ISSUE #15 • WINTER 2014
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he winter months are upon us - a time for bundling up, sitting by the fire, enjoying a warm beverage, and reading comics.
To help educators and librarians find the best graphic novel selections for the colder months, Diamond BookShelf presents our Recommended Reading List for Winter 2014. Arranged by age rating, these lists feature top titles scheduled for release from December 2013 to February 2014 that will help readers fend off the chill and enjoy the time indoors. Visit www.DiamondBookShelf.com/ RecommendedReads for our complete Winter 2014 list.
Diamond BookShelf provides our Recommended Reads list quarterly. To see our picks for Spring, Summer, and Fall, visit www.DiamondBookShelf.com/RecommendedReads
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Welcome to Bookshelf T he G raphic N ov el R esource for Educators and Librarians Graphic Novels have a lot to offer as literature, educational tools, entertainment and more! Whether you are a teacher or reading specialist seeking to incorporate graphic novels into the classroom; or a librarian or media specialist looking to add graphic novels to your collection, our mission with the Diamond BookShelf is to provide you with comprehensive information on the latest graphic novel news, reviews and events.
On Our Cover Manga Bookshelf editor Melinda Beasi explores the rewards and difficulties of manga in CBLDF Presents Manga: Introduction, Challenges, and Best Practices from Dark Horse Comics and the Comic Book Legal Defense Fund Read the interview with Beasi on page 12
TABLE OF CONTENTS
FEATURES 18
27
Special Features
Mangapedia........................................................................15 BookShelf provides a look at manga resources, publishers, and top titles
Innocence At War................................................................18 An interview with Peter Panzerfaust writer Kurtis Wiebe
Lessons of the Wild..............................................................21 An interview with Calico Horses and the Patchwork Trail author Lorraine Turner
The Long Road to Freedom............................................... 22 An interview with March creators Rep. John Lewis, Andrew Aydin, and Nate Powell
Dark and Fantastic.............................................................. 27 A preview of Dynamite Entertainment’s Grimm Volume 1
Educators
Graphic Novels and the Common Core................................ 8 Ellen Myrick, creator of the Diamond Graphic Novel Common Core List, demonstrates how titles can be used in classroom lessons
Katie’s Korner..................................................................... 30 Prof. Katie Monnin reviews Skullkickers Vol. 1 and Adventure Time Vol. 1, with suggestions for how they can be used in the classroom
Librarians
HOW TO USE THIS PUBLICATION The BookShelf magazine was created as a compliment to Diamond’s BookShelf website. With this publication, you’ll find articles designed to introduce you to the world of graphic novels and help you learn how to integrate them into your classroom or library. You’ll also find reviews, core lists, reference recommendations and special extras to help you get started. If you want to know what comics and graphic novels are and how or why to use them, or if you are already familiar with graphic novels and are looking for a great resource to improve your collection… Read on!
Understanding Manga.........................................................12 An interview with Melinda Beasi, editor of CBLDF Presents Manga
DEPARTMENTS Graphic Novels 101............................................................... 5 News and Notes...................................................................10 Reviews............................................................................... 32 Core Lists............................................................................ 34 Resources............................................................................ 37
Editor: Mark Banaszak Contributing Writers: Katie Monnin, Caitlin Plovnick Designer: Belinda Miller Special Thanks to: Cindy Anderson, Roger Fletcher, Steve Geppi, Allan Greenberg, Kuo-Yu Liang, Dan Manser, Tom Sadowski PRINTED IN CANADA
© 2013 Diamond Comic Distributors, Inc. All rights reserved. Diamond, the Diamond logo, Diamond Books logo, Diamond BookShelf logo and diamondbookshelf.com are either registered trademarks or trademarks of Diamond Comic Distributors in the United States and/or other countries. All other trademarks are the property of their respective copyright owners.
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Graphic Novels 101 What A re Graphic No vels and Comics? GRAPHIC NOVEL can be used to denote both the content and the format of a book. When speaking of content, a graphic novel is a long, self-contained story depicted as a pictorial narrative, often taking the form of a comic book. In terms of format, however, the words “graphic novel” can be used to describe any pictorial narrative that looks like a book, whether it is a self-contained story, a chapter in a longer serial, an anthology of different work or a non-fiction text depicted in comic book form. A COMIC BOOK is the traditional periodical form most people are familiar with. A comic book can stand on its own or be part of a SERIES. A series is also sometimes called a “title,” which refers to the entire series, not a single discrete unit.
DON’T BE. Before taking the plunge and using comic books in your instruction, you may be hesitant about the appropriateness of the content of the comic. Some misperceptions of the comic book medium are that it is rife with graphic depictions of sex, nudity, or worse. But while there certainly are titles that meet that description, it is impossible to pigeonhole the diverse landscape of comics into a single slot. As with any form of literature, comics and graphic novels run the gamut from kid-friendly to adult and represent every kind of genre imaginable. Also like other forms of literature and entertainment, not every comic book or graphic novel may be suitable to your classroom. Remember, the comic book is a format, not a genre. It is just another unique medium used to tell a story.
Sometimes multiple issues of a series are collected into one volume. It can be hardcover or softcover. Softcover editions are often called TRADE PAPERBACKS or just TRADES, regardless of size. A smaller size paperback (the typical size for manga collections) can also be referred to as a DIGEST.
Yes: some comics may contain objectionable language, graphic depictions of violence, or sexual content. However, this is also the case when talking about prose novels, films, television programs, computer games, etc. Your students are most likely already exposed to such thing on television, in the music they listen to, and in the video games they play.
When a story is published in the hardcover or softcover format first (that is, without periodical serialization), it is referred to as a GRAPHIC NOVEL and only a graphic novel. Many of these terms are interchangeable, as you can see. A “graphic novel” can refer to a hardcover or softcover, to a reprint collection or an original story. Similarly, all of the formats referenced can be called “comics” or “comic books.” GRAPHICA and SEQUENTIAL ART are both terms frequently used in the academic community to describe all of these formats.
www.DiamondBookShelf.com
provides more great introductory information about graphic novels and comics, including: • What is Manga? • A Brief History of Comics • A Brief History of the Graphic Novel • A History of Comics in Education • A Glossary of Frequently Used Terms And more! Find us on Facebook at www.Facebook.com/DiamondBookShelf and Twitter at www.Twitter.com/DiaBookShelf
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CONCERNED ABOUT COMICS?
“But that doesn’t mean they should be exposed to such things in my classroom,” you may reply. And we agree with you wholeheartedly. Any comic found objectionable should be excluded from your classroom or school library. We ask only that you realize that not all comics — or even the majority of comics, for that matter — should be so excluded. Obviously, when choosing a particular title, some discretion will be involved. But for every objectionable or offensive title in the market, there are many, many more that are not only appropriate, but also critically acclaimed and respected works of art. Even as conservative an organization as the Parents Television Council has endorsed comic books in schools, commenting that they “may be the best thing to happen for kids who resist the written word.”* Your community standards and mores will prevail, as they should: Be sure to investigate a new comic book or graphic novel with the same vigor and critical eye you would apply to any addition to your classroom. Depending on the class and/or lesson you are teaching, a comic’s suitability can vary; preview the graphic novel’s content before assigning it to your students. Taking a few simple steps to educate yourself will prepare you for the concerns of others and alleviate your own as well! * Gustafson, Rod. “Help for Reluctant Readers” (06/29/04)
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Graphic Novels 101
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Starting a graphic novel collection Deciding to include comic books and graphic novels in your collection is the first step into a larger world. Now, you must decide what to do once you’re there. Here are some basic steps on your path to using graphic novels in your collection:
1. Determine Needs
First, you need to ascertain what books you would like to incorporate into your collection. Perhaps you have one or two graphic novels already, or you may be deciding to carry these books for the first time. You’ll need to decide which books would be appropriate for your community of readers, which books they’re hankering for, and which books would delight and surprise them.
2. Find An Expert
You don’t have to possess an encyclopedic knowledge of comics and graphic novels to successfully integrate them into your library’s offerings. There are people out there who can advise you on what books are valuable. For instance, you almost certainly already have readers in your library community with an understanding and love of graphic novels. You can also reach out to the independent comic book retailers in your area who are armed with detailed information about this area of reading they have a vested interest in supporting. (See “How to Order Comics & Graphic Novels” at the back of this publication for information on how to find and work with your local comic book store.) And, of course, you can also feel free to contact those of us at the Diamond BookShelf!
3. Purchase Graphic Novels
Once you have consulted with your readers, experts in the field, and any others who can offer insight, you’ll be ready with a list of titles of graphic novels to acquire for your library.
4. Decide How To Catalog/ Where To Shelve
Now you need to decide where to put them! Diamond provides information on cataloging to make integrating graphic novels into your collection easier. You can find these tools at www.DiamondBookShelf.com. In terms of shelving you have a number of options. See “How to Catalogue Comics” for a comprehensive look at cataloging and shelving options and resources.
5. Promote Your Graphic Novels
You could have the finest graphic novel collection in history, but if no one knows about, it won’t matter. The success of your collection relies on a certain level of promotion. If you don’t get the word out, no one will know the books are there. Start including the news about your graphic novels into your existing newsletters, pamphlets, and other promotional materials. Put up easy-to-read signs at the entrances to your library so that nobody who enters will fail to know about the new additions. Add the news to your e-mail correspondence. Contact your local media and encourage them to do a story about your library’s efforts to expand and enhance readership through this vital art form. Stage contests, offer giveaways, and plan fun events. Coordinate promotions with your local comic book retailer.
6. Evaluate Success/ Circulation Data
After a certain period of time, you’re going to want to crunch the numbers. Measuring the graphic novel circulation at your library indicates the extent to which your readers are using this new library resource and will help you evaluate the success of the program. It will There is no national standard when it comes to the also point you in appropriateness or selection of graphic novels. Therefore, the best the right direction titles to include can vary from library to library. It is vital — once as to which titles and series to snap you’ve decided on a particular book — to read through the book up in the future!
yourself. What might pass muster in some communities may not pass muster in yours. This website and the various resources listed throughout are your best starting points if you are approaching comics from a starter’s perspective.
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THREE CATEGORIES TO KEEP IN MIND:
7. Poll Patrons
Never forget to meet the needs of your readership. Consulting the experts and embarking on your own research into which titles to carry is a necessary element of this program, but asking your patrons what they want is also crucial. Poll your patrons to find out what other titles they’d like to add to the collection. The flourishing graphic novel collection at a library will greatly depend on the actual requests of the readers being served.
