo del Toro. Dark, brooding, intense and fascinating.
Spiegelman’s Maus must be about the most famous graphic novel on the planet, known not only to comics readers like Watchmen but to the wider reading public because of its reception and the Pulitzer Prize highlighting it even to readers who normally don’t read in the comics medium. That, however, is also something of a millstone for a young artist to carry around for the next few decades of his career and Spiegelman talks about that, as well as how he came to make the original comic, discussing the craft, the family history, his relationship with his father, the approach to the art and layout, it’s a truly exhaustive (it comes with a DVD packed with more material) look inside one of the major literary works of the 20th century, but it is also deeply personal too, not just in terms of discussing Spiegelman’s relationship with his father, the man whose tale he is telling, but also how the book has affected his own children growing up in its shadow. Penguin also republished the original Complete Maus in the same hardback format as MetaMaus to mark the anniversary of its publication, they make a very handsome set.
Don Quixote, Migeul de Cervantes with some help from Rob Davis, SelfMadeHero
Several years ago a poll of some of the best writers from many countries picked out this masterpiece of Spanish literature as the favourite novel for most of today’s respected international authors. They were right. It’s an astonishing book that has crossed centuries, influencing artists, writers, playwrights, poets, painters, film-makers and readers; several centuries of readers have fallen in love with this mad knight who dreams of a golden past of chivalry and adventure. Is Quixote a dreaming madman in a cynical age or is it the world that is wrong and his vision which is the more wonderful? Is it a Quixotic madness to even attempt to adapt this great work into comics? Perhaps, but as one who has loved this book for years I think Rob too has supped from the same cup of divinely inspired madness that made our tottering knight charge at windmills; it’s a wonderful madness we all need to embrace from time to time to rise above the mundanity of the everyday. Rob has put a Herculean effort into this adaptation – a read of his blog shows the effort and thought and love he’s put into each frame, how to approach the characters, even the effect of changing colours and shadows, and it shows in the finished work.
Quixote is one of those books that belong to the world and to the ages, given that immortality that belongs to few books across the long centuries, the few that become immortal, the Poes, the Dickens, the Austens, that will be read for as long as there are books and stories. If you’ve loved Quixote you will delight in this joyful adaptation of the work, if you haven’t had that pleasure yet then Rob’s is the perfect, accessible introduction to it, and afterwards you’ll want to read the book itself and treasure it. As a bookseller and booklover I can’t think of a higher compliment than that.
Much acclaimed on it’s German language release I was delighted to see Blank Slate translating Uli Oesterle’s brilliant Hector Umbra, his first full length work to make it into English. A brilliant mixture of buddy movie, religious conspiracy, science fiction and dark magics, with more than a tinge of the excellent Mike Mignola flavouring it as Hector, between drinks, tries to find his missing DJ friend Osaka, stumbles into a megolomaniac attempt to subvert humanity, even finds himself, in an almost Hellboy moment, entering into Hell to be given information from a recently dead friend. Stylish and funny as we see bizarre sights, drinking, shagging, lunacy and more around Munich and strange realms hidden away from normal sight. Think Mike Mignola meets Quentin Tarantino meets Wim Wenders.
Coleridge’s famous poetical work, inspired in part by the great age of exploration as ships sailed to undiscovered corners of the world, is reworked visually here to great effect by Guardian cartoonist Nick Hayes, who follows the rhyme and beat of Coleridge but refashions the work to a more contemporary topic of the environment and man’s disastrous effect on those great, world-spanning oceans, the cradle of all life. The book itself is unusual for a graphic work, being similar in format to a thick hardback novel rather than the normally larger album format, but this is perfect for the few frames on each page, designed to work in time to the beat of the verse. There’s some lovely work in there too – Nick did a Director’s Commentary for us back in the spring, where he talked us through some of the work in his own words, go and have a look.
(Nick Hayes and William Goldsmith at the Edinburgh International Book Festival in 2011, pic from my Flickr)
Another unusual work from Cape in 2011 was this first major work from Will Goldsmith, whose work can also be seen in the Imagined Cities anthology Karrie Fransman put together. Ostensibly a series of short, two-page tales, each taking in a different story of a different (and usually eccentric and odd) dweller in a fictional, roughly Eastern European city, although the stories slowly start to become interlinked as you progress through, a little like Carver’s Short Cuts. Visually it is unlike anything else I’ve read in recent years, it’s a remarkable, unusual art style that demands re-reading to take it in. Unique.
I’m a 2000 AD boy, no question about it, original generation there right for the very first Prog and I still like to dive into the tales from the Galaxy’s Greatest Comic today, with a special fondness for the Dredd-verse. This story from veterans Dan Abnett and Colin MacNeil is set in Dredd’s universe but doesn’t feature him, taking place on a Mega City colony in deep space, fighting for independence. Following an alien attack where the Judges ignored pleas for aid everyone, including sentient robots, genetically uplifted apes and mutants, were given citizenship in return for fighting to save the colony. War over they judge marshal is told to revoke that citizenship, which he refuses, leading to a colossal showdown with the feared SJS, the Special Judicial Squad we first really saw way back in The Day The Law Died years ago, the Judges who investigate the other Judges. It’s a great future war tale, seemingly good guys against bad, but Abnett deliberately muddles the morality to make it more dramatic while MacNeil creates some brilliant B&W art (see my review here for more).
Batwoman – the New 52, JH Williams III & W Haden Blackman,published DC Comics
Over the years I have largely slipped out of the habit of picking up monthly or weekly issues – yes, I know, sounds sacriligeous for someone in my position, but I have collected them for more years than I care to recall and these days I generally prefer to wait for the collected trade edition. But along with the rest of the blog gang I had to have a look at DC hugely ambitious New 52 experiment, effectively rebooting the main DC Universe, all re-starting at issue 1, a great spot to leap on for anyone new to them, or, like me, who had missed out several years of continuity. It was a great success for the most part and now 5 issues later I find myself still checking the racks for some of them, most notably Batwoman.
I can’t help but go back to it every month – interesting storyline with Kate Kane’s Batwoman facing a supernatural, very creepy threat as well as a more natural world threat from a government agency and a screwed up wannabe sidekick. But the team also deliver a good personal side to Kate’s non superhero life – the problems with her sidekick being emlematic of her her problems with relationships in general, like her missing, presumed dead, twin who returned as a psychotic villain, her estranged father, her detective lover who doesn’t know she is Batwoman… But mostly it is JH Williams III’s art. Simply fabulous, probably some of the best artwork you will see in a mainstream comic right now, achingly gorgeous, atmospheric and with some fantastically kinetic layouts across double pages that as well as looking great scream out to me this is comics and this is the sort of wonderful visualisations of a story only this medium can do.
