The Pirates of Pangaea : Daniel Hartwell & Neill Cameron

The Pirates of Pangaea: Book 1 (The Phoenix Presents)The Pirates of Pangaea: Book 1 by Dan Hartwell

My rating: 5 of 5 stars

“Like H Rider Haggard. But with dinosaurs.”

That was how I described this dynamic and rather wonderful comic from the team of Daniel Hartwell and Neill Cameron; the Pirates of Pangaea gives us boy’s own adventures, cut from the pages of those delicious 1950s stories of derring do, mixes it up with a bit of H Rider Haggard, Jurassic Park, Indiana Jones and if that weren’t enough, there’s also dinosaurs.

I really liked this. I talk a lot in my reviews about books knowing the space within which they work and owning that space. Children’s literature, comics, young adult literature, everything I review, they all talk to each other. They all exist as part of this great dynamic system of expression; a stone thrown into the pond and the ripples rolling out a thousand fold. And that’s one aspect of what I mean when I talk about space; the dialogues between texts. The way one text finds an echo in another; the way one novel talks to that and vice-versa.

Another aspect of space, though,is the idea of the book itself. The page edge. The limit of the bookish space. The part where the book ends, practically. The page corner. The front cover. The part where the world stops being book and starts being something else. The sofa. The table. The floor. (Get your books up off the floor, please, thanks)

This part of space is particularly pertinent for picture books and comics because they can push all the way up to that edge. A novel will always have white space around the text due to typsetting, but visual media? It can push that edge. It can spill story all the way out and into the world, and this is where The Pirates of Pangaea shines. It’s a big book. It’s a big and storied and strong book; the story doesn’t just live within its pages, it’s everywhere. The visual coding of this book is so strong. I believed it. Boats ride on the back of dinosaurs, land-borne craft over the sea of green, people ride dinosaurs and I believed it. All of it.

It’s all true.

I spoke at the start of this review about the authorly echoes The Pirates of Pangaea stirred up in me; it’s a comic of finding yourself in a world where you have to, because there’s nobody else to do it for you. Sophie, one of the lead characters, is cut from a very distinct cloth; she’s brave, occasionally gobby, quick-witted and I rather love her.

There’s another fine detail of The Pirates of Pangaea that I want to highlight, as it speaks again to me of that great width of this comic, the way it exists in a space so much larger than it may seem to initially inhabit, and that detail comes at the little note at the start of each chapter. Each chapter’s introduced with a double sided page, coloured in that evocative note of antique and yellowing parchment, with a map on one side and a dinosaur on the other side. Each side is noted in pencil with little notes which speak of lived experience. This is clever, clever work; it’s not letting any part of the book-space go to waste, and it’s making every inch of it work for your narrative.

This is good, good stuff.

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The Motherless Oven : Rob Davis

The Motherless OvenThe Motherless Oven by Rob Davis

My rating: 3 of 5 stars

It’s hard to review this twisting, dark labyrinth of a book because reading it felt less like reading, and more like a theatrical experience. I’m conscious that that’s such a loose way to talk about reading for every text is full of theatre and experience, but something about The Motherless Oven leaves me a little bit lost for words. And so, because of this, I focus rather on the experience of reading it; of those sharp, acute panels and those moments where I really didn’t understand what was going on but could feel it somewhere within the pages, a lifeless heart, a contradiction, words pushing against each other with a story to be told but a story told in language that I did not and do not yet wholly understand.

It was complicated. Complex. Can I deliver an idea of the plot? Yes. Approximately. Like writing words with sand, I make a semblance of what it was and in that process make it into what it is not.

The world of The Motherless Oven is a world populated by machines and human children and when it rains, knives fly down from the sky and spike the ground. Scarper is facing his deathday. There’s a girl. A boy. Parents locked up in the shed and lions at the school gates. When Scarper’s father escapes the shed, it’s up to Scarper to get him back.

Like sand, this book, like sand running through a cupped palm.

Read The Motherless Oven for the panels where the girl stands in a knife-storm; a patio table as her umbrella, for the panels where the mothers look after the children, and for the moments where the text aches at the edge of its speech bubble and palpably seeks to be somewhere elsewhere in that moment. Read it for the reading. There are elements of 1984 in this for me, and of the Clockwork Orange and of Stand By Me. The darkest of moments, and the brightest. So often the same.

This book is locked to me and yet, somehow, so very open, all at once.

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Briony Hatch : Penelope & Ginny Skinner

Briony HatchBriony Hatch by Penelope Skinner

My rating: 4 of 5 stars

Briony Hatch is a slim graphic novel, coloured in black and whites and reminiscent of something doodled in pen and ink on the inside of an exercise book. It’s definitely a story of two halves; the intense teenage ennui of life and the struggle of Briony to figure out where she fits in, coupled with a rather intensely poignant (and sardonically true to life, oddly enough) tale of love and ghosts and regrets. Overlaying both stories is Briony’s devotion to the book series ‘Starling Black’ and her deep and pained reading of the final book in the series. Think Harry Potter and Fangirl and you’re about on point with that one.

The big key point about Briony Hatch is twofold (and I apologise now that I seem to be splitting everything about this review into bifold reasoning, but hey-ho, maybe it’s the weather or something) and the first is the art. Briony is very much herself, from her tumultous and haphazard hair through to the butterfly wing bulge of her stomach and her intense and scene-dominating eyes. It’s quite the thing to have all of this conveyed in black and white and it’s a little startling at first, but once you come to terms with it, it’s hard to not love it just a little bit.