8. Make Graphic Novels a Regular Part of Your Ordering Cycle
Once you’ve talked to your readers and assessed your circulation data to see how successful the addition of comic books and graphic novels has been, you’ll want to keep the ball rolling. An established graphic novel program in your library needs to be sustained, and making graphic novels a regular part of your ordering cycle will ensure the vibrancy of your collection. Including these titles in your regular decisions on what books to carry will help make them a significant and popular segment of your library.
1. BESTSELLERS Lists of bestselling graphic novels can be obtained each month from w w w. D i a m o n d B o o k S h e l f . c o m . Additionally, resources such as the New York Times’ weekly Graphic Books Bestseller List and BookScan: www.bookscan.com
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similar information for the highest selling graphic novels in the bookstore market.
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REMEMBER:
As with any collection development, there is a period of experimentation during which you will learn which titles will circulate and which will not. You cannot judge the effectiveness of a graphic novel collection with a handful of titles, any more than you would do so with a handful of DVDs or audiobooks. If there’s no room in your budget to make a large initial purchase, start small and evaluate regularly. Add titles as you can, polling your patrons, reading review sources, and keeping diversity in mind. As time goes on, you will find the right combination for your readership and community.
literary publications that review graphic novels, including Publishers Weekly, Library Journal, School Library Journal, Booklist, VOYA and others. See pages 26-27 for a selection of recent reviews.
3. MEDIA TIE-INS Titles that tie in to hit movies, games, novels and TV shows are sure to appeal to fans of the same. Many Manga titles are also TV cartoons, and many blockbuster movies are adapted from comic books. The BookShelf newsletter stays
Soon, you’ll come to realize that comic books and graphic novels are an engaging and vibrant form of literature, and the promotional possibilities for your library are endless!
current with the latest media tie-ins and adaptations.
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Graphic Novels And The Common Core B y E llen Myric k
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llen Myrick - President of Myrick Marketing & Media and creator of the Diamond Book Distributors Graphic Novel Common Core List - offers instructional examples of how three titles from the Diamond Graphic Novel Common Core List can be used to fit into the new standards.
“The Common Core State Standards for English Language Arts & Literacy in History/Social Studies, Science, and Technical Subjects are the culmination of an extended, broad-based effort to fulfill the charge issued by the states to create the next generation of K–12 standards in order to help ensure that all students are college and career ready in literacy no later than the end of high school.” --Common Core State Standards Initiative (corestandards.org/ ELA-literacy) The Common Core State Standards were created to facilitate learning through a variety of vehicles with an understanding that there is no prescription for good teaching but rather a need to include a variety of approaches to meet the needs of a variety of students for shared literacy. Graphic novels can be a key component of differentiated teaching because of the importance of the interplay between text
and image. Visual learners can access information that informs and provides context for the text. Reluctant readers engage with the narrative through the images and then are motivated to read the text. English language learners find context for the text within the pictures that can jumpstart a satisfying reading experience. Autistic students broaden their ability to read visual clues when given the common support of both dialog and image. One of the cornerstones of the Common Core is providing access through a variety of text styles. Graphic novels complement traditional fiction narratives, primary source documents, poetry, audio, and more, adding another layer of nuance and perspective. Let’s look at two different graphic novels that each provide dramatic access points to particularly dramatic points in American history. In Crogan’s Loyalty by Chris Schweizer,two brothers find themselves on opposing sides during the American Revolution. When paired with novels like My Brother Sam Is Dead and Johnny Tremain along with the wealth of primary source materials, the student is given multiple points of entry to a very real dilemma faced by colonists on the verge of revolution. Chris Schweizer’s years of teaching in the classroom are put to use as he sets up debates about tyranny and loyalty. Even though the pictures are black and white, the subject is filled with gray areas
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diamondbookshelf.com Graphic Novels included in this article: Eastman, Charles Alexander, et. al. Native American Graphic Classics. 2013. Mount Horeb: Eureka Lewis, John et. al. March: Book One. 2013. Atlanta: Top Shelf Productions. Poe, Edgar Allan. Edgar Allan Poe Graphic Classics. 2006. Mount Horeb, WI: Eureka Schweizer, Chris. Crogan’s Loyalty. 2012. Portland, OR: Oni Press. Diamond Book Distributors’ Dynamic Graphic Novels for the Common Core: http://www.diamondbookdistributors.com/ commoncore Diamond Book Distributors’ Graphic Novels for the Common Core Pinterest Boards: http://pinterest.com/diamondbooks/ graphic-novels-for-the-common-core-elementary/ http://pinterest.com/diamondbooks/ graphic-novels-for-the-common-core-middle-grade/ http://pinterest.com/diamondbooks/ graphic-novels-for-the-common-core-high-school/ Further Reading:
for teachers and students to explore. One of the standards most applicable to Crogan’s Loyalty is CCSS.ELA-Literacy.RL.9-10.3: Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme. The brothers’ experiences and interchanges are rich fodder for conversations about motivation and points of view. In March: Book One, Rep. John Lewis has teamed with one of the stars of the graphic novel world, Eisner-award winner Nate Powell along with Andrew Aydin. The fact that this autobiography is in graphic novel form is a testament to the power of the format: John Lewis notes that a comic book, Martin Luther King and the Montgomery Story was used by Jim Lawson and others to spread the word about the movement and teach the philosophy of nonviolence when he was a young man just beginning the journey. March can be an important component of an exploration into the Civil Rights Movement by providing an opportunity for shared literacy. March, as many other nonfiction graphic novels, can be used to support many of the English Language Arts Standards in History/Social Studies including text analysis to determine points of view and how structure shapes meaning. March also supports a number of English Language Arts standards that address point of view, character development and motivation, structure as well as comparing and contrasting with other books on the same topic. A comprehensive teacher’s guide to March is available at topshelfcomix.com. Graphic novel versions of established classics can play a key role in supporting the standards including CCSS.ELA-Literacy.
Monnin, K. “Getting to Know Graphic Novels” and “Aligning Graphic Novels to the Common Core Standards.” Knowledge Quest , Volume 41, Jan/Feb 2013. http://www.ala.org/aasl/aaslpubsandjournals/ knowledgequest/archive/v41no3 Gavigan, K. Sequentially Smart: “Using Graphic Novels Across the Common Core Curriculum,” Teacher Librarian, June 2012 http://www.teacherlibrarian.com/2012/07/10/ june-2012/
RL.6.9: Compare and contrast texts in different forms or genres (e.g., stories and poems; historical novels and fantasy stories) in terms of their approaches to similar themes and topics. Eureka’s Graphic Classics series presents full-color, beautifully rendered faithful adaptations of everything from Mark Twain and Edgar Allan Poe to African-American and Native American classics. The next time you are teaching “The Fall of the House of Usher,” consider making Matt Howarth’s take on the Poe tale part of your lesson plan. Native American Classics can be a unit unto itself since it provides legends and folklore, history, contemporary stories and poetry, all graphically presented in a way that especially speaks to the seventh standard for grades five and above: CCSS.ELA-Literacy.RL.5.7 Analyze how visual and multimedia elements contribute to the meaning, tone, or beauty of a text (e.g., graphic novel, multimedia presentation of fiction, folktale, myth, poem). Diamond Book Distributors has created a dynamic list of graphic novels for the Common Core organized by grade levels and including correlations. Graphic novels build visual literacy skills, and provide opportunities for transformational teaching by meeting students where they are and building their confidence while guiding them into deeper connections with content.
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News and Notes New Comics For The New Year
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number of new projects were announced at last fall’s New York Comic Con, and here are some of the larger series to look out for in 2014: George Romero – whose 1968 film Night of the Living Dead is widely considered the progenitor of the modern zombie story – will pen a 15 issue miniseries for Marvel Comics beginning in January. Titled Empire of the Dead, the series takes place in a zombie-overrun New York City, and features a new enemy for humanity – vampires. Marvel will also re-publish the eagerlysought and long out-of-print series Miracleman, beginning in January. Originally published in the late 1980s and early 1990s, Miracleman offered a darker, more sophisticated take on the British superhero Marvelman, a close Captain Marvel/Shazam analog. The series, originally written by Alan Moore and later Neil Gaiman, was one of the early revisionist takes on the superhero myth and fans have been hoping for years that it would see print again. After re-printing the initial 24-issue run of the comic book (in a re-mastered and re-lettered presentation), Marvel will publish new issues written by Neil Gaiman, finishing the story he began in the book but which was cut short when the original publisher went out of business.
Dark Horse Comics will revive Joss Whedon’s Firefly in a new miniseries, Serenity: Leaves on the Wind, starting in January. Written by Zack Whedon – who wrote the fan-acclaimed Serenity: Shepherd’s Tale – the six-issue story continues the canon established in the tv series, film, and comics.
Dark Horse and Dynamite Entertainment have teamed up for two crossover series: Grendel/The Shadow by Matt Wagner, which brings the creator’s signature anti-hero into the sights of the classic pulp hero, and Conan/Red Sonja, bringing Robert E. Howard’s creations together again, written by Brian Wood (Star Wars, DMZ) and Gail Simone (Batgirl, Secret Six). DC Comics is launching a weekly Batman series beginning in spring. Batman: Eternal – which will run through 2014, the Caped Crusader’s 75th anniversary – will feature a revolving set of creators and will focus on the whole of Gotham City. Along with the current creative teams, the series will feature guest contributors, including The Dark Knight Returns creator Frank Miller.
Comic Book Movies Coming in 2014 Here’s a look at the biggest films based on comic books scheduled for 2014:
300: Rise of an Empire – March 7
Captain America: The Winter Soldier – April 4
Guardians of the Galaxy – August 1
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The Amazing SpiderMan 2 – May 2
Teenage Mutant Ninja Turtles – August 18
X-Men: Days of Future Past – May 23
Sin City: A Dame to Kill For – August 22
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10 REASONS
WHY COMICS AND GRAPHIC NOVELS Promote Literacy
1.
They bring a whole new group of readers into the library.
2.
There’s no dearth of material that appeals to boys, and there’s a growing body of material that appeals to girls too.
3.
They engage the reluctant reader — and appeal to gifted readers, too.
4.
They help increase kids’ vocabulary — studies show, even more than movies, television, or adult books!
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They are a multi-modal form of communication (meaning is communicated through visual context, not just words), similar to spoken language, and are thus a great bridge to written language.
6.
Visual literacy is increasingly important in 21st century society.
7.
They stimulate the imagination and model visualization for readers.
8.
They offer dynamic and high-interest supplementary material for a wide range of disciplines -- not just English but also history, civics, science, art, geography, and more.
9.
They appeal to boys’ kinesthenic and visual tendencies, and help girls strengthen theirs.
10.