And as a bonus we have a very strong female lead, every inch the equal of the Batman, quite independent of him, strong but with doubts and troubles but a tremendous determination to do her ‘duty’ honourably. And the fact that she is a lesbian is, I am glad to say, simply a part of her character, played for emotional nuances but not for titillation or exotic allure. Kudos to the guys for that too. And on the New 52 front I also need to give shout outs for Gail Simone’s Batgirl and Francis Manapul and Brian Buccellato’s The Flash. And boy, am I surprised to find myself reading Flash again after all these years, but there you have it…
Nelson, edited Rob Davis & Woodrow Phoenix, published Blank Slate Books
It’s been an outstanding year for comics work again, and especially for the UK scene. Nobrow, Blank Slate, SelfMadeHero and Cape have all distinguished themselves and it feels to me like the UK scene, both professional Indy presses and the self published small presses, are just getting better, more diverse and more intersting. Good time to be a reader – the only drawback is more good books than I have time to read and it is murder trying to make a list like this out of so many fine candidates! But, hand on heart, I have to stick with what I said in my review (see here) of Nelson, where I called it:
“a fascinating, unusual landmark publication in Brit comics, a moving tale that works not only as a snapshot of a woman’s life but as a snapshot of the finest comics talent working in the UK right now.”
In a year of quite brilliant works Nelson still stands out for me, a bold experiment by Messrs Phoenix and Davis and all at Blank Slate to craft a single tale covering decades of a woman’s life, each segment by a different artist yet all coming together as more than the sum of it’s parts. I think it is one of those books we will still talk about looking back from future years, a major moment in the renaissance of UK comics publishing. And we even got to raise money for Shelter just by buying it. I’m running up my flag and saluting Nelson as my best graphic novel read of 2011.
Sea of Ghosts, Alan Campbell, Tor/Macmillan
First book of the Gravedigger Chronicles from the Scottish author Alan Campbell who impressed with his previous debut series, the Deepgate Trilogy. As with that debut his new series is an inventive, different and often disturbing take on a genre which can all too often fall into formulaic generic tropes. What starts as a fantasy on a world in which magic is real mutates throughout until it becomes half science fiction, half fantasy, with a compelling, driven lead character and a world where even the oceans have been poisoned by magica;/scientific meddling to become The Brine, the simplest splash of which is toxic and has horrible effects on the human body – and Campbell excels in grisly fates in a manner equalled only by veteran SF scribe Neal Asher. Compelling but not for the faint hearted.
The Ascendant Stars, Michael Cobley, Orbit
Book three of the Humanity’s Fire series sees Michael Cobley really coming of age – I enjoyed his original fantasy series he debuted with, but I think Mike’s switch to grand space opera science fiction was a wise one and this entire series marks him really growing into a much more assured, mature writer, with a brilliant tale of lost human colonies, major intrigues among major alien powers, a strong evnironmental thread and an exciting mixture of the big scale (major starship battles) and the personal (we get to know our heroes very well as they struggle for freedom), and his main planet with a colony composed of Scots, Norwegian and Russian descendants sharing their world with a friendly native species makes for a great and memorable cast of characters. Enjoy Ken MacLeod and Iain M Banks? Then you should be reading this.
The Reapers are the Angels, Alden Bell, Tor/Macmillan
Years ago a papercut from a radioactive book gave me special bookseller senses – sometimes a publisher will send me a book I know nothing about, the author is totally new to me, the book I know nothing about other than the blurb on the PR handout, and yet I get the tingle. And when I get that tingle it means I just know that this book is good, that I am going to like it and I trust the tingle because that instinct rarely leads me astray when it comes to reading. And I got the tingle for Reapers are the Angels and it was, again, pointing me to some bloody good reading. Both zombie tales and post-apocalyptic SF are ten a penny, it takes something to do either sub genre in a fresh way – Bell’s book combines both sub genres and it does so superbly, with his young girl wandering the remains of America after a zombie outbreak, trying her best to survive in a lethal, brutal world (where the remaining humans can be as dangerous as the walking dead), yet she has evolved her own quite moral code and a unique way of looking at the world and still seeing some wonder in it. It’s an amazing piece of work and – thank you – Bell is assured enough to keep it to a decent length and not feel compelled to bloat it to some 600 page monster as too many modern writers do. Beautifully self contained work.
Germline, T.C. McCarthy, Orbit
Another book that gave me the tingle is TC McCarthy’s Germline, a tale of future-war which draws on elements of the contemporary war on terror campaigns in Afghanistan and Iraq with the historic (like Vietnam) with science fiction (parts of it are reminiscent of 2000 AD’s Rogue Trooper, including regiments of genetically created super soldiers). This is no war for ideal, not even pretending to be for ideals, it is purely for the remaining resources on the planet, and for every hi-tech future weapon there is the down and dirty tunneling and trenches of the Great War. Our main character is a reporter, but this is a war where you can’t stay an observer and our drug loving hack finds himself going through an Apocalypse Now like journey into the heart of darkness, along the way finding some strange buddies and even falling for one of the genetic infantry women. It’s dirty, gritty, very realistic and utterly gripping.
Echo City, Tim Lebbon, Orbit
I’ve been reading Tim’s work for a good while, he’s a brilliant, very unusual writer, coming from a horror background that also permeates his fantasy and I’ve often found it galling that he wasn’t published by a major imprint in his own country. Well this year Orbit fixed that and gave us his Echo City, a bizarre conurbation, totally self enclosed, wrapped around by an impassible, toxic desert, ruled over by a despotic family, political dissidents banished to a ghetto strip between the city walls and the desert proper. But someone has created a genetically manipulated being to cross that desert – and return. And on the return they learn that something – something unspeakable – is happening. Not just the fight between dissidents and the ruling elite or old and new ways of thinking, but something is rising from beneath the city. A city built endlessly on the bones of it’s own past, layer upon layer of new city built atop the old, vast undercity beneath, the river running through to vanish into the shadows below, where the city’s dead are fed into the falls to vanish – something is rising from deeper than even these dark levels… Scary, different, disturbing, mature dark fantasy from one of our very best.
