Category: Lifestyle

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Je Ne Sais Quoi


By Lucie Arnoux (Jonathan Cape)
ISBN: 978-1-78733-359 8 (HB/Digital edition)

Win’s Christmas Gift Recommendation: Sweet, Smart Reminder of What We Are and Where We’re Going … 9/10

The French have a word for it…

We Brits have an hard-won and insanely-cherished Awkward Relationship with the French. On “our” side, the unending, frequently re-declared war of cultures and attitudes stems from our envy of their scenery, beautiful holiday locations, wonderful food, all those different words (like chic and elan) for style, mature and easy attitudes to sex and even the cheap booze & smokes. It’s all bundled up in a shared history of squabbling with a neighbour.

For us, it’s their arrogant smugness, never knowing when they’re wrong and/or beaten, inconceivable ability to say no to their leaders and rulers, never knowing their place and just plain not being British. Worst of all is they do it all whilst making us look stupid: “indulging” and “tolerating” our antics.

Oh, and sport too. They won’t accept our clear superiority there, either. They don’t even play cricket and have their own name for bowls…

I won’t detail their side, even though it’s probably as justified and well-reasoned. Until this book, there was never any evidence that a Gallic heart could fathom the workings of the English mind…

At least the rivalry is generally good natured these day, but can still somehow be exploited to rile up an unwholesome and frankly embarrassing audience whenever dog-whistle politics are unleashed or if newspapers need a quick boost to prop up our equally despised governments. Of course, theirs are despised at home too, but at least seem to know what they’re doing…

At heart, the entente cordiale is an ambiance we’ve carefully cultivated for more than a millennium, nurturing it like a Home Counties lawn or boutique-brewed artisanal gin, which is why it’s such a splendid moment when national disgraces like me can say “Oi! Look at this”…

The one place where the French constantly and conclusively kick our derrieres is comics. Acknowledged as an art form (officially The Ninth Art, in fact) the medium and industry is supported, understood and appreciated by all: calling forth talented individuals like the ungrateful émigré revealed in this tome: someone who inexplicably loves us here as we are and has made her home among us oiks and heathens for more than a decade now…

Lucie Arnoux is a story-maker based in London, from where she’s been embracing our peculiar uniqueness for over a decade. When not travelling the world, she gratefully returns to her English home, celebrating so many conflicting aspects of us, channelling her mania for drawing and music and art in all forms into comics, teaching, illustrating, book writing, set design, sculpture, knitting and so many more forms of sharable self-expression…

I’ve never met her, but she’s clearly as engaging and personable as she is gifted, and – in this big colourful hardback collection of strips – shares her history, thoughts, dreams and adventures with astounding frankness.

A self-confessed misfit looking to find her place, Arnoux draws beautifully in a clear, expressively welcoming – almost chatty – manner and knows how to quietly sneak up, grab your undivided attention and never let go. In a succession of seditiously disciplined 9-panel grids which act as counterpoint to the free flowing pictorial excursions, the auteur deftly steers us through her self-determined chaotic life.

It’s like a comics take on those wonderful 1990s Alan Bennett character studies Talking Heads, revealing greater truth through apparent conversation, intimate fact and candid self-assessment, except here you can actual see what does and doesn’t happen …and how…

Across these page you’ll learn how the drawing-addicted prodigy grew up in Marseilles in an unconventional family amidst unfriendly school inmates and unsettled environs. How she was a remarkable comics prodigy who began working professionally at the age 14, the same year she first visited Britain and inexplicably fell in love with the place…

Formally learning her craft under a strong editor at Studio Gottferdom, she produced a weekly autobiographical strip for legendary fantasy publication Lanfeust Magazine, studied unhappily in Paris, and eventually migrated to her happy place and spiritual home… London.

You’ll pry no more secrets from me: this is a hugely enjoyable treat that you deserve to experience with no preconceptions or spoilers. So go do that, then buy copies for all your friends…

Je Ne Sais Quoi is a fabulously absorbing jolly with a delightfully forthright companion. Arnoux unstintingly shares her thoughts, feeling and experiences in a manner guaranteed to win over the most jaded companion – especially as she garnishes her slivers of fresh experience with laconic but unguarded observations, glimpsed through the welcoming lens of regional foods, booze, hunts for companionship, festivals attended, artworks made, consumed and enjoyed.

