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<<November 2014>>
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Viewing: Blog Posts Tagged with: Graphic Novels, Most Recent at Top [Help]
Results 1 - 25 of 614
1. The Washington Post’s Top 10 graphic novels of 2014

SISTERS PB Cover FINAL The Washington Posts Top 10 graphic novels of 2014

LISTS! Michael Cavna—who will be full time at Comics Riffs next year, hoorah—has his top ten, most of which I expect to see over and over as the best lists roll out:

By Gilbert Hernandez (Drawn & Quarterly)

By Roz Chast (Bloomsbury)

By Neil Gaiman and P. Craig Russell (Harper Collins)

By Max Brooks and illustrator Caanan White (Broadway Books)

By Ed Piskor (Fantagraphics)

By Eleanor Davis (Fantagraphics)

By Brian K. Vaughan and illustrator Fiona Staples (Image Comics)

By Gene Luen Yang and illustrator Sonny Liew (First Second)

By Raina Telgemeier (Graphix)

By Mariko and Jillian Tamaki (First Second)

1 Comments on The Washington Post’s Top 10 graphic novels of 2014, last added: 11/21/2014
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2. Starlin in back with THANOS: THE INFINITY RELATIVITY OGN in June

Thanos The Infinity Relativity OGN Starlin in back with THANOS: THE INFINITY RELATIVITY OGN in June

The post-Guardians partnership between Marvel and Jim Starlin continues with the second original graphic novel in a proposed trilogy about Thanos the purple skinned Mad Titan created by Starlin. THANOS: THE INFINITY RELATIVITY OGN comes out in June. While standalone graphic novels were once rare at Marvel they’ve gotten into the pool with the Starlin books, and some introductory books aimed at beginning (as in not experts in Marvel continuity) readers. The first book in the trilogy, Thanos: The Infinity Revelation, made the NY Times bestseller list, so it probably did all right.

Starlin created Thanos, who is expected to be the big villain in a number of Avengers movies, and his daughter Gamora, and has had a major hand in developing the mythology of the Infinity Gems which have been a running theme throughout the Marvel MCU for a while. And as the blurb shows, the book includes more of the whole Thanos/Guardians/Warlock mythology that Starlin developed:

Annihilus, lord of the Negative Zone has re-ascended to power, more dangerous and more deadly than ever before. When he and his Negative Zone armies make another, renewed assault on our universe in search of a source of infinite power, a fragile alliance of the universe’s most unlikely protectors will form to stop him.
Now the Guardians of the Galaxy, Gladiator the Majestor of the Shi’ar Empire, and Adam Warlock  and more must unite like never before! Only Adam Warlock’s complex cycle of death and rebirth has left him more confused than ever before. What is his purpose in the universe? Why is he here? With his Infinity Watch reunited alongside the Guardians of the Galaxy, between them they may hold the key to ending the threat of Annihilus once and for all – but to do so they’ll need to enlist the help of another.
Could it be that the fate of everything lies in the hands…of Thanos?

As with most Marvel books, this will include a bonus code for a digital edition with added augmented reality content.

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3. Using comics in your classroom

marekbennett intelligences 300x478 Using comics in your classroom

One of the panels from Marek Bennet’s “Multiple Intelligences” sequence. http://marekbennett.com/2011/02/28/multiple-intelligences-comics-education/

Last month, I was fortunate to be able to attend several sessions at the Comics and the Classroom symposium offered as part of the Massachusetts Independent Comics Expo (MICE) on October 5th. The symposium, which was the first of what they hope will become an annual event as part of MICE, brought together a number of comics artists and educators to discuss how comics can be incorporated into the classroom at various levels.

The day started off with a session by Marek Bennett, the creator of Slovakia: Fall in the Heart of Europe, an educator who offers comics workshops for students of all ages, and is one of the Applied Cartooning Program Advisors at the Center for Cartoon Studies. The program teaches students to use cartoons and visual communications techniques in realms outside of comic books or graphic novels. He talked about the way that the styles and techniques of comics can be brought to education in all fields to make subjects more memorable, engaging, and understandable. While the program Bennett works with is aimed at graduate students pursuing a Master of Fine Arts degree, he explained how the techniques can be brought to any age group by adapting assignments to incorporate visual elements where there previously may have been only text and walked us through the Applied Cartooning Manifesto. He also displayed this approach in the form of his own visual article on Multiple Intelligences and placed the approach in a historical context that includes Trajan’s Column and the Bayeux Tapestry. A discussion afterwards with the attendees brought up several ways teachers could use these ideas to help students express emotions and advocate for social change.

The second session of the symposium was presented by Michael Gianfrancesco and covered how he teaches close reading techniques using graphic novels. He talked about how, inspired by the work of Nancy Frey and Douglas Fisher, he created a curriculum that uses graphic novels, and particularly wordless graphic novels, such as segments of Will Eisner’s New York: Life in the City, to teach students to identify what is obvious, implied and assumed in their reading of a work. Taking text out of the process helps to simplify it by paring it down to its basics but also engages students, many of whom already enjoy comics and manga. After students have worked out what is obvious, implied, and assumed in each comic, they are also prompted to think more about their assumptions, sometimes even writing stories based on what they assumed when first reading the comic. Since he teaches in Rhode Island, a state that has adopted the Common Core, Gianfrancesco has tied his curriculum in to specific sections of the Common Core and uses it with students in multiple tracks at his school. He recommended New York: Life in the City, Bottomless Belly Button by Dash Shaw, A.D.: New Orleans After the Deluge by Josh Neufeld, and Stitches by David Small as works that could be used to teach close reading in high school classes.

I also attended a panel discussion between three artists who create educational comics. Two of the artists, Jason Rodriguez and Joel Gill, have written graphic novels on historical topics that aim to educate readers and have been incorporated into classrooms. The final panelist, Cathy Leamy, works on comics that foster health literacy. Leamy discussed the field of graphic medicine which includes both comics aimed at improving health literacy by explaining complicated medical topics through visuals and comics by healthcare professionals and patients as a way of expressing their emotions. One of the highlights of this last panel was a debate between the panelists (and some members of the audience) about how to balance facts and storytelling in their works. This discussion highlighted both the difficulties that authors face in ensuring that their works are accurate, engaging, and clear and the importance that educators place on using materials in the classroom that portray facts correctly.

I found each of the sessions very interesting and useful. If you have an opportunity to attend MICE or the Comics and the Classroom symposium next year, I would highly recommend it.

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The post Using comics in your classroom appeared first on The Horn Book.