Rule 34, Charles Stross, Orbit
Charlie is another writer I have admired for years, endlessly inventive, with a great take on using technological and societal trends to great (and cynically funny) effect. In Rule 34 he gets to indulge in the Great Edinburgh Detective Novel along with some near future science fiction, with a unit dedicated to policing all the weird cases that are spawned via the web, and our long suffering but tenacious female detective finds a bizarre murder case rapidly spinning into something much larger, going well beyond the city and even the country. It’s fast-paced, well delivered, clever and darkly humorous stuff from the guy who has become one of the best of the UK SF crop.
Supergods, Grant Morrison, Jonathan Cape
Half a potted history of the superhero comics and half a form of biography, Grant’s Supergods is an interesting read for anyone who’s grown up reading the four-colour pages. The earlier chapters dealing with the history of the early capes is fine but not anything you don’t really know already, although it has the benefit of having someone who has himself written many of these characters commenting on them and their creators. But for me the book really becomes much more interesting when we get to the 60s and Grant talks not only about the comics from then but on the ones he as a youngster was picking up and what they meant to him personally, then on to his early work (an anthology put out by the old Edinburgh SF Bookshop, which would eventually be the Edinburgh Forbidden Planet), constantly changing his style as the years pass, it offers an interesting insight into his own creative processes as well as his views on other trends in comics publishing and other writers and artists – you won’t always agree with them, but it’s always interesting.
Film & TV
The Extraordinary Adventures of Adele Blanc-Sec
Luc Besson’s big screen adaptation of Jacques Tardi’s Belle Epoque heroine takes elements from a couple of the original bande dessinee to make it to it’s running length, but despite mashing together different story elements from different books it cracks along at a good pace and delivers much of the same joy of adventure and gorgeous visuals (especially of Paris in the 1910s), a very fine comics adaptation and sheer fun throughout – here’s hoping he adapts some more.
One of my highlights of my annual sojourn at the Edinburgh Film Festival was this Indy monster flick from Norwegian director/writer André Øvredal. Made on a budget of only three million Euros it uses the found footage device like Cloverfield or Blair Witch, but much better (and less annoying) than either of those, supposedly recordings by media students doing a video project, reporting on a licensed bear hunt when they find a loner who follows the hunt for the rogue animal but never takes part. Tracking him night after night they find out he is actually a member of a secret government department tasked with keeping the public safe from (and ignorant of) trolls. And we get to see all manner of trolls, from forest to cave to gigantic beasts who roam above the Arctic Circle. Funny and very inventive, never showing its tiny budget, it is sheer fun and the film fest audience gave the director a huge cheer at the end. (see here for a spoiler-free review)
The brilliant Martin Scorcese adapts Selznick’s wonderful tale, his first foray into 3D (and surprisingly not annoying in 3D), turning the book into a fairy tale – an orphan living within the walls and tunnels of a 1920s Parisian train station, mending and maintaining the clocks while avoiding the station police who will bundle him off to the orphanage, working on restoring a 19th century automation his father was trying to repair before his death. Befriended by a young girl (Kick-Ass’s Chloe Moritz), menaced by a grumpy toy shop owner (her godfather) the pair are lead not only into the mystery of the clockwork mechanical man but of one of the great magicians of the 19th century, a curator of automata and wonders and the first, great genius of the early cinema. The dawn days of the film become part of the magical, fairy tale like story. 20s Paris in winter is a magical, enchanting land, and Scorcese makes much of the giant cogs and wheels of that era’s engineering and machinery while celebrating the first wonders of the silver screen. A pure joy.
The Borrower Arrietty
Another gem from the Film Fest for me was the new Studio Ghibli – I know I’m far from alone in being a huge admirer of Myazaki-san’s studio and their wonderful animations and the chance to see this tale, adapted from Mary Norton’s classic book The Borrowers, is a visual wonder as we see the tiny Borrowers living hidden in the human household, and how one Borrower girl and one seriously ill human boy come together despite the vast difference in sizes. The art is a delight showing our world at the Borrower’s tiny scale (so small when they pour tea from the pot it doesn’t flow like our water does, it comes out as large droplets), even the sound is used to convey the scale, the rustling of shirt fabric enormously loud to Arrietty’s miniscule ears. It is charming and a pure visual feast of traditional animation (with a few CG elements). See here for a review
Cave of Forgotten Dreams
Maverick director Werner Herzhog gained exclusive camera access to the Chauvet caves of southern France, one of the great historical discoveries of the last couple of decades, a series of caves used by our ancestors for rituals, for art… For the oldest human artwork we know of, a glorious series of cave paintings over 32, 000 years old. Just consider that for a moment – human artwork many times older than any beautiful work that survives from Rome, Ancient Greece or even Egypt or Ur or Babylon. These may have been stone-age people, but they are modern humans, just like us physically, and in their art we can see they are much like us mentally, spiritually. Art paintedin darkness lit only by flickering torches, which would have made the animals depicted seem to move. The artists are clever, using their material wisely, using the surface qualities of the rock and the curves and undulations to emphasise the art, making a horse seem dynamic as it curves around a bend in the wall. The work is far too delicate to be open to the public, only scientific teams are allowed in to a now sealed, climate controlled environment, Herzhog’s access therefore as close as we can get to this miraculous find. It’s a treasure in paint and stone and human effort and cleverness reaching out of the darkness across long millennia to us. It’s so beautiful it will make you cry with wonder. The human spirit and art eternal…
As usual I have rambled on far, far too long and been a bit self indulgent, but again my excuse is that I read far too many extremely good comics, books and saw some fabulous films again through the year, and this is me missing out many I would have liked to include as well (I haven’t even managed space to give proper mentions to the Big Bang Theory – much improved this year with a stronger female strand to the regular male geek cast – or Doctor Who or the surprise that was The Fades, the brilliant adaptation that is A Game of Thrones, the growing pleasure of Fringe (one of the best SF shows of recent years, I think), SyFy’s Haven, Warehouse 13 and Lost Girl).
Looking forward to in 2012
Okay, as I said I have gone on too long already, but what the smeg, a very brief look at some books and comics coming up that I’m looking forward to this coming year: Dotter of Her Father’s Eyes, Mary & Bryan Talbot, Jonathan Cape. Bryan was kind enough to give me a peek at some of this collaboration with his wife Mary some months ago and I’m eager to read the finished book – Mary was kind enough to to pen a Director’s Commentary about Dotter for us and I’m delighted to say you will be able to read it on the blog tomorrow. Kochi Wanaba, Jamie Smart, Blank Slate – I love Jamie’s work and adored what I saw of Kochi online. It’s an amazing mixture of the supercute and the bizarre, almost grotesque and I’m chuffed to see him getting this lovely hardback edition from Blank Slate.