Sharp, funny, disarmingly incisive, heart-warming, uncompromising and utterly beguiling, this moving memoir is a comics experience you’ll want to relive over and again.
© Lucie Arnoux 2022.

Je Ne Sais Quoi will be published on 27th October 2022 and is available for pre-order now.

If, like Lucie, you’re London-based, love to travel and party, there’s a Launch Event scheduled for that day at the wondrous and fascinating Gosh! Comics. For details see Gosh! Comics (goshlondon.com)

There could be wine, there may be cheese, there WILL be Lucie Arnoux, convivial conversation and Signed Copies.

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Grafity’s Wall


By Ram V, Anand Radhakrishnan, Aditya Bidikar & various (Unbound)
ISBN: 978-1-78352-684-0 (HB) eISBN: 978-1-78352-686-4

Ram V (AKA Ram Venkatesan) began professionally writing comics while still resident in Mumbai. His acclaimed 2012 series Aghori preceded a move to Britain for a Creative Writing MA at the City of London University. Since then he’s become a prolific creator with series like Black Mumba; The Many Deaths of Laila Starr; Ruin of Thieves; Paradiso; Blue in Green; Radio Apocalypse and Brigands, backed up with US superhero mainstream forays such as Marvel’s Venom and DC’s Justice League Dark; Catwoman, a new Swamp Thing and Batman: Gotham Nocturne.

In 2018 he returned to his roots for a richly compelling coming-of-age story with a dash of whimsy and a splash of heart, brimming with dangerous optimism and soaked in the dark passions of life lived on the line between subsistence and glory. It’s a timeless and familiar tale of winning and losing encompassing self-expression, rebellion, ambition and acceptance.

It probably has a Bhangra or desi hip hop soundtrack, but if you play early rock ‘n’ roll hits while reading it, you could believe you’re watching a Bollywood remake of American Graffiti…

Huge, thriving, bustling cities like Mumbai have a life all their own: a miasma of need, urgency and desperation underpinning every moment and aspect of existence. Everyone is trying to get by and get on. And amidst those masses there will always be some who stand out and stand apart…

Mumbai is special: a modern metropolis with no respect for its past, cramming together rich and poor alike whilst continually mixing the best and worst of everywhere else into an ever-evolving social soup A cultural vampire, the place finds room for every foreign fad and fashion, but always merges and remakes it with what has gone before…

The story opens in ‘What Goes Up’ as, in the heart of that constant churn, street artist Grafity paints walls with spray cans. Little Suresh Naik just can’t help himself, despite countless costly and painful confrontations with policemen: blank walls just call to him and demand he makes magic on them.

He’s lucky he has Jayesh looking out for him. Even fiercely pragmatic “Jay” has dreams – he wants to be a major American style rapper – but he also understands exactly how the world works and who needs paying at every level. That’s why he’s trapped acting as fixer and drug mule for minor gangster Mario…

The dreamers – and vanishingly quiet, ever-observing student Chasma – are closer than the family who cannot understand them and, when it’s not trying to crush them, the city belongs to them. For all its allure, though, they can’t imagine anything better than leaving it behind forever…

Their lives all change when the ramshackle Kundan Nagar slums are razed for a new development. In the aftermath, Grafity finds a lone pristine, wall defiantly standing proud and knows it must carry his mark…

In ‘What Goes Up’, he’s laying the groundwork for a masterpiece, with Jay and Chasma idly watching, Grafity realises Mario has found them. The hood and his new arm candy Saira are figures of terror, especially since Jay used the gangster’s money to buy the tagger’s freedom from the cops. In calculated retaliation, Mario throws his weight around and gives Jay a delivery designed to prevent him from playing at his first major gig…

The wall becomes Grafity’s testament, changing daily to record the events that inevitably engulf those around him. The worst is seeing Jay slowly sucked down into the morass of petty crime and expedient compromises, becoming colder and harder inside…

Chasma is fat, slow-seeming and looks a bit Chinese. It’s how he got his job waiting tables at the Dragon Wok restaurant, where the closet intellectual talks to interesting people while taking their orders.

