PUBLISHER’S NOTE
Graphic novels have spawned a body of literary criti- the graphic novel landscape. It contains works that are FLVPVLQFHWKHLUHPHUJHQFHDVDVSHFL¿FFDWHJRU\LQWKH self-published or are from independent houses. The SXEOLVKLQJ¿HOGDWWDLQLQJDOHYHORIUHVSHFWDQGSHUPD- entries in this encyclopedic set also cover a wide range nence in academia previously held by their counterparts RISHULRGVDQGWUHQGVLQWKHPHGLXPIURPWKHLQÀXHQ- in prose. Salem Press’s Critical Survey of Graphic tial early twentieth-century woodcuts—“novels in Novels series aims to collect the preeminent graphic pictures”—of Frans Masereel to the alternative comics novels and core comics series that form today’s canon revolution of the 1980’s, spearheaded by such works for academic coursework and library collection devel- as Love and Rockets by the Hernandez brothers; from RSPHQWR൵HULQJFOHDUFRQFLVHDQGDFFHVVLEOHDQDO\VLV WKHDQWKURSRPRUSKLFKLVWRULFDO¿FWLRQRIMaus, which of not only the historic and current landscape of the in- attempted to humanize the full weight of the Holo- terdisciplinary medium and its consumption, but the caust, to the unglamorous autobiographical American wide range of genres, themes, devices, and techniques Splendor series and its celebration of the mundane; that the graphic novel medium encompasses. and from Robert Crumb’s faithful and scholarly illus- The combination of visual images and text, the em- trative interpretation of the Book of Genesis, to the phasis of art over written description, the coupling of tongue-in-cheek subversiveness of the genre mashup mature themes with the comic form—these elements Zombies vs. Robots. appeal to the graphic novel enthusiast but remain a In writing these essays, contributors worked from source of reluctance to other readers. Designed for both original sources, providing new criticism and content popular and scholarly arenas and collections, the series aimed at deconstructing both centuries-old themes and SURYLGHVXQLTXHLQVLJKWDQGDQDO\VLVLQWRWKHPRVWLQÀX- concepts as well as nontraditional genres and styles, and ential and widely read graphic novels with an emphasis portraying the graphic novel as literature. To that end, on establishing the medium as an important academic essays look beyond the popular-culture aspects of the discipline. We hope researchers and the common reader medium to show the wide range of literary devices and alike will gain a deeper understanding of these works, overarching themes and styles used to convey beliefs as the literary nature is presented in critical format by DQGFRQÀLFWV)XUWKHUPRUHFULWLFDODWWHQWLRQZDVSDLGWR OHDGLQJZULWHUVLQWKH¿HOGRIVWXG\ panel selection and relevancy, and a particular work’s Independents & Underground Classics is the second LQÀXHQFHRQWKHFUHDWRUV¶FDUHHUVRWKHUJUDSKLFQRYHOV title of the Critical Survey of Graphic Novels series, in or literature as a whole. conjunction with Heroes and Superheroes; Manga; and 7KHJUDSKLFQRYHOV¿HOGLVGH¿QHGE\WUHPHQGRXV History, Theme, and Technique. This title collects more complexity; to that end, many important works and cre- than two hundred graphic novels, the majority of which ators have been omitted. Lastly, while the series has an were published since the emergence of the underground international scope, attention has been focused on trans- comics—or comix—movement of the 1960’s. The cur- ODWHGZRUNVWKDWKDYHEHHQLQÀXHQWLDOLQWKHGHYHORS- rent volume provides detailed analyses of the major PHQWRIDVSHFL¿FJUDSKLFQRYHOWUDGLWLRQ ZRUNV WKDW KDYH GH¿QHG WKH LQGHSHQGHQW DQG XQGHU- ground graphic novel movement as it has developed 25*$1,=$7,21$1')250$7 over more than half a century, and stories have been The essays in Independents & Underground Classics compiled and dissected to provide viewpoints that are appear alphabetically and are approximately 3 to 4 easily missed during initial readings. pages in length. Each essay is heavily formatted and begins with full ready-reference top matter that in- 6&23($1'&29(5$*( cludes the primary author or authors; illustrators and This three-volume set covers over 215 well-regarded RWKHUDUWLVWVZKRFRQWULEXWHGWRWKHZRUN DQGWKH¿UVW works of the independent and underground genre, serial and book publication. This is followed by the summarizing plots and analyzing the works in terms main text, which is divided into “Publication History,” of their literary integrity and overall contribution to “Plot,” “Volumes,” “Characters,” “Artistic Style,”
xi PUBLISHER’S NOTE Critical Survey of Graphic Novels
“Themes,” and “Impact.” A list of adaptations of the major thematic point is a chronicle of the author’s per- JUDSKLFQRYHOLQWR¿OPDQGWHOHYLVLRQDUHDOVRQRWHG sonal development, or a projection of it, and how this and a user-friendly bibliography completes the essay. may resonate with readers. Cross-references direct readers to related topics, and Impact FRYHUVWKHZRUN¶VLQÀXHQFHRQWKHFUHDWRUV¶ further reading suggestions accompany all articles. careers, publishing houses, the medium of graphic Publication History presents an overview of the novels itself, and literature in general. The section also ZRUN¶VRULJLQDQGSXEOLFDWLRQFKURQRORJ\6SHFL¿FDOO\ analyzes the impact of the creation of new characters or GDWHVRI¿UVWVHULDOSXEOLFDWLRQ¿UVWERRNSXEOLFDWLRQ series. Of focus is the critical reception of the work or DQG ¿UVW WUDQVODWLRQ LQWR (QJOLVK DUH SURYLGHG 0DQ\ series and whether it was atypical for its historical pe- JUDSKLFQRYHOVZHUH¿UVWVHULDOL]HGLQFRPLFERRNIRUP riod. often as a limited series, and were later collected or re- Bibliography lists secondary print sources for further published in book format, while other graphic novels study and examination, annotated to assist readers in were conceptualized as novelistic works. In addition, evaluating focus and usefulness. GHWDLOVDERXWWKHVLJQL¿FDQWDZDUGVDQGKRQRUVZRQE\ each work are listed. $33(1',;(6$1'27+(563(&,$/ Plot provides an in-depth synopsis of the main story )($785(6 progression and other story arcs. As an aid to students, Special features help to further distinguish this refer- this section focuses on the most critically important plot ence series from other works on graphic novels. This turns in the series or work and why these were impor- includes appendixes listing major graphic novel awards tant. and a general bibliography. These resources are compli- Where applicable, Volumes orients the reader or re- PHQWHGE\DWLPHOLQHGLVFXVVLQJVLJQL¿FDQWHYHQWVDQG