Every week I write about the most interesting new comics hitting comic shops, bookstores, digital, and the web. Feel free to comment below if there's a comic you've read recently that you want to talk about or an upcoming comic that you'd like me to consider highlighting.
By Sonny Liew
The Art of Charlie Chan Hock Chye is about the life and work of "Singapore’s most famous comic artist," Charlie Chan Hock Chye, as told by his sketches, comics, personal newspaper clippings, and writing. The presentation of this book is so dense, thorough, and convincing that many early reviewers were fooled into thinking that Chan is a real person rather than a fictional character created by writer and artist Sonny Liew.
While the title character may be fictitious, much of what Liew explores in this book is rooted in the real-life social and political history of Singapore. From its beginnings as a British colony to its failed merger with neighboring Malaysia and struggle for independence, Liew explores these years through the types of comics Chan supposedly made at the time and how they reflected his own political persuasions. It also runs a wide gamut of comic book history, with Liew turning in a tour de force artistic performance to show Chan’s own style change with the popularity of different comic styles of the era, mimicking the work of artists such as Osamu Tezuka, Carl Barks, Frank Miller, and others.
Liew, a native of Singapore, received a grant from the Singapore National Arts Council to create the book, only to have it revoked on claims that his work “undermines the authority or legitimacy” of the government. This would prove to be a controversial move that led to the book selling out its first few print runs in that country. Now, it comes to the States, where Liew is known to many comics fans for his work on DC’s Dr. Fate and 2014’s acclaimed The Shadow Hero with writer Gene Luen Yang. This, however, may be the book that truly makes him a star in the U.S.
By Peter Milligan and Leandro Fernández
In the first issue of The Discipline, an unhappily married woman meets a seductive European art collector and can’t help but fall under his thrall. By the end of the issue, the seduction has turned into a full-blown supernatural fight for her soul.
Peter Milligan and Leandro Fernández began work on their new series The Discipline a few years ago, originally intending it to be published by DC’s Vertigo imprint. DC declined to publish it, leaving the work in limbo for a couple of years. Now, it gets to see the light of day as Milligan’s first Image Comics-published series. It’s not known why DC passed on the book, but there is definitely a lot of graphic sexual content which might test the nerves of some publishers. Its depiction of dangerous, forbidden sex with a supernatural twist (think 50 Shades of Grey if Christian Grey was an incubus) brings to mind some of Milligan’s groundbreaking and edgy early Vertigo work like Enigma. Leandro Fernández’ deep, rich shadows and clear, slightly exaggerated lines provide a great complement to Milligan’s dark and witty writing.
Edited by Trina Robbins
Franck Bondoux, the executive officer of the Angoulême Comics Festival, defended the decision to nominate only men for its lifetime achievement award, insisting that there just aren't many women in the history of comics art. "The Festival likes women, but cannot rewrite the history of comics,” he said in an interview with Le Monde.
There’s no better time than now for The Complete Wimmen’s Comix, a big, two-volume hardcover box set, to come along and prove Bondoux and his fellow festival organizers wrong.
Back in 1972, ten women cartoonists started the first comics anthology featuring only women comic creators called Wimmen’s Comix. The underground “comix” movement of the 1960s inspired different kinds of artists to make different kinds of comics with an anything-goes attitude. Cartoonist Trina Robbins had previously put out a one-shot comic called It Ain’t Me, Babe. It was the first comic made entirely by women, and it became the impetus for the Wimmen’s Comix collective to form.
Published by Last Gasp, Robbins and her fellow “founding mothers” made comics about subjects you never would have seen male cartoonists of the ‘60s broach: abortion, lesbianism, menstruation, and feminism in general. Over the next twenty years, Wimmen’s Comix would go on to publish a number of women cartoonists who deserve to be considered among the all-time greats, such as Aline Kominsky-Crumb, Melinda Gebbie, Phoebe Gloeckner, Carol Tyler, Mary Fleener, and others.
This $100 box set from Fantagraphics contains an introduction by Robbins, the It Ain’t Me, Babe comic that started it all, and every issue of Wimmen’s Comix, many of which have never before been reprinted.
By Mark Waid, Chris Samnee and Mathew Wilson
These days, Marvel has moved to a “seasonal” approach to publishing most of their series, in which titles are renumbered as if they were TV shows starting a new season. These frequent #1 issues are more enticing for new readers (and I guess they also hook people like me into writing about them more than, say, a 13th issue). The impetus for a relaunch is usually a new creative team coming in with a new storyline or direction, and that is exactly what is happening with Black Widow.
The previous series by Nathan Edmonson and Phil Noto was a moody espionage thriller with painterly, realistic art from Noto. The new creative team of Mark Waid and Chris Samnee will be changing the tone much in the way they did a few years back with a similarly moody character—Daredevil. They excel at fun action, and that is exactly their plan for Widow, with this first issue consisting of a big chase scene as Nathasha Romanova goes on the run from her handlers at S.H.I.E.L.D.
Since Comixology launched in 2007, they have dominated the digital comics landscape with their expansive library and “Guided View” technology allowing for panel-to-panel reading on a smartphone. No one has come close to competing with their technology or selection, but that doesn’t mean there isn’t room for something new.
An iPhone app called Stela launched last week with a different approach to digital comics. Unlike most digital readers, they are focusing on smaller screens rather than tablets and are commissioning original content that's created specifically to be read on their app. Stela comics are designed for easy legibility on screen, and you read them by scrolling vertically instead of tapping or swiping. This page-less approach to comics is something that has been embraced by many webcomic makers, and it feels more natural on the phone than even Comixology’s Guided View solution. Some of the comics on Stela, like Irene Koh’s Afrina and the Glass Coffin, cleverly use visual cues like word balloons that overlap the next panel down to guide you in the right direction.
Stela has recruited an interesting mix of up-and-coming creators like Koh and established veterans like Brian Wood to create original content just for the app. You can read the first chapters of any comic for free and then subscribe for $4.99 a month to get full access.