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4. Thanks, Obamacomics!

gruber graphic0011 101x150 Thanks, Obamacomics!A graphic novel has become Exhibit A in the latest Obamacare controversy.

Clear, simple, understandable, useful – those are just a few of the words that recurred in reviews of Health Care Reform: What It Is, Why It’s Necessary, How It Works, a 2012 graphic novel by Xeric-winner Nathan Schreiber and MIT’s Jonathan Gruber.

The irony of these descriptions is no doubt evident to anyone who has been following political news over the past weeks — years after Gruber won praise for his adeptness in making the proposed health law easy to grasp, Gruber has become the center of a political storm due to his recent off-the-cuff claim that the language of Affordable Care Act was deliberately misleading and designed to take advantage of Americans’ “stupidity.”

The dust-up has given new life to the Gruber and Schreiber graphic novel, which thanks to the vagaries of Amazon pricing algorithms appears to become an expensive collectible in hardcover. Conservative sites are finding the book funny in unintended ways, although no one has yet to explain the replacement of its originally announced artist, Dean Motter. It’s natural to assume that there may have been issues of scheduling or style, but perhaps there just wasn’t a place for health care in Terminal City.

1 Comments on Thanks, Obamacomics!, last added: 11/20/2014
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5. Interview: John Patrick Green Marks His Solo Debut With ‘Hippopotamister’

Hippopotamister Graphic 727x1028 Interview: John Patrick Green Marks His Solo Debut With HippopotamisterBy Harper Harris

John Patrick Green is a Long Island-based comics creator, best known for his collaboration with Dave Roman, Teen Boat. In an announcement made yesterday by First Second, Green is striking out on his own with the younger audience based Hippopotamister: the story of a Hippopotamus and his friend, Red Panda, who leave their home at a run-down zoo and strike out into the real world to get jobs. One by one, thanks to Red Panda, they get fired from each new vocation. Our hero then decides to return to the zoo, and use his new-found skills to return the zoo to its former glory, but can he do it without his longtime companion?

Beyond being an exceptional draftsman, Green is also an all-around renaissance man in the comics industry, having served in editorial positions and as a publisher. In honor of the big announcement, we discussed his career in-depth and the origins of Hippopotamister and what readers can expect from this 2016 release.

Why comics? Have you been a fan your whole life? What kinds of comics did you read when you first started–superheroes, all-ages, etc.?

I have been a comics fan my whole life. I was always an artist, constantly drawing as a kid. I was a very sick child and spent a lot of time indoors.  Drawing was an activity I could do that wouldn’t cause an asthma attack or expose me to allergens. My gateway into comics were the funny pages, specifically Garfield. This was shortly before Calvin and Hobbes debuted, and that strip didn’t appear in my local paper for at least a couple years after it started. But the Garfield strips and TV specials were what got me into drawing comics, and using that 3-4 panel format to tells gags and stories. My brother, who is two years older than me, brought the first actual comic books into the house (my dad’s comic books having long been thrown out by his mom). I forget what comics he’d bring home, but I remember not being totally into them until I tagged along to the neighborhood Te-Amo store, which had a spinner rack. It wasn’t the first comic book I read, but I vividly remember the first one I bought with my own money being Marvel’s The Gargoyle #2 (in a Four-Issue Limited Series.) The cover and interior art by Bill Sienkiewicz was like no other comic I’d seen before. Soon my brother and I found an actual comic shop in our area, called The Incredible Pulp (now long-closed), and it was there that I’d get hooked on superhero comics (almost exclusively Marvel, aside from some more prominent DC fare like Dark Knight Returns and Watchmen) like X-Men and Daredevil and indie books like Nexus, Badge, Usagi Yojimbo, and Teenage Mutant Ninja Turtles. And while I never really read Spider-Man much, one of my all-time favorites was the parody version, Peter Porker, the Spectacular Spider-Ham.

When did your career in comics start? At what point did you decide that’s what you wanted to do?

My career as an artist began in, I think, 3rd or 4th grade. I had a knack for drawing on model, so I’d draw posters of cartoon characters and sell them to other students for 25 cents. My own mother accused me of tracing an image of Yogi Bear, but she apologized after holding my drawing over the reference up to the light and seeing that the sizes were different. But it was also then that she decided to tell me about copyright law and suggested I create my own comics — which I did. So by the time I was in junior high, I’d already had self-published 9 issues (plus 2 giant-sized annuals) of my own comic book called The Footsies (mostly a parody comic of other cartoons and properties, only starring these three kids who had big feet), which I’d photocopy on my grandparents’ photocopier and sell to other students. The Incredible Pulp also sold copies on commission. Even before I started selling my art, I just knew I wanted to be an artist. My grandfather first said I could work for Disney when I was probably 5. Though I did actually want to be an astronaut most of all, but my health put the kibosh on that.

How did your career begin? What path did you take? What was your number one goal when entering the comics field?

If we ignore the self-publishing as a kid, I’d say my career began in college. In high school I’d kind of given up on comics. They got too expensive (the cover price went over a dollar!) and artistically, I was focused on things like watercolor and oil paints. I went to School of Visual Arts, but I didn’t go for comics or illustration. The school’s biggest focus when I enrolled was design, and the department had a 99% hiring rate upon graduation. I felt like the real reason to go to college was to get an actual job out of it, so I majored in graphic design. But I still *liked* comics, so I’d go to the occasional local comic convention. It was at one on Long Island where I met eventual long-time collaborator Dave Roman. He and his friends were super into comics, and this was early in the days of Image. I actually had a friend who worked at Extreme Studios, so he and I hit it off and they got me back into wanting to make comics. Starting with my sophomore year I took all the comics courses I could as electives. I was a big fan of Klaus Janson’s work, so I took his class, and during the second semester the students have to illustrate a full 24-page comic. We had the choice to draw a Daredevil or Batman script, or write one ourselves. So I teamed up with Dave, and we created the series Quicken Forbidden, which I drew as my project.  When it was done we published it ourselves and distributed it through Diamond. So, just like when I was little, my path into comics was to Just Make Comics. Other than Just Making Comics, the goal was to get paid to do it. When graduation was approaching, Dave and I had already published two issues of Quicken Forbidden, so they were in my portfolio. SVA had a job fair for the design department, and as it turned out Penthouse Magazine had a rep there who said their comics-spin off was looking for an assistant art director. So I interviewed and before even graduating I had an actual paying job in comics, even if it was really just lettering porn.

Who are your biggest influences as an artist?