searcher to the accepted reading order of the work. For LQÀXHQWLDOJUDSKLFQRYHOSUHGHFHVVRUVZKLFKVSDQVWKH series, it lists individual volumes or collections, often ancient world through the Middle Ages and the Renais- FRPSULVLQJGL൵HUHQWVWRU\DUFV7KH\HDUZKHQHDFKFRO- sance to the present. Another key feature of the essays in OHFWLRQZDVSXEOLVKHGLVSURYLGHG$OVRLGHQWL¿HGDUH this publication is a biographical sidebar on an author or the issues that were collected within a volume, a syn- LOOXVWUDWRUUHODWHGWRWKHZRUNSUR¿OHG$GGLWLRQDOO\WKH RSVLVRIWKHYROXPH¶VPDLQIRFXVDQGLWVVLJQL¿FDQFH three-volume set features over 250 pictures, including within the entire collection. full-page images and panels from the actual work. Four Characters presents detailed descriptions of major indexes round out the set, illustrating the breadth of the characters in the story, beginning with the main pro- reference work’s coverage: Works by Publisher, Works tagonists and antagonists. The section discusses phys- by Author, Works by Artist, and a subject index. LFDOGHVFULSWLRQFKDUDFWHUWUDLWVDQGVLJQL¿FDQWFKDU- acteristics, the character’s relationship with others, $&.12:/('*0(176 and the primary role a character plays in advancing Many hands went into the creation of this work, and the plot of the work or series. To aid readers, descrip- 6DOHP 3UHVV LV JUDWHIXO IRU WKH H൵RUW RI DOO LQYROYHG tions include “also known as” names and monikers. This includes the original contributors of these essays, Artistic Style provides analysis of the work’s visual whose names can be found at the end of each essay and content, especially as it relates to characterization, plot, in the “Contributors List” that follows the Introduction. and mood; analysis of the illustrative use of color Special mention must be paid to Lisa Schimmer, who versus black and white; discussion of any changes in played an invaluable role in shaping some of the refer- style as the story progresses; and the use of elements ence content. Finally, we are indebted to our editors, and devices such as dialogue, captions, panels, pen- Bart Beaty, Professor of English at the University of ciling, inking, and backgrounds. Calgary, and Stephen Weiner, Director of Maynard Themes LGHQWL¿HV WKH FHQWUDO WKHPHV LQ WKH ZRUN Public Library in Maynard, Massachusetts, for their ad- how they are expressed—for example, through plot or vice in selecting works and their writing contributions. layout—and how they relate to characterization and %RWKDUHSXEOLVKHGLQWKH¿HOGRIFRPLFVDQGJUDSKLF style. It also discusses, when applicable, whether a novels studies. Beaty is the author of Fredric Wertham xii Independents & Underground Classics PUBLISHER’S NOTE
and the Critique of Mass Culture, Unpopular Culture: The Will Eisner Companion, and Using Graphic Novels Transforming the European Comic Book in the 1990s, in the Classroom7KHLUH൵RUWVLQPDNLQJWKLVUHVRXUFHD and David Cronenberg’s “A History of Violence.” comprehensive and indispensible tool for students, re- Weiner is the author or co-author of The 101 Best searchers, and general readers alike is gratefully ac- Graphic Novels, Faster Than a Speeding Bullet: The knowledged. Rise of the Graphic Novel, The Hellboy Companion,
xiii CONTRIBUTORS
.DUOH\$GQH\ Brian Chappell Lydia Ferguson ITT Technical Institute Catholic University of America Clemson University
Maaheen Ahmed Daniel Clark Theresa Fine-Pawsey Jacobs University Cedarville University Durham Technical Community College Linda Alkana Brian Cogan California State University, Long Molloy College Rachel Frier Beach Rockville, MD Terry Cole Ted Anderson LaGuardia Community College Christopher Funkhouser Golden Valley, MN (CUNY) New Jersey Institute of Technology
Stephen Aubrey Joseph Darowski Jean-Paul Gabilliet Brooklyn College Michigan State University University of Bordeaux
Bart Beaty Anita Price Davis Elizabeth Galoozis University of Calgary Converse College Bentley University
David A. Berona Joanna Davis-McElligatt Margaret Galvan Plymouth State University University of Louisiana, Lafayette CUNY Graduate Center
Adam Bessie Gail de Vos Charles Gramlich Diablo Valley College University of Alberta Xavier University of Louisiana
.\OH%LVKRS J. Andrew Deman Bettina Grassmann Southern Utah University University of Waterloo Concordia University
Arnold Blumberg Joseph Dewey Joshua Grasso University of Baltimore University of Pittsburgh East Central University
Ben Bolling Christophe Dony Diana Green University of North Carolina, University of Liège Minneapolis College of Art and Chapel Hill Design 'DPLDQ'X൵\ Bernadette Bosky University of Illinois at Robert Greenberger Olympiad Academia Urbana-Champaign )DLU¿HOG&7
Jenn Brandt Lance Eaton Marla Harris University of Rhode Island Emerson College Winchester, MA
Jacob Brogan Jack Ewing Darren Harris-Fain Cornell University Boise, ID Auburn University, Montgomery
xvii CONTRIBUTORS Critical Survey of Graphic Novels
Benjamin Harvey 0RQD.UDW]HUW Hannah Means-Shannon Mississippi State University Saddleback College Library Georgian Court University
Forrest C. Helvie 0DUWKD.XKOPDQ Marie-Jade Menni Norwalk Community College Bryant University Concordia University
.DD9RQLD+LQWRQ-RKQVRQ .DWKU\Q.XOSD Julia Meyers Old Dominion University University of Rhode Island Duquesne University
Bob Hodges Celeste Lempke P. Andrew Miller University of Mississippi University of Nebraska, Kearney Northern Kentucky University
Susan Honeyman Andrew Lesk .DUL1HHO\ University of Nebraska, Kearney University of Toronto Middle Tennessee State University
David Huxley Hector Fernandez L’Hoeste John Nizalowski Manchester Metropolitan Georgia State University Mesa State College University Anna Thompson Lohmeyer Markus Oppolzer Marcy R. Isabella University of Nebraska, Kearney University of Salzburg University of Rhode Island Bernadette Flynn Low Sam Otterbourg Patrick D. Johnson Community College of Baltimore University of North Carolina, Washington State University County, Dundalk Greensboro
Matt Jones June Madeley Shannon Oxley University of Toronto University of New Brunswick, University of Leeds Saint John Sam Julian Marco Pellitteri Mountain View, CA Bridget Marshall London Metropolitan University University of Massachusetts, &DWKHULQH.DVSHU Lowell Michael Penkas University of Texas at San Antonio Chicago, IL Michelle Martinez 6XVDQ.LUWOH\ Sam Houston State University .DWKDULQH3RODN University of Massachusetts, University of Cincinnati Lowell Greg Matthews Washington State University Barbara Postema 6HDQ.OHHIHOG Libraries Ryerson University Liberty Township, OH Bob Matuozzi Lyndsey Raney 7KRPDV.QRZOWRQ Washington State University Texas A&M University, College Mid-Manhattan Library Station Roxanne McDonald )UHGHULN%\UQ.RKOHUW Wilmot, NH Matt Reingold University of Montreal York University