Exploring the concept of ‘American Chop Suey’ – as carefully explained by the diner’s well-seasoned chef – Chasma applies it to his creative efforts:  making time to work on his writing and model own grand dreams. Many of them centre around Mario’s “girlfriend” Saira, and he assuages his frustrations by writing letters to anonymous passers-by. He’s become used to being ridiculed, bullied and beaten up by strangers, which is why it’s so hard when Jay starts doing it…

Graphity’s masterpiece grows more magnificent and revelatory by the moment in ‘Bambai Talkies’, and watching him work utterly captivates his friends. When Saira joins the vigil and strikes up a conversation with Chasma, the writer is carried away in her vivacious wake. She wants to be an actress and soon the boys join her in regular afternoon movie matinees.

When she says she’s quitting the rat race and leaving Mumbai, Chasma agrees to go with her, even after discovering she’s funding the getaway with a case full of the gangster’s money…

When Mario finds them, Chasma makes a supreme sacrifice worthy of a storybook hero, provoking Jay and Grafity to do the same in their own manner…

Illustrated with warmth, edgy versatility and a profound appreciation of street art and hip hop style by Anand Radhakrishnan and benefitting from imaginative colouring by Jason Wordie, Irma Kniivila and letters from Aditya Bidikar, this paean to the Places We Came From, the danger of aspiration and the power of hopes and dreams is an exotic and memorable delight: the kind of Eastern promise you can depend on.
© 2018 Ram Venkatesan, Anand Radhakrishnan. All rights reserved.

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Lulu Anew


By Étienne Davodeau, translated by Joe Johnson (NBM/Comics Lit)
ISBN: 978-1-56163-972-4 (HB/Digital)

In 2010 Bande Dessinée artist, writer and designer Étienne Davodeau completed a 2-volume tale he’d started in 2008. He was already popular, award-winning and extremely well-regarded for his reality-based and reportage style comics work, but Lulu femme nue was something that was special even for him. Within a year the story had been made into a much lauded and celebrated film by Solveig Anspach.

Davodeau was born in 1965 and, whilst studying art at the University of Rennes, founded Psurde Studios with fellow comics creators Jean-Luc Simon and Marc “Joub” Le Grand. His first album – L’Homme qui aimait pas les arbres (The Man Who Did Not Like Trees) – was released in 1992.

He followed up with a string of thoughtful, passionate and beautifully rendered books like The Initiates, Les Amis de Saltiel, Un monde si tranquille, Anticyclone, Les Mauvaises Gens: une histoire de militants, Le Chien Qui Louches and Le Droit du sol : Journal d’un vertige. Consequently he is now regarded as an integral part of the modern graphic auteur movement in French and Belgian comics.

NBM translated and collected both volumes of the dreamily moody mystery into a stunning hardback edition and Lulu Anew is now regarded as one of the very best graphic novels of its genre…

It begins with a kind of Wake where a number of friends gather to learn the answers to a small, personal but immensely upsetting event which has blighted their lives of late. Xavier is the first to speak and relates what they all already know. Lulu, a frumpy 40-something with three kids and a very difficult husband, has been missing for weeks. She went off for yet another distressing job interview and never came back…

It wasn’t some ghastly crime or horrible abduction. Something simply happened when she was in the city and she called to say she wasn’t coming home for a while…

The sun sets and the attendees calmly imbibe wine and eat snacks. A number of friends and family share their independently gleaned snippets of the story of Lulu’s aberration: a moment of madness where she put everything aside – just for a little while – and what happened next…

Bizarre unsettling phone calls to the raucous family home precede a quiet revolution as Lulu, without any means of support, inexplicably goes walkabout along the magnificent French Coast: living hand-to-mouth and meeting the sorts of people she never had time to notice before. Through interactions with strangers she learns about herself and at last becomes a creature of decisions and choices, rather than shapeless flotsam moved by the tides of events around her…

Related with seductive grace in captivating line-&-watercolours, here is a gently bewitching examination of Lulu’s life, her possible futures and the tragic consequences of the mad moment when she rejects them all. Unfolding with uncanny, compulsive, visually magnetic force, and told through and seen by the people who think they know her. This isn’t some cosmic epic of grand events, it’s a small story writ large with every bump in the road an unavoidable yet fascinating hazard. None of the so-very-human characters are one-sided or non-sympathetic – even alcoholic, often abusive husband Tanguy has his story and is given room to show it.