This is probably the hardest question for me to answer. It’s one that evolves over time. Things that influenced me when I was younger can have had a long-lasting John.Patrick.Green byEllenB.Wright Interview: John Patrick Green Marks His Solo Debut With Hippopotamistereffect, even if I don’t currently consider them to be an influence. So, to bring it back to Garfield, Jim Davis was a huge influence on me. When I was little I sent him some strips I drew and he wrote back personally, encouraging me to do more. And while I can list off all the comic artists, as well as fine artists and illustrators like Van Gogh, Renee Magritte, Norman Rockwell, who I admire, it’s really the fact that I grew up with very supportive and understanding parents and teachers who accepted that I knew, at a young age, that THIS was what I wanted to do, and they let me do it.

At what point did licensed comics become a reality for you, with Phineas and Ferb? How did that experience affect how you worked? Did it change your working style, or were there increased challenges working on a property that wasn’t your own?

Drawing Phineas and Ferb came about mostly because I’d had a long relationship with Disney. After Penthouse Comix, I became the comics assistant at Disney Adventures Magazine. Like Penthouse, it initially mostly involved lettering. The position evolved over time and eventually I was writing and coloring Disney and Pixar comics, but the only comic I drew was a gag strip called “The Last Laugh.” Fast-forward 9 years and Disney Adventures was cancelled. But Disney was still doing magazines and comics, and my former boss contacted me about drawing Phineas and Ferb. Apparently finding someone to draw in the style of the show was difficult. There are a lot of traditional animation techniques (eg, squash and stretch) that the show doesn’t really do, and translating the feel of the show into comics was proving difficult for the studio Disney normally had handle licensed comics. But it was right up my alley, and I was only doing behind the scenes freelance work for publishers here and there, so it was great to work on something that got a little bit more of the spotlight.

How did you go about developing such a variety of skills, having done font and book design? Did you aim to do those things, or did you find yourself in a surprising place with them?

I think they all sort of came about out of necessity. As a graphic design major, I’d do book designs as assignments, but that’s mostly covers and doesn’t really help when trying to lay out a comic that you have to send off to a printer. When I was at SVA everything was still done by hand, all paste-ups and mechanicals. It was at Penthouse that I learned how to color in Photoshop, letter in Illustrator, and lay out comics in Quark. During the year I was there, Dave and I continued to do Quicken Forbidden, but now instead of printing out lettering, gluing it to my art, and mailing that to Quebecor, I transitioned to all-digital. We were just using a free comic-style font for the first few issues, which was turning up in EVERY small-press/indie/self-published comic, so I just said “I’m going to figure out how to make a font based off my own lettering.” Word just got around that I knew how to lay out comic books, design fonts, and get them distributed, and I found myself helping other people who wanted to get into it.  Then when larger book publishers, who were mostly unfamiliar with comics, wanted to start their own line, I guess they heard about me.

When did editing become the direction your career took? Did Disney lead to Penthouse, or did Penthouse lead to Disney? How did those two gigs happen, and were they back to back?

Penthouse lead to Disney, and they were indeed back to back. I had known Heidi MacDonald (full disclosure, she runs The Beat) through Friends of Lulu, an organization that was devoted to encouraging more women in comics, both as readers and creators. Yeah, it was a little weird working at Penthouse Comix and being a member of this group, but you can make the biggest changes from the inside, right? Not that it mattered, because after a year there, Penthouse Comix was getting cancelled.  At the same time Heidi, who was the comics editor at Disney Adventures, was looking for a new assistant. I think maybe a month passed between when my Penthouse job ended and I started at Disney.

Did your experience working on Phineas and Ferb make the editing job on Disney Adventures Magazine easier?

While Phineas and Ferb debuted during the last year Disney Adventures was active, there actually was no overlap. But I was familiar with the property, and had worked with Steve Behling who was editing the Phineas and Ferb comics (and taken over for Heidi after she left Disney), so the whole process was easy to slip into.

How do all your past jobs (artist, font designer, etc.) inform your work as a publisher?

I do have an extremely critical eye, especially when it comes to production, lettering, and design issues. Probably to the point that it’s detrimental.

Do you find that readers often have a misunderstanding about the work that goes into the editorial role?

It’s certainly easier to point at a page and say “this person drew that” or “that person wrote this,” than it is to point out how an editor has affected the final comic you hold in your hands. But the process of making a comic is a mystery to a lot of people. I think most readers don’t understand just how collaborative creating a comic actually can be. An editor plays an important role in any book, but comics is a unique way of telling stories. So even if a person understands what an editor traditionally does, there’s an extra layer to understanding their contribution to a comic.

As a publisher, how do you go about looking for new and interesting talents for Cryptic Press? What are the works that you’ve published that you’re most proud of?

It’s been a while since Dave and I have published other creators’ works. We had grand plans of being this indy press startup, putting out this cool underground comics, like Slave Labor and other small publishers we admired. I miss those days a bit, it was a lot of fun being a ‘businessman’ in comics, not just a writer or artist. Aside from our own book, Quicken Forbidden, the most notable books we published were the first issue of Farel Dalrymple’s Pop Gun War and an issue of Aim by Miss Lasko Gross.

What are the origins of Hippopotamister? What made you want to jump into your first solo graphic novel?

I have a thing for puns and wordplay, and while I’m sure it’s an easy name to come up with, when “Hippopotamister” popped into my head I just knew there was a story there. I really enjoy collaborating on comics with another creator, but every so often I’ve got an idea in my head that takes shape on its own.  Bringing someone else in to work on it with me would just be a step backward. So like many other ideas, this one got filed under “do it myself.” Why this idea became my first solo graphic novel was really just a matter of opportunity.

What is the premise of Hippopotamister? Why a hippopotamus?

I had the title before I had the book concept, but not by much. It started with a kid at a zoo calling a hippopotamus “hippopotamister,” like the kid is mispronouncing the word. The hippo hears this, and thinks “hippopotamister” means that he’s a person, not a hippo, so he puts on a hat and leaves the zoo. And for some reason, whatever hat the hippo wears, like a fireman’s helmet, people think that’s his job. The story evolved, and it’s now very different from that original concept, but the hippo still leaves the zoo and wears lots of different job-related hats.

As a publisher yourself, what made you want to go to First Second with Hippopotamister?

I’ve known everyone at First Second since I think before there even was a First Second. My editor Calista Brill may even remember catching me using the office photocopier to make copies of Teen Boat minicomics when we were both at Disney. I’ve been a fan of their work since the beginning, and I’ve done behind the scenes work for them for years (book layout, ad designs), and I knew they were looking to do more graphic novels for younger readers. I like their approach to comics, and have wanted to do an actual book with them.  So when they responded well to my 10-second pitch for Hippopotamister, I knew it would be a good fit.