xviii Independents & Underground Classics CONTRIBUTORS
Debora J. Richey .DWKHULQH6DQJHU Roger Stilling California State University, Dickinson, TX Appalachian State University Fullerton Cord Scott 5\DQ6WU\൵HOHU Dore Ripley Loyola University Chicago Western Nevada College Diablo Valley College David Serchay Shaun Vigil Dorothy Dodge Robbins Broward County Library System Harvard University Louisiana Tech University Richard Shivener Shawncey Webb Scott Robins Northern Kentucky University Taylor University Toronto Public Library David Sims Janet Weber Eddie Robson Pennsylvania College of Tech- Tigard Public Library Lancaster, UK nology Stephen Weiner Lawrence Howard Rodman .DOHUYR6LQHUYR Maynard Public Library Washington, D.C. Montreal, Quebec Britt White Theresa N. Rojas Shannon Skelton University at Buffalo (SUNY) Ohio State University University of Wisconsin, Madison Snow Wildsmith Joseph Romito Cristine Soliz Mooresville, NC University of Pennsylvania Fort Valley State University Joseph Willis Derek Royal Adam Spry Southern Utah University Philip Roth Studies Columbia University Wayne Wise Lara Saguisag Eric Sterling Chatham University Rutgers University, Camden Auburn University, Montgomery Frederick Wright Wayne Allen Sallee Benjamin Stevens Ursuline College Burbank, IL Bard College
xix ADVENTURES OF TINTIN, THE
$XWKRU Hergé $UWLVW Hergé (illustrator) 3XEOLVKHU Casterman (French); Little, Brown (English) )LUVW VHULDO SXEOLFDWLRQ Les Aventures de Tintin, )LUVWERRNSXEOLFDWLRQ (QJOLVKWUDQVOD- Hergé (George Remi)’s signature. (By Hergé SD Chéreau, tion, 1958-1991) via Wikimedia Commons)
3XEOLFDWLRQ+LVWRU\ Belgian comics writer Hergé, born Georges Prosper imagery and rework racially insensitive depictions of Remi, created Tintin in 1929 for Le Petit Vingtième non-European races. (The Little Twentieth), the children’s supplement of When Hergé died in 1983, he was one of the world’s Le Vingtième Siècle (The Twentieth Century), a right- PRVW UHYHUHG DQG LQÀXHQWLDO FDUWRRQLVWV ,Q D wing Catholic newspaper. At the suggestion of Father century after Hergé’s birth, an estimated 200 million Norbert Wallez, the newspaper’s managing editor, copies of Tintin books had sold worldwide. 7LQWLQ¶V¿UVWDVVLJQPHQWZDVWRH[SRVHWKHKRUURUVRI Soviet Russia; thus, Tintin in the Land of the Soviets 3ORW SUHPLHUHG¿UVWDVDEODFNDQGZKLWHVWULSLQLe Petit The Adventures of Tintin relates the adventures of Vingtième and next in a newspaper-funded book format. Tintin, a young Belgian reporter who journeys across Le Petit Vingtième would run Tintin until 1940, but in the planet with his dog Snowy, untangling plots and 1934, beginning with Cigars of the Pharaoh, Belgian conspiracies. Though the series’ characters and events publisher Casterman took over the book versions and DUH¿FWLRQDOWKH\DUHRIWHQEDVHGRQUHDOSODFHVDQG would print all Tintin books thereafter. In 1935, while events. working on The Blue Lotus, Hergé assumed full artistic ,Q+HUJp¶V¿UVWERRNTintin in the Land of the So- control of the series. viets, Tintin heads for Russia to expose the harsh When Germany invaded Belgium in 1940 and Le conditions behind the Communist Party’s upbeat pro- Petit Vingtième ceased publication, Hergé found a paganda. Next, Tintin’s newspaper sends him to the home for Tintin in Le Soir, a Nazi-backed Belgium Belgian Congo, where he foils American mobster Al daily. In 1942, Casterman began publishing new Tintin Capone’s scheme to control the diamond trade. Tintin volumes in color and republishing color versions of all then travels to the United States, where he encounters the black-and-white volumes. American Indians and takes out Chicago’s notorious After Belgium was liberated in 1944, writers who gangsters. had collaborated with the Nazis were banned from In Cigars of the Pharaoh, Hergé introduces detec- publishing, and this included Hergé, who was halfway tives Thomson and Thompson, who, believing Tintin through writing The Seven Crystal Balls. Two years is a drug kingpin, pursue him across south-central Asia. later, this ban was lifted from Hergé, and he began Le After a series of wild exploits across Egypt and the Journal de Tintin (Tintin Magazine). Le Journal de Red Sea basin, including a brush with notorious gun- Tintin and Casterman would continue publishing the runner Captain Allan, Tintin lands in India, where he series right through the last Tintin adventure, Tintin learns of the drug-smuggling organization responsible and the PicarosLQ 'XULQJWKLVWLPHPDQ\YRO- for his travails. In The Blue Lotus, Tintin travels on umes underwent extensive revisions to update their to China and goes up against the corrupt head of the Japanese occupational authority, Mr. Mitsuhirato, who
9 A DVENTURES OF TINTIN, THE Critical Survey of Graphic Novels is in league with Roberto Rastapopoulos, the drug- its members succumb to an Incan curse. Soon after, smugglers’ ringleader. Calculus is kidnapped and taken to Peru, and Tintin After returning home, Tintin learns of a mystery in- and Haddock rush to his rescue. After a dangerous trek volving a stolen South American idol and journeys to DFURVVWKH3HUXYLDQ$QGHVWKHZRXOGEHUHVFXHUV¿QG 6DQ7KHRGRURVD¿FWLRQDO/DWLQ$PHULFDQFRXQWU\LQ themselves prisoners of an Incan tribe that survived search of it. There, Tintin serendipitously becomes a Spanish colonization unchanged. Only the timely ar- colonel in the regiment of General Alcazar. ULYDORIDQHFOLSVHVDYHVWKHWULRIURPEHLQJVDFUL¿FHG In The Black Island, Thomson and Thompson ac- and Tintin convinces the Incan priests to lift the curse cuse Tintin of another crime he did not commit, and from the expedition members. KH LV RQFH DJDLQ IRUFHG WR ÀHH7LQWLQ UHDFKHV 6FRW- Meanwhile, Europe is plunged into crisis when pe- land and ends up on the Black Island, a hiding place troleum starts to explode mysteriously. Tintin subse- for international counterfeiters led by the evil Doctor quently travels to Arabia, where he discovers that the Müller. After having the counterfeiters arrested, Tintin nefarious