One of the great European classic has been promised in new English editions to use several times over recent years, but never appeared – now, at last we’re going to see it again: Corto Maltese: the Ballad of the Salt Sea, Hugo Pratt, Universe. Hopefully this summer sees the third part of the League Of Extraordinary Gentlemen Century by Alan Moore & Kevin O’Neill, Knockabout/Top Shelf. This final part brings us up to contemporary times after we last saw the League in the Swinging Sixties (with a coda in the punk era of the 70s). Peepholes, Laurie J Proud, Blank Slate Books looks absolutely fascinating – it was due late 2011 but will now be this year, but a pleasure delayed simply increases the final satisfaction (and I hope to have Laurie also doing a Commentary for us too in the near future).
And I’ll leave you with a couple of 2012’s science fiction works that caught my eye – Empire State, Adam Christopher, Angry Robot. I was treated to an advance copy at the end of 2011 but the book is out this month – if you follow our Twitter feed you’ll already have seen me singing the praises of Adam’s novel – set in a 1930s/40s city that seems like New York but is actually the Empire State, like an alternative version of the New York we know, with gangsters and speakeasys and superheroes in rocket boots like characters from the old Republic serials of the day. A city that is all that exists, surrounded by a mist around its rivers, and yet there is a mysterious enemy ships sail off to fight… Somewhere. Hugely stylish, with elements that reminded me of hardboiled noir of the 40s and 50s, the old serial movies, Rocketeer and Dark City- probably the first really interesting SF book of the New Year for me. And this year also sees the return of one of my long-term favourites, Ken MacLeod, with Intrusion (Orbit) – Cory Doctorow has seen it already and described it as “a new kind of dystopian novel: a vision of a near future “benevolent dictatorship” run by Tony Blair-style technocrats who believe freedom isn’t the right to choose, it’s the right to have the government decide what you would choose, if only you knew what they knew. ” Ken told me a little about it recently but to be really honest all I need to know is it is a new Ken MacLeod and that means I’ll be reading it.
We have an annual tradition on the Forbidden Planet blog of running a series of Best of the Year posts. So do many other blogs and sites, of course, but I like to think we do ours in our own fashion – we ask a whole bunch of people we know to pick their faves out – comics, books, movies – for the year and run the guest posts every day throughout most of December. This year’s series actually has run right on into the middle of January, ove a solid month of daily (well weekday daily) guest posts, plus the selections from the FP folks. That’s a pretty long series of faves and from such a number of different guests I like to think this means we get a really good, diverse range of suggestions. Yes, a lot of the same titles will be chosen independently by a number of folks, but with guests from the US, UK, Europe and the Philippines I think we get a good range – certainly there were some titles that came up that I didn’t know before. You can see the entire 2010 Best of the Year series here. And I’m reposting my own personal best of the year list on here today, first published on the FP blog:
Each year when it’s time for me to think about my favourite reading of the year it seems I have to struggle quite a bit. Not struggling to find stand-out comics and books but rather the opposite – struggling to try and narrow down my list into something reasonably short and readable. I think once more I’m going to fail in that respect and more than likely I’m going to ramble on a bit about some of the frankly brilliant reading material that passed my eyes in 2010 and I’ll apologise in advance for the lack of brevity, but I certainly don’t apologise for highlighting what I consider to be some terrific books. And I know full well after I’ve posted this I will doubtless suddenly remember some other works and slap my head thinking how did I forget to include this or that?
But you know what? This is no bad thing that I’m toiling to produce a short list (okay, a fairly long short list) of my favourite reading; in fact it’s a good sign, a sign at the quite brilliant – and diverse – works that are coming out. It’s also a sign of how much good work is out there that I still have a pile of books and comics I really wanted to read in 2010 that I simply never had time to, because there’s only so much free reading time and I used all of that up (and then some, always snatching a read during commute, during waits in cafés to meet friends, anywhere I can). And this year I am delighted to be able to say a good number of my favourite graphic novels came from independent British publishers. We’ve often gone out of our way here on the blog to highlight the remarkable range of comics work from around the world, but I hope you’ll forgive me for being so excited at being able to honestly say that some of the best works I read came from here, because it’s been a damned long time since we’ve been able to point to British comics publishers producing a continual stream of fascinating graphic novels.
I think 2010 was a real watershed year for Blank Slate Books and SelfMadeHero; both had been producing good works before this year, but it seems in 2010 they both put out a fantastic range of comics work, works which picked up great reviews all over the place (including in the mainstream press). Disclaimer: I should point out, for those who don’t know, that Blank Slate is run by FPI’s own Kenny Penman, but I trust most of our readers know us well enough here on the blog to know that when it comes to reviews and opinions we strive to be honest – when I say some of these books are my favourites it has nothing to do with knowing those involved and simply to do with the fact that I loved reading those books. And talking of those books, let’s get started – and I apologise for how long this is, but I’m invoking editor’s privilege here – if I can’t ramble on about a whole pile of my favourite reading here then who can? To the books …
Blacksad, Juan Diaz Canales and Juanjo Guarnido, published Dark Horse
We’re a bit behind Europe on Blacksad – the first couple of volumes were translated years back but became inaccessible after the publisher closed and we’ve had to wait for a new English language edition. Kudos then to Dark Horse for bringing out this lovely hardback with all of the first three volumes of Blacksad collected together (a fourth tale came out in autumn 2010 in France). Essentially a classic 40s/50s gumshoe detective Noir but with animals instead of humans, Blacksad is simply one of the most gorgeous comics you’ll read. The characters and dialogue are genre-perfect – femme fatales, tough guys but with a code of honour and always a wisecrack – the mysteries and engrossing and Guarnido’s artwork is superb. Richly detailed scenes, both intimate, indoor scenarios and larger, street-wide panoramas, bring the period to life while the expressions on the character’s faces are amazing. Don’t just take my word for it, Steranko himself provides the introduction and lavishes much praise on this aspect of the art.