Is the intended audience for the book all-ages, younger readers, or do you hope it will entertain readers of all ages?

Hippopotamister is definitely for younger readers, but as a creator I generally want as many people as possible to find something enjoyable out of my work.

A sizable portion of your comics work has been in collaboration with fellow Comics Bakery creators like Dave Roman…was it at all scary to break out on your own, or were you more excited about the opportunity?

I can’t say it’s scary. It really doesn’t feel like I’m breaking out on my own. For all the books I’ve done with Dave, be it Quicken Forbidden or Teen Boat (or ones most people have never seen, like Melon Head or I Just Had My Lab Test), it was just him and me. We didn’t really have editors or publishers, at least not until they came along to publish collected versions. With Hippopotamister, while Dave’s not involved, I *am* working directly with an editor and publisher. Plus, there’s Gina Gagliano, who does First Second’s marketing and PR, something Dave and I didn’t really have resources for as Cryptic Press. And I’m working with an amazing colorist, Cat Caro, on Hippopotamister. So while it’s technically a solo book, I’m certainly not alone in making the book happen, and it’s probably less scary than other projects. It is still very exciting to have the chance to make this book, though, that’s for sure.

How long was the production process on this graphic novel?

You ask that as if I’m not still in the middle of it!  Hippopotamister should be in stores in 2016.

Were there any surprises or roadblocks along the way?

Not yet, knock on wood.

What’s the underlying message of Hippopotamister that you would like your readers to take away?

Don’t be afraid to try something new. You don’t have to be good at something to be able to enjoy it. And if you don’t like what you’re doing, try something else. You might even uncover some hidden talents along the way.

Is there another graphic novel in your future that fans can look forward to after reading Hippopotamister?

There is ALWAYS another graphic novel in my future!  The question is just which one do I do next.

You can find Hippopotamister at local retailers in the Spring of 2016 from First Second

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6. SelfMadeHero announces Spring 2015 line

And as the end of year lists circulate, Spring catalogs are also making 2015 all the closer. SelfMadeHero has announced their Spring 2015 line, some of which has been listed here before. In recent years, SelfMadeHero has distinguished itself for a line of graphic novels both visually stunning and emotionally compelling. This list sounds equally strong.


Sculptor Cover for blog SelfMadeHero announces Spring 2015 line

The Sculptor

Scott McCloud


This will be published in January by First Second in the US. IT’s the long–awaited return to fiction by McCloud (understand Comics) with the story of a dying young artist who discovers that getting the power to create anything he wishes isn’t all it’s cracked up to be.

BEHIND THE CURTAIN COVER for blog SelfMadeHero announces Spring 2015 line

Behind The Curtain

Andrzej Klimowski and Danusia Schejbal (The Master and Margarita, Robot).


An autobiographical tale of life in communist Poland, as artistic expression flourished amid an impoverished society.

AAMA VOL 3 COVER for blog SelfMadeHero announces Spring 2015 line

Aama Volume 3: The Desert of Mirrors

Frederik Peeters


The third volume of Peeter’s stunningly visual, complex SF tale.

PABLO COVER for blog SelfMadeHero announces Spring 2015 line


Julie Birmant and Clément Oubrerie


This biography of Picasso won the Grand Prix at France’s RTL Graphic Novel Awards. Haven’t seen the insides but it’s supposed to be gorgeous.

THE KING IN YELLOW COVER for blog SelfMadeHero announces Spring 2015 line

The Yellow King

Robert W Chambers and I.N.J. Culbard


As previously mentioned, fans of True Detective and horror should enjoy Lovecraft exert Colberd’s adaptation of this highly influential series of short stories.

Fans of I. N. J. Culbards work will be thrilled to hear about his adaptation of Robert W. Chambers’ The King in Yellow, which we publish in May. The stories that make up this classic

end of a century cover for blog SelfMadeHero announces Spring 2015 line

End of a Century: Nineties Album Reviews in Pictures

Run Wrake


A collection of Wrake’s illustrations of musicians from NME. Essential 90s nostalgia—just fire up a little Suede while you page through this.


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7. Scott Pilgrim, Volume 1

After reading and enjoying Seconds, I decided to embark on the Scott Pilgrim graphic novel series. What a zippy little book is Scott Pilgrim’s Precious Little Life. The book is in black and white and is the closest thing to a comic that I have read since I was a kid. Total fluffy, no brain required fun, which was perfect after House of Leaves.

Scott is 23 and pretty much mooching off his roommate, Wallace. Scott has loser written all over him. He is in a terrible band called Sex Bob-Omb. He is dating a seventeen-year-old high school girl named Knives Chau. And then he meets Ramona Flowers. She is so out of his league but for some reason she likes him back. But in order for Scott to truly win Ramona, he has to fight all of her seven evil ex-boyfriends. This first volume has him taking on ex-boyfriend number one.

Like I said, fluffy, comic-y fun. That’s pretty much all there is to say. Except, even though I have the drawings in front of me as I read, I can’t help but picture Michael Cera in my head, the actor who played Scott Pilgrim in the movie. I wonder if his face will still be there by the time I make it to the end of the series? I have nothing against Michael Cera, but I hope his face eventually dissolves.

It is election day here so now I am off to cast my vote.

Filed under: Books, Graphic Novels, Reviews

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8. The Gigantic Beard That Was Evil

Slip into a black and white world where order reigns supreme and all untidiness must be eradicated. Dave lives a nondescript life in Here until the day an untamable beard sprouts from his chin. Could the beard be a maleficent portal to There? Collins gently addresses the tangles of human existence in this playful graphic [...]

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9. GraphicAudio Releases Their First Graphic Novel Adaptation - Cemetery Girl, Book One

If you cannot see the media player embedded above, click here to listen to the sample track at SoundCloud.

GraphicAudio has released their first graphic novel adaptation - and it's CEMETERY GIRL Book One: The Pretenders by Charlaine Harris and Christopher Golden. Double cool! I loved the original book, and the audio sample released by the publisher (see above) immediately sets the stage for the story's location and feel. Kudos to Emlyn McFarland, who plays the main character, Calexa, and to the sound designers and producers.

Read my review of the original graphic novel.