They create a gateway to literature!
Comics and Literacy: A Powerful Team-Up! “The presence of comics in a junior high school library resulted in a dramatic 82% increase in library traffic and a 30% increase in circulation of non-comic books.” - Dorrell & Carroll School Library Journal
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understanding Manga:
Editor Melinda BEasi Discusses CBLDF Presents Manga B y Mark B anasz ak
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ark Horse Comics have joined with the Comic Book Legal Defense Fund in releasing the new guide CBLDF Presents Manga: Introduction, Challenges and Best Practices ($15.99, 978-1-61655-278-7), a handbook designed to provide libraries, booksellers and fans with a concise and informed overview of manga—its history, genres, and challenges.
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While manga has become an established part of the comics world (and libraries’ graphic novel sections), it is still the subject of suspicion, challenges, and more. The most notable incident was the recent “Brandon X” case, in which an American citizen who faced criminal charges after Canadian customs officials searched his laptop and found what they deemed obscene manga images. A full summary of the case is available from the CBLDF, who greatly aided in the defense, at this link: http://ow.ly/p81oK Edited by Manga Bookshelf editor Melinda Beasi, CBLDF Presents Manga features contributions from a number of manga scholars, critics, and creators, including School Library Journal’s Robin Brenner and Katherine Dacey, Vertical Inc. Marketing Director Ed Chavez, and Viz editor and Otaku USA contributor Shaenon Garrity. BookShelf spoke with Beasi about the book, issues present in the current manga scene, and the effect of the Brandon X case on manga fandom. t BookShelf: How did you come to work on this book?
Melinda Beasi: Early last year, I received an email from my colleague and friend Erica Friedman. In it, she said that Charles Brownstein had approached her about managing a “Manga 101” book project for the CBLDF and that, though it wasn’t something she was available to take on, she’d recommended me. I’d only met Charles once, and very briefly, but I’d written a blog post for the organization the year before about my personal take on the Brandon X case, so he was familiar with me and my writing to some extent. I reached out to let him know that I was interested in the project, and my involvement began pretty quickly. Luckily, I was able to take advantage of Erica’s considerable expertise for the project after all, by signing her on as a writer!
t How did you decide which writers and subjects to
include? Charles already had a vision for the project when I came on board, in terms of what kind of subject matter he thought should be included, and who he wanted to reach. So I just expanded on that to start. There is no shortage of material about manga available in English, and I think most people
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would still consider Frederik Schodt’s Manga! Manga! the World of Japanese Comics to be the definitive authority when it comes to explaining manga to English-speaking audiences. Add to that the significant contributions of writers like Paul Gravett, Helen McCarthy, Roland Kelts, Jason Thompson, and so on, and there’s clearly a wealth of information readily available to anyone who’s looking. So if we were going to publish something as an introduction to manga, it was clear that we needed to come at it from a perspective that was different from the numerous books already available. Though we knew that we were going to need to go over a lot of well-covered ground, such as the history of manga, its journey to the West, and its primary marketing demographics, we were determined to approach it as necessary background for the CBLDF’s real mission: to educate librarians, retailers, parents, and fans about the legal and cultural challenges unique to manga reading in North America. When it came to hiring writers, there were a few immediate issues—in particular, the timeline, which was pretty aggressive, especially in the beginning. Beyond that, my primary strategy as editor was to seek out writers more knowledgeable than I. Sure, I write about manga, and I think I have a unique perspective and some interesting things to
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diamondbookshelf.com say, but I wouldn’t consider myself an expert on the subject any means. Furthermore, I sought out writers who were actively involved in some way with current manga fandom— bloggers, publishers, editors, librarians—people with a real stake in keeping up with current releases and engaging with younger fans. Certainly, I sought writers with specific areas of expertise as well, and you’ll see that reflected in their individual chapters. I felt very lucky that most of the people I approached were both excited about the project and able to work it into their packed schedules. It was a thrill to be able to work with so many of my favorite writers in the industry on a project as meaningful as this one.
t Among the aspects of manga you cover is the scanlation phenomenon. How large a part of manga fandom does this seem to be, and what issues have you found coming from it? There are so many issues connected with scanlations, legal and otherwise, and there is probably no subject more polarizing in manga fandom. But the issues most relevant to the subject matter of this book have primarily to do with content. Though even officially licensed manga has run up against its share of challenges, particularly in schools and libraries, readers can find some sense of security in the fact that these books have been carefully selected (and occasionally edited) for publication in English, with North American sensibilities and community standards in mind. Scanlations, obviously, have gone through no such process, so there is a much greater chance that they’ll include vulnerable content. This especially poses a risk for fans traveling across the border, whose electronic devices may be searched for what is perceived as obscene content.
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t What level of familiarity with manga should the reader
of this book have (if any)? It is intended to require little to no familiarity at all, and I think it lives up to that. Part of the reason we took the time to cover standard ground, was so that the book could serve as an introduction for the uninitiated. But I think it’s got a lot to offer long-time fans as well, particularly in the sections that cover community and legal challenges.
t Have you found libraries/schools who aren’t familiar
with manga? This would probably be a better question for one of the book’s authors, Robin Brenner, a teen librarian who has also authored an Eisner-nominated book of her own (Understanding Manga and Anime, Libraries Unlimited, 2007). But my admittedly anecdotal experience would suggest that familiarity with manga varies dramatically from school to school and library to library, based on the interest and expertise of individual librarians. You’ll see this disparity from collection to collection as well. Robin, for instance, maintains a rich selection of manga (and graphic novels in general) in her library’s collection. My own local library, on the other hand, carries almost none at all.
t As a writer/editor who covers manga, what kinds of
trends do you see? That’s a big question! Honestly, I think I personally write in a bit of a vacuum, in that my own website’s readership is skewed to a very particular type of manga fan—adult, likely female, with eclectic tastes that lean towards grownup manga. That those tastes run contrary to many manga publishing trends, however, tells me that there are a whole lot of readers I rarely see, and I think these are the readers who most need to hear the message the CBLDF is working so hard to broadcast—not only in terms of the issues and
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diamondbookshelf.com risks they may face as manga readers, but also about their rights, and who they can turn to for help when those rights are challenged. Hopefully, getting this book into the hands of librarians will help the CBLDF reach those fans.
T
t What is it about manga that makes people see it as separate from western comics? Why does there seem to be a division in the fans of manga/manhwa (Korean comics) and American comics? I think there are a number of reasons for this division— some real, and some imaginary. In general, I think fans of manga and fans of American comics are equally likely to pass judgment on each other’s passion based largely on misinformation. For instance, until I began interacting heavily with other comics writers, my own perception of American comics was based almost exclusively on superhero and newspaper comics. Those were really the only American comics I was aware of, and I foolishly assumed that this is all there was. Similarly, American comics fans will often speak of “manga style” art, as though that was actually a real, homogeneous thing (tip: it’s not), or as though it was
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Cru mainly pornography (definitely not). Nobody is off the hook. Note that I can’t lump manga and manhwa fans together here, because manga fans are just as likely to pass sweeping judgment on manhwa based on experience with just one or two books, or sometimes a single genre. That said, there are certainly things that draw me to manga, some of which can be attributed directly to the way comics are published in Japan. These would include things like the lengthy serialization of works by a single creator and the vast quantity of mass-marketed comics created by and for women (and girls), in every genre imaginable. There are also aspects of the Japanese comics tradition that appeal to me in particular—trends in layout, panel design, and visual storytelling. I could happily drown in a sea of late 1980s shoujo. I suspect that fans of American comics have preferences that are similarly tied to American comics traditions. These can end up being generalizations too, of course, but not without foundation.
t What effect do you think the Brandon X case will have
on manga, or manga readership? When fans first heard about the case (those of us who did), I think our primary reaction was denial, followed by fear. First, we assured ourselves that nothing in our collections would lead to legal trouble… then we left all our manga at home, anyway. I would hope, however, that the success of Ryan [Matheson, the defendant]’s case might ultimately lead manga fans to recognize the importance of asserting and defending their rights—not only for themselves, but for manga fandom as a whole.
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Mangapedia
T
he world of manga is vast, and navigating the numerous genres and series – as well as which titles your patrons want are legitimately available in English – can prove quite challenging. To help librarians and educators, BookShelf offers a list of resources to help them keep on top of new developments, manga publishers in North America, and some of the top established and up-and-coming titles.
Resources
These web sites consistently offer the latest and most reliable news on the manga world, as well as features and other useful information.
Publishers
The publishers who bring manga to North America (and beyond), from the top names to those who offer a key selection of titles.
Viz Media
http://www.viz.com One of the largest manga publishers today, Viz is home to a number of bestselling series, including Naruto, Bleach, One Piece, Pokémon, and Death Note. Along with manga, Viz also releases anime and live action films through and prose novels through their Haikasoru imprint. In 2012 they created the SuBLime imprint in partnership with Japanese boys’ love publishers Animate and Libre Publishing, and in 2013 launched Perfect Square for their line of kids/all ages titles.
Dark Horse Manga Anime News Network
http://www.animenewsnetwork.com/ Billing themselves as “The Internet’s most trusted anime news source,” Anime News Network provides extensive coverage of everything manga and anime-related. ANN features news and previews of the latest anime in Japan, and has sites tailored to North American, European, and Australian audiences.
Crunchyroll
http://www.crunchyroll.com/ Established in 2006, Crunchyroll has become one of the premiere subscription anime streaming sites, offering a wide selection of anime, live action drama from across Asia, music videos, cultural programs, and more. The site also features news and a shop offering anime and Asian culture-related items, including manga.
Manga Bookshelf
http://mangabookshelf.com/ Edited by veteran manga critic/blogger Melinda Beasi, Manga Bookshelf features news, reviews, and essays on a wide range of manga genres. Writers on the site include School Library Journal contributors Brigid Alverson, Katherine Dacey, and Eva Volin.
Manga Comics Manga
http://mangacomicsmanga.com/ Launched in 2013, Manga Comics Manga is headed by Deb Aoki, who had previously served as the manga editor for About.com since 2007. “Take two thirds manga. Add one third comics’ reads the website, which summarizes its mission to cover manga and manga-inspired comics as well as creator-owned comics from around the world.
Diamond BookShelf Top 25 Manga Bestsellers
http://www.darkhorse.com/Zones/Manga One of the longest running independent comic publishers, Dark Horse was also one of the earliest to bring manga series to the U.S. and has published a diverse range of titles, including the seminal samurai series Lone Wolf and Cub and the long-running Blade of the Immortal, as well as spin-off series of Neon Genesis Evangelion and the comedy Oreimo.