Doctor Müller is tainting oil wells with an LV OXUHG WR 6\OGDYLD D ¿FWLRQDO HDVWHUQ (XURSHDQ explosive chemical. country. Soon after, foreign agents steal the scepter of Back in Marlinspike, Calculus sends Tintin and Ottokar, without which the Syldavian king cannot rule. Haddock a telegram that leads them to Syldavia, After meeting renowned Milanese opera diva Bianca where they help build a spaceship that takes them to &DVWD¿RUH7LQWLQ UHWXUQV WKH VFHSWHU WKHUHE\ IRLOLQJ the moon. Plagued by treachery and sabotage, the team an elaborate conspiracy to bring down the Syldavian barely makes it back to Earth alive. government and allow a takeover by neighboring Bor- In The Calculus Affair, nearly deaf scientist Cal- GXULDDQRWKHU¿FWLRQDOODQG culus develops a weapon using sound as a destructive The Crab with the Golden Claws introduces Captain force, and the Syldavians and Bordurians take turns Haddock, who is so drunk that he is unaware that his kidnapping him to learn its secrets. Tintin and Haddock FDUJRKROGLV¿OOHGZLWK&DSWDLQ$OODQ¶VRSLXP7LQWLQ put an end to these schemes by rescuing Calculus. and Haddock escape the ship in a lifeboat, and after Tintin and Haddock then travel to Arabia to help many adventures on the high seas and in the desert, WKHLUIULHQG(PLU%HQ.DOLVK(]DEZKRKDVEHHQGH- they capture Allan’s entire gang. posed in a coup. This, they discover, is merely a cover In The Shooting Star, a meteorite with mysterious IRU D ÀRXULVKLQJ VODYH WUDGH LQYROYLQJ WKHLU QHPHVLV powers falls into the Arctic Ocean, and Tintin joins the Rastapopoulos. (XURSHDQH[SHGLWLRQUDFLQJWR¿QGLW Next, Tintin learns that his old friend Chang was The two-part adventure of The Secret of the Uni- aboard an airliner that crashed in the Himalayas and corn and Red Rackham’s Treasure follows. Tintin sets out to rescue him. With Chang safe, Tintin returns buys Haddock a model replica of the ship his ancestor to Marlinspike Hall, where he solves the case of Casta- Sir Francis Haddock lost to the pirate Red Rackham, ¿RUH¶VVWROHQHPHUDOG whose treasure sank. Tintin and Haddock set sail to re- In Flight 714, Rastapopoulos and Allan kidnap trieve the treasure, bringing a stowaway, the hearing- Tintin and his multimillionaire traveling companion impaired inventor Cuthbert Calculus. They unsuccess- while they are on vacation. fully attempt to use Calculus’s shark-shaped submarine In his last adventure, Tintin and the Picaros, Tintin in their treasure hunt. Heading home, they buy Marlin- helps General Alcazar reclaim the presidency of San VSLNH+DOOZKHUHWKH\¿QGWKHWUHDVXUHKDGODLQKLGGHQ Theodoros from General Tapioca and saves the impris- all along. RQHG &DVWD¿RUH DQG7KRPSVRQ DQG7KRPSVRQ IURP Next, an expedition to the Incan ruins of Peru and execution. Bolivia triumphantly returns to Europe, but one by one,
10 Independents & Underground Classics A DVENTURES OF TINTIN, THE
9ROXPHV him in dangerous and complex situations, which Tintin au pays des Soviets (1930; Tintin in the he overcomes with ingenuity and bravery. Land of the Soviets, 1989). Snowy, a.k.a. Milou, a white fox terrier, is Tintin’s Tintin au Congo (1931; Tintin in the Congo, constant companion and can talk to his master. 1991). Thompson and Thompson, a.k.a. Dupont and Tintin en Amérique (1932; Tintin in America, Dupond, are a pair of blundering detectives who dress in matching black suits and bowler hats and Les Cigares du pharaon (1934; The Cigars of the have equally bushy moustaches. Often jumping Pharaoh to hasty conclusions, they initially suspect Tintin Le Lotus bleu (1936; The Blue Lotus, 1983). of being a nefarious criminal but eventually trust L’Oreille cassée The Broken Ear Tintin and team up with him. L’Île noire (1938; The Black Island, 1966). Roberto Rastapopoulos, the series’ chief villain, Le Sceptre d’Ottokar (1939; King Ottokar’s DSSHDUVLQ¿YHDGYHQWXUHVEHJLQQLQJZLWKTintin Sceptre, 1958). in America. This bald, large-nosed, monocle- Le Crabe aux pinces d’or (1941; The Crab with wearing, cigar-smoking schemer uses his cover the Golden Claws, 1958). DV D ¿OP W\FRRQ WR RSHUDWH LQWHUQDWLRQDO FULPH L’Étoile mystérieuse (1942; The Shooting Star, rings, involving drug running, slave trading, and 1961). kidnapping. Le Secret de la licorne (1943; The Secret of the Chang Chong-Chen is a young Chinese boy with Unicorn, 1959). dark, parted hair. After Tintin saves him from Le Trésor de Rackham le Rouge (1944; Red drowning, he helps Tintin bring down the opium Rackham’s Treasure, 1959). gang in The Blue Lotus. Tintin rescues him later Les Sept Boules de cristal (1948; The Seven in Tintin in Tibet. Crystal Balls, 1963). General Alcazar is a Latin American with a Le Temple du soleil (1949; Prisoners of the Sun, strong chin, small mustache, and long nose who 1962). ¿UVWDSSHDUVDVSUHVLGHQWRI6DQ7KHRGRURV7HP- Tintin au pays de l’or noir (1950; Land of Black peramental and headstrong, he leads a rebellion Gold against his rival, General Tapioca. Objectif Lune (1953; Destination Moon, 1959). Doctor J. W. Müller, another of Tintin’s nem- On a marché sur la lune (1954; Explorers on the eses, has an oval face, bald head, and thick black Moon, 1959). beard. He heads the counterfeiting racket in The L’Affaire Tournesol (1956; The Calculus Affair, Black IslandDQGOHDGVWKHH൵RUWWRVDERWDJHWKH 1960). world’s oil supply in Land of Black Gold. Coke en stock (1958; The Red Sea Sharks, 1960). %LDQFD&DVWD¿RUH, an opera singer with a beak- Tintin au Tibet (1960; Tintin in Tibet, 1962). like nose, a prominent chin, and curly blond hair, /HV%LMRX[GHOD&DVWD¿RUH (1963; 7KH&DVWD¿RUH ¿UVWDSSHDUVRQD6\OGDYLDQVLQJLQJWRXULQKing Emerald, 1963). Ottokar’s Sceptre and reappears in many of Tin- Vol 714 pour Sydney (1968; Flight 714, 1968). tin’s adventures thereafter. Tintin restores her lost Tintin et les Picaros Tintin and the Pic- emerald in 7KH&DVWD¿RUH(PHUDOG. aros Captain Haddock is a middle-aged ship’s captain ZLWKDIXOOEODFNEHDUGDQGVFUX൵\EODFNKDLUZKR &KDUDFWHUV sports a blue turtleneck, black pants, and a black Tintin, the protagonist, is a blond-haired teen- sailor’s cap. Stubborn, headstrong, and alcoholic, DJHGUHSRUWHUZLWKDFKDUDFWHULVWLFTXL൵+LVLQ- KHLVGHHSO\IDLWKIXOWR7LQWLQ+H¿UVWDSSHDUVLQ quisitiveness and concern for humanity entangle
11 A DVENTURES OF TINTIN, THE Critical Survey of Graphic Novels