Ultimately, Lulu’s gradual, hard-earned resolution is as natural and emotionally rewarding as the seemingly incomprehensible mid-life deviation which prompted it…

Slow, rapturous and addictively compelling, Lulu Anew is a paragon of subtlety and a glowing example of the forcefully deceptive potent power of comics storytelling. Every so often a book jumps comics’ self-imposed traditional ghetto walls of adolescent fantasies and rampaging melodrama to make a mark on the wider world. This elegiac petit-epic makes that sort of splash. Don’t hesitate: dive right in.
© Futuropolis 2008, 2010. © NBM 2015 for the English translation.

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Big Scoop of Ice Cream


By Conxita Herrero Delfa: translated by Jeff Whitman (NBM)
ISBN: 978-1-68112-294-6 (PB) eISBN: 978-1-68112-295-3

Comics are a nigh-universal, extremely powerful medium that lends itself to a host of topics and genres, but the area where it has always shined brightest is in its chimeric capacity for embracing autobiographical self-expression. Whether through fictionalised narratives or scrupulously candid revelation, imaginative forays into self-realisation and self-expression frequently inevitably forge the most impressive and moving connections between reader and author.

Conxita Herrero Delfa’s vibrant collection Gran bola de helado was originally released in 2016, containing lifestyle short stories crafted before COVID changed the world. She is Barcelona born – in 1993 – and studied Fine Arts, but found another outlet for her artistic and raconteurial tendencies by publishing fanzines exploring aspects of free discourse, tireless observation and personal introspection. If you’re open-minded and well-travelled, you may have seen her follow-up work in various magazines and collective books. She’s also a singer, so look out for the album Abducida por forma una pareja by Tronco, if you’re so inclined…

Big Scoop of Ice Cream sees Conxita explore in compelling detail her metamorphic life via comic strips, with what appears to be relentless honesty and inspired veracity. Gathered here is a broad menu of experiences true, slightly true, made up, tedious, meta-real and maybe even a bit untrue, made in response to an ineffectual youth becoming – in fits and starts – a grown up. Everyday tasks, major achievements, personal breakthrough and moments without merit jostle beside strange days and minor miracles in ‘Resolutions’, after which we survive spectral invasion ‘Ghosts’ and learn what “adulting” means in ‘The Bathroom’.

The significance of playing alone shapes ‘Talking’, and perhaps a hint of potential romance looms in ‘The Couch Cushion’, before ‘The Arrival of Spring’ induces travel and causes a mini crisis. Sex happens in dusky pink monotones while ‘Relating’ before solitude returns, sparking thoughts of ‘The South of California’ and triggering ominous internet hook ups in ‘Enter’…

Acquiring an item of furniture attains the status of ‘The Metaphor’ for her and her friends whilst a beach break with Ricardo in ‘Alghero’ turns into a partial break with reality before ‘The Castles’ sees perspective restored – and endangered – by an over-sharing drinking buddy and other travelling companions…

A temporary liaison doesn’t pan out, but that’s okay because of what Conxita carries in ‘The Pocket’, and there are always marvels in abundance when ‘Looking Up’ or finding someone who will play ‘The Game’…

Visually experimental, the eponymous ‘Big Scoop of Ice Cream’ contrasts flavours and relationships without reaching any useful conclusions but segues neatly into a strange encounter in a bar with ‘The Reject’ before the ruminations conclude with confirmation that ‘People are Only Human’…

Boasting quotes from Marcel Proust, José Sainz, and Conxita herself, this whimsical confection is uplifting but never self-deluding, wryly inviting and features a breakout performance by pet cat Julia and a recurring box of toffee apples.

These 17 slices of Latin soul are delivered with verve and gusto in a minimalist cartooning style afforded surprising depth by swathes of flat colour: stylishly masking earnest inquiry and heavy introspection with charm, wit and carefully ingenuous nonsense. Big Scoop of Ice Cream is a book to delight and enthral and get in your head, and should be there with you wherever or however you holiday and forever after when you get back to mundane reality.
© 2016 Conxita Herrero Delfa and apa apa comics. © 2022 NBM for the English translation. All rights reserved.