Yen Press
http://www.yenpress.com/ The Hachette Books imprint has been around since 2006, and among their more popular titles are the Melancholy of Haruhi Suzumiya series, Soul Eater, Highschool of the Dead, and Spice and Wolf. Yen Press has also released tieins and adaptations of several YA novels, including the two-volume Twilight adaptation, tie-ins to the Maximum Ride, Gossip Girl, Infernal Devices, and The Clique.
Vertical Inc.
http://www.vertical-inc.com Founded in 2001, Vertical, Inc. publishes manga, prose, and nonfiction titles from Japan, with an eye toward general audiences. They publish a wide range of books, including the wine-centered The Drops of God (a series which spawned a thriving wine industry in Japan), Chi’s Sweet Home, and manga legend (and creator of Astro Boy) Osamu Tezuka’s eight volume manga biography Buddha.
Kodansha Comics
http://kodanshacomics.com The North American division of Japan’s largest publisher, Kodansha Comics has brought many classic and modern popular series to our shores, including Sailor Moon, Battle Angel Alita, Ghost in the Shell, and Attack on Titan.
http://www.diamondbookshelf.com/Home/1/1/20/438 Every month, Diamond Comic Distributors release their lists of the top selling comics and graphic novels in the Direct Market. BookShelf posts these lists on the web site for librarians and educators to use, and maintains a yearly archive to help gauge the trends in manga popularity.
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Mangapedia Seven Seas Entertainment
http://www.gomanga.com/ Founded in 2004, Seven Seas is the home to a number of original manga series as well as licensed works. According to their web site, their core expertise is their original English-language manga, which includes series such as Amazing Agent Jennifer, Hollow Fields, and Orson Scott Card’s Laddertop. Their licensed titles have included bestsellers such as Dance in the Vampire Bund, Avalon: Web of Magic (based on Rachel Roberts’ YA series), and several of the Alice in the Country of... series.
Digital Manga Publishing
http://www.digitalmanga.com/ Digital Manga bills itself as “one of the industry’s most unconventional and innovative companies,” licensing and releasing manga, novel, and anime, as well as featuring divisions offering Gothic Lolita fashion and travel to Japan. Their manga line encompasses a range of genres, ranging from yoai to YA titles such as Alice the 101st to the Vampire Hunter D manga series, based on the novel series from Hideyuki Kikuchi. They have recently begun releasing a series of works from Osamu Tezuka, including the kid-friendly Unico.
Manga Titles
As with western comics, manga series run the gamut of genres, storylines, and audiences. BookShelf looks at a few key titles that have proven to be consistently popular with manga fans, and some new titles which are on the rise.
Top Manga Series Naruto, One Piece, Bleach Viz Media
These titles are such mainstays of manga that they can be covered in one entry. With over 50 volumes each in their respective runs, these are the powerhouse series that top the “must have” lists of manga collections. Continuing to be top sellers both in Japan and North America, these shonen series show no sign of slowing down.
Sailor Moon Kodansha Comics
The series, about a group of young girls who use their magical powers to fight evil, was groundbreaking in many ways, particularly in the U.S. for breaking manga and anime into mainstream culture. Having resulted in a generation of Japanese culture-loving fans, the manga has shown to retain its popularity, as Kodansha Comics’ recent re-issues of the series have been consistent bestsellers in both comic and book stores.
GEN Manga
http://www.genmanga.com/ A newcomer to the manga scene, GEN Manga bill themselves as “Indie manga from the Tokyo underground.” With a focus on DRM-free digital releases, the company has begun collecting and releasing graphic novels of its series. GEN brings a number of doujinshi – or independent artists – to print through their monthly anthology, released as a DRM-free pdf. They have also released a number of manga collections digitally and are expanding further into print collections of their stories. GEN is the exclusive publisher of its creators, whose work runs the gamut of genres from shojo to seinen.
Fantagraphics Books
http://www.fantagraphics.com/ Fantagraphics publishes a small but distinct selection of manga titles, including the transgender coming-of-age series Wandering Son, as well as works by Moto Hagio, considered one of the founding mothers of shojo manga.
Pokémon Viz Media
The story of young trainers and the fantastical creatures they pit in battle made a huge splash in the late 1990s and continues to capture fans’ interest. Viz Media have released several Pokémon titles as the franchise continues to evolve with new offerings. There are currently two ongoing Pokémon series: Pokémon Black and White and Pokémon Adventures, with occasional short spin-off series of Pokémon Adventures highlighting specific characters.
Black Butler Yen Press
Drawn & Quarterly
http://www.drawnandquarterly.com D&Q offers a key selection of sophisticated and critically acclaimed manga creators including Yoshihiro Tatsumi (A Drifting Life) and Shigeru Mizuki (Onward Towards Our Noble Deaths).
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This shonen manga focuses on young noble Ciel Phantomhive and his butler, Sebastian, who performs his duties with an uncanny skill. That’s because Sebastian is a demon, who has promised to help Ciel avenge his parents’ deaths. Along with the supernatural elements of the story, Black Butler makes ample use of its Victorian setting, with dramas and comedies of manners making up many of the stories.
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New MANGA titles to watch for
Magi Viz Media
Attack on Titan Kodansha Comics
While established – ten volumes of the series have been released by the time of publication – this manga has seen a steady build-up in popularity (as evidenced by the number of Attack on Titan cosplayers at cons over the summer). In Hajime Isayama’s story, the Earth has been taken over by a mysterious race of giants whose only motivation appears to be a mindless desire to consume people. After 100 years, all that remains of humanity is a few thousand people protected by giant walls. When a colossal Titan suddenly appears and breaks through the wall and destroys an outlying town, a group of survivors join the army with the aim of fighting off the giants–including a man who finds he can transform into a Titan himself. Themes of militarization and political and social isolation bear heavily on the story, as well as the mystery behind the Titans, who seem to evolve throughout the volumes.
Blood Lad Yen Press
Staz is the vampire head of the eastern territory of Demon World whose interest in the human world is not blood, but rather otaku culture. When Fuyumi, a young human girl accidentally finds her way into Staz’ land, he falls for her immediately. But Fuyumi is soon eaten by a carnivorous plant, and becomes a ghost. Staz then makes it his mission to bring her back to life, whatever it takes.
In this shonen re-imagining of the Arabian Nights, young adventurer Aladdin is on the hunt for the mysterious Dungeons, vast stores of riches hidden in the desert. With his genie Hugo and friend Ali Baba, Aladdin strikes out to find the fortune lying in the dunes - but he may have his own mysteries to solve...
No Matter How I Look At It, It’s You Guys’ Fault I’m Not Popular Yen Press
Nico Tanigawa’s high school comedy focuses on Tomoko, a girl who enters high school believing that her skill with dating video games has given her ample preparation for the ins and outs of romance. As she quickly learns, the truth is quite the opposite, and throughout the series she attempts to overcome her lack of social skills and improve her status. The series has proven hugely popular in Japan and has spawned an anime series of the same name.
Vinland Saga Kodansha Comics
A Bride’s Story Yen Press
A historical romance that tells the tale of Amir, a young girl in late 19th century Central Asia who finds herself betrothed to a boy eight years younger than her. The series explores the everyday family and community life of the village that Amir is brought to, and the problems that arise from the romance. The first volume made the YALSA Great Graphic Novels for Teens List of 2012.
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Set in England in the early 11th century, this series centers around the explorer Thorfinn, whose parents were killed by Viking invaders. As Thorfinn grows into a fierce warrior bent on revenge, he dreams of the far-off lands described by Leif Ericson, where Thorfinn and his family can live in peace and freedom.
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Innocence At War
Kurtis W iebe discusses P eter P anzerfaust B y Mark B anasz ak
W
riter Kurtis Wiebe and artist Tyler Jenkins re-imagine a classic adventure story in one of the Twentieth Century’s defining events in their graphic novel series Peter Panzerfaust, published by Image Comics). In World War II, a brave and daring young American named Peter leads a group of French orphans in resistance against occupying Nazi forces, lead by the hook-handed Kapitan Haken. Through their battles, the group encounters many of the classic elements of the Peter Pan story, including Wendy Darling and Tiger Lily (also Resistance fighters) and an inventive take on the crocodiles hunting Captain Hook.
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Wiebe has written several series for Image Comics, and won the Shuster Award for Outstanding Comic Book Writer in 2012 primarily for his supernatural horror series Green Wake (also from Image Comics). There are currently two volumes of Peter Panzerfuast available (Volume 1: The Great Escape, 978-1-60706-582-1 and Volume 2: Hooked, 978-1-60706-728-3) with a deluxe hardcover collecting both volumes released in December (9781-60706-778-8). BookShelf interviewed Wiebe via email about Peter Panzerfaust, telling a fictional story in an historical setting, and the continuing appeal of WWII stories. t B o o k S h e l f :
Where did the idea to re-tell Peter Pan as a WWII resistance fighter come from? Kurtis Wiebe: It originally came about when series illustrator Tyler Jenkins was watching Apocalypse Now and had an idea to have a story about child soldiers rising up and fighting their own war. He spun it like the “Lost Boys in Vietnam”. I wasn’t a huge fan of the idea at first, truthfully. I’d been researching WWII at the time, for my own enjoyment, and the idea of displaced children during that war started to stew in my mind.
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Suddenly all the connections between the original Peter Pan story and the concept for young men and women caught up in a continent spanning war started to come together. I realized that a lot of it had to do with WWII having a clear good vs. evil motivation, while Vietnam was a pretty politically fueled theater.
t You’ve brought in a lot of the characters and elements
of Pater Pan into this series. How closely or loosely does it follow the original story? We’re releasing the Deluxe Hardcover for Christmas (2013) and I wrote an essay that details out exactly the parallels between the source material and Peter Panzerfaust. A lot of what we’re working with is taking themes J.M. Barrie wove into Peter and Wendy as well as more iconic scenes and character moments. I think the strongest connection, beyond the usage of characters, is the idea of never wanting to grow up. It’s something we as adults, and even children, can identify with. We romanticize our youth, a time of simplicity and without the heavy weight of responsibility or the hurt and heartache of adult living.