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10. 31 Day of Halloween: I.N.J. Culbard adapting The King in Yellow

comics the king in yellow cover 31 Day of Halloween: I.N.J. Culbard adapting  The King in Yellow

English artist INJ Culbard has become the resident HP Lovecraft expert at SelfMadeHero with several of his adaptations of Lovecraft (The Case of Charles Dexter Ward, The Shadow Out of Time and The Dream-Quest of Unknown Kadath) turning into bestsellers for the Brit Literary Comics house. Well, it seems his next book is one that greatly influenced Lovecraft—and Stephen King, and Marion Zimmer Bradley, and Raymond Chandler and True Detective—namely The King in Yellow by Robert W. Chambers.  The 1895 short story collection centers around a sinister play called “The King in Yellow” and this title character, as well as Carcosa were used in Season 1 of True Detective, and gave the cult book a new life.

Now Culbard, an expert in the unsettling, will adapt the original into a 144-page GN, also called The King in Yellow 31 Day of Halloween: I.N.J. Culbard adapting  The King in Yellow and also to be published by SelfMadeHero.

Culbard revealed the book and cover in a tweet

Via Robot 6

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11. Mini-trend: Grrrl power grrraphic novels

We’ve noticed a welcome trend lately: excellent graphic novel memoirs (or fiction that feels an awful lot like) written by women about their adolescence. Here are a few to enjoy. (Thanks, Marjane Satrapi, for breaking ground with Persepolis, and to the Tamaki cousins for Skim and This One Summer! Also Katie’s girl-crush Lucy Knisley, who has a new book out — An Age of License — described by the publisher as “an Eat, Pray, Love for the alternative comics fan.”

satrapi Persepolis Mini trend: Grrrl power grrraphic novels   tamaki Skim bookcover Mini trend: Grrrl power grrraphic novels   tamaki this one summer Mini trend: Grrrl power grrraphic novels   relish Mini trend: Grrrl power grrraphic novels
eldeafo Mini trend: Grrrl power grrraphic novelsThe November/December 2014 Horn Book Magazine includes three graphic novel memoirs by women. At the age of four, in 1975, author Cece Bell contracted meningitis, leaving her severely to profoundly deaf. The wonderful El Deafo is a characterful, vivid, often amusing graphic novel memoir that recaptures the experiences of her childhood — adapting to deafness, to others’ attitudes toward it, and to the technology of the Phonic Ear, a cumbersome assistive device. At the heart of her story is an experience relevant to most children: the finding of the “True Friend,” a falling out, and a reunion. Bell combines great humor and charm (her characters are all anthropomorphic bunnies) with emotional complexity and seriousness.

telgemeier sisters Mini trend: Grrrl power grrraphic novelsFans of Raina Telgemeier’s 2010 Boston Globe-Horn Book Nonfiction Honor Book Smile will be smiling all the way through this companion book — Sisters — an often bittersweet but amusingly told story about Raina’s relationship with her younger sister, Amara. The summer before Raina starts high school, she and Amara, their younger brother, and their mom take a road trip from California to Colorado for a family reunion. As in Smile, sepia-toned pages mark the frequent flashbacks, which fill readers in on the evolution of this battle of the sisters. The story ends with a solidly believable truce between the warring siblings, who, one suspects, will continue to both annoy and support each other.

abirached Iremember Mini trend: Grrrl power grrraphic novelsI Remember Beirut by Zeina Abirached (companion to her 2012 book A Game for Swallows, is the author’s memories of the Lebanese civil war, in a loosely connected series of sobering vignettes and impressions, each beginning with the phrase “I remember.” Black-and-white geometric illustrations capture both the enormous scale of the war (with motifs of falling bombs, helicopters, and stranded cars) and its personal repercussions.

Two new ones that recently came into the office:

Tomboy by Liz Prince: “A memoir about friendship, gender, bullies, growth, punk rock, and the power of the perfect outfit” [from flap copy].

Roller Girl by Victoria Jamieson (roller derby name “Winnie the Pow”), a graphic novel (fiction) about a teen derby grrl.

Prince Tomboy Mini trend: Grrrl power grrraphic novels   jamieson victoria Mini trend: Grrrl power grrraphic novels
Have you noticed a trend? Do you have other books to recommend?

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12. Seconds

I don’t remember where I heard about Bryan O’Malley’s newest graphic novel Seconds, but I immediately put myself on the library hold queue for it. You may recognize O’Malley as the creator of the Scott Pilgrim graphic novel series or maybe you might just know that the movie Scott Pilgrim vs. the World is based on one of those novels (I learned from the movie that I should have vegan superpowers but I must be doing something wrong because I’m still waiting for them). I’ve not read the graphic novel series, have you? And if so, should I?

But back to Seconds. It is about Katie, a successful chef who runs a hip restaurant called Seconds. She is in the midst of trying to strike out on her own with a brand new restaurant but the building is in such bad shape renovations are taking forever and costing a lot of money. Katie lives in a tiny room above Seconds in order to save money. One evening, there is an accident in the kitchen and a young waitress whom Katie has been trying to make friends with is badly burned. In her room, Katie is presented with a chance to change things. A notebook appears in which she it to write what she wants to change and then eat the little mushroom that was left beside it.

Now I know what you are probably thinking about that mushroom! I thought it too. But it isn’t that sort of mushroom. What it does is erase the accident. It never happened. Katie is happy and relieved and wishes she had more mushrooms because there is so much she would change if she could. And then she discovers the mushrooms are growing beneath the floorboard of a not frequently used storage closet behind the kitchen. She helps herself to quite a few of them, a dozen. And every time something happens that she doesn’t like, she can change it. Her new restaurant, her old boyfriend, friends, she changes them all sometimes more than once. She begins to get confused about what has and hasn’t happened.

She learns from Hazel, the waitress and now her friend who burned her arms that began this whole thing, that Seconds has a house spirit. The house spirit’s name is Lis and she makes an appearance in Katie’s room demanding she give back all those mushrooms, Lis’s mushrooms. But Katie refuses. Things get bad. Really bad.

The story is good, well told. The art is good too. They combine to make an enjoyable reading experience. I liked that Katie is a successful woman and this is her story. She is not drawn as tall and gorgeous, impossibly skinny and extremely well endowed. Nope, Katie is normal. Kind of short even with sort of crazy hair. I also enjoyed mulling over all the ways “seconds” can be applied in the story. From food so good you want seconds to second chances to how a life can change in seconds.

I don’t read graphic novels very often, not because I don’t enjoy them. I think I am just very picky about them. They have to meet some kind of worthiness test that I can’t even begin to articulate. But Seconds passed the test. I’m glad it did because it’s a good read.

Filed under: Books, Graphic Novels, Reviews Tagged: Bryan O'Malley

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13. Sisters by Raina Telgemeier

When Raina was little, she begged her parents for a sister. She thought a sister would be the best thing the world.