Big Scoop of Ice Cream is scheduled for UK release July 14th 2022 and is available for pre-order now. For more information and other great reads see http://www.nbmpub.com/. Most NBM books are also available in digital formats.

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Cyberman – An On-Screen Documentary


By Veronika Muchitsch AKA L.B. Jeffries (Myriad Editions)
ISBN: 978-1-8383860-2-3 (TPB) eISBN: 978-1-8383860-3-0

In modern society somebody is always watching. Are we unconscious – often unwilling – objects of voyeurism or participants in an increasingly intrusive overwatch?

Although daubing marks on a surface is possibly our oldest art form, the potential to ask questions, make stories and simply communicate via that primal process remains infinitely adaptable to modern technologies and as powerful as it ever was in exploring the unchanging basics of the human condition.

Narrative plus image – and the interactions such conjunctions can adapt to and embrace – underpin all of our communal existence and form the primary source for how we view our distant forbears. When employed by an incisive, sensitive, uncompromising agent and interlocutor such as Veronika Muchitsch, the road from “seen” to “created” can also shed light on the furthest fringes of human behaviour.

Veronika Muchitsch is an Austrian artist who distinguished herself at Falmouth University before settling here. In recent years she began participating in a uniquely modern phenomenon. Entire countries away, fifty-something Finnish man Ari Kivikangas was live-streaming his entire existence, 24 hours a day without pause or let up. Drawn in, Veronika began regularly watching him inhabit his simple flat, sleeping, eating, playing his music and occasionally interacting with the observers tuned in to Cyberman.tv.

Entranced, Muchitsch – while becoming increasingly concerned about her own unchecked voyeurism – began painting the images on her screen, fascinated by the bland yet ominous existence unfolding with staggering constancy and endured with brutally frank, ferocious honesty every moment of every day. Ari was poor, ill, isolated and solitary and hungered for fame and validation: a shut-in managing life by his own rules. He accepted potential intrusion, condemnation and actual abuse from the inevitable inescapable trolls infesting social media with staunch bluntness and just carried on streaming.

The compulsive viewing led to Muchitsch reassessing her own views and first impressions. Over the course of a year, she surrendered anonymity and neutrality: becoming one of the people interacting with Ari – even getting his exultant approval to make him famous in one more modern medium…

She initially adopted the username L.B. Jeffries to interact with Ari, as compulsive observation evolved into a project based on parallels she recognised between her own actions and responses and the role played by Jimmy Stewart in classic Alfred Hitchcock thriller Rear Window.

The result is a stunning pictorial re-evaluation of modern life, interactions and relationships at the overlap of physical life and virtual existence – which can apparently be far more mundane than our “real” thing…

The story unfolds as a parade of singular images lovingly painted: captured moments that fall almost unbidden into a narrative. How much of that is calculated, curated direction and how much of the story comes from the reader looking at the pictures of the live stream of a stranger’s life? Only you can decide…
© Veronika Muchitsch 2021.

Cyberman – An On-Screen Documentary is scheduled for UK release May 26th 2022 and is available for pre-order now.

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A1 – The World’s Greatest Comics 


By various (Atomeka/Titan Comics) 
ISBN: 987-1-78276-016-0 (HB) 

We were saddened to learn of the sudden death of Garry Leach on March 26th. An extremely talented artist best known for Illustrating Marvelman/Miracleman, Dan Dare, and The V.C.’s, he was also a dedicated mover and shaker behind the scenes; quietly helping many other creators on the way to their own fame and glory. Our condolences go out to his friends and family, and here’s a review of one his most important and significant ventures… 

A1 began in 1988 as an anthology showcase dedicated to comics creativity. Freed from the usual strictures of mainstream publishers, the project consequently attracted many of the world’s top writers and artists to produce work at once personal and experimental, comfortingly familiar and, on occasion, deucedly odd. 

Editors Garry Leach & Dave Elliott periodically returned to their baby and in 2013 the title and concept were resurrected under the aegis of Titan Comics to provide more of the same. 