The Crab with the Golden Claws and becomes 6WXGLRVLQ %\ +HUJp6WXGLRVKDG¿IWHHQ Tintin’s constant companion. members, who together made Tintin an internationally Cuthbert Calculus, a.k.a. Tryphon Tournesol, is popular graphic series. short, bespectacled man with tufts of curly hair on a bald head and goatee. A brilliant but sensi- 7KHPHV tive inventor, he mishears most statements be- In the beginning, Hergé presented a fundamentally cause he is partially deaf. After helping Tintin orderly world threatened by forces of corruption and Haddock in Red Rackham’s Treasure, he DQGFKDRVLQZKLFKWKURXJKWKHH൵RUWVRIEUDYHUH- joins them at Marlinspike. sourceful, and compassionate heroes like Tintin, the chaos is diminished and good triumphs over evil. $UWLVWLF6W\OH However, as the twentieth century’s geopolitical Hergé developed a distinct graphic style called “clear situation evolved, Hergé’s sense of what constituted OLQH´ZKLFKIHDWXUHVVKDUSO\GH¿QHGOLQHVDODFNRI order and chaos and good and evil changed. shadows, and classical concepts of proportion and From 1929 to 1940, during Tintin’s run in Le perspective. Every panel possesses a remarkable level Petit Vingtième, managing editor Wallez controlled of detail precisely copied from original sources. Also, WKHFRQWHQWRIWKHHDUOLHVWVWULSV7KXVWKH¿UVWIRXU +HUJp DPRQJ WKH ¿UVW (XURSHDQ FDUWRRQLVWV WR XVH volumes present strict Catholic, right-wing values. speech balloons, made them perfect rectangles with Tintin in the Land of the Soviets is a blistering critique neat, draftsman-quality lettering. When color entered of Russian communism; Tintin in the Congo is an Hergé’s art in 1942, he used it to deepen his clear-line unapologetic paean to European colonization of Af- style, utilizing bright primary colors and light pastels to rica; Tintin in America exposes the United States as create an orderly, familiar world. a materialist nation steeped in sin, greed, and racism; Tintin’s realism also derived from Hergé’s meticu- and Cigars of the Pharaoh condemns the illegal drug ORXV UHVHDUFK +H NHSW DQ H[WHQVLYH ¿OH RI FOLSSLQJV trade. and photographs to be used in Tintin’s adventures. When Hergé took artistic control of the comic with :KHQ KLV ¿OHV GLG QRW \LHOG WKH ULJKW LPDJH +HUJp The Blue Lotus, the story’s focus shifted. He chose Tin- ZRXOGSHUXVHQHDUE\OLEUDULHVWR¿QGWKHQHFHVVDU\YL- WLQ¶VGHVWLQDWLRQIRUWKH¿UVWWLPHDQGFRQGXFWHGWKHH[- sual texts or visit museums to sketch objects for a par- haustive research that became the series’ hallmark. For ticular panel. this volume, he relied a great deal on close friend and In The Calculus Affair, Hergé’s clear line reached art student Chang Chong-Chen, who became the basis its apex. Many panels in earlier volumes have solid for Tintin’s dear companion in the series and helped re- color backdrops or simple walls with minimal embel- GH¿QHWKHIRUFHVRIHYLO7LQWLQFRQIURQWV7KHVHIRUFHV lishment. By The Calculus Affair, both the foreground were no longer solely the opponents of Catholicism but and background of nearly every panel are brimming LQFOXGHGWKHPRUHGH¿QHGSROLWLFDOWKUHDWRIWKH-DSD- with detail. By this time, Hergé was also stretching nese occupation in China. This represented Hergé’s the boundaries of his meticulous layout. For example, ¿UVWRSHQFULWLTXHRIIDVFLVPDWKHPHKHWRRNXSDJDLQ Explorers on the Moon uses many nearly full-page or in The Black Island and King Ottokar’s Sceptre. page-length horizontal panels to express the vastness Under Nazi occupation, Hergé avoided antifascist of space, and The Red Sea Sharks borders on the sur- themes, and Tintin became more of a pure adventure real when a diver’s thoughts appear in the bubbles from series, with the only restoration of order coming from his diving mask. Tintin’s friends gaining their just rewards. After the In 1942, Hergé hired assistants, Alice Devos and war, Tintin made its only foray into the paranormal Edgar P. Jacobs, leading to the formation of Hergé
12 Independents & Underground Classics A DVENTURES OF TINTIN, THE with the The Seven Crystal Balls and Prisoners of the by Hergé’s clear-line approach include Blake and Mor- Sun. timer, Alix, Hassan et Kaddour, Cori le Moussaillon, Starting with Land of Black Gold in 1950, Hergé’s Gaspard de la Nuit, and Ray Banana. work directly tackled Cold War tensions, often pre- Tintin¶VLQÀXHQFHJRHVZHOOEH\RQGFRPLFV1RYHO- VHQWLQJHDFKVLGHRIWKHFRQÀLFWDVPLUURULQJWKHGDUN- ists Frederic Tuten and Françoise Sagan have written QHVVRIWKHRWKHU7KLVLVEHVWH[HPSOL¿HGLQThe Cal- novels based on Tintin. Philosopher Michel Serres, culus Affair, wherein both Syldavia, representing the anthropologist Claude Lévi-Strauss, and literary critic West, and Borduria, representing the East, try to ac- Jean-Marie Apostolidès have examined Tintin as a sig- quire Calculus’s secret sonic weapon. QL¿HU RI WZHQWLHWKFHQWXU\ (XURSHDQ FXOWXUH )UHQFK For a time, Hergé again left the political arena with president Charles de Gaulle once called Tintin his only the straightforward rescue story of Tintin in Tibet, the international rival, and the fourteenth Dalai Lama pre- comic mystery of 7KH &DVWD¿RUH (PHUDOG, and the sented Tintin with the Truth of Light Award. return of Tintin’s longtime nemesis Rastapopoulos in Flight 714+RZHYHULQ7LQWLQ¶V¿QDODGYHQWXUH+HUJp )LOPV returns to a political theme but with an uncharacteristi- The Broken Ear'LUHFWHGE\.DUHO9DQ0LOOHJKDPDQG cally cynical twist. In this adventure, Tintin helps Gen- Anne-Marie Ullmann. Belvision, 1956. This semi- eral Alcazar retake the presidency of San Theodoros, DQLPDWHG¿OPZDVWKH¿UVW7LQWLQPRYLHWRGHEXWRQ ZKLFK XOWLPDWHO\ PDNHV QR GL൵HUHQFH WR WKH QDWLRQ Belgian television. The nation’s dire poverty remains unchanged, and the The Crab with the Golden Claws. Directed by Wilfried police have simply switched from the fascist style uni- %RXFKHU\DQG&OH.HHUEHUJHQ0DOLQHV%HOJ:LO- forms of Augusto Pinochet’s Chile to the socialist garb IULHG%RXFKHU\HW&LH 7KLVDQLPDWHG¿OPDG- of Fidel Castro’s Cuba. Nevertheless, the series’ over- aptation used marionettes and featured the voices of arching theme remains: Although villains in the world A. Charles and R. Chrus. will enslave the weak, steal from the righteous, and dis- Destination Moon. Directed by Yvan Szücs. Belvision, rupt the natural order, there are brave, tireless heroes 7KLV IXOOOHQJWK IHDWXUH ¿OP ZDV PDGH IRU like Tintin to help restore world order. French and Belgian television. King Ottokar’s Sceptre 'LUHFWHG E\ .DUHO 9DQ 0LO- ,PSDFW legham and Anne-Marie Ullmann. Belvision, 1956. When Tintin appeared