And then she got one.

Fast forward a decade, when Raina, her siblings, and her mother take a road trip from San Francisco to Colorado for a family reunion. Headphones help Raina tune out her family's bickering and blathering. But when she blocks out the world, Raina runs the risk of missing important things happening around her. Road trips can bring out both the best and worst in people. Things along the way remind Raina of previous events, and the flashbacks add to the story, rather than distract from it, as they are woven in at just the right time for just the right duration, true flashes. Were this a TV movie or an episode of a family dramedy series, one would compliment the tight script, the comedic timing, and the heartwarming moments and memories shared. The fact that this book was inspired by Raina's real life makes it even sweeter and more poignant.

Sisters is a follow-up to Raina's fantastic graphic novel Smile, which chronicled her sixth-grade dental drama. The two books can be read independently, if you'd like - and if you like one, you'll certainly like the other. Such is the case with all of Raina's graphic novels, which showcase her knack for telling stories readers can truly relate to as well as her signature style. Fans of For Better or Worse will definitely like her character's expressive faces and her realistic storylines.

Sisters is written and illustrated by Raina Telgemeier, with lettering by John Green and color by Braden Lamb.

Related posts at Bildungsroman
Interview: Raina Telgemeier
Review: The Baby-Sitters Club graphic novels
Review: Drama by Raina Telgemeier
What Makes You Smile?

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14. In Real Life: Tour Stop

  I must admit my interest was immediately piqued when I heard about this Young Adult graphic novel that appealed to both my gamer soul and my feminist sensibilities. I was not let down! I enjoyed this graphic novel so much I thought the only flaw was its brevity. Perhaps too short to really go as in depth in characterization, or with the issues as I’d’ve liked, but still an all around solid story. I found In Real Life to be a very heartfelt and eye opening story about the intersection of gaming, feminism, economics, and labor rights.     And as such, we are so pleased to be a part of the 30 Questions with Cory Doctorow tour! Below I am privileged to present the questions and answers on our leg of the tour.   Anda gains a lot of confidence through her success with the all-girl gaming guild. What message... Read more »

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15. Thursday Review: IN REAL LIFE by Cory Doctorow and Jen Wang

Summary: There aren't many books, graphic novel or not, that can combine sweetness and seriousness in the way In Real Life does. Written by Cory Doctorow with art by Jen Wang, it's a deceptively simple story at first: the protagonist, Anda, is the... Read the rest of this post

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16. Jen Wang Aims To Give Gaming A Real World Context For ‘In Real Life’

Jen.Wang  695x1028 Jen Wang Aims To Give Gaming A Real World Context For In Real LifeBy Kyle Pinion

IN REAL LIFE, a graphic novel collaboration between journalist/author Cory Doctorow and comics creator Jen Wang, centers on a young gamer named Anda who becomes enraptured by an massively multiplayer online game (MMO) called “Coarsegold Online”. While logged-in, she makes new friends, including a gregarious fellow gamer named “Sarge” and a “gold-farmer” from China named Raymond. It’s the latter whose activities, which center on illegally collecting valuable objects in the game and selling them to other players from developed countries, begin to open up Anda’s perspectives on the concepts of right and wrong, and the power of action towards civil rights.

The book was a true eye-opener for me, as I’m not a gamer by any stretch of the imagination beyond the occasional dalliance on my console system at home. I was delighted when I received an opportunity to chat with Jen Wang about the origins of this project, its underlying themes, and how much of her own gaming experience played into the development of the narrative.

How did IN REAL LIFE (IRL) find its genesis? Did you know Cory Doctorow prior to working on this project?

Prior to IN REAL LIFE I was familiar with Cory Doctorow as a blogger and activist but I hadn’t read his fiction. ANDA’s GAME, the short story IRL is based on was actually the first piece I read. My publisher First Second sent me a link to the short and asked if I’d be interested. After reading that, it was hard to say no!

What is it about the subject matter that drew you in initially?

I like that it takes gaming, which many people see as frivolous entertainment, and gives it a real life context. The internet is inherently a social platform and it makes sense that it reflects our darker tendencies, such as exploiting people. I also like that it touches on the tension between China and the West. There’s just so much interesting material to explore and at the end of the day it’s still a simple story about two teenage gamers from different countries who become friends.

Your previous work, KOKO BE GOOD, also published through First Second, was solely written and illustrated by yourself. Do you find that there are inherent advantages in the collaborative process, and is there a method you prefer over the other? 

It’s definitely a lot easier to illustrate your own work, that’s for sure. The collaborative process is more challenging, but you also get a second point a view and a direction to work towards. Sometimes in your personal work it takes a lot of soul searching to figure out what you’re trying to say but a collaborate project allows you to bounce off other people’s ideas and that’s really refreshing.

InRealLife 2P 12 1000x670 Jen Wang Aims To Give Gaming A Real World Context For In Real Life

On the day to day work on the graphic novel, what was the working relationship between Cory and yourself? Were you in constant contact? 

During the scripting phase of the book we were sending a lot of emails. I would write a draft, send it to Cory, and he would send some notes and bounce some ideas back. We went through maybe 8 or so drafts so it took a little while to nail down the final. I was pretty much left alone at the drawing stage, however.

How much of a specific vision did Cory have in the initial “Anda’s Game” script, and how much input did you have on character design before the development of IRL? Do you feel like Anda specifically has your “stamp” on her?

I had pretty much free reign as far as design went, so that part was fairly easy. When First Second approached me to do the project they wanted me to feel comfortable writing my own take, so mostly it was me pitching ideas to Cory and him giving me notes. I do feel like I have my stamp on Anda but then again I don’t know how it wouldn’t have happened naturally. She’s a nerdy teenage shut in and having been one myself I can relate to that a lot.

The gaming details throughout are very specific, do you have a significant gaming/MMO background as a user? If not, is that an area where Cory contributed significantly?

I don’t really have a background in MMOs but I played World of Warcraft for a couple weeks prior to starting the project. That plus a combination of sandbox games I’ve played were the inspiration for Coarsegold online. I mostly tried to create a game that felt familiar and yet tailored it to things I like in games. I’m very much into customization and resource management so it was fun to add things like to the book.

How do you sense that communication has changed for Generation Y and The Millennials? Do you find that you side more with Anda or her mother in what technology brings to social interaction? 

I’m definitely on the Millennials side. I can’t imagine what my life would be like now if I didn’t have access to the internet as a teenager. I met so many other young artists online and they really motivated me to create and challenge myself. Without it, I would’ve had to seek these people out in college in person and I would’ve been a lot more lonely and isolated. There are risks to putting yourself online but there are risks to be alive in the real world as well.  The best you can do is exercise caution and be smart about your privacy in the same way you would anywhere.