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diamondbookshelf.com Except, these characters are forced to deal with these adult circumstances and that is what I’m focusing on for this series. How does that affect young people when there is no choice but to embrace the change?
t What kind of
research have you done for this, from both the WWII and Peter Pan angles? A lot. Although most of the historical research was done long before I started writing the series because it’s of particular interest to me. I’d read Stephen Ambrose’s Citizen Soldiers, watched Band of Brothers, and done a whole pile of reading on the politics surrounding WWII. For the Peter Pan aspect, I really had to dive back in and read through the novel again. I avoided using the Disney film for reference because I wanted this to be as tied to the original vision as possible. I was surprised how dark the original book could get at times.
t Since the series takes place in a real setting, how do you
tie the fictional story you’re telling with the actual events of WWII? It’s a matter of ensuring I’m fully aware of the context of the war to the movements of the characters. All the vehicles, weapons, and gear are appropriate for the year it’s set in. The first two arcs are in mid-1940 while the third arc takes place at the end of 1941. There’s quite a few changes, both in military tech and in the battle lines, between the second and third arc. I have to make sure that my ‘war map’ stays accurate so that the world is solid, but also stay aware of the fiction and to not let it get bogged down by minute details.
t Almost 70 years after the end of WWII, we still see a
great deal of stories that either take place in the war or use it as a reference point. What is it about WWII that makes it such a fertile ground for storytelling? It’s the greatest clash of good and evil in the last few centuries. It was a real life realization of all the greatest stories ever told where normal men and women rose up across the world to stop a madman. It’s legendary.
t You’ve worked with Tyler Jenkins on previous projects. What is your process for working with him? Does having him as artist influence your writing? Honestly, it makes scripting pretty simple. There’s been a few instances in the story now where I will leave 5-6 pages fairly unscripted. I give him the basic feel and tone for the scene, have the dialog included, and let him stage and frame the pages. It’s worked really well and have become some of the standout scenes in Peter Panzerfaust.
t What is it about Peter Panzerfaust do you think that’s made it really catch on with people (other than simply being a well-made comic)? It’s an adventure story with heart. It’s about letting go of our youth and embracing our adult lives but being able to see our past in a magical light. It’s about finding love for the first time, about how deep and real it feels and learning later what true love is. It’s a story about magic in a time of awful reality.
t You won the
2012 Shuster Award for writing. How did that feel? Pretty unbelievable. I think it was the first time I actually recognized that my writing is read by more people than I ever realized. To know that, Green Wake in particular, had profoundly moved readers was overwhelming and I still look at that award and find it hard to believe.
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Lessons of the Wild
An Interview with Lorraine Turner B y Mark B anasz ak
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hen a young girl finds her dreams filled with wild horses whose fate seems to mirror her own, she begins to wonder if what she’s seeing is just her imagination or something more in Calico Horses and the Patchwork Trail ($12.99, 978-1-61377-837-1), the new novel by Lorraine Turner published by IDW Publishing. Ten year old Carrie now lives in Nevada after a postdivorce re-settling by her mother. As she works to adjust, she sees visions of horses from the Calico Mountains in her dreams each night. As the dreams develop, she begins to see parallels between the circumstances of her life and those of the horses. As she learns more about the horses, her friend Milla has her own nightmares, as the daughter of a government official known as “The Horse Killer.” The two girls decide to aid a group of foals that were snatched from their homes, but can they hope they’ll be enough to make a difference? Turner may be best known to comics readers for her work as Art Director for IDW Publishing’s Library of American Comics line, but she is also an author and meditation instructor whose previous design work won two Emmy Awards. Inspired by ideas and images that came to her during meditation, Turner wrote Calico Horses and the Patchwork Trail for readers young and old. BookShelf spoke with Turner about the novel, her inspiration, and how her works overlap. t BookShelf: Can you introduce the book to readers?
Lorraine Turner: This is the story of how Carrie, a girl ripped apart by divorce, helps the wild mustangs torn from the range. Together they face uncertainties brought on by the decisions of others. There is a strong element of magic realism throughout: is she a budding horse whisperer or is her troubled mind playing tricks on her?
t What was the inspiration for this book?
I live in a world of flip-flops and palm trees – no wild horses. I didn’t even know they still existed. But I came to learn about them in the most bizarre way—through daily meditation. I began seeing images of horses running over fields of calico fabric. Vivid patchwork mountains appeared as I flew over them. Day by day, more images led me to a range of mountains in Nevada where the Calico horses live. These horses, that once roamed free, were calling out to me...”Tell our story”… and so I did!
t What do you hope readers will take away from this book? Throughout our lives we experience sudden changes—
be it weatherrelated power o u t a g e s , relational breakups, moving to a new community, illness, or, yes, even death. By connecting the reader to the remarkable coping skills of animals I hope to leave them with some tools to help them face these changes.
t Did you draw
on any personal experiences when crafting the story? Yes, years ago I had to make a tough decision to relocate and uproot my children. As I learned about the mustangs and burros being stripped of their freedom I saw the truth in the powerful statement my three year old told me at the time I moved her from everything she knew, “Nobody asked me.”
t What drew your interest to endangered horses
and burros? They came to me. Meditation opened the door as the horses and burros persisted in my daily sessions, not leaving until I hopped on a plane and flew 3,000 miles to investigate their plight.
t Who would you say the book is aimed for?
This book is for the open-minded—for kids and adults who are seeking to learn more about themselves by tuning into their inner voice and intuition.
t You’re heavily involved in visual arts, but what drew
you to writing? This entire outline was given to me through visual meditation. I journaled every experience and the story appeared to me, unfolding a little more each day. My calico meditations were stitched together like a quilt. The fact that there were actual Calico Mountains and horses that were in trouble was as much a mystery to me as it will be to the reader.
t You also do work with meditation and healing. Does this book tie into that work, and if yes, how so? Much like Dorothy and her ruby slippers we each have the power within to switch off the noisy world and tune into our inner voice. The internet is now being absorbed earlier and earlier as we see four-year-olds on iPads. Children can learn to give themselves time-outs through the easy meditations taught throughout this book.
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The Long Road To Change:
Ik bo kep An wo
An Interview With The Creators Of March B y Mark B anasz ak
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ongressman John Lewis has been a pioneer in Civil Rights since the earliest days of the movement. The last surviving member of the Big Six leaders (which included Dr. Martin Luther King, Jr. and Roy Wilkins), Rep. Lewis has been on the front lines of massive social change. This August, Top Shelf Productions debuted March Book One ($14.99, 978-1-60309-300-2), the first volume in a trilogy chronicling Rep. Lewis’ life and experiences. Beginning with his childhood growing up in rural Alabama during the days of segregation, March takes readers alongside Lewis through his involvement in Civil Rights actions such as the sitin protests in Nashville, the Freedom Rides, and the seminal March on Washington for Jobs and Freedom (where Dr. King delivered his “I Have a Dream” speech). Framing the story is Rep. Lewis in 2009, as he prepares to attend the inauguration of President Barak Obama.
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March is co-written by Andrew Aydin, who works on Rep. Lewis’ staff handling Telecommunications and Technology policy and is a lifelong comic fan. It was Aydin’s insistence that convinced Lewis to participate in creating the graphic novels. The art for March is provided by Nate Powell, a New York Times bestselling artist whose work includes the Eisner and Ignatz Award winning Swallow Me Whole from Top Shelf and The Silence of Our Friends from First Second. In 2011, Powell addressed the United Nations to discuss his work on the fundraising anthology What You Wish For: A Book for Darfur. Diamond spoke with each of the creators of March about their involvement in the books, and what brought each of them to work on this historic project.
t BookShelf: You’ve written two books before, what made you decide to write a graphic novel?
Rep. John Lewis: A few short years ago, Andrew said to me, “Why don’t we consider doing a graphic novel?” and I sort of put it off. And then my mind went back to 1957, The Montgomery Story, telling the story of Martin Luther King, Jr. and the bus boycott, and how they did it with the comics, and making it easy for young people to understand the power of nonviolence, the power of direct action, and peaceful resistance. And I finally said, “Yes, let’s do it,” because I saw the need to try to educate and inspire and get more young people motivated to do something about all of the violence in our society and to let them know that during another period in our history that a group of young people had the courage to use the way of peace, the way of love, the way of nonviolence to bring about change. It’s a successful technique, a successful philosophy, and it’s a way out.
t Had you read the Montgomery Story when you were young? Yes, it came out in 1957. I was 17 years old, and I grew up fifty miles from Montgomery. It was so inspiring to read it, and later, in the fall of 1959 and part of 1960, I read it over and over again, and that’s what lead me to start attending the nonviolent workshops as a student in Nashville, and it changed my life.
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diamondbookshelf.com t How did you decide to work with Nate Powell?
I knew of his work, every Sunday I would see the listing of books in the New York Times book review, and his name kept popping up. Then I had a discussion with Andrew, and Andrew said Nick Powell is the person. He’s a wonderful, wonderful young man, and he’s so talented and so gifted.
t What was it like when you saw his art for the book, when you saw the events from your life drawn out on the page? Seeing the drawings and the work of Nate, I saw myself. I was moved – I felt like he did a great job, and unbelievable job in describing and illustrating me as a young boy growing up in rural Alabama during the Forties and the Fifties, and later as a student in the sit-in movement and the Freedom Rides. I think it sends a message to young people that you, too – it doesn’t matter how young you are, that you too can get involved, that you, too can make a contribution. Where you come from, where you find yourself in life, you can lead on with a dream, a philosophy, and you can do something to make a contribution, to bring about change.
t The framing of the story shows you getting ready to
Montgomery for the right to vote forty-eight years ago, I had some idea that we were involved in a movement, a big movement, a powerful movement for change, but I didn’t have any idea at the time that it would have the impact that it had. You travel around America, or you travel around the world, the great majority of people know something about the Civil Rights movement. Students are studying the philosophy behind the nonviolence. Elementary school students, high school students, not just college students. And you travel around the world, people know “We Shall Overcome,” they know something about Dr. King’s “I Have a Dream” speech.
t What would you like readers to take away from the book? I would love readers to read and understand that another generation of people, just ordinary people, believed deeply and they were moved to act. To speak up and speak out, and they had raw courage, enough courage – literally – to put their bodies on the line. That people were prepared to die for what they believed in. t BookShelf: How did you come to work with Rep. Lewis?
