A well-researched, engaging history of American superhero comics.
Grand explores the history of the medium in this nonfiction work.
The author was first introduced to comic books as a kid in 1982 when he read the backstories of his favorite He-Man action figures through a series of promotional Masters of the Universe mini-comics published by Mattel. Comic books would play a central role in his life for the rest of his childhood and teenage years. Even after graduating from medical school and joining a medical practice, the supernatural lure of comic books remained ever-present. With a sound research background honed during his postgraduate studies, Grand began a multiyear study of the history of comic books that has culminated in this work. The book begins with the origins of the medium, Victorian-era visual sequential art (“proto-comics”) like Rodolphe Töpffer’s newspaper comic strip, Adventures of Obadiah Oldbuck. Dividing comic book history into eight eras, the author explores the development of the form from its early 20th century roots through the present. The “Golden Age” of the 1930s and 1940s moved away from the comedic sensibilities of earlier works toward violent stories featuring superheroes like Captain America and Batman, featuring characters with “superhuman abilities, costumes/code names, and a mission of justice.” As society and culture developed in the mid-20th century, so too did comic books—they adapted to the television culture of the 1950s and 1960s, and later to the cynicism of the 1970s with the rise of antiheroes, “good-guy type of killers who got the job done.” The 1980s and 1990s (the “Dark Age” and “Extreme Age,” respectively) saw the growing popularity of dark, brooding themes, as well as “over-the-top anatomy, weaponry, and sexuality combined with sales-driven gimmicks,” culminating in the current “Movie Age,” characterized by CGI, special effects, and blockbuster films.
While Grand acknowledges that this is not “a complete history of comics,” it is nevertheless a thorough one, covering many of the larger trends as well as artists, authors, and publishers who helped to shape the superhero genre. A thoughtful final section on diversity explores representations of women and Black people in comic books throughout the 20th century and the intersection of comic book narratives with social issues like civil rights, women’s rights, and multiculturalism. This impressively researched book boasts more than 1,000 reference endnotes and a 19-page bibliography that reflect a solid grasp of the vast library of American comic books as well as a respect for academic scholarship. Also included are the perspectives of insiders like comic artist Guy Dorian Sr. and wholesale comics distributor Bud Plant, who were interviewed by the author, as well as legendary artist Jim Steranko, who writes the book’s foreword. Grand’s narrative, which balances the enthusiasm of a lifelong fan with astute analysis, is accompanied by a wealth of images and reproductions of comic book panels and iconic covers. Combined, these elements make not only a well-written, smart study of superhero history and lore, but also a beautifully crafted, visually appealing volume. And while admittedly not comprehensive (the text largely ignores the history of underground and alternative comix and Japanese Manga), this is an admirable addition to the scholarship on superheroes and comic books.
A well-researched, engaging history of American superhero comics.Pub Date: June 13, 2023
ISBN: 9781476690391
Page Count: 358
Publisher: McFarland
Review Posted Online: Sept. 15, 2023
Kirkus Reviews Issue: Nov. 1, 2023
Review Program: Kirkus Indie
A virtuoso performance and an ode to an undervalued medium created by two talented artists.
The veteran actor, comedian, and banjo player teams up with the acclaimed illustrator to create a unique book of cartoons that communicates their personalities.
Martin, also a prolific author, has always been intrigued by the cartoons strewn throughout the pages of the New Yorker. So when he was presented with the opportunity to work with Bliss, who has been a staff cartoonist at the magazine since 1997, he seized the moment. “The idea of a one-panel image with or without a caption mystified me,” he writes. “I felt like, yeah, sometimes I’m funny, but there are these other weird freaks who are actually funny.” Once the duo agreed to work together, they established their creative process, which consisted of working forward and backward: “Forwards was me conceiving of several cartoon images and captions, and Harry would select his favorites; backwards was Harry sending me sketched or fully drawn cartoons for dialogue or banners.” Sometimes, he writes, “the perfect joke occurs two seconds before deadline.” There are several cartoons depicting this method, including a humorous multipanel piece highlighting their first meeting called “They Meet,” in which Martin thinks to himself, “He’ll never be able to translate my delicate and finely honed droll notions.” In the next panel, Bliss thinks, “I’m sure he won’t understand that the comic art form is way more subtle than his blunt-force humor.” The team collaborated for a year and created 150 cartoons featuring an array of topics, “from dogs and cats to outer space and art museums.” A witty creation of a bovine family sitting down to a gourmet meal and one of Dumbo getting his comeuppance highlight the duo’s comedic talent. What also makes this project successful is the team’s keen understanding of human behavior as viewed through their unconventional comedic minds.
A virtuoso performance and an ode to an undervalued medium created by two talented artists.Pub Date: Nov. 17, 2020
ISBN: 978-1-250-26289-9
Page Count: 272
Publisher: Celadon Books
Review Posted Online: Aug. 30, 2020
Kirkus Reviews Issue: Sept. 15, 2020
PERSPECTIVES
An ebullient nature lover’s paean to birds.
A charming bird journey with the bestselling author.
In his introduction to Tan’s “nature journal,” David Allen Sibley, the acclaimed ornithologist, nails the spirit of this book: a “collection of delightfully quirky, thoughtful, and personal observations of birds in sketches and words.” For years, Tan has looked out on her California backyard “paradise”—oaks, periwinkle vines, birch, Japanese maple, fuchsia shrubs—observing more than 60 species of birds, and she fashions her findings into delightful and approachable journal excerpts, accompanied by her gorgeous color sketches. As the entries—“a record of my life”—move along, the author becomes more adept at identifying and capturing them with words and pencils. Her first entry is September 16, 2017: Shortly after putting up hummingbird feeders, one of the tiny, delicate creatures landed on her hand and fed. “We have a relationship,” she writes. “I am in love.” By August 2018, her backyard “has become a menagerie of fledglings…all learning to fly.” Day by day, she has continued to learn more about the birds, their activities, and how she should relate to them; she also admits mistakes when they occur. In December 2018, she was excited to observe a Townsend’s Warbler—“Omigod! It’s looking at me. Displeased expression.” Battling pesky squirrels, Tan deployed Hot Pepper Suet to keep them away, and she deterred crows by hanging a fake one upside down. The author also declared war on outdoor cats when she learned they kill more than 1 billion birds per year. In May 2019, she notes that she spends $250 per month on beetle larvae. In June 2019, she confesses “spending more hours a day staring at birds than writing. How can I not?” Her last entry, on December 15, 2022, celebrates when an eating bird pauses, “looks and acknowledges I am there.”
An ebullient nature lover’s paean to birds.Pub Date: April 23, 2024
ISBN: 9780593536131
Page Count: 320
Publisher: Knopf
Review Posted Online: Jan. 19, 2024
Kirkus Reviews Issue: Feb. 15, 2024
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