Is there anything from your own experience pulled into Anda’s story, at least from a characterization standpoint?

 Do you see Anda as a role model? Was that the intention all along?

I was a lot like Anda in high school. I was a teenage hermit who spent a lot of time connecting to peers online within my community of choice. Like Anda, I found my identity online because I was able to meet other people like myself. I see Anda less as a traditional role model and more as someone readers could relate to. Like Anda, most young people now are discovering the world through the internet and it can be a difficult place to navigate.

InRealLife 2P 14 761x1028 Jen Wang Aims To Give Gaming A Real World Context For In Real Life

What drove the design of the world of Coarsegold? Any specific influences?

World of Warcraft is the main one, but I also looked at the Final Fantasy games, Skyrim, and more open world games like Animal Crossing, The Sims and Second Life.

What was the thought process on the color-design that differentiates Coarsegold from “the real world”?

I definitely wanted Coarsegold to be more bright and colorful by contrast as a reflection of Anda’s feelings toward both realities. I used different filters and colored textures so that real life was a little more tan and monochromatic while Coarsegold looked lively and exciting.

When Anda somewhat bridges the gap between the two by changing her hair color to match her avatar, what kind of sea-change does that indicate for her personally?

At that point in the story Anda has finally found purpose and confidence in her role as a Fahrenheit. Not only has she befriended Raymond and discovered this world of goldfarming, but she’s taken on the task of helping him. It’s a decision she’s been able to make for herself separate from what her peers have led her to believe, and changing her hair color is a symbol of this newfound confidence.

IN REAL LIFE defies expectations a bit in that it shifts a bit touching briefly on females in gaming (with the very succinct hand-raising scene in the classroom and some of the concerns of “Sarge”) and then moves into an area centering on economics and specifically civil rights. Do you sense a strong correlation between the two themes?

Oh, for sure. As in real life, the conflict within Coarsegold comes from who is considered an “other.” As a young girl in gaming, Anda is a minority, yet she’s in a position of power compared to Raymond who is not only a foreigner who doesn’t speak English, but also a goldfarmer. They’re able to connect as outsiders of this gaming establishment and both are fighting for the right to be themselves and be seen as equals.

I have to admit that the term “gold farming” is fairly new to me (as a non-gamer), and IRL paints a very morally grey picture around that activity, what do you feel as though readers should take from the book’s portrayal of that subject?

Gold farming was new to me too until I started researching for this book. There is a lot of grey area and it’s still evolving. What I do hope the readers takes away from IRL is the ability to keep an open mind about the people on the other side of the tracks and be empathetic to their struggles. On the surface the gold farming community appears to be taking advantage of game-makers and the “purity” of the game. On the other hand the gold farmers themselves are actually big fans who can only participate by being taken advantage of.

What inspired the creation of Raymond? Both in the look of his avatar and the character’s plight in China?

I wanted the goldfarmers to look small and vulnerable compared to everyone else.  They haven’t been able to level up their characters and they’re not customized so Raymond doesn’t look any different from his peers. I also wanted them to not look human so as to “otherize” the goldfarmers in the eyes of Anda and Lucy at the beginning of the story. For Raymond’s human backstory I took a lot of inspiration from a book I read called FACTORY GIRLS: FROM VILLAGE TO CITY IN A CHANGING CHINA by Leslie T. Chang. It paints these very compassionate portraits of young female migrant workers and the everyday victories and struggles they face.  Raymond comes from a very disadvantaged background but he’s also clever and ambitious enough to get what he wants (to play Coarsegold) with the means that he has.

Do you feel a sense of responsibility to educate as a creator publishing a book within the Young Adult literary genre? Does that affect the kinds of stories you hope to tell?

I don’t make it a point to be an educator, but I hope my stories reflect the world I’d like to see and the problems I’d like us to overcome.

If there was one-key take away or message from IN REAL LIFE that should highlighted, what would that be?

Be compassionate to others and be aware of how your role in the community may be inadvertently hurting others less privileged than you.

What’s next on the horizon for you post the release of IRL next month? Any new projects that you can share?

I have a couple new projects I can’t really talk about yet, but I’m excited to share I’m co-organizing a new comics festival in Los Angeles called Comics Arts LA. It’s a one day event that will take place on December 6th. We’ve got really great exhibitors lined up so it’s going to be fun. If any readers out there are in Southern California that weekend, I encourage you to come check it out! http://comicartsla.com

IN REAL LIFE will be available in a bookstore near you on October 14th through First Second

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Attention, residents of Blogosphere-opolis: This is no ordinary review. This is a very special blog tour review, organized by First Second, who kindly supplied me with review copies of the new superhero graphic novels created by Paul Pope: Battling... Read the rest of this post

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18. El Deafo

eldeafo El DeafoThis week, I was lucky enough to have a thirty-minute window when I could pop into my favorite independent bookstore in Los Angeles. They have a large children’s section on the second floor that I love perusing because they do an excellent job at getting new books.

On one of their displays sat El Deafo by Cece Bell. Intrigued first by the illustration of a superhero bunny and second by the title, my immediate thought was “What is this book about and who is this written for?” As if by fate, a children’s book worker looked up from her task of stocking new books and said “Oh that’s a really cute story. I highly recommend it.” I inquired about the reading level and she said it could be from fourth grade to middle school. Opening it, I was stoked to find out it was a graphic novel. Sold. It may be one of the best impulsive $20 I’ve spent of late.

I read this book in two days. It follows the author’s childhood experiences of being deaf, and specifically highlights her experiences in school. What captured me was the depiction of how people treated her and, since it’s from Cece’s point of view, how she felt. Her emotions come through strongly in the text and illustrations, and made me stop and think about how I treat people even if my intention is good. I connected with Cece’s superhero persona, “El Deafo.” Cece uses El Deafo to imagine the ideal way to handle tough situations, even if that doesn’t play out in real life (something I did as a kid too). What I really loved about this book was how the author depicted her friendships with the other kids (the good and the bad). It reminded me that children can sometimes do really mean things but that most of the time they mean well and can be really amazing friends to each other. It’s a lesson I need to carry for the school year.