Similarly committed to past excellence and future triumphs – and following the grandest tradition of British comics – this classic compendium offered the same eclectic mix of material old and new… 

After a colossal 2-page dedication/thank you to everyone from Frank Bellamy to Face Ache in ‘The Dream Days are Back: The One’s Especially For You…’ the cartoon carnival commences with a truly “Golden Oldie” as Joe Simon & Jack Kirby (and inked by Al Williamson) provide science fiction classic ‘Island in the Sky’ – which first surfaced in Harvey Comic’s Race for the Moon #2 September, 1958. Here an expired astronaut returns from death thanks to something he picked up on Jupiter… 

Each tale here is accompanied by fulsome creator biographies and linked by factual snippets about most artists’ “drug of choice”. These photographic examples of coffee barista self-expression (with all ‘Latte Art’ courtesy of Coffee Labs Roasters) are followed by illustrator Alex Sheikman & scripter Norman Felchle’s invitation to the baroque, terpsichorean delights of the ‘Odd Ball’. 

The fantastic gothic revisionism resumes after another coffee-break as the sublime Sandy Plunkett details in captivating monochrome the picaresque perils of life in a sprawling urban underworld with his ‘Tales of Old Fennario’. 

‘Odyssey: A Question of Priorities’ by Elliot, Toby Cypress & Sakti Yuwono is a thoroughly up-to-date interpretation of pastiche patriotic avenger Old Glory, who now prowls modern values-challenged America, regretting choices he’s made and the timbre of his current superhero comrades… 

‘Image Duplicator’ by Rian Hughes & Dave Gibbons is, for me, the most fascinating feature included here, detailing and displaying comics creator’s admirable responses to the appropriation and rapine of comic book images by “Pop” artist Roy Lichtenstein. 

In a move to belatedly honour the honest jobbing creators simultaneously ripped off and denigrated by the “recontextualisation” and transformation to High Art, Hughes & Gibbons approached a number of professionals from all sectors of the commercial arts and asked them to re-appropriate Lichtenstein’s efforts. 

The results were displayed in the exhibition Image Duplicator with all subsequent proceeds donated to the charity Hero Initiative which benefits comic creators who have fallen on hard times. 

In this feature are the results of the comic book fightback with contributions from Hughes, Gibbons, FuFu Frauenwahl, Carl Flint, Howard Chaykin, Salgood Sam, Mark Blamire, Steve Cook, Garry Leach, Dean Motter, Jason Atomic, David Leach, Shaky Kane, Mark Stafford, Graeme Ross, Kate Willaert & Mitch O’Connell. 

Master of all funnybook trades, Bambos Georgiou offers his 2011 tribute to DC’s splendidly silly Silver Age in the Curt Swan inspired ‘Weird’s Finest – Zuberman & Batguy in One Adventure Together!’ and Dominic Regan crafts a stunning Technicolor tornado of intriguing illumination as Doctor Arachnid has to deal with cyber Psychedelia and a divinely outraged ‘Little Star’… 

Bill Sienkiewicz’s ‘Emily Almost’  first appeared in the original A1 #4; a bleak paean to rejection seen here in muted moody colour, after which Scott Hampton revisits the biblical tale of ‘Daniel’ and Jim Steranko re-presents his groundbreaking, experimental multi-approach silent story ‘Frogs!’ before following up with ‘Steranko: Frogs!’ – his own treatise on the history and intent behind creating the piece 40 years ago… 

‘Boston Metaphysical Society’ is a prose vignette of mystic Steampunk Victoriana written by Madeleine Holly-Rosing from her webcomic, ably illustrated by Emily Hu, whilst ‘Mr. Monster’ by Alan Moore & Michael T. Gilbert (with inks from Bill Messner-Loebs) is a reprint of ‘The Riddle of the Recalcitrant Refuse!’ first found in #3 (1985) of the horror hunter’s own series. It recounts how a dead bag-lady turns the city upside out when her mania for sorting junk transcends both death and our hero’s best efforts… 

‘The Weirding Willows: Origins of Evil’ by Elliot, Barnaby Bagenda & Jessica Kholinne is one of the fantasy features from the later A1 iteration – a dark reinterpretation of beloved childhood characters like Alice, Ratty, Toad and Mole, which fans of Bill Willingham’s Fables should certainly appreciate… 

‘Devil’s Whisper’ by James Robinson & D’Israeli also came from A1 #4, and features Matt Wagner’s signature creation Grendel …or does it? 