in Belgium in 1929, the strip 7KLV¿OPZDVWKHVHFRQGVHPLDQLPDWHG7LQWLQPRYLH was an immediate success. The charming illustrations, to debut on Belgian television. sense of adventure, assertion of traditional values, Tintin and the Blue Oranges. Directed by Philippe and appealing characters made the series a national Condroyer. Alliance de Production, 1964. This live- triumph. Then, as the book editions began to appear DFWLRQ¿OPVWDUULQJ-HDQ3LHUUH7DOERWDV7LQWLQDQG in 1930, Tintin’s fame spread to France. After World Jean Bouise as Captain Haddock follows an original War II, Tintin¶VIDPHDQGLQÀXHQFHH[SORGHG(GLWLRQV plot rather than any published Tintin books. began appearing across Europe and the world and be- Tintin and the Golden Fleece. Directed by Jean-Jacques came wildly successful in every major market except 9LHUQH$OOLDQFHGH3URGXFWLRQ 7KLVOLYH¿OP the United States. An entire genre of adventure comics adaptation starring Jean-Pierre Talbot as Tintin and emerged in the late 1940’s directly from Tintin and Her- Georges Wilson as Captain Haddock followed an gé’s clear-line technique. Among these were Bob et Bo- original script rather than any published Tintin sto- bette (known as Willy and Wanda in the United States), ULHV+HUJpIHOWWKLV¿OPDQGTintin and the Blue Or- Félix, Guy Lefranc, and Les Quatre As. Later French anges failed to capture the spirit of Tintin, and he and Belgian comics (les bandes dessinées LQÀXHQFHG
13 A DVENTURES OF TINTIN, THE Critical Survey of Graphic Novels
refused to place his name on the Casterman publica- )XUWKHU5HDGLQJ tions they inspired. Goscinny, René, and Albert Uderzo. Asterix Tintin and the Lake of Sharks. Directed by Raymond /HEODQF%HOYLVLRQDQG'DUJDXG)LOPV 7KLV Jacobs, Edgar P., and Bob de Moor. Blake and Mor- DQLPDWHG¿OPVWDUULQJ-DFTXHV&DUHXLODVWKHYRLFH timer (1946- ). of Tintin and Claude Bertrand as Haddock is not Vandersteen, Willy. Bob and Bobette (1945- ). based on any Hergé volumes. Tintin and the Temple of the Sun. Directed by Eddie %LEOLRJUDSK\ Lateste. Belvision, 1969. This animated adaptation Apostolidès, Jean-Marie. The Metamorphosis of Tintin, featured the voices of Philippe Ogouz as Tintin and or, Tintin for Adults. Translated by Jocelyn Hoy. Claude Bertrand as Haddock. Based on The Seven Stanford, Calif.: Stanford University Press, 2010. Crystal Balls and Prisoners of the SunWKLV¿OPFRQ- Assouline, Pierre. Hergé: The Man Who Created Tintin. denses the narrative and invents several new char- Translated by Charles Ruas. New York: Oxford Uni- acters. Though Hergé worked on this adaptation, he versity Press, 2009. was disappointed with it. McCarthy, Tom. Tintin and the Secret of Literature. London: Granta Books, 2006. 7HOHYLVLRQ6HULHV Screech, Matthew. “Constructing the Franco-Belgian Hergé’s Adventures of Tintin. Directed by Ray Goos- Hero: Hergé’s Aventures de Tintin.” In Masters sens. Télé Hachette and Belvision, 1958-1962. of the Ninth Art: Bandes Dessinées and Franco- This series starred Georges Poujouly as the voice Belgian Identity. Liverpool, England: Liverpool of Tintin and Jean Clarieux as Haddock. Plots were University Press, 2005. sometimes drastically changed; Hergé disavowed Skilling, Pierre. “The Good Government According to the series. Tintin: Long Live Old Europe?” In Comics as Phi- The New Adventures of Tintin. Directed by Stephen losophyHGLWHGE\-H൵0F/DXJKOLQ-DFNVRQ 8QL- Bernasconi. Ellipse and Nelvana, 1991-1992. This versity Press of Mississippi, 2005. series starring Colin O’Meara as the voice of Tintin and David Fox as Haddock in the English version 6HHDOVR Asterix; A.D.: New Orleans After the Deluge generally follows Hergé’s original adventures but GL൵HUVLQWKHLURUGHU John Nizalowski
14 AGE OF BRONZE: THE STORY OF THE TROJAN WAR
$XWKRU Shanower, Eric $UWLVW Eric Shanower (illustrator) 3XEOLVKHU Image Comics )LUVWVHULDOSXEOLFDWLRQ 1998- )LUVWERRNSXEOLFDWLRQ 2001-
3XEOLFDWLRQ+LVWRU\ Age of Bronze is published serially as a black-and- white comic book by Image Comics and has been collected in hardcover and trade paperback formats. Serial publication began in November, 1998. Two special issues—Age of Bronze: Special (1999), which tells the story of the house of Atreus, and Age of Bronze: Behind the Scenes (2002)—have also been published. Publication of collected volumes began in July, 2001; creator Eric Shanower plans to release a total of seven volumes. The comic has been trans- lated into French, Italian, Spanish, Polish, Croatian, and Indonesian. 6KDQRZHUZDV¿UVWLQVSLUHGWRXVHWKHFRPLFVPH- dium to retell the Trojan War in 1991 after listening to an audio version of Barbara W. Tuchman’s book The March of Folly: From Troy to Vietnam (1985); Tuch- man’s second chapter covers the Trojan War, focusing on the episode of the Trojan horse. Shanower’s idea was to synthesize every version Autograph session with Eric Shanower at Fnac Saint-Lazare KH FRXOG ¿QG RI WKH 7URMDQ :DU VWRU\ 7KXV KLV UH- (Paris, France). (By Georges Seguin, via Wikimedia Com- search includes versions of the Trojan War in litera- mons) ture, including ancient and more recent poetry; music, including opera, and the visual arts; architectural and actions leading up to and threaded through the war. The other archaeological remains from the Bronze Age general story is well known: The Greek armies, having Mediterranean area; and classical scholarship. He de- DVVHPEOHGDVVXFKIRUWKH¿UVWWLPHVDLOWRDQGEHVLHJH cided to have the characters speak “plain, unadorned the city of Troy in order to reverse or avenge the ab- English” in order to communicate more clearly what duction of Helen, rightful wife of the Greek Menelaus, he sees as the fascinating interpersonal aspects of the by Paris, prince of Troy. Part of Age of Bronze’s appeal story. is Shanower’s depiction of these familiar events in ex- quisitely researched and drafted detail. The interest in 3ORW the comic is also generated by its focus on interper- Out of all of the versions, scholarly investigations, and sonal relations and actions. These human actions, and artistic interpretations of the Trojan War, Shanower’s their underlying psychological motivations, are espe- tells not only the general story of the war but also the cially important in light of Shanower’s decision to set stories of the political and especially interpersonal his version of the story in a vision of the late Bronze
15 A GE OF BRONZE: THE STORY OF THE TROJAN WAR Critical Survey of Graphic Novels