Andrew Aydin: I wanted to move to Washington to live closer to my mom and hopefully work on Capitol Hill. I got lucky. He had an opening. That was about six years ago.
attend the inauguration of President Obama. Having been at the roots of the Civil Rights movement and watching the country progress since then, how far do you think we’ve come, and what areas do you see where there could still be improvement? We have come a distance. We have made unbelievable progress. When I was growing up, I saw those signs that said “white” and “colored.” “White men”, “colored men”, “white women”, “colored women”, “white waiters”, “colored waiters” – those signs are gone, and they will not return. The only places we would see those signs today would be in a book, in a museum, on a video. But if someone had told me when I was being arrested and beaten, often bloody and sometimes unconscious, that one day I would live in a country like America and see a person of color elected president, I would have said “you’re crazy, you’re out of your mind, you don’t know what you’re talking about.” So when people said to me nothing has changed, I just try to say come and walk in my shoes, and I will show you change. We still have to deal with issues of poverty and hunger that affect a large segment of our society. It doesn’t matter if people are black or white or Latino or Asian American or Native American, there are still too many people that are left out and left behind. And we’ve got to end discrimination based on sexual orientation, and be prepared to take that great leap and create a new society that is at peace with itself.
t When you were in the movement, especially in the beginning, did you have a sense that what you were doing was going to cause such a significant change? At the time of my involvement, whether it was the sit-ins in Nashville or going on the Freedom Rides, marching on Washington fifty years ago, or marching from Selma to
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diamondbookshelf.com t I’ve read that you were inspired to create the graphic novel March when you discovered the Montgomery Story comic book. What was it about that comic that had such an impact? Martin Luther King and the Montgomery Story had a huge impact on me. I ended up writing my grad school thesis on it. There was a story that ended up being true that one or two of the Greensboro Four were inspired to sit-in after reading it and I was captivated by the idea of a comic book having such an impact. I was moved by the concept of comic books as a vehicle for inspiring social change.
t What was the collaboration process with Rep. Lewis and Nate Powell like? The collaboration process has been a lot of late nights and long weekends but it has been a wonderful experience to work with both of them. Congressman Lewis is an incredibly important figure in American history but he’s also a really kind, thoughtful person. Working with him, hearing his stories, helping him tell his story in a new medium-it has been very special. It is an experience I will treasure. I hope that I have done everything I can to honor Congressman Lewis’ sacrifice and that of so many of the real people in the story we are trying to tell. And I was a fan of Nate’s work before I ever met him or knew I’d be working with him. I couldn’t have asked for a better collaborator to work with. I learned so much from him about the process of making comics. I’m really excited to continue working with them on the next two books.
t What do you hope readers will take away from March?
t What was your experience with comics prior to this
project? I’ve always been a big fan. I started reading comics when I was eight or nine. By the time I was in high school, a friend and I were such regular readers that we arranged for our study hall period to be the last class of the day on Wednesdays so we could go to the store early. But I’d never written a comic book or a graphic novel before. I’m basically a fanboy who managed to live the childhood dream.
t What made you decide to go with Top Shelf as a
publisher? I am a big fan. I first got hooked on them reading (Alex Robinson’s) Box Office Poison. Honestly, I was pretty humbled they were interested in the idea. I’ll never forget when I got the phone call from Chris Staros saying that he had read our script and wanted to publish it. I was in the front yard and I started dancing all around. My neighbors must have thought I looked pretty silly but it was one of the greatest moments of my life.
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I hope everyone that reads March comes away with a little inspiration. John Lewis is a hero and I think these days we need some real heroes to look up to. But I’m also hopeful that people will want to learn more about nonviolence. Maybe, just maybe, someone will read March and get inspired to go and do something.
t BookShelf: How did you come to be involved in this project? How does it feel to work on this? Nate Powell: Chris Staros called me up in the spring of 2011 to fill me in on the project-- Congressman Lewis and Andrew already had a finished first draft of the script, and Chris thought I’d be a good fit as artist. Working on this story conjures many emotions in the course of its production—it’s a deep honor, of course, but the more I work through it, the more I begin to grasp the importance of imparting this chapter of history to subsequent generations of folks who will be further removed from feeling directly connected to the movement, or its impact, as the years go on. t Did you approach the art for March any differently than other projects? The primary difference is the issue of faithful representation. This is a story of John Lewis’ life, sure, but it’s also the account of an earth-shaking social struggle in which many people were involved. With that in mind, I try to present this
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diamondbookshelf.com Civil Rights movement, 1960s lifestyle illustration books, some documentary DVD’s of specific events, and the stories of my parents, grandparents, and my own past. The specter of the segregated South still existed in the early 1980s, as it does today.
memoir with a balance between hyper-subjective personal experiences and the broader social context through which to place John’s story. My own books are very focused on sensory information, on small moments and the vividness of experience and memory, and I try to pull those moments into focus whenever possible, staying as close to these “characters” as I can. There’s certainly a lot of back-andforth with the writers, my editor, and occasionally Andrew has to run certain elements by a Congressional standards and ethics committee, as John Lewis an active member of Congress, subject to their own guidelines.
t What sort of research did you for this book?
Congressman Lewis has quite an archive of visuals (and physical relics in his office), which Andrew has been good about providing to me along with each section of script. On top of that, I spend a good chunk of time referencing more subtle indicators of time and place, fashion and technology being the most noticeable. Sometimes I insert my own background or incidental dialogue, and I’ll check with my parents (who grew up in 1950s-60s Mississippi) about certain slang or word choices. It’s important to note that John is an orator who’s been telling some of these stories for 55 years, so it was crucial to read his memoir Walking With The Wind, compare events and details, looking for anything not included in the script that might help give a more complete picture. I also have several books of photography from the
t You provided the art for The Silence of Our Friends, which also dealt with civil rights struggles in the 1960s. What drew or continues to draw you to this type of material? A lot of people ask me this, and the plain answer is that I’m interested in human rights because I’m a human. (how could one not be?) After Swallow Me Whole, I felt I was ready to tackle some of my own Southern cultural inheritance, the monstrosity as well as the beauty. It took a while to be comfortable enough to write or draw about it, but doing a few short stories helped focus my energies. The Silence Of Our Friends was Mark Long’s autobiographical tale, set geographically near Arkansas, but with a 15-year gulf between our childhoods. I was writing and drawing Any Empire at the same time, and comparing our separate childhood accounts, I’d be astounded by how much things had changed in those 15 years, and other times I’d be just as frustrated at how we’re seemingly still living in the 1960s. Generally, I think part of comics’ coming-ofage in American culture is its potential to deliver and expand on these specific elements of the American experience, enriching our dialogue with each other, and allowing folks to work through some of their own issues. It’s also important to note how complete a generational shift there’s been since my parents’ time—the teenagers of today largely aren’t aware of who Rosa Parks is, or what King’s, Malcolm X’s, or Lewis’ contributions and struggles were, and in an increasingly conservative and frightening cultural landscape, it’s a job that’s gotta be done. t You recently accompanied Rep. Lewis on a tour of civil rights landmarks, including the Edmund Pettus Bridge. What was that experience like, especially after working on March? It was truly profound, and deeply affecting. What was most impactful to me was the sense that, by walking the same streets and eating in the same church basements used by so many brave and dedicated folks, very little time did separate our lives in 2013 from the struggles of the mid-century. I grew up in Montgomery, Alabama during elementary school, but had a very different experience of the city as a suburban white child. Returning to the city 25 years later in a different (and more complete) historical context charged me with the feeling of life coming full-circle. Most powerful were moments that seemed to cut through space-time: while visiting Dr. Martin Luther King, Jr.’s house, I leaned on his kitchen sink while listening to an audio recording (from the day before his assassination) in which he described the voice of God speaking to him in that very kitchen, as he debated fleeing town with his family amidst bombings and death threats. Placing my hands where his hands made a late-night pot of coffee was transcendent. These are icons and heroes, of course—but even more amazing is that they were just like you.
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Dark and Fantastic A pre view of D yna mite Entertain ment’s G rim m Volume 1
Grimm Volume 1 Story by: David Greenwalt and Jim Kouf Written by: Marc Gaffen and Kyle McVey Illustrated by: Jose Malaga Publisher: Dynamite Entertainment Format: Softcover, 6.75 x 10.25, 11 pages, Full Color, $19.99 ISBN: 978-1-60690-450-3
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n the NBC fantasy procedural Grimm, Portland Police Bureau Homicide Detective Nick Burkhardt finds himself doing double duty as both a police officer and a “Grimm,” the latest in a long line of guardians charged with safeguarding humanity against mythological creatures. The series, now in its third season, has proven to be a hit with fans of the supernatural and crime dramas, and Dynamite Entertainment now brings the adventure to comics with the graphic novel Grimm Volume 1. “The opportunity to delve even deeper into the Grimm universe is an exciting prospect,” said Executive Producers David Greenwalt and Jim Kouf, who wrote the plot to the graphic novel. “The medium will allow the story to go places we never could within the constraints of a television production. It’s pretty cool.” The first volume in the new series takes Burkhardt, his mother Kelly, detective partner Hank, and the werewolf-like Wesen Monroe to Europe on the trail of long-lost family secrets. Hunted by soldiers of the secret Wesen group Verrat, their quest to destroy the magical Coins of Zakynthos reveals dark secrets and promises death for a member of the cast. The graphic novel collects the first five issues of the comic book series and features bonus materials including cast photos and special creature images. Grimm Volume 1 is suggested for Older Teen (16+) readers who are fans of supernatural action, horror, and the television show.
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Dark and Fantastic A pre view of D yna mite Entertain ment’s G rim m Volume 1
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Katie’s Korner:
Graphic Novel Reviews for Schools and Libraries by D r . Katie Monnin Themes: Individualism and Teamwork, Myth and Legend, Relationships, Friendships, Adventure, Heroism
Adventure Time Volume 1 Written by: Ryan North Illustrated by: Shelli Paroline and Braden Lamb Publisher: BOOM! Studios/kaboom! Format: SC, 7 x 10, 328 pages, Full Color, $14.99 ISBN: 978-1-60886-280-1
Sophisticated storytelling complete with critical thinking skills call on viewers of Adventure Time to reflect, connect, and analyze every single element of story we deem critical to traditional print-text literature. The characters, plots, settings, rising action, climax, falling action, themes, symbols, and overall craft of storytelling surpass every 21st century novel I have read. In other words, Harry Potter and The Hunger Pains do not measure up when compared to Adventure Time (in my now humble opinion). So, if you haven’t already, I invite you to meet Finn the human and Jake the dog in Adventure Time. Their adventures and their friendship are fun, silly, and educational. Yes, educational! Jake and Finn play with words and inferences in every single episode, making for an exceptional teaching resource in today’s classrooms: phonemic awareness, phonics, puns, fluency, poetry, creative writing, idioms and much more.
