Looking Back at 2023: The Year in Comics
By Dan BrownThe categories are arbitrary. My picks are open to debate. You likely have come to totally different conclusions.That said, here are the highlights – according to no one but me – from the last year in the comics biz.Villain of the year: The hip dragon from Scott Chantler’s Squire & Knight graphic novel, who sounds to my ear like a beach bum. When attacked by a self-promoting paladin, he responds in a laconic way: “Pretty rude, man.”Hero of the year: Common sense, as portrayed in the same book, which comes from the Stratford-based comic creator. It outlines the adventures of a medieval do-gooder and his young apprentice, who refuses to jump to conclusions based solely on circumstantial evidence. Turns out common sense is actually not that common. Writer of the year: BealART grad Lynette Richards, for Call Me Bill, an evocative tale delving into a long-standing East Coast maritime mystery. Richards gives the title character, an actual mariner, a plausible back story, in the process paying tribute to someone who was ahead of the times. Artist of the year: London’s D.S. Barrick for his work on Murgatroyd & Nepenthe, which he describes as a tale of two travelers trekking through the hinterlands of the imagination. It’s a visual feast not to be missed.Comic of the year: Crimson Fall: Lambs of God. This Derek Laufman mini-comic about two mismatched characters, a cleric and a knight, can be read as a straightforward story about demons in a dungeon, but underneath that is a much broader debate about the limits of reason to explain the world around us.Graphic novel of the year: Palookaville No. 24, particularly the latest instalment of Nothing Lasts, Seth’s autobiography-in-the-making. He calls attention to the constructed nature of his life story, encouraging the reader to think about the way memory becomes fiction. Or was it always fiction? (I suppose Seth’s latest is technically a comic, but it has a hard cover so it qualifies as a graphic novel in my mind. It’s not like Seth is publishing it monthly.)Panel of the year: The final panel of Are You Willing to Die For The Cause?, the Chris Oliveros book about the FLQ’s early days. On page 134, he shows the police celebrating the demise of the FLQ – just as the separatist terrorists were about to embark on their bloodiest exploits. “Hurrah!” the officers cheer. Bitterly ironic. The same book features a panel on page 123 of an FLQ hideout littered with empty Labatt 50 bottles. It doesn’t get more Canadian than that!Cartoon of the year: A New Yorker cartoon by Ellis Rosen depicts God, wine glass in hand, explaining to an angel helper why heaven looks different: “I had the vastness of creation replaced with hardwood floors.” Originally published two years ago, it came up in my New Yorker desk calendar on Dec. 1.Understatement of the year: Bob Iger, Disney CEO, said the glut of Marvel content online and in movie theatres has “diluted focus and attention” among fans of the company’s superheroes. (The Marvels, which I’m told is a strong movie, debuted with less than $50 million at the box office on its opening weekend, a first for a Marvel release.)Comeback of the year: Michael Keaton reprised his role as the Dark Knight in The Flash. By many accounts, the funnyman was the best thing about the motion picture, which served as the swan song for the current phase of DC’s big-screen superhero adaptations.Disappointment of the year: Marvel introduced Doctor Aphra in its Darth Vader title way back in 2015, yet still no movie or show built around the amoral archeologist. At this rate, the gonk droid will have its own Disney+ series before Aphra.Dearly departed: Among the comic creators who died this year are Al Jaffee, Joe Matt, Keith Giffen and Chris Browne. I once had a lovely conversation with Browne about how he continued the Hagar the Horrible newspaper strip after his father retired. Just a really nice dude to interview. The world is poorer without these guys.Comic blog/website/web presence of the year: I continue to enjoy a Facebook group seemingly titled with me in mind, Old Guys Who Like Old Comics. Jeremy Kirby is also doing yeoman’s service preserving his grandfather Jack Kirby’s legacy with his group the King of Comics.Comic journalism of the year: The book Dirty Pictures by Brian Doherty is a history of the underground comics scene in the U.S, the surprising part being how much of an impact these often-crude publications made on mainstream comics culture. It shows what can be done in the medium without an industry censor.Now, over to you . . . what were the comic highlights for you in 2023? I want to hear all of your picks in the comment box below. Feel free to invent some categories!Dan Brown has covered pop culture for more than 31 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
Call me impressed by Call Me Bill
By Dan BrownCall Me Bill is an intriguing graphic novel that provides one possible answer to a question posed long ago: Why would a young woman who drowned in a maritime disaster off Canada’s East Coast in 1873 be dressed up as a male sailor when her remains were recovered?It’s former Londoner and current Nova Scotia resident Lynette Richards who supplies that answer, sketching a history – bolstered by newspaper accounts from back in the day – of the S.S. Atlantic crew member who went by the name of Bill.This book transported me back to the 1870s, with its sparse lines, washed-out grey tones and accurate, period-specific dialogue.“I didn’t know Bill was a woman,” a fellow sailor tells newspaper reporters after the ship hits rocks and sinks close to shore. “He used to take his grog like all the rest and was always begging and stealing licorice. He was a good fellow and I’m shocked that he was a woman.”As a starting point, Richards – whose usual medium is stained glass – imagines a New Jersey farm girl named Maggie Armstrong whose time “playing the tomboy” is put to an end by a stern stepmother who demands she must finally “dress and behave like a lady.”Having left home, and after a series of high-seas adventures, Bill has the bad fortune to be on the deck of the Atlantic the night it sinks. The sinking was huge news at the time, but got overshadowed in the history books by the Titanic, which went down a few decades later. (Oh, and for the record, Call Me Bill would make an AMAZING movie.)How evocative is Call Me Bill? In one panel, which sets forth part of a trip Bill took to England prior to joining the crew of the Atlantic, two starving rats have the most pained looks on their faces, as vivid a portrayal of animal suffering as I’ve ever come across. Richards has an impressive ability to evoke sympathy for her characters.That kind of symbolism runs through the whole book, as when another sailor explains to Bill how seals called selkies are believed by mariners to be able to come ashore, assuming the form of humans females on dry land. “The seals gaze at me as if they know my deepest secrets,” Bill thinks, seeing their sad eyes.And early in the story, there is a moment of reflection on a trestle bridge after Bill runs away from home: “Behind me was my past, ahead my future. The river babbled like many voices.” Bill plunges ahead into an uncertain future, not knowing that doom awaits on the other side.Although it is published by Emanata, the young-adult imprint of East Coast publisher Conundrum Press, Richards never talks down to her readers in Call Me Bill.And as a stirring chapter in our country’s history of maritime disasters, I put Call Me Bill right up there with the Gordon Lightfoot song Wreck of the Edmund Fitzgerald. It moved me that much.Dan Brown has covered pop culture for 30 years as a journalist and also moderates L.A. Mood’s monthly graphic-novel group.
