American Born Chinese
Gene Luen Yang
First Second
240 pages

Gene Yangā€™s brightly-coloured graphic novel examination of cultural identity alternates on a chapter-by-chapter basis between three apparently unconnected stories: a retelling of Chinese fable Journey To The West (known to 1980s Australian kids as the ABC TV series Monkey); a slice-of-life dramedy about Chinese-American Jin Wang dealing with a new school and his first crush (on an American girl); and a third story, constructed like a sitcom (complete with laugh track), about popular high-schooler Dannyā€™s attempts to cope with a reputation-crushing visit from his cousin Chin-Kee, a living embodiment of the worst Chinese stereotypes.

With a complexity belied by the simple art style, Yangā€™s elaborately-structured narrative leads to a major pay-off, inducing both laughs and cringes along the way. Very impressive, and almost impossible to put down.

Owen Heitmann

The Making Of A Graphic Novel
Prentis Rollins
(Watson-Guptill)
168 pages

This is actually a flipbook ā€“ on one side you get Prentis Rollinsā€™ original 96 page graphic novel(ette) The Resonator, while on the other is a step-by-step guide by the author through the creative process that brought the story into being.

The Resonator itself is an interesting although not essential sci-fi story with an intriguing twist, boasting intricate (while perhaps a little staid) art. The ā€?how-toā€¯ part of the book is detailed and informative, and is just as applicable to standard comic books as it is to the recently trendy graphic novel field. It features a sound run through the tasks of pencilling, inking and lettering, as well as a look at the writing process, which many similar books give short shrift. The ability to relate each step to the finished product is a particularly useful touch.

This is a valuable guide for the beginning comic artist, and its depth means thereā€™s bound to be a few insights even for a professional.

Owen Heitmann

99 Ways To Tell A Story: Exercises In Style
Matt Madden
(Jonathan Cape/Random House)
208 pages

Inspired by Raymond Queneauā€™s 1947 publication Exercises In Style, which told one story in a variety of different text styles (in haiku, as a telegram, etc), Madden here applies a similar process to the comics medium with fascinating results. Beginning with a simple one-page comic detailing a (rather mundane) household incident, Madden proceeds to retell the story using myriad different approaches ā€“ aping specific cartoonists (George Herriman, Jack Kirby) and formats (superhero comic, daily newspaper strip), employing different art styles (minimalist, silhouette), changing the perspective (using isometric projection, having a single horizon), and even telling the story in the form of a map or a page of advertisements. While not engrossing when read from start to finish, as a text illustrating the different possibilities available within even the simplest narrative, 99 Ways To Tell A Story is definitely thought-provoking.

Owen Heitmann

The Dark Horse Book Of Witchcraft
Various writers and artists, Edited by Scott Allie
Dark Horse Publishing
96 pages

This hardback anthology is a collection of seven comics and one illustrated short story exploring various interpretations of the titular subject. The Hellboy piece is, as usual, the highlight ā€“ Mike Mignola continues to refine the storytelling potential of sequential art, and his pacing is a delight to behold. Editor Scott Allieā€™s contribution (with regular collaborators Paul Lee and Brian Horton) is typically open-ended, while Evan Dorkinā€™s story about talking dogs saving the world from a coven of witches ups the cuteness factor, thanks especially to Jill Thompsonā€™s art. The short story is an unexpurgated piece by pulp writer Clark Ashton Smith, with classic-style illustrations by Gary Gianni, and thereā€™s also a lengthy interview with genuine Wiccan High Priestess Phyllis Curott to counter the stereotypes portrayed in the book. Tony Millionaireā€™s excerpted adaptation of Macbeth may be a weak opener, but on the whole itā€™s still a more fulfilling collection than IDWā€™s similar Tales of Terror book.

Owen Heitmann

Scooter Girl
Chynna Clugston-Major
Oni Press
168 pages

Scooter Girl follows the exploits of Ashton Archer, a successful Lothario-about-town whose luck suddenly runs out when he meets Margaret Sheldon ā€“ the Scooter Girl of the title ā€“ who rejects his advances and essentially steals his mojo, driving Ashton to ever more desperate measures to regain control of his life.

Another vehicle for Chynna Clugston-Majorā€™s talents after Blue Monday first brought her critical and popular acclaim, Scooter Girl is a self-contained story, in contrast to Blue Mondayā€™s ongoing episodic hi-jinks, but shares several themes with her breakthrough title, notably a fixation with mod culture, scooters (duh!) and near-constant musical references. However, itā€™s aimed at a slightly older audience than Blue Mondayā€™s high-school comedy (and definitely moreso than Queen Bee, Chynnaā€™s series for Scholasticā€™s kids imprint Graphix).

Like Queen Bee, Scooter Girl is over-written, with a tendency for narrator Ashton to tell rather than show, but the blackly funny situations, sassy dialogue and luscious manga-influenced art still make it a winner.

Owen Heitmann

Jack Staff, Vol. 1: Everything Used To Be Black And White
Paul Grist
Image
352 pages

On the surface, Jack Staff is just another superhero comic, and can be enjoyed as such. But to the informed reader thereā€™s much more to it than that. Paul Grist combines the intertextual referencing of Alan Mooreā€™s work (particularly Watchmen) with the inspired visual techniques of Will Eisnerā€™s The Spirit to produce an invigorating work that stands as a perfect example of the unique potential of the medium. The plot (long-forgotten British superhero Jack Staff comes out of retirement and soon finds himself involved with vampires, criminal masterminds and time-displaced escapologists) is populated by thinly-veiled versions of countless classic British comic characters such as the Steel Claw and Janus Stark (not to mention writer Neil Gaiman), and each page is breathtaking in its imaginative approach to visual storytelling. Gristā€™s black and white art is clear and elegantly simple, his layouts outstanding, and his stories both gripping and amusing. This volume compiles the twelve issues of the Jack Staff comic book originally published by Dancing Elephant Press before the title moved to Image and represents excellent value for money. Jack Staff comes highly recommended.

Owen Heitmann

Maniac Killer Strikes Again!
Richard Sala
Fantagraphics Books
176 pages

This collection of various macabre short pieces by cartoonist Richard Sala is not for those of a sensitive disposition ā€“ nearly every person you meet within its pages is destined to meet an unfortunate end. Characters fall victim to deaths as varied as murder by corkscrew, falling into a vat of acid, and being struck by lightning, although Salaā€™s exaggerated art style (heā€™s also been involved in animation for MTV) keeps these deaths from being too gruesome. With the exception of the almost entirely silent My Fatherā€™s Brain, the stories feature heavy narration (violating the usual ā€?show, donā€™t tellā€¯ philosophy) and are abruptly episodic, but absorbing nonetheless. The pick of the bunch for me is the dreamlike The Thirteen Fingers, thanks largely to its surprising twist ending.

Owen Heitmann