Archive for the ‘Top Shelf’ Category

The history of Essex County, some remembered, some forgotten

August 5, 2008
The Essex County Boxing Club
The Sad + Lonely Life of Eddie Elephant Ears
By Jeff Lemire
2 minicomics @ $3CAD

THE ESSEX COUNTY GRAPHIC NOVELS HAVE BEEN OUTSTANDING, thanks to Jeff Lemire’s beautiful, quirky art and wistful portrayals of haunted people. Their fictional yet familiar setting seems capable, like Garrison Keillor’s Lake Wobegon, of producing an endless supply of characters and stories. The appearance of these two minicomics––at least one of which is a deleted sequence from the upcoming final book in the “Essex County Trilogy,” The Country Nurse––confirms that Lemire has more stories to tell than can fit in the books, and they make welcome standalone additions to the series.

And standalone they are, mostly. The Essex County Bowing Club was first seen on Lemire’s blog, where it included the pages that transitioned from The Country Nurse into this story. Here the first page is recomposed to present an opening separate from that larger story. The mini traces the history of the titular boxing club from its founding by “Punchin’ Patty” Papineau and “Thunderpunch” Diemer in 1976 to the present. Within this framework, Lemire sketches an outline of their friendship and the impact tragedy befalling one of them midway through has on the club.

Memory and its ghosts have been a recurring theme in the Essex County graphic novels (the second is actually called Ghost Stories) and the same is true here. The history of the club goes by very quickly in only 16 pages, but Lemire excels at picking out key moments to stand in for different eras and a couple pages are successfully laid out around “photgraphs.” Meanwhile, Lemire finds time to take the fight that bookends the story a bit slower. The gag that surrounds the founding of the club is charming, advancing an action across three different versions of the tale and using mittens as perfect visual stand-ins for boxing gloves. Where it doesn’t quite work is that Lemire is more skilled at developing empathy with characters over time rather than in a few quick scenes, so the emotional climax doesn’t hit as hard as in the graphic novels. It’s interesting if you’re not familiar with the Essex County Trilogy, but it’s more successful as a supplement to the series.

The Sad + Lonely Life of Eddie Elephant Ears is the better of the two, in part because it stands on its own better, reading as well by itself as it does a part of the series. It also offers a clever reversal on the series’ theme of memory, presenting a character who was in a car accident at the age of nine and in a coma for 10 years, awakening with almost no memory at all (making his otherwise accurate nickname, “Eddie Elephant Ears,” particularly ironic).

In this context, the story’s exploration of the few things Eddie does remember, and his worry that they are not real memories at all but dreams, is deeply touching. The memories aren’t terribly substantial, but revolve around small pleasures, the kind that Lemire has always slipped into the Essex County stories. Eddie Elephant Ears is also the more formally interesting of the two, making greater use of visual metaphor, and employing more unique design elements, like the icon system that signifies Eddie’s four memories.

As the minis were originally drawn as chapters of the Essex County trilogy, the art matches the graphic novels, with sketchy, textured backgrounds and endearingly homely characters. Whether Eddie is getting off a bus or an ECBC fight is in progress, the tone is reserved, quiet, and builds slowly to sudden emotional peaks, inviting the reader to linger over them and take in the atmosphere. They’re a nice package for a minicomic, a little smaller than the graphic novels, each with handsome, glossy color covers. The physical mincomics were limited to 300 each and are now sold out, but are available to read free at Top Shelf 2.0 (the images in this review come from the digital version). They’re definitely worth the click.


PS: Buying these minis from Lemire online was my first experience with US currency being worth less than Canadian currency. With shipping, Lemire was charging $9CAD for the two comics. This cost me $9.18USD. Not a lot more, but this is not what I’m used to. Ouch.

View From Portland New York: NYCC

April 23, 2008

JUST BACK FROM NEW YORK. I didn’t have a computer with me, so no play-by-play updates, and now that it’s already Wednesday, many others have already covered the NY Comic Con pretty well. So, instead of re-treading that ground, a few personal observations on my first out-of-state con experience.


Fan Culture

Unlike what I’ve heard about other cons, the convention floor was devoted mostly to comics. Movie-related events were largely tied closely to comics, such as the cast of Hellboy 2 appearing at the Dark Horse booth, and DC and Marvel movie events taking place at their respective booths. There was certainly a video game presence, but it was fairly unobtrusive. There were of course people dressed as any fandom-related thing you could imagine: superheroes, anime characters, Mario Bros. and other video game characters, etc. I was surprised at the number of Ghostbusters and the relative lack of Indiana Joneses, though there was at least one.

An institutional presence of non-comics material was more apparent in the panel area. On my way into the Scott McCloud Zot! panel, I had to cut across a throng of fans lined up for the Avatar: The Last Airbender (Nickelodeon) panel. The room housing the Zot! panel was about half-full of appreciative but reserved fans, while across the partition, we could hear frequent waves of screams from the capacity crowd in the Avatar panel. On my way out, an equally large line had formed for the Venture Brothers panel (I’ve subsequently read that the panel area had to be shut down due to over-capacity around this time).

Diversity!