Stechgnotic then waxes lyrical about Barista art in ‘The Artful Latte’ after which ‘Melting Pot – In the Beginning’ by Kevin Eastman, Eric Talbot & Simon Bisley ends the affair; revisiting the ghastly hellworld where the gods spawned an ultimate survivor through the judicious and repeated application of outrageous bloody violence. 

Of course it’s a trifle arrogant and rather daft to claim any collection as “The World’s Greatest Comics” and – to be honest – these weren’t. There’s no such thing and never can be… 

However, this absorbing, inspiring oversized collection does contain plenty of extremely good, wonderfully entertaining material by some of the best and most individualistic creators to have graced our art form. 

What more can you possibly need? 
A1 Annual © 2013 Atomeka Press, all contents copyright their respective creators. ATOMEKA © 2013 Dave Elliott & Garry Leach. 

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The Lagoon


By Lilli Carré (Fantagraphics Books)
ISBN: 978-1-56097-954-8 HB/digital editions)

What do your comics sound like? What beats and rhythms echo behind your eyes when you absorb pictorial narrative?

The Lagoon delivers fragments of young Zoey‘s experiences growing up in a rural outpost where she, her parents and her grandfather live beside a cold black body of water. Within the brackish, weed-choked mire, a bizarre, monstrous beast dwells, but her family and the sundry other disparate souls who live adjacent gladly tolerate it since it does no obvious harm.

In fact, over the years, the incredible, indescribable call of the creature in the night has led to many odd happenings and disappearances. The plaintive cry of the creature obsesses and possesses the mere mortals and as years pass, Zoey gradually loses everyone but her grandpa to the night-singer.

Her time is taken up with music and learning the piano, but all anyone really hears is that plaint on the midnight breezes…

Dark, ambiguously chilling and comfortable at the same time, the naïve-ist illustration compulsively uses patterns and symbols to depict how sounds look and music appears while recounting the relationship of the creature – far, far more than a dumb beast – and the inevitably maturing and isolated young girl. This intensely experimental picture-parable is mesmerising and powerfully effective for all its brevity.

Lilli Carré (Tippy and the Night Parade; Heads Or Tails; The Deaths of Henry King) first drew critical attention with her short stories – collected as Tales of Woodsman Pete – and this slim monochrome tome was her first graphic novel. It’s a whimsical, expressive and bleakly enchanting exploration of great power and gentle lyricism apparently stemming from idle experimentation with pens and brushes. Oh, if only all doodles grew into such sweet storytelling…

Lying far from comics’ genre-ghettos, this is a perfect book for the discerning reader in search of something different.
© 2008 Lilli Carré. All Rights Reserved.

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A Love for the Ages


By Florence Cestac & Daniel Pennac translated by Edward Gauvin (Europe Comics )
No ISBN: 978-1-910395-63-9 (digital edition)

A writer and an artist go into a restaurant. They make comics for a living, but tonight the talk is of love. Before long, the entire place is involved in the conversation. No, not conversation, Story. Any relationship that has, is or may develop is irrelevant here. The writer is talking about years ago when an impressionable waif encountered and observed the most incredible romance and was forever after beguiled…

Now it’s time to immortalise the affair through words and pictures, and like that keenly observed life of domestic paradise, it must be perfect…

Memories flow, snippets are recalled and a story within a story unfolds and gels. Years back, before the Riviera reinvented itself as a haunt of international snobs and wastrels, inland from Nice in rural La-colle-sur-loup, old folks congregated in picturesque village enclaves and  grandparents got stuck with the youngsters in summer.

Bored and watchful, our kid and his local pals’ best chance of amusement was watching Jean and Germaine Bozignac: she, a delightfully feisty and affably bubbly sharing soul, and he, a hideously ugly yet startlingly charismatic and charming rogue. By all lights, Jean should have been a blight on the community: a cheating cardsharp who never worked after being cut off and disowned from his aristocratic wine-growing family. Yet somehow, the disgraced Marquis was adored by most and accepted by all.