I’ve adored Glasgow writing-art team Metaphrog’s Louis books for years and was eagerly looking forward to this new volume; I was not disappointed. The story sees Louis on a desperate – possibly imaginary – quest to save the life of his pet and best friend and touches on responsibility, guilt, love and what we will do when driven by those emotions. It’s hard to summarise the plot as much of it is very dream-like (and indeed it may even be a dream), it’s one of those stories you allow yourself to sink into. And the artwork is, in my opinion, some of the best they’ve created yet for Louis – the scenes in the underground city are utterly enchanting and magical, making it a beautiful book for younger readers and the older readers alike. You can read a full review here on the blog and Metaphrog talk us through the new Louis in a “director’s commentary” feature here.
It is something of a surprise to read Burns in full colour – for a few pages it feels quite odd, but I quickly got used to it, aided by the fact that, colour or not, he still uses his beautiful clear line style, which here is most appropriate given his allusions to Tintin throughout the book. Like some of Burns other works while there is a narrative of sorts to follow this is really more a book about dreams, nightmares and the collision of fantasies and the real world. Like Black Hole there is a real David Lynch feeling of creeping dread and our main character with his Tintin quiff (and sometimes donning a Tintin mask to do performance poetry as Nitnit) drifts between a drug-supported illness in his basement bed through what could be dreams, nightmare or hallucinations – it’s almost impossible to tell what scenes may be real and what are the product of a mind moving through guilts and repressions. It’s a work to be immersed into and feel rather than follow as a conventional narrative and I look forward to more in the series.
Typical, you wait ages for a British comic about mental health issues then two come in the same year. However Brick’s Depresso is a quite different beast from Darryl Cunningham’s Psychiatric Tale. It is often just as touching and honest, but the perspective here is mostly personal, a partly autobiographical tale following the cartoonist’s comics alter ego through the highs and lows of manic depression and the effects the illness (denied at first) has on both him and those around him, as well as the struggle to find some form of treatment, being passed from pillar to post in the NHS and the feeling that most health professionals don’t take depression seriously and are content to just keep offering various medications (with their attendant side effects).
Despite the subject matter though this is a more upbeat, comedic offering than Psychiatric Tales – Brick seems very much from the fine old school of Brit comics, the Leo Baxendale, Hunt Emerson type of comics. Even when tackling serious moments the artwork often has you laughing your butt off. I started reading it on a train one day and attracted more than a few looks both for the cover art (the book has a pleasing, European BD feel to it) and the laughs it was evoking from me. It hasn’t had the column inches of Psychiatric Tales, perhaps, but it’s a brilliant bit of very British cartooning and just as touching and honest, but with that lovely comedic touch that brightens even the dark depressions (which reminds us even when we’re down there’s still often something to laugh at – the sense of humour along with love is often what will save us). Brick was kind enough to grace us with a “director’s commentary” feature, talking us through some of Depresso, so if you missed it go and have a look then see about picking up the book.
Over my years as a bookseller I’ve developed a bit of a sixth sense; there are times when I hear just a little about a new book or graphic novel and, without knowing anything else, I simply know it is going to be good and that I am going to love it. Dance was one of those books; as soon as I heard it was in the works I knew I had to read it. No, I don’t know how this feeling works, but I’ve learned to trust it, it’s always pointed me to good reading and this was no exception. Taking a before and after approach to the main events we get two strands about a romance between a Belgian student and a political refugee from Africa, struggling to stay in the country, the first largely from the long-suffering but clearly loving father’s perspective as the affair unfolds, the second set years later as our heroine recalls that youthful love and tells her young daughter about her ‘African prince’. It’s beautifully romantic and touching without being saccharine, capturing that intense feel of young love and also the concern mingled with love of the parents, so worried about their daughter being used or hurt and yet, like any loving parents, still doing their best to help her along the path she chooses because they want her to be happy. Simply beautiful.
When Kenny first told me he was planning to do another translation of European work for Blank Slate some time back I had a look at the artist – Belgian creator Randall C – and his website. I found some of the Flemish version of Sleepyheads on his site and, despite not understanding most of the text, I fell in love with it right away. The artwork was simply so beautiful, even in another language it felt to me like it evoked a dream-like state. The English language version has more than lived up to expectations – it’s a very dreamy state of affairs, moving through a series of connected vignettes, like the dreams one has when lying in that half-awake, half-asleep hypnagogic state, aware you are dreaming yet still held within the dreams, which unfold with their own alternative logic that defies the waking world. Dream-like tales seem to have been something of a theme for me this year, now I look back at it (Cages, X’ed Out), but this stands out as a very unusual and oh so beautiful title, a talent that will be new to most English language readers too. I suspect many who adored entering Gaiman’s Dreaming will find much to love here. Something new, unusual and very beautiful.
The Hot Rock, Donald Westlake and Lax, published SelfMadeHero
We seem to be in a real boom time for crime tales in comics at the moment, both original works (like Criminal or the great series of works from DC’s Vertigo) and those adapted from great crime novelists. The Hot Rock, adapted by European creator Lax from Donald Westlake’s novel, stands easily alongside some of the best of those adaptations, right alongside the likes of Parker or Tardi’s adaptation of West Coast Blues). We get a whole series of cunningly crafted heists planned and executed here, with something unforeseen going wrong each time leading to another attempt to get the eponymous rock. The set-ups are brilliant, the characters excellent and most of all the book drips with the atmosphere of that 70s New York, before Times Square and the like were cleaned up, the sort of vibe you get from Taxi Driver, Mean Streets or French Connection, but with an added with and humour.
I’ve been addicted to Mike Mignola’s Hellboy for many years now; I love the art style, the characters, the way Mignola often mixes in bits of real-world myth and folklore into his own world. So believe me when I say this is one of the best Hellboy collections in years – it reaches right back to the earliest tales and draws elements of them together as we continue to explore more of HB’s real reason for existing in our world and the role he has to play. Dunc Fegredo does a great job of taking on-board Mignola’s distinctive art style without slavishly aping it, still bringing his own feel to the series without disrupting the feel of it, not an easy trick to pull off, but he does it ably. Plus we have giants striding across Great Britain, ancient witches and Arthurian legend, I mean what more do you want?