Age Mediterranean that aims at great historical accu- racy; he purposely excludes the Greek gods and god- (ULF6KDQRZHU desses as characters. Breaking into the comics industry shortly after The increasing military action, which is the story’s JUDGXDWLQJ IURP 7KH .XEHUW 6FKRRO (ULF 6KD- most general plot, is enriched by many subplots. These nower made his reputation in the 1980’s and intersecting plots may be conveniently broken down by 1990’s for his work on the Oz graphic novels, volume. A Thousand Ships, whose title draws on per- EDVHG RQ WKH ZRUN RI / )UDQN %DXP7KH ¿YH graphic novels, published by First Comics and haps the most famous line from Christopher Marlowe’s Dark Horse Comics, were notable for sophisti- Doctor Faustus (1604), focuses on Paris’s discovery of cated visuals that drew heavily on an aesthetic his identity as a Trojan prince, his abduction of Helen, derived from classic children’s books. Shanower WKH*UHHNV¶GLVFRYHU\RIKHUDEGXFWLRQDQGWKHGL൶- is deeply connected to Baum’s creation, having FXOWDVVHPEO\RIWKHLUDUPLHVDQGÀHHW written an Oz novel (The Giant Garden of Oz) $JHRI%URQ]H 6DFUL¿FHIRFXVHVRQWKH*UHHNÀHHW¶V and a collection of short stories (The Salt Sor- GHOD\VDQGGL൶FXOWLHVLQVHWWLQJVDLOIRU7UR\$ORQJ cerer of Oz), as well as collaborating on other Oz ¿QDO VFHQH PRUH WKDQ RQHTXDUWHU RI WKH YROXPH projects. In 1991 he began telling the story of the shows the Greeks delayed by heavy winds. So that 7URMDQ:DUDVDJUDSKLFQRYHOUHOHDVLQJWKH¿UVW WKH\PD\VHWVDLO$JDPHPQRQDV+LJK.LQJRIWKH of a proposed seven volumes of Age of Bronze. In $FKDHDQVPXVWIXO¿OODSURSKHF\E\.DOFKDVSULHVW the three volumes that have been released to date, RIWKH'HOSKLFRUDFOHE\VDFUL¿FLQJKLVRZQGDXJKWHU Shanower depicts Troy’s absent gods and mytho- ORJLFDO¿JXUHVEULQJLQJDQHZOHYHORIUHDOLVPWR Iphigenia; this plot draws freely on ancient versions of the mythological story. Shanower’s clean lines $JDPHPQRQ¶V FRQÀLFW ZLWK KLV ZLIH DQG ,SKLJHQLD¶V and careful compositions have made him a greatly PRWKHU.O\WHPQHVWUD respected comics illustrator. 7KH¿QDOVFHQHFXOPLQDWHVLQ,SKLJHQLDTXLHWO\DQG propitiously giving herself up. Subplots include the deepening involvement of Odysseus, king of Ithaka relationships between certain pairs and groups of char- and great speaker and strategist, with the Greeks’ prep- acters. In that battle, Achilles and Hektor meet, and the DUDWLRQV SUHGLFWLRQVE\WKH7URMDQSURSKHW.DVVDQGUD Trojans are forced to retreat into the fortress. Relation- that Troy is doomed as well as Priam’s attempt to bol- ships continue to develop, now distinctly shadowed ster Troy’s defenses; and a deepening love between by the war: For example, the wedding of Hektor and Achilles and Patroklus that eclipses Achilles’ relation- $QGURPDFKHLVLQWHUUXSWHGE\.DVVDQGUD¶VFULHVVLJ- ship with Deidamia. nifying the arrival of the Greek armies; Helen is made Age of Bronze: Betrayal depicts the stepwise ad- to leave Troy so as to bear her second child away from YDQFHRIWKH*UHHNÀHHWDFURVVWKH$HJHDQIRFXVLQJ WKH¿JKWLQJ DQG&UHVVLGDGDXJKWHURI.DOFKDVPDU- on landfall, battle, and celebratory feast on the island ULHV7URLOXVD\RXQJSULQFHRI7UR\RQO\WR¿QGKHUVHOI of Tenedos. Inspired by Achilles’ martial valor and involved in an exchange of prisoners of war engineered courage, the Greeks are successful in battle against the by her father. Forthcoming issues may be expected to LVODQGHUV+RZHYHUGXULQJDFHOHEUDWRU\VDFUL¿FHRQH continue telling the general story of the war while fo- Greek, Philoktetes, is bitten by the snake of the altar; cusing on interpersonal relationships complicated by his incessant cries so disturb his fellows that Odysseus the war as well as on scenes made famous in various is compelled to leave him on an island. This plot draws other versions. heavily on Sophocles’ tragedy 3KLORNWƝWƝV (409 ൻർൾ). )LYH LVVXHV RI WKH FRPLF ERRN KDYH EHHQ 9ROXPHV published serially but not collected into a volume. Age of Bronze: A Thousand Ships (2001). Col- 7KHSULPDU\SORWSRLQWRIWKHVHLVVXHVLVWKH¿UVWEDWWOH lects issues 1-9. A central theme is the fraught re- EHWZHHQWKH*UHHNVDQGWKH7URMDQVDQGLWVH൵HFWVRQ lationship between individual desire and social,
16 Independents & Underground Classics A GE OF BRONZE: THE STORY OF THE TROJAN WAR
political, or otherwise collective duty; a related a long life of peaceful obscurity or immortal theme is the uneven distribution of power in a fame as the result of a life cut short in battle. society, with no necessary correlation between Headstrong, proud, and the Achaeans’ greatest access to power and virtuous action or wisdom. warrior, he faces Hektor in single combat. Age of Bronze: 6DFUL¿FH (2004). Collects issues Odysseus, king of Ithaka, is reluctant to join the 10-19. A main theme is the human cost of war, *UHHNÀHHW+HVHUYHVDVLWVJUHDWHVWVWUDWHJLFDQG as even seemingly incidental and unwarlike in- tactical advisor because of his good-natured cun- dividuals are caught up and irrevocably changed ning and convincing rhetoric. by the burgeoning war machine; a related theme Kassandra is the daughter of Priam. Her pro- LVKRZKXPDQDFWLRQLVD൵HFWHGDQGVRPHWLPHV SKHWLFDELOLWLHVFRQ¿QHKHUWRWKHSDODFHDQGGLV- limited by tradition. FRP¿WKHUIDPLO\DQGFLW\ VKHVHUYHVDVDYRLFH Age of Bronze: Betrayal, Part One &RO- of foreboding and represents a missed opportu- lects issues 20-26. A main theme is the “global” nity for peace. H൵HFWVRIDVHHPLQJO\YHU\³ORFDO´FRQÀLFWDVWKH Iphigenia is the daughter of Agamemnon and war between Greeks (the Achaeans) and the city- PXVWEHVDFUL¿FHGVRWKDWKHPD\IXO¿OOKLVREOL- VWDWHRI7UR\D൵HFWVQRWRQO\WKHLUSROLWLFDODQG gation to the gods and, thus, guarantee the Greek military allies but peaceful trading partners and ÀHHWDVDIHGHSDUWXUHIRU7UR\ other third parties. $UWLVWLF6W\OH &KDUDFWHUV Shanower is responsible for all of the series’ art, in- Paris, the Trojan prince (son of Hektor), is of cluding covers for issues and collected volumes. Color noble build and features but is inexperienced in is reserved for covers, while interiors are entirely politics and battle. His rash abduction of Helen black and white. The style may be generally described precipitates the war. as highly realistic, even “photorealistic.” Characters, Helen is the wife of Menelaus and later the wife actions, and settings are almost all depicted at that of Paris. She is captivatingly beautiful and full same level of highest realism. Little space is given to