Cece’s journey starts at the age of four and ends in fifth grade, so as a fifth grade teacher, I’m very excited to bring this graphic novel to my classroom. I think the students will enjoy this book and learn a lot from it. I believe that it will carry lessons of tolerance and respect for those who are hearing impaired, and prepare my students with tools (Don’t cover your mouth while someone is lip reading! Don’t assume all deaf people can sign!) to create meaningful and comfortable experiences with someone who can’t hear well.

share save 171 16 El Deafo

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19. Book Spotlight: Seconds by Bryan Lee O’Malley

I’ll be focusing on graphic novels this week. Hope you enjoy it.


The highly anticipated new standalone full-color graphic novel from Bryan Lee O’Malley, author and artist of the hugely bestselling Scott Pilgrim graphic novel series

Katie’s got it pretty good. She’s a talented young chef, she runs a successful restaurant, and she has big plans to open an even better one. Then, all at once, progress on the new location bogs down, her charming ex-boyfriend pops up, her fling with another chef goes sour, and her best waitress gets badly hurt. And just like that, Katie’s life goes from pretty good to not so much. What she needs is a second chance. Everybody deserves one, after all—but they don’t come easy. Luckily for Katie, a mysterious girl appears in the middle of the night with simple instructions for a do-it-yourself do-over:

1. Write your mistake
2. Ingest one mushroom
3. Go to sleep
4. Wake anew

And just like that, all the bad stuff never happened, and Katie is given another chance to get things right. She’s also got a dresser drawer full of magical mushrooms—and an irresistible urge to make her life not just good, but perfect. Too bad it’s against the rules. But Katie doesn’t care about the rules—and she’s about to discover the unintended consequences of the best intentions.

From the mind and pen behind the acclaimed Scott Pilgrim series comes a madcap new tale of existential angst, everyday obstacles, young love, and ancient spirits that’s sharp-witted and tenderhearted, whimsical and wise.

Hardcover: 336 pages
Publisher: Ballantine Books (July 15, 2014)
Language: English
ISBN-10: 0345529375
ISBN-13: 978-0345529374


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20. Book Spotlight: Guardians of the Galaxy by Abnett & Lanning: The Complete Collection Volume 1


With the fabric of the universe torn, all that stands between us and invading horrors is a team of cosmic misfits. Led by Star-Lord, the newly-minted Guardians of the Galaxy include a who’s who of the mightiest -and most bizarre – protectors the stars have ever seen! Rocket Raccoon, Drax the Destroyer, Groot, Gamora, Adam Warlock, Mantis, the all-new Quasar, Cosmo the telepathic space dog and more take on the universe’s most dangerous menaces…and have fun while doing it!


Series: Guardians of the Galaxy
Paperback: 296 pages
Publisher: Marvel (August 12, 2014)
Language: English
ISBN-10: 0785190643
ISBN-13: 978-0785190646


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21. Why Graphic Novels Are Awesome

Hi!A Couple (or More) of My Favorite Things: A Highly Persuasive Article by Maggie B.Furthermore, art and words cannot always represent everything their creator wants them to. As a duo, however, they are unstoppable! One can give the general idea while the other elaborates, or both words and pictures can work together to become something they couldn’t be on their own, working in tandem to give an idea as well as the meaning behind it.graphic novel;

you might fall in love with them like I did.

Maggie, Scholastic Kids Council Member

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22. Book Spotlight: Bone: Out of Boneville by Jeff Smith

boneAfter being run out of Boneville, the three Bone cousins, Fone Bone, Phoney Bone, and Smiley Bone, are separated and lost in a vast uncharted desert.

One by one, they find their way into a deep, forested valley filled with wonderful and terrifying creatures…

Humor, mystery, and adventure are spun together in this action-packed, side-splitting saga. Everyone who has ever left home for the first time only to find that the world outside is strange and overwhelming will love Bone.

Age Range: 11 and up
Grade Level: 6 and up
Paperback: 144 pages
Publisher: GRAPHIX; First Edition edition (February 1, 2005)
Language: English
ISBN-10: 0439706408
ISBN-13: 978-0439706407


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23. Book Spotlight: Rapunzel’s Revenge by Shannon and Dean Hale


Once upon a time, in a land you only think you know, lived a little girl and her mother . . . or the woman she thought was her mother.

Every day, when the little girl played in her pretty garden, she grew more curious about what lay on the other side of the garden wall . . . a rather enormous garden wall.

And every year, as she grew older, things seemed weirder and weirder, until the day she finally climbed to the top of the wall and looked over into the mines and desert beyond.

Newbery Honor-winning author Shannon Hale teams up with husband Dean Hale and brilliant artist Nathan Hale (no relation) to bring readers a swashbuckling and hilarious twist on the classic story as you’ve never seen it before. Watch as Rapunzel and her amazing hair team up with Jack (of beanstalk fame) to gallop around the wild and western landscape, changing lives, righting wrongs, and bringing joy to every soul they encounter.

Age Range: 10 – 14 years
Grade Level: 5 – 8
Paperback: 144 pages
Publisher: Bloomsbury USA Childrens; First Edition edition (August 5, 2008)
Language: English
ISBN-10: 1599902885
ISBN-13: 978-1599902883


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24. #FridayReads with Albert Whitman Staff

It’s the perfect storm! #Fridayreads and #BannedBooksWeek. You know all of us at Albert Whitman love books. Publishing them and reading them. Going forward, every #FridayReads we’re going to have one of our staffers talk about a book they’re currently reading. Today, we start off with our Director of Sales and Marketing Mike Spradlin:

I kind of chuckle to myself that ALA reports ever increasing challenges of comics and graphic novels in the last few years. Growing up, if it wasn’t for comics, I know I wouldn’t be the reader I am today. I read all of them I could get my hands on, and still do to this day. Right now I’m enjoying the Fables graphic novels by Bill Willingham, James Jean and Alex Maleev.


The story takes place in a contemporary world, where all of the characters from classic fables and fairy tales have been driven from their world, and forced to live among mankind. Many of them like Snow White and her ex-husband Prince Charming can pass as human, but many such, as the three little pigs, must keep to the shadows. All the ‘fables’ want is to unite and remove a mysterious, malevolent evil from their homelands that drove them into our world in the first place. But much like human beings, factions develop, trust issues abound and they find that even with a common enemy uniting is harder than first thought. It’s a great story, with terrific art and I highly recommend it.

Happy Friday and Happy Reading!

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25. Tomboy: a graphic memoir by Liz Prince

Tomboy: a graphic memoir by Liz Prince Zest Books. 2014 ISBN: 9781936976553 Grades 8 thru 12 The publisher sent me a copy of this book. What defines who you are? Is it how you dress or is it who you are inside? Artist Liz Prince explores these questions in graphic memoir, Tomboy. Prince shares her personal experience growing up being a girl who preferred things traditionally meant

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