Bryan Talbot returns with his second Grandville outing and it is a wonderful offering of murder mystery, conspiracy, guilt, revenge and wonderful turn of the century steampunk trappings, all wrapped up in Bryan’s gorgeous artwork. LeBrock returns in a case that become personal for him, following a daring escape from the Tower of London right before an execution of a vile murderer of women he put away. But there’s more here as Bryan starts to hint at more of the alternative history of his Grandville universe and the murderer and LeBrock’s past in the British resistance against French rule and the murky goings on that lead to independence once more are involved, as are conspiracies that may lead all the way to the top of the government. The story is a cracking read and moves along at a belting pace, but once you have read though it you will go back over it again and again because, as he often does, Bryan has loaded scenes with gorgeous details and references to other comics, books, history, film, art movements… It’s a delight finding some of them and I’m sure there are many more I missed, but that’s just an invitation to go back and read it again. Glorious stuff.
Lovecraft – for a man who lived a relatively short life he has cast a long shadow over all of the fantastical genres of the 20th century and shows no sign of his influence diminishing in the 21st. Lovecraft’s ancient horrors that existed long before man tap into both that strand of fantasy than imagine a Hyperborian time before the present race of humanity and lost worlds and the suspicion that perhaps we are pushing too far, prying into too much, that there are some places we should not explore, that should simply be left on the map with the legend “here be dragons”, that some knowledge simply should not be sought and our own arrogance in pursuing it at all costs will bring our ruin, an ancient, dreadful doom. Unlike many modern horrors there isn’t much in the way of huge set pieces here, rather, like Poe, Lovecraft and Culbard weave an atmosphere of dread and constant menace, like the thought that the darkness we walk in conceals something, a primal fear, that there is something lurking in the dark and we’re as helpless before it as our ancient ancestors were before sabre toothed tigers. And we’re right to be afraid here, there are ancient things in the dark places of the world that we should never disturb… Best read in bed on a dark night…
I’ve admired the great Tardi for some time and was delighted when Fantagraphics started translating some of his work for the English language world. I first read some pages from this collection in French (very slowly and unevenly, my French is not great and very rusty) a few years back and have been longing to see it translated. I reviewed it a few months back, where I said that it stood next to Mills and Colquhoun’s Charley’s War as one of the finest comics about the Great War and I stand by that. It burns with a sense of outrage at the meaningless slaughter and sheer injustice of the events of almost a century ago. A century ago, perhaps, but we should never, ever forget and works like Trenches serve both as a fascinating piece of comics work and also an accessible reminder of history that has now all but passed from living memory and relies on books, film and other media to remind us.
Fantagraphics recently released more Tardi goodness in the shape of their first collection of his wonderful Adele Blanc-Sec adventures (Tardi, like Bryan Talbot, seems to be able to flit through any and all sorts of genres, adapting his art style to suit), but alas I only just picked up a copy and started reading it last week, so it’s not going to sneak into my list, but I’m already loving it, so it has to get a mention too.
I’ve been looking forward to this ever since SMH announced it the other year. The Great Gonzo has been a hero (anti-hero?) of mine since my teens, he’s up there with Lenny Bruce, William Burroughs and Bill Hicks in my book as one of the great counter cultural icons of 20th century American life. It would have been easy (and lazy) to have gone down the route of buying into the bizarre, outrageous public persona Thompson created for himself (a creation he both benefited from and suffered from). Instead Will and Anthony, while acknowledging this public image, go behind it to explore a figure who was important in pushing journalism to cover areas it had ignored and to gleefully ignore the wrath of the great and powerful in pursuit of a story that he thought should be told. Given the current rather cowed and tamed state of much of journalism, especially in the US (where no-one rocks the boat lest they have their White House press pass revoked or never be embedded again) this is a timely reminder that sometimes a journalist is supposed to stand and shout the story and make people listen. Brilliant stuff.
I first read Cages years ago, reading a copy that belonged to a flatmate back in my student days. I was already familiar with Dave’s collaborations with Neil Gaiman, especially the brilliant Signal to Noise (still a visually fascinating piece), but this was Dave on his own, his own voice, articulating through words and pictures some of his own thoughts on life and art. It’s a massive piece, with something of a dream-like feel to it and it is ridiculous that such a major opus by a major artist has been unavailable for so many years, so I was delighted by Dark Horse republishing it. An important work by one of our finest creators and an essential tome for the shelves of any comics lover.
What can I say about this book that I haven’t said before? A book so good we reviewed it twice (my review, Richard’s review). A book that wasn’t just on an interesting subject that we all too often shy away from discussing in public because of a perceived stigma, but a book that gets into your thoughts, into your soul, that makes you think again about how you view the world and your own problems and, just as important, how you perceive the problems of others, especially those who are suffering, often through no fault of their own, coping both with a mental health affliction and ignorance and lack of empathy from many around them. I think Darryl’s work certainly addresses the second of those two problems – this is a comic that should be read by everyone. It should be in every library and every school. It’s touching, sensitive, human and a cry for understanding and the milk of human kindness, that finest quality of our species which we shouldn’t have to be reminded to employ, but somehow in our busy, self absorbed lives we do need reminding.
You know I normally select a pile of my favourite comics reading for the year but I normally don’t rank them in any sort of order. I’m going to break with that tradition this time round and say that, for me, this is the most important comic release of 2010. A hugely laudable work that is both well executed comics work and a touching, important voice on a subject too often hidden, a work that can and has reached out beyond the comics readership to many others. I’m delighted to see it is being published now in the US and will soon be translated for the acclaimed Italian publisher Coconino. Here’s hoping it travels further around our comics world and that as well as being a fascinating read, that it actually helps some people. Simply the most beautiful, touching work I read all year.
Since I’ve spent so long rambling on about some of my favourite graphic novels of 2010 (and I am sure I’ve forgotten some) I’ll be a bit more concise with my other faves of the year. In books again I found some excellent SF&F reading, among which was a name new to me, French author Pierre Pevel. His Cardinal’s Blades (published Gollancz) totally hooked me in right away – fabulous historical fantasy, actually for the most part more historical, all set in pre revolutionary France, with a scheming Richelieu, dashing, courageous swordsmen who are, essentially, the Mission Impossible force for the French state and a dash of dragons and magic thrown in. there’s swashbuckling galore, compelling characters (including, refreshingly, some very strong female leads) and a wonderful sense of the history (Pevel’s descriptions of Old Paris are remarkable, you can imagine yourself in those winding, rather aromatic streets so different from modern Paris). I’ve just devoured the sequel, The Alchemist in the Shadows and it was superb, the best swashbuckling novel since the great Arturo Perez Reverte’s Captain Alatriste novels; think Dumas for a modern era but with added fantasy elements. Can’t wait for the next book!