Portland is hip, and we get a fairly decent gender and age balance at our comics events, but there’s no way around this: Portland is white. If there is little racial diversity on Wednesday, or at Stumptown, or the Portland Comic Book Show or whatever, it’s because there’s little racial diversity in Portland. Coming from that background, it was heartening to be reminded that not all of comicdom is so pale. Even people running the booths and in Artists Alley surprised me, though there’s certainly a ways to go as far as representation in the creative and decision-making sides of the culture. But it’s good to be reminded that there’s more going on than is apparent in my corner.

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View From Portland: Art in a Floating World

April 10, 2008

Leivian stands in front of art from March’s “Repeat After Me” show of work by Sean Christensen, Catherine Peach and Stefan Saito

THINK OF THE MORE VENERABLE COMICS SHOPS in my hometown of Portland, Oregon, and you’ll likely come up with stores like Excalibur Comics, the local back issue heavyweight, or Things From Another World, Mike Richardson’s chain that spawned Dark Horse. However, the city’s newest generation of shops offers a very different kind of comics experience. Among them is Floating World Comics, focusing on independent comics, original art and being a hub for the Portland comics scene, and the only one with the foresight to open within walking distance of my apartment (a business move that has made it my regular shop). The store is located in Portland’s trendy Pearl District, where it sits amongst the area’s old industrial buildings-turned-art galleries and, through the efforts of proprietor, Jason Leivian, is a part of the district’s thriving art scene.

Every month Floating World participates in First Thursday, an area-wide open house in which galleries put on special shows, receptions and other events. On a given First Thursday, there will be original art by comics artists and––increasingly––other types of art, like paintings and photography, often accompanied by in-store appearances by artists. These events, as well as others like book release parties, attract many from the local comics scene, pros and fans alike. And of course, the rest of the time, Floating World is an attractive, friendly store with a diverse selection of books. (View Tom Lechner’s panoramic photo of the indie comics section of the store, taken at the Friends of the Nib event in February 2008. The main room, featuring mainstream comics, is visible through the window.)

I spoke with Leivian about the store, his thoughts on original art and the Portland comics scene, and some of the shows and publishing ventures he’s getting into on March 19th at the Ash Street Saloon in NW Portland.


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Ringing in 2008 with Top Shelf’s Brett Warnock

January 21, 2008

  

topshelfboys.jpg
Detail from “The Top Shelf Boys” by Eddie Campell. Warnock is on the right.

BRETT WARNOCK IS CO-PUBLISHER OF TOP SHELF PRODUCTIONS, heading up Top Shelf’s Portland half. Before teaming up with co-publisher, Chris Staros, Warnock published under the name Primal Groove Press, producing work from a number of minicomics artists and launching the Top Shelf name in the form of the Top Shelf anthology. A former bartender, Warnock took the name “Top Shelf” from his other profession.

In the ten years since Warnock and Staros formed Top Shelf, they’ve gained a reputation for producing high quality material in very attractive packages (many of them designed by Warnock). The two have published a number of hit books, such as Goodbye, Chunky Rice, Blankets, Lost Girls, much of James Kochalka and Jeffrey Brown’s catalogs, Box Office Poison, the Owly series, and more.

When book distributor LPC filed for bankrupcy in 2002, leaving Top Shelf in the lurch, the comics industry and fandom rallied around them, ordering tens of thousands of dollars worth of books directly from Top Shelf and allowing Warnock and Staros to get back to business the next day. Recently, The Surrogates became the first film based on a Top Shelf book to be fast-tracked for production and will star Bruce Willis. Top Shelf has also recently become Alan Moore’s primary publisher of books and comics in America, and will be producing the next volume of The League of Extraordinary Gentlemen.

I talked to Warnock at his home in Northeast Portland on New Year’s Eve, 2007.


Wright Opinion: To start with, what were some of the first comics you were into?

Brett Warnock: When I was a little, little kid, like single digits, I was reading Richie Rich and Casper the Friendly Ghost and stuff like that. Classic Harvey Comics, kids’ stuff obviously. And then I actually got into pulp science fiction paperback novels before I got into comics. I was reading Edgar Rice Burroughs’ Tarzan and the John Carter of Mars series, all his pulpy stuff, the Pellucidar/Savage Land-type stuff, and Robert E. Howard’s Conan. I was completely into the Neal Adams covers on the Tarzan books and the Frazetta covers on the Conan books. I loved the content obviously, but the covers were really starting to rock my world and I think that’s what got me into the art angle.

X-Men #112.

Then when I was eleven or twelve, my dad bought me a comic book at a local grocery store in Gresham [Oregon]. It was X-Men #112, right at the beginning of the peak of the Byrne/Claremont run on X-Men and it ended on a total cliffhanger when Magneto captures the X-Men and he’s got them flying in a circus wagon up in the air and he takes them to his volcano lair and he’s got them trapped. And at the time I didn’t understand serialized comics, so I just thought, “God, that sucks!” So they’re trapped in this limbo forever. And then life happened, a few, three years go by. I happened to be at the spinner rack at Plaid Pantry and there was X-Men #134. Dark Phoenix is crumpling the logo into shards, and that was the book that hooked me, boom. I started reading the Claremont/Byrne X-Men run, Frank Miller’s Daredevil and the Wolfman/Perez Teen Titans from #1. Those three books pretty much cemented my fandom years, my holy trinity of comics right there.

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