of self-interest, seeming not to understand the VXSHUÀXRXV IDQWDVWLFDO LPDJHU\ ZKLFK LV OLPLWHG WR gravity of the situation or her role in it. depicting things like characters’ memories and some Agamemnon is great king of the Achaeans who dreams or fantasies, as well as some mythological DVVHPEOHVWKH*UHHNÀHHWDQGVWUXJJOHVWRPDLQ- stories. Even less use is made of the sorts of imagery tain control and morale over the years of prepara- that may be considered traditional or conventional tion, journey, and battle. to comics or cartoons, although Shanower does use Menelaus is the brother of Agamemnon and Hel- some traditional devices, including motion lines, ono- HQ¶V¿UVWKXVEDQG+HLVHDJHUIRUEDWWOHRQKHU PDWRSRHLDDQGGL൵HUHQWWKLFNQHVVRIOLQHLQIRQWVIRU behalf and for his own wounded pride. speech at various volumes and emotional pitches. Priam is the king of the Trojans and father to More particularly, the style is clean and uncluttered. many princes and princesses. He is appropriately Shanower reports that his favorite artist is John R. Neill, regal in his dealings on behalf of the city, alter- who illustrated more than forty books set in the Land of nately solicitous and uncompromising. Oz. Through Neill’s work, a connection may be made to Hektor is Priam’s son and the greatest warrior of Winsor McCay (Little Nemo in Slumberland HV- Troy. He faces Achilles in single combat. SHFLDOO\LQWHUPVRISUR¿FLHQWGUDIWVPDQVKLS6KDQRZHU Achilles, son of Thetis and Peleus, is destined is indeed an expert draftsman, meticulously realizing from an early age to a tragic choice between either
A GE OF BRONZE: THE STORY OF THE TROJAN WAR Critical Survey of Graphic Novels buildings and household goods; chariots and ships; land- IUHHZLOOLVD൵HFWHGQRWRQO\E\ODUJHUIRUFHVEXWDOVRE\ scape, including natural features and plants; and even their own personalities and changing moods. animals. Another central theme is a person’s capacity to The series’ high realism has remained consistent change. This realistic and modern psychological view over the years of publication. Within the framework of distinguishes Shanower’s version of the story from that consistent realism, Shanower achieves great dyna- those of antiquity, in which characters are subject to mism in visual narrative. The dynamic range is great, emotional forces operating from the outside, including from visually simple depictions involving few lines in the form of actions performed by the gods. (an emotionally revealing close-up on a character’s face, for example) to much busier depictions involving ,PSDFW many shapes as if in motion (a visually chaotic battle Age of Bronze is an ongoing publication; as a result, scene, for example). Because of Shanower’s clarity any impact is only beginning and, thus, hard to gauge. of line, even the busiest scenes are not confused but, $WWKHWLPHRILWV¿UVWSXEOLFDWLRQLWZDVDUHPDUNDEOH rather, depict confusion. departure for Image Comics in content, style, and tone. 7KHVHULHVLVJLYHQQDUUDWLYHHEEDQGÀRZWKURXJK More generally, it may be considered alongside a trend such devices as careful selection of scenes, deliberate in comics to adapt classic or otherwise well-known pacing, and framing of “shots,” including paneling that works of literature; it is unclear whether the success of varies according to the needs of the narrated moment. Age of Bronze has helped to spur an ongoing revival of Some readers have found the pacing relatively slow; LQWHUHVWLQWKDWWUHQG,VVXHRIWKHRULJLQDO86UXQRI there is a lot of speech, but there is no narration within Classics Illustrated DGDSWHGWKH,OLDG F the story, only in front and back matter. ൻർൾ; English translation, 1611). Age of Bronze may also be related to an upswing of interest in Greek 7KHPHV DQG5RPDQFODVVLFVLQWKHFRPLFV¿HOGZKLFKEHJDQ Perhaps the central theme of Age of Bronze is the with Frank Miller’s 300 (1998). fraught relationship between individual desire and Age of Bronze has been received positively, not collective duty. Similar to the ancient Greek epics only by the comics industry and by the press but also and tragedies that inspired the comics, Shanower ex- in the more specialized market consisting of students plores how the smallest human actions and interper- and teachers of the classics. Attention paid to Age of sonal relations are related to the large-scale events in Bronze by classicists encourages a consideration of human history, especially military action. Shanower the comic as part of “classical reception,” less as in- distinguishes his version of the story by focusing not ÀXHQFLQJRWKHUZRUNVWKDQDVLWVHOISDUWRIDEURDGHU on a single hero but rather on many characters. Given popular-culture trend toward the adaptation of clas- that shifting focus, the status of any one character as sical material into various media and genres. From this a story’s “hero” or protagonist becomes problematic. perspective, Age of Bronze may be considered along- $FHQWUDOH൵HFWRI6KDQRZHU¶VZLGHIRFXVRQVRPDQ\ side adaptations of the classics not only into comics characters, then, is to make ironic the importance ac- but also into motion pictures, such as Troy (2004) and corded by tradition to any single character or even set Alexander (2004), and into television, such as Rome of characters. In this way, the comic emphasizes that all DQGSpartacus (2010- ). FKDUDFWHUVDUHQRWPHUHO\IXO¿OOLQJSXEOLFUROHVEXWDUH Benjamin Stevens people with inner lives. $OWKRXJK PDQ\ FKDUDFWHUV DUH PDGH WR VX൵HU XQ- )XUWKHU5HDGLQJ willingly as a result of decisions made by traditional Baum, L. Frank, and Eric Shanower. Adventures in Oz heroes, all the characters are depicted as being in full (2006). possession of their capacities to think and to act. Their .DQWHU$OEHUWClassics Illustrated 2WRPR.DWVXKLURAkira (1982-1990).
18 Independents & Underground Classics A GE OF BRONZE: THE STORY OF THE TROJAN WAR
Willingham, Bill, et al. Fables (2002- ). Sulprizio, Chiara. “Eros Conquers All: Sex and Love in Eric Shanower’s Age of Bronze.” In Classics and %LEOLRJUDSK\ ComicsHGLWHGE\*HRUJH.RYDFVDQG&:0DU- .DQWHU $OEHUW Classics Illustrated. New York: Gil- shall. New York: Oxford University Press, 2011. EHUWRQ Shanower, Eric. “Twenty-First Century Troy.” In Clas- 6HHDOVR The Cartoon History of the Universe; Maus: sics and ComicsHGLWHGE\*HRUJH.RYDFVDQG& A Survivor’s Tale; 300 W. Marshall. New York: Oxford University Press, 2011.
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