Aussie scribe Marianne De Pierres continued her Sentients of Orion series (published by Orbit), a bit of a departure for her, delving into full on space opera mode. With the latest volume she brought events to a head, with what started as a seemingly regional attack on a planet becoming a huge scale war spread across the galaxy, personalising the vast scale through her range of carefully cultivated characters and, as with her previous works that I’ve so enjoyed, she continues to write some seriously strong female lead characters, something we need more of in SF.
Pittacus Lore’s I Am Number Four (published by Penguin) was a hugely enjoyable young adult slice of SF – a handful of young survivors from a planet decimated by greedy, warlike neighbours who endlessly consume natural resources have fled to earth, watched over and trained by guardians, constantly having to move, to refrain from making connections with others as they try to conceal themselves from their enemies, while they grow into their attributes, powers they develop naturally, different to each of them, their only hope for reclaiming their world and quite possible for defending ours, should the enemy decide our world is their next target. Add in first romance to the mix and it’s a cracking YA read. There’s a movie version due quite soon.
Paolo Bacigalupi’s Windup Girl was a book I hadn’t heard of until it was chosen as the reading for the SF book group I set up years ago (still going strong) and is a fine example of how recommendations and book groups can lead you to something wonderful you may not have found otherwise. Set in a future where most resources have been used up (now we are back to clipper ships instead of huge container freighters and airships instead of fuel burning jets), Paolo’s tale of an environmentally ruined future teems with atmosphere, set in Thailand as it tries to protect itself from outside influences and (literal) corruptions but forced to interact and trade with the outside world. He could have a great second career as a travel writer, the sense of the place, the people and customs he evokes are so remarkable, you really feel yourself immersed into this other culture. I read the Night Shade edition a few months back, but I see our good friends at Orbit have just released a mass market paperback which should be easier for you to find. Something very new, unusual and captivating.
Jeff VanderMeer‘s cropped up more than a few times over the years on the blog as a writer I’ve recommended and his latest work, Finch (published by Corvus), is no exception. Jeff is one of those remarkable writers who is always compelling, be he tackling a novel or editing a great anthology or reviewing books and comics (you should check out his blog), but when he returns to his strange, distorted half-fantasy, half real-world setting of Ambergris I always get excited. This time around he opts for a gumshoe detective style tale as opposed to the autobiography/history approach of Shriek, set in an Ambergris now ruled by the bizarre Gray Caps, the bizarre, mysterious denizens of the city’s underground and the entire city and many of the inhabitants are mutating due to their fungal technology. There aren’t many who could convey both a feeling of Chandler-esque detective tale with Cronenberg type body horror, but Jeff can. Up there with China Mieville as one of the finest masters of the New Weird that you should be reading.
How to Live in a Science Fictional Universe, Charles Yu, Corvus. Another score for Corvus and, like its stablemate Finch it is a welcome unusual entry into the genre, delightfully odd and different to most other SF. Charles is a time machine repair man, happily avoiding life and all the complexity that comes with it and relationships by staying inside his own closed timeline, talking only to his possibly imaginary dog and his time machine’s AI who he may have a bit of a crush on. As with all things temporal it can quickly get confusing, especially when you factor in not only time travel and paradoxes but also the fact the universe Charles is living in seems to be a man-made construct, made by entertainment companies in much the way theme parks are today. Odd, quirky, funny (well to us geeks!) and very smart, a new talent to watch for.
Mike Cobley’s continued to impress me with his move away from fantasy and into space opera with the second book of his Humanity’s Fire series, The Orphaned Worlds (published Orbit), a series in which distant, lost human colonies which were spun off into deep space centuries before to preserve the race in the face of a disaster, are slowly being rediscovered. What should be a joyful reunion of lost human tribes is marred by interstellar power politics though and the colonists find themselves drawn into a situation they know little of after their isolation for centuries. It’s an engrossing series and I love the characters, especially his mix of Russian-Scandinavian-Scottish colonists on Darien (a historical reference and joke on Scots history). Looking forward to book three.
And once again for everyone who enjoys quality science fiction Interzone journal continues to be a much needed home to some brilliant short SF tales, a good place to find new talent (and established voices) to watch for; ditto Black Static, Interzone’s sister publication which takes in horror and the darker side of fantasy, both regular reading material for me, available in our stores and from TTA Press.
Inception was a hugely enjoyable film, for me probably the most interesting Chris Nolan since his Memento and proof that a big budget film with huge effects and action scenes (the assault on the snow fortress is so very old school James Bond, as the director happily acknowledged). The scenes set during the gravity shifts are amazing, as is the walk through the dream version of the streets of Paris. Well worth re-watching, just like Memento, as you try to work out just what is happening as layers and layers of symbols and dreams within dreams are laid on one another.
Sylvain Chomet’s The Illusionist is probably my favourite film of the year – it’s no secret that I love animation and Chomet’s Belleville Rendezvous was wonderful. For the Illusionist he was drawing on an unfilmed Tati script, relocated to my home, the beautiful city of Edinburgh. Chomet worked from a studio in the city to make it and was inspired to capture the constantly changing quality of light we have in Scotland – the scene where a boat crosses a Scottish loch (in a scene nodding to Tintin, but with more flapping kilt) under clouds which suddenly part to sunlight perfectly capture that constantly changing light and weather, while his bittersweet tale of a naïve young island girl and a failing stage magician, while sad in many places, showcases a semi-fantasy version of 1950s Edinburgh which is simply gorgeous.
On the TV front of course Doctor Who continues to be must-see viewing for me and I enjoyed Matt Smith’s first year while Karen Gillan has been terrific too. Fringe has got me totally and utterly hooked and the new season, split between our own and the alternative Earth, has been compelling. And I must give out a shout to one of the most geek friendly of all shows on TV and one that gets missed a lot I think due to being often hidden away on late slots on digital channels, Big bang Theory. My colleague Iz first put me on to this and now I love it – comics, science fiction and science geekery abound, it’s the best geek comedy around and anyone who loves their SF and comics should be enjoying it. Check out a clip of the recent fancy dress ‘Justice League’ scene here (sorry, it won’t let me embed it)
Okay, phew, that’s it and I know I am missing out a lot of people, books and comics I meant to include as well, but I think that’s more than enough! And that’s it, folks, we’ve come to the end of our annual Best of the Year fest and I’d very much like to thank all the guests who kindly took the time to share some of their favourite comics, books and movies with us every weekday through the last several weeks. I hope you enjoyed them and I hope that you picked up some new readings suggestions from them too (I certainly did). There really were some great comics and SF&F reads in 2010, there are some brilliant ones due for 2011 that I am looking forward to very much – it looks like another bumper year for quality comics in particular, especially in the UK scene, and I hope you’ll join us in supporting and celebrating that scene. And I’d also like to thank our many regular readers and friends who comment and link to the blog or re-tweet us – your support is much appreciated!