Traditional and Contemporary Literary Pairing Suggestions: S.E. Hinton’s The Outsiders, Mark Twain’s Huck Finn and Tom Sawyer, Pendelton Ward’s Marceline and the Scream Queens comic book series, Gene Luen Yang’s Avatar the Last Airbender, Matt Groening’s The Simpson’s comic books, Jeff Smith’s Bone series, J.K. Rowling’s Harry Potter series, Alexis E. Farjado’s Kid Beowulf series, Landry Q. Walker and Eric Jones’ Supergirl, Lewis Carroll’s Alice in Adventures in Wonderland Some Teaching Recommendations For Young and Tween Readers Suggested Alignment to the Common Core Standards:* *Standard numbers correspond to the literal common core standards numbers, www. commoncorestandards.com Key Ideas and Details 1. Read closely to determine what the text says explicitly and to make logical inferences from it; cite specific textual evidence when writing or speaking to support conclusions drawn from the text. 2. Determine central ideas or themes of a text and analyze their development; summarize the key supporting details and ideas.
In this particular graphic novel Finn and Jake are sucked into this scary dude’s “The Lich’s” - magical bag. No worries though. Finn the human and Jake the dog are always up for adventure. In a normal review I might ask: “Are Finn and Jake heroic enough to face this adventure and battle The Lich?” But this is not a normal show. And deserves more respect. Instead, I ask: “Are you heroic enough to join Finn and Jake on their adventure? Can you - or any other contemporary or classic cartoon - hold a candle to all of their heroic awesomeness?” English Language Arts Elements of Story Plot: The Lich has stolen every kingdom in the land and put them in his magical bag - NEVER to let them escape. The Lich’s plan doesn’t matter to Finn and Jake though. They are the most amazing self-proclaimed heroes EVER! Absolutely sure they can battle The Lich and win Finn and Jake are up for the challenge. Setting: Land of Ooo, The Lich’s magical bag Major Characters: Finn, Jake, Princess Bubblegum, Marceline the Vampire Queen, The Lich, BMO, Ice King, Earl of Lemongrab, Desert Princess
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Reading Lesson Plan for Adventure Time: Volume 1 Directions: The key ideas and details from Adventure Time are extremely critical to the series, for they continue to influence later issues and ongoing plots between characters. As a result, I recommend two reading strategies that emphasize how the timeline of events highlight central ideas and themes from Adventure Time. To begin, ask students to keep track of each major event in the story by making small vertical lines - in chronological order - on the horizontal timeline graphic organizer found below. Be sure to tell students that they need to write a brief description for each vertical mark/event they choose. Below the timeline students will also find two categories. These categories are: Central Ideas and Themes. For each timeline marking students need to draw an arrow to one or both of those categories, and, in doing so, also provide a more detailed rationale as to why that event was either a central idea or a theme (perhaps even both). Students should feel free to draw or write their responses.
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diamondbookshelf.com Themes: Good and Evil, Right and Wrong, Problem-solving, Planning-Plotting-Execution, Truth and Justice
SkullKickers: 1000 Opas and a Dead Body Written by: Jim Zub Illustrated by: Edwin Huang and Misty Coats Publisher: Image Comics Format: Softcover, 6.5 x 10, 144 pages, Full Color, $9.99 ISBN: 978-1-60706-366-7
What I like most about SkullKickers: 1000 Opas and a Dead Body is its ability to blend various stylistic techniques that invite comic book, anime, and graphic novel readers of all persuasions to its pages. Cleverly borrowing the best aspects of each of these literary formats (while still conforming them to its own unique style), the writers and artists of SkullKickers reach out to today’s young adult and high school readers in various ways. Already popular with young adult and high school readers the storyline contains elements of action-packed excitement, comedic relief, and slightly intriguing rough and tumble violence. With a diverse array of stylistic-interests already piqued, teachers, librarians, and parents can further motivate their young adult and/or high school readers to pick up this gem of a graphic novel by sharing other alluring and tempting qualities found in the story. Caught up in an assassination plot the two main characters in SkullKickers are mercenaries determined to finish their task. Just as determined to stop the would-be assassins, however, are some even more engaging characters and aspects of the story. Werewolves, skeletons, and black magic keep the action high, the reader guessing, and the story captivating. Total page-turner.
Traditional and Contemporary Literary Pairing Suggestions: Frank Miller’s The Dark Knight, J.R.R. Tolkien’s The Hobbit and/or The Lord of the Rings, George Orwell’s Animal Farm, William Golding’s Lord of the Flies, Mary Shelley’s Frankenstein Some Teaching Recommendations For Young Adult and High School Readers Common Core Standards for Reading (grades 6 – 12): Craft and Structure 4. Interpret words and phrases as they are used in a text, including determining technical, connotative, and figurative meanings, and analyze how specific word choices shape meaning or tone. 5. Analyze the structure of texts, including how specific sentences, paragraphs, and larger portions of the text (e.g., a section, chapter, scene, or stanza) relate to each other and the whole. 6. Assess how point of view or purpose shapes the content and style of a text.* (www.commoncore.org) Lesson Idea for Young Adult and High School Readers: Directions: In the T-chart below identify the two main points of view (one on each side) in Skullkickers (one to represent the mercenaries and one to represent the werewolves, skeletons, and black magic).
English Language Arts Elements of Story Plot: Two mercenaries are troubled in their assassination plot by other characters, obstacles and various aspects of the story
After identifying the two main points of view list the context clues (both words and images) from the story that helped you to interpret each group’s point of view. Feel free to draw, quote, list page numbers, or paraphrase your responses. When you are done with the T-chart engage in a whole class discussion about the two points of view and the various elements of the story that led you to identify and explain them correctly.
Dr. Katie Monnin is an Associate Professor of Literacy at the University of North Florida. Besides the joy that comes with reading comic books and graphic novels, Dr. Monnin enjoys a Peter Pan-ish life of researching and writing her own books about teaching comics, graphic novels, and cartoons: Teaching Graphic Novels (2010), Teaching Early Reader Comics and Graphic Novels (2011), Using Content-Area Graphic Texts for Learning (2012), Teaching Reading Comprehension with Graphic Texts (2013), and Get Animated! Teaching 21st Century Early Reader and Young Adult Cartoons in Language Arts (2013); Teaching New Literacies in Elementary Language Arts ( in press, 2014). When she is not writing (or sitting around wondering how she ended up making an awesome career out of studying comics and graphic novels), Dr. Monnin spends her time with her two wiener dogs, Sam and Max.
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REVIEWS:
MORE Graphic Novel Reviews Harlan Ellison’s 7 Against Chaos
incidentally in the story, from the supercomputer whose predictions fuel the need for seven warriors to romanceenhancing drugs made from the soil of one of Jupiter’s moons. At the same time, humanity’s propensity for subjugation and exploitation – as well as exploration and compassion – are shown in full measure.
Written by: Harlan Ellison Illustrated by: Paul Chadwick Publisher: DC Comics Format: Hardcover, 10.50x 7, 208 pages, Full Color, $24.99 ISBN: 978-1-40123-910-7
Much of the story is spent building up to the confrontation with the enemy, and is this space Ellison explores the personalities of each of the seven, and their individual and collective growth. The book was initially conceived as a four issue mini-series, and Ellison uses the episodic structure and pacing to flesh out the action, giving a dramatic weight to the final confrontation and aftermath. Chadwick – who gained numerous accolades in the 1980s and ‘90s for his series Concrete – invokes the feel of Marvel Comics’ “cosmic adventure” comics from the 1970s and ‘80s, combining clean lines and dynamic actions shots, Jack Kirby-esque fantastic technology, and some fairly bold layouts (a scene depicting the robot hero Urr moving through a corridor takes on an Escher-like quality, and provides a great example of how the reader is made an active part of the comic experience). The book would feel at home among the cosmic adventure comics from Marvel in the 1970s and ‘80s, and is suggested for older teen or adult graphic novel collections.
Limit Volume 1 Pairing one of science fiction’s most distinctive writers with a critically acclaimed comic artist, 7 Against Chaos is a smart, gripping, action-packed sci-fi classic. Readers familiar with Akira Kurosawa’s film Seven Samurai or its American remake The Magnificent Seven will recognize the plot of 7 Against Chaos: A veteran gathers together a disparate band of warriors in an attempt to ward off the advances of a formidable enemy. In this story, the enemy is an alien overlord who’s created a device that will re-write all of time. A disgraced former general is granted a reprieve in order to recruit six fighters – each an outcast in their own way – to find and destroy the device before the known universe is destroyed. The story features a classic sci-fi set up, which Ellison deftly uses to explore both science and humanity. There are a number of interesting concepts that are used
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Written by: Keiko Suenobu Illustrated by: Keiki Suenobu Publisher: Vertical, Inc. Format: Softcover, 5 x 7, 176 pages, Black and White, $10.95 ISBN: 978-1-935654-56-8
Keiko Suenobu merges high school drama with a Lord of the Flies-style survival tale in Limit. This volume begins as a typical high school story, focusing on Konno, a member of the popular girls clique. Konno establishes herself as a deliberate follower early on, gladly going along with the “queen bee” as way to thrive in the social hierarchy. Others are not so lucky, as is quickly shown when social outcast Arisa is picked to draw for the class’ spot for a school camping trip. When Arisa pulls the last spot, the popular girls proceed to tor-ment her, with only classmate Kamiya offering support. On the day the class sets out for camp – located deep in a nearby forest – the school bus runs off the road into
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diamondbookshelf.com a ravine, killing all but four of the students – Konno, Kamiya, Arisa, and Konno’s friends Haru and Usui. Lost in the forest with no connection to the outside world, the girls attempt to gather supplies and survive until help arrives. But with everyone else gone, the tormented Arisa seizes the opportunity to put herself at the top of the social order, through use of a scythe found in the wreckage. As the girls struggle to endure in the wilderness, they also try to survive their new world with the unhinged Arisa calling the shots. Suenobu won the Kodansha Manga Award in 2006 for her shojo series Life (published in English by Tokyopop), and similar to that series Limit looks at the darker side of the high school experience. The jealousies and insecurities of the girls are brought to the fore as they struggle to stay alive, both in the forest with limited supplies and under the tyranny of Arisa, who relishes the opportunity to exercise the power she was denied in everyday life. While the story is told mainly from Konno’s point of view, Suenobu does not necessarily establish Konno as the hero of the manga, and her philosophy of “giving herself over to the current” causes rifts with friends still loyal to the now-dead head of their social circle. Arisa is fleshed out as well, for while she is easily established as the antagonist of the group, the reasons behind her cruelty are well-examined. Limit offers a gripping and compelling read, juxtaposing high school relationship hierarchies with a desperate survival tale. With six volumes in the complete series, it presents a strong reading experience that will fit easily into an older teen or adult manga collection.
ABOUT OUR REVIEWS Bookshelf presents a list of graphic novel reviews, courtesy of our writers, as well as Publishers Weekly, Library Journal and School Library Journal.
Caitlin Plovnick is a former editor of BookShelf and graduate of the Center for Cartoon Studies. She is currently pursuing her MLS at Simmons Graduate School of Library and Information Science in Boston, MA.