Jean and Germaine were inseparable and lived by, with and through books, and on the day the little the writer-to-be learned that the cashiered lord’s reduced circumstances stemmed solely from his refusing to give up house servant Germaine, the passionate child’s future was set. This was what Love Should and Must be…

Expansive yet grounded, witty, compelling and outrageously funny in all the right ways, A Love for the Ages is the kind of tale our continental cousins excel at: light, fluffy, hilarious yet packed with heartbreaking moments and lined with hidden steel to hit hard when you least expect it.

Only available in English digitally at present, this is what it means to be in love all your life – and trust me I know whereof I speak: my good lady wife has put up with me for nearly 33 years and all I’ve ever had are flesh wounds, contusions and minor bouts of food poisoning. If that’s not proof of a love divine, then what is?
© 2015 DARGAUD – Cestac & Pennac. All rights reserved

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The Fall of Homunculus


By Pentti Otsamo (Drawn & Quarterly)
ISBN: 978-1896597157 (PB)

Joel and Anna are a young couple just getting by. They both have great artistic aspirations, but when Anna falls pregnant their previously harmonious partnership begins to unravel. Does Joel’s confusion and reluctance mean that they are not as compatible as he’d believed? Does Anna’s willingness to put her career on hold show her lack of dedication to her art?

Unless they truly communicate, how can they learn what each truly wants and needs?

This pensive Graphic Novella is a brief yet telling examination of the creative urge and process that makes some telling points about competing human drives, and the nature of creativity.

Such a gentle tragedy makes no great leaps forward or claims to innovation, but this tale is honest and engaging, and the inviting and expressive black and white artwork is subversively addictive.

Regrettably out of print and currently unavailable in digital editions, this a beguiling and rewarding yarn long overdue for a comeback and creative reassessment. Get it if you can.
© 1998 Pentti Otsamo. All Rights Reserved.

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Pulling Weeds from a Cactus Garden – Life is Full of Pricks


By Nathalie Tierce (Indigo Raven)
ISBN: 978-1-73783-260-7 (PB) eISBN: 978-1-734174-4-1

Win’s Christmas Gift Recommendation: Particularly Pointed Party Favours for all those Imminent, Inescapable Get-togethers… 8/10

The marriage of image and text is a venerable, potent and astoundingly evocative discipline that can simultaneously tickle like a feather, cut like a scalpel and hit like a steam-hammer. Moreover, repeated visits to a particular piece of work can even generate different responses depending on the recipient’s mood.

If you’re a multi-talented artist like Nathalie Tierce, who’s excelled in film and stage production for everyone from the BBC to Disney and Tim Burton to Martin Scorsese; music performance design for Andrew Lloyd Webber and the Rolling Stones; gallery art; painted commissions and latterly, graphic narratives such as Fairy Tale Remnants, challenges must be a hard thing to find.

Thankfully, human-watching is frequently its own reward, resulting in books like this slim, enthrallingly revelatory paperback (or digital digest) which forensically dissects human nature: exploring modern times and unchanging human nature through a lens of Lockdown and via the immortal truths of folklore as expressed in Aesop’s Fables.

On show in this handy art boutique are stunning paintings in a range of media, but all rendered in the bizarrely baroque classical manner of Breughel or Bosch, albeit blended with the quixotic energy of cartoon satirists Gerald Scarfe and Ralph Steadman.

Each condemnatory visual judgement is deftly wedded to moving, querulous and frankly often quite terrifying epigrams capturing contemporary crisis points of isolation, confusion, despondency and simple surrender to fate: summarised in fractured haikus and weaponised odes such as ‘Lost in a Supermarket’, ‘Domestic Bliss’, ‘Thoughts on the Outside’,‘Destiny Guides Our Fortunes’, ‘Say No Meore’, ‘The Lamb and the Wolf’, ‘Clown Adrift’, ‘Plucked Grumpy Chicken’,‘Speeding Back to the Comfort of Hell’, ‘Tragic Circus’ and more.

Blending wicked whimsy with everyday paranoia and neighbourly competitiveness, Pulling Weeds from a Cactus Garden is a mature delight for all students of human nature with a sharp eye and unforgiving temperament – and surely, isn’t that all of us?
© 2021 Indigo Raven. © 2021 Nathalie Tierce. All rights reserved.