Over the years I’ve been pretty used to posting questions to writers and artists for interviews, but in something of a change about for me the guys at Geek Native asked to interview me in my guise as a blogger of all things comics and SF on the Forbidden Planet blog that I set up (counts, is slightly shocked) almost six years ago now, discussing the FP blog but also the importance of blogging and web presence in general for companies, publishers and creators:
“Q3: How important is it for a writer to have a blog? Is it a distraction, just part of fan service or something more significant?
I think it is extremely important writers and artists have some sort of web presence where they can interact a bit with readers, be it a general website and maybe a twitter feed, a blog or whatever. I know some authors and artists aren’t mad on it – it depends very much on individual tastes and persuasions, after all, and not everyone feels it is for them, just as some authors aren’t that keen on doing readings in bookstores and festivals; some are fine with that (I’ve worked with authors who can talk happily to small group of 20 readers through to some standing on a theatre stage with several hundred to talk to quite happily), others really don’t like it at all.
But the fact of the matter is promoting yourself and your book/comic/movie/animated mutant atomic penguin cartoon is part of the game. It has been for as long as I’ve been in the booktrade and is increasingly important – the appearances at signings and readings are important and, perhaps even more importantly now social media is so embedded in everyday life (even when many of us are out and about and away from a PC we’re still plugged in), the digital promotion and web presence is pretty vital. Some authors and artists still seem happy to have a simple ‘about the author’ on their publisher’s site and that’s their choice, but many do dip their toes into blogging or Twitter and find that it’s a good way to interact with fans, a good way to build up interest and the all important word of mouth about new work they have coming and also to reach readers who may never otherwise be able to interact with them – after all, even if you are an author who does carry out a lot of public engagements at bookstore readings, signings, book festivals etc, at the end of the day only so many can get into these events and many more may live nowhere near where they happen. But distance and audience size restrictions mean nothing in cyberspace.”
I was kept very busy this week finishing editing and setting up my mate Pádraig‘s incredibly Massive Mega Moore Marathon – its a new (15, 000 words or so, phew!) interview with Britain’s Wizard in Extraordinary, Mr Alan Moore. In fact its so big I had to break it into three sections across three days on the Forbidden Planet blog – part one is mostly concerned with the League of Extraordinary Gentlemen, especially the new third volume Century, the first volume of which comes out this month (Century 1910), the second next year (Century 1969) and a final part which is set in the present day after that.
It will surprise no-one who knows Alan’s work to learn that the subjects and themes and references covered are diverse, from the Threepenny Opera to Jack the Ripper and Monty Python. Part two is where Alan talks about future projects and other works (including doing some work for a local youth culture mag which included Alan telling the kids the truth about drugs! Brilliant), taking in magic and James Joyce along the way, with the third and final part, which I posted up yesterday, is where Alan graciously agreed to take some selected questions sent in by readers of the FP blog. Its enormous but fascinating reading – many thanks again to Alan and for it.
On a related note, earlier this week we found out that media analysts Cision had posted a list of the top fifty blogs in the UK. As you might expect its dominated by politics blogs and blogs from established traditional media like the BBC and the Guardian. And in there at number 31 a solitary entry from the worlds of comics and science fiction – the Forbidden Planet blog. Needless to say I am surprised and delighted – I started that blog just over four years ago, now we have several contributors and its grown a lot (so much so that its a real juggling act for me to balance keeping the blog fires stoked and working on the main webstore; usually that means I end up doing a lot in my own time to keepit going, as do some of the contributors). And its nice that its grown so much since I started it and that a lot of folks in comics and SF communities check it out, but to see that its in the top 50 of all UK blogs? That its up there with Guardian blogs? Wow. Just goes to show that if its done correctly (and honestly) a good blog presence can be more effective (and cheaper and more enjoyable for you and your readers) than huge amounts of advertising. That’s the sort of thing that can happen when you embrace blogging culture as a company instead of screaming hysterically at it.
Over on the FPI blog my good friend Pádraig Ó Méalóid has interviewed one of my favourite writers, Neil Gaiman, which we just posted up today, with them talking about Neil’s comics, novels, films and those rumours about him writing for Doctor Who.
Over on the Forbidden Planet blog my colleague Mark poses some questions to another Mark, Mark Millar, Scottish comics superstar (Civil War, Ultimates) about his comics and the movie versions of Wanted and Kick Ass. On the blog there’s a second, shorter video with an excerpt from the special effects creation extras on the Wanted DVD too.
I’ve posted my first author interview of 2007 over on the FPI blog, chatting again with Leah Moore and John Reppion, principally about their upcoming work but the subjects also range across using zombies to do your Christmas shopping and comics writers as guest on reality shows like Strictly Come Dancing (we aim for a diverse approach, you know). John and Leah’s recent handiwork (alongside Shane Oakley and Leah’s dad, a certain Alan Moore) can be enjoyed in Albion, which just hit the shelves a couple of weeks ago (and ended up being a present to myself). Albion is a very clever reworking of classic British comics characters from yesteryear, such as the Steel Claw and the Spider.
You don’t need to be too familiar with the characters – most of them are well before my time and the little of them I have read was in old reprints in the back of modern comics annual as a kid – to get into this; it takes a basic premise that all of these old characters, largely forgotten today (as they are in real life) turn out to have actually existed but have all been kidnapped by a nervous government who has locked them all up (the superheroes and the villains both) in a remote, secret prison in a Scottish castle. As an overbearing American officer visits and criticises the Brit approach for not being like the American one (just as UK comics characters were quite different from American – far odder and weirder) events are coming to a head.
The book is damned clever, one of those works you will need to go back and re-read several times, spotting more characters as you do so. It also creates some interesting analogies to current political events, not least holding people without evidence or trials simply because they are different and you are scared of them. And it has Robot Archie in it! Highly recommended, this is a graphic novel that you will come back to again and again.