Publishers Weekly (PW) is “the International News Magazine of Book Publishing and Bookselling.” For more reviews, please visit http://www.publishersweekly.com
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Library Journal (LJ) is the oldest publication covering the library field, currently enjoying its 133rd year of publication. For more reviews, please visit http://www.libraryjournal.com
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School Library Journal (SLJ) is the leading print magazine serving librarians who work with young people in schools and public libraries. For more reviews, please visit http://www.schoollibraryjournal.com
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CORE LISTS BookShelf pre s e n t s a l i s t o f s e l e c t e d e s s e n t i a l t i t l e s f o r d i f f e r e n t a g e r a n g e s .
Titles for Kids (Age 6+) Adventure Time: Pixel Princesses By Danielle Corsetto and Zack Sterling BOOM! Studios – 978-1-60886-329-7 Archie’s Valentine: A Rock ‘N’ Roll Romance By Dan Parent and Various Archie Comics – 978-1-93697-533-4 Avatar: The Last Airbender – The Search Part 3 By Various Dark Horse Comics – 978-1-61655-184-1 Battling Boy By Paul Pope First Second – 978-1-59643-145-4 Ben 10 Omniverse Volume 1: Ghost Ship By Cory Levine and Alan Brown Viz Media – 978-1-42155-741-0 The Big Wet Balloon By Ricardo Liniers TOON Books – 978-1-93517-932-0 Cow Boy: Unconquerable By Nate Cosby and Chris Eliopoiulos Archaia Entertainment – 978-1-93986-700-1 Dim Sum Warriors Volume 2: Feast of Fury By Various Yumcha Studios – 978-0-9881899-2-8 Fairy Tale Comics By Various First Second – 978-1-59643-823-1 Hello Kitty: Here We Go By Jacob Chabot, Jorge Monlongo, and Susie Ghahremani Viz Media – 978-1-42155-878-3 Mini Marvels Complete Collection By Various Marvel Comics – 978-0-78518-490-4 The Misadventures of Salem Hyde By Frank Cammuso Amulet Books – 978-1-41970-804-6 Mr. Peabody & Sherman By Sholly Fisch and Jorge Monlongo IDW Publishing – 978-1-61377-872-2 Mouse Guard: Legends of the Guard Volume 2 By Various Archaia Entertainment – 978-1-93639-326-8 My Little Pony: Pony Tales Volume 2 By Various IDW Publishing – 978-1-61377-873-9 Ninjago Volume 8: Destiny of Doom By Greg Farshtey and Jolyon Yates Papercutz – 978-1-59707-481-0
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Olympians: Aphrodite, Goddess of Love By George O’Connor First Second – 978-1-59643-739-5
Dogs of War By Sheila Keenan and Nathan Fox Graphix – 978-0-54512-888-9
Plants Vs. Zombies: Lawnmageddon By Paul Tobin and Ron Chan Dark Horse Comics – 978-1-61655-192-6
47 Ronin By Mike Richardson and Stan Sakai Dark Horse Comics – 978-1-59582-954-2
Princeless Short Stories Volume 1 By Jeremy Whitley and Various Action Lab Entertainment – 978-1-93935-249-1
Green Lantern: Wrath of the First Lantern By Various DC Comics – 978-1-40124-409-5
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A By Ki Ye
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Rudyard Kipling’s Just So Comics By Rudyard Kipling and Various Capstone Publishing – 978-1-43424-880-0
Guardians of the Galaxy by Jim Valentino Volume 1 By Jim Valentino Marvel Comics – 978-0-78518-420-1
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Smurfs Christmas By Peyo Papercutz – 978-1-59707-451-3
Halo: Initiation By Brian Reed and Marco Castiello Dark Horse Comics – 978-1-61655-325-8
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Superman Family Adventures Volume 2 By Art Baltazar and Franco DC Comics – 978-1-40124-415-6
Lost Vegas By Jim McCann and Janet Lee Image Comics – 978-1-60706-785-6
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Sonic the Hedgehog/Mega Man: Worlds Collide Volume 1 By Ian Flynn and Various Archie Comics – 978-1-93697-568-6
Mara By Brian Wood and Ming Doyle Image Comics – 978-1-60706-810-5
Teenage Mutant Ninja Turtles Animated Volume 3: Showdown By Various IDW Publishing – 978-1-61377-833-3 Young Justice Volume 4: Invasion By Greg Wiseman and Christopher Jones DC Comics – 978-1-40124-288-6
Titles for Young Adults (Age 13+) Arrow Volume 1 By Various DC Comics – 978-1-40124-299-2 Axe Cop Volume 5: Axe Cop Gets Married and Other Stories By Malachai Nicolle and Ethan Nicolle Dark Horse Comics – 978-1-61655-245-9 An Aurora Grimeon Story: Will O’ the Wisp By Tom Hammock and Megan Hutchison Archaia Entertaiment – 978-1-93639378-7 Bandette Volume 1: Presto! By Paul Tobin and Colleen Coover Dark Horse Comics – 978-1-61655-279-4 Bravoman Volume 1 By Matt Moylan and Dax Gordine Udon Entertainment – 978-1-92677-893-8 City of Light, City of Dark By AVI and Brian Floca Graphix – 978-0-54539-880-0 Doctor Who: Prisoners of Time Deluxe By Scott Tipton, David Tipton, and Various IDW Publishing – 978-1-61377-824-1
Th By H
Mass Effect: Foundation Volume 1 By Mac Walters, Tony Parker, and Omar Francia Dark Horse Comics – 978-1-61655-270-1
Ea By Im
Monster Galaxy Volume 1 By Paul Morrissey and Melissa Dejesus Yen Press – 978-0-31622-439-0
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Mysterious Strangers Volume 1: Strange Ways By Chris Roberson, Scott Kowalchuk, and Dan Jackson Oni Press – 978-1-62010-111-7 Old City Blues Volume 2 By Giannis Milonogiannis Archaia Entertainment – 978-1-93986-702-5
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Quantum & Woody Volume 1: The World’s Worst Superheroes By James Asmus and Tom Fowler Valiant Entertainment – 978-1-93934-618-6
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Sailor Moon Short Stories Volume 2 By Naoko Takeuchi Kodansha Comics – 978-1-61262-010-7
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Siegfried Volume 2: Valkyrie By Alex Alice Archaia Entertainment – 978-1-93639-379-4
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Sock Monkey Treasury By Tony Millionaire Fantagraphics Books – 978-1-60699-696-6 Star Wars Volume 1: In the Shadow of Yavin By Brian Wood and Carlos D’Anda Dark Horse Comics – 978-1-61655-170-4 X-Files Season 10 Volume 1 By Joe Harris and Michael Walsh IDW Publishing – 978-1-61377-751-0
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diamondbookshelf.com X-Men: Days of Future Past By Various Marvel Comics – 978-0-78518-442-3
Titles for Older Teens (Age 16+) Another By Yukito Ayatsuji and Hiro Kiyohara Yen Press – 978-0-31624-591-3 Avengers: Endless Wartime By Warren Ellis and Mike McKone Marvel Comics – 978-0-78518-467-6 Bad Houses By Sara Ryan and Carla Speed McNeil Dark Horse Comics – 978-1-59582-993-1 Bloody Cross Volume 1 By Shiwo Komeyama Yen Press – 978-0-31632-238-6 Breath of Bones: A Tale of the Golem By Steve Niles, Matt Santoro, and Dave Wachter Dark Horse Comics – 978-1-61655-344-9 The Cartoon Introduction to Statistics By Alan Dabney and Grady Klein Hill & Wang – 978-0-80903-359-1 East of West Volume 1 By Jonathan Hickman and Nick Dragotta Image Comics – 978-1-60706-770-2 Grimm Volume 1 By Various Dynamite Entertainment – 978-1-60690-450-3 Jim Butcher’s Dresden Files: Ghoul Goblin By Jim Btucher, Mark Powers, and Joe Cooper Dynamite Entertainment – 978-1-60690-438-1 Johnny Hiro Volume 2: The Skills to Pay the Bills By Fred Chao Tor Books – 978-0-76532-938-7 Kill Shakespeare Volume 3: Tide of Blood By Anthony Del Col, Connor McCreery, and Andy Belanger IDW Publishing – 978-1-61377-732-9
Parker: Slayground By Richard Stark and Darwyn Cooke IDW Publishing – 978-1-61377-812-8 Sin Titulo By Cameron Stewart Dark Horse Comics – 978-1-61655-248-0 Thor: The Dark World Prelude By Various Marvel Comics – 978-0-78515-378-8 Thumbprint By Joe Hill, Jason Ciaramella, and Vic Malhotra IDW Publishing – 978-1-61377-748-0 Uncanny Volume 1: Season of Hungry Ghosts By Andy Diggle and Aaron Campbell Dynamite Entertainment – 978-1-60690-462-6 Vinland Saga Volume 1 By Makoto Yakimura Kodansha Comics – 978-1-61262-420-4 Violent Cases By Neil Gaiman and Dave McKean Dark Horse Comics – 978-1-61655-210-7 Watson and Holmes Volume 1: A Study in Black By Karl Bollers, Rick Leonardi, and Larry Stroman New Paradigm Sutdios – 978-1-93951-601-5
Titles for Adults (Age 18+) The Best American Comics 2013 By Various Houghton Mifflin Harcourt – 978-0-54799-546-5 Best of Comix Book: When Marvel Went Underground By Various Dark Horse Comics – 978-1-61655-258-9 Co-Mix: Retrospective of Comics, Graphics, and Scraps by Art Spiegelman By Art Speigelman Drawn & Quarterly – 978-1-77046-114-7
Hip Hop Family Tree By Ed Piskor Fantagraphics Books – 978-1-60699-690-4 The Joyners in 3D By R.J. Ryan and David Marquez Archaia Entertainment – 978-1-936393-70-1 Lazarus Vol. 1 By Greg Rucka and Michael Lark Image Comics – 978-1-60706-809-9 Life Begins at Incorporation By Matt Bors Top Shelf Productions – 978-0-98892-710-0 Maria M. By Gilbert Hernandez Fantagraphics Books – 978-1-60699-719-2 Midnight Secretary Vol. 1 By Tomu Ohmi Viz – 978-1-42155-944-5 Occupy Comics By Various Black Mask Comics – 978-1-62875-007-2 Powers: Bureau Volume 1: Undercover By Brian Michael Bendis and Michael Avon Oeming Marvel Comics – 978-0-78516-602-3 Showa: A History of Japan 1926-1939 By Shigeru Mizuki Drawn