The second bright strength of Briony Hatch rests in the humour. There are a few moments when Briony meanders off into daydreams, blurring her life with that of Starling Black, and when the daydreams become rather pleasurable,she comments: “This fantasy is better than I thought!” There’s a few other rather delicious asides throughout: “I am of the internet generation … So even though I’ve never had sex … My imagination is extremely graphic”

Where Briony Hatch does suffer though is with the lettering and stylistics of that lettering. It’s all delivered in a, whilst appropriate, personal and handwritten style that does fit but does, also, seem somehow jarring for the wider tones of the story engaged in in the second half. Whilst that is worth noting, it’s worth noting in the context of a story that’s rather deliciously unique and a little bit of a surprise and a lot of pleasure.

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Nancy Drew – Ghost In The Machinery : Stefan Petrucha & Sho Murase

Ghost in the Machinery (Nancy Drew: Girl Detective, #9)Ghost in the Machinery by Stefan Petrucha

My rating: 3 of 5 stars

An odd thing this, but sort of madly appealing in a problematic sort of way; Ghost In The Machinery is an adventure “so big that it takes three graphic novels to tell the whole story”. Ghost In The Machinery is the first in the series and complete, after a fashion, though with several big over-arching gapes of plot that I presume lead into the next one.

It begins with Nancy, Bess and George camping out in the woods coincidentally on purpose to investigate strange lights in the woods. They investigate the lights and come across an old munitions factory which is due to be demolished the next day (explosives, naturally, we do need the dramatic here) and the lights lead inside. And so Nancy and her pals decide to investigate. As you do. I was mildly hysterical at this point, though I went on with it because it’s sort of hard not to. When a book, a comic, a play, whatever, starts with such headlong giddiness and sort of careens down the path of not giving one iota about it, you do tend to go along with it, even if it’s just out of a sense of delirious fascination as to where it goes next.

And so I did, and so it does go to places quite surprising and a bit quantum-leap(y) at points (and a few that were maybe more – wait, what, did I miss a page or two?), but it still managed to retain a certain sense of dynamism about it that kept me interested. A lot of that is due to the art, the ferocious vividness of Nancy; the smart panels which balanced out each other on the page (2:2, 3:3 etc, providing a sense of continuity and equality, but also warning you about the visual highlights yet to come, which will deviate from this rhythm).

So: to sum? There’s a lot at fault with this comic really but a lot that’s good with it as well; that sort of crazy adherence to the source text’s eccentricities, the character of Nancy herself remains an intense joy and she’s rendered here with brilliant and intense effect, and, you know, there’s a bit with a tank. Bits with a tank are always good.

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Corpse Talk : Adam T Murphy

Corpse Talk (Season 1)Corpse Talk by Murphy, Adam

My rating: 5 of 5 stars

Corpse Talk is lovely. That’s an odd thing to say about a series of comics situated around the idea of the creator, Adam Murphy, interviewing various corpses that have been dug up. The corpses are all famous people such as Marie Antoinette, Henry VII, Nikola Tesla.

And it is lovely. It’s anarchic and wicked and pulls us straight into history. One of my favourite books ever is a book we’ve had in our household for a long time and it tells key points from history but in strip comics. It’s a brilliant book because of its simplicity and the fact that you get to see that these people are like you. They walk, they talk, and in the case of the comic talking about the Good Samaritan, have LOVELY horses. But I digress. Suffice to say, spinning history into comics is a good thing. It’s an accessible thing but it’s also a question of engagement. It’s about breaking down this idea that a topic is stiff and foreign and it’s about saying that it is actually something that matters and here’s a way for you to hook into these thousand and million year old stories.

Corpse Talk does all that and more. Each entry in the series, usually a page long but stretching into the odd double page spread the further you get into the collection, starts with Adam introducing the corpse and them waving to camera. So, for example, we get Mary Shelley doing a Gothic fonted Hello whilst in the background Adam holds his head and goes “You’re not going to talk like that all the time are you?” (Glorious. Witty and funny and proper dead (badumtish) good).

He then interviews each corpse about their life and so we have some flashback panels, where we get to see what the corpse actually looked like in real life. His corpse Einstein is perfect, corpsified and gross (tm Firefly) everywhere but his shock of wild white hair remains intact. There’s care taken with all the other characters too and each of their strips are introduced with a little headstone that differs according to each character. Mary Shelley has a little neckscrew working through hers (Frankenstein) which just made me have a intense moment of joy.

It’s a book of detail, really, of careful and clever and witty construction, that rewards rereads and spending time with. And his iteration of Marie Curie (and the pay off to her interview) is possibly the most brilliant thing I have read in comics for a while.

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Endangered and More Strange Stories : Art Heroes

I am going to be attending Thought Bubble soon. (Which is exciting, no? I do love me some conventions. Last time I attended one, aaages ago, my friend and I spoke to Paul Cornell and asked him to stop making stories which make us cry. We saw Paul leave shortly after. No connection, I promise you. Honest. Shut up. Stop looking at me like that).

Anyway. As part of my Thought Bubble prep, I’m re/reading┬ásome comics. It’s been a while since I’ve done comics on the blog so let’s sort that out with a look at Endangered and More Strange Stories from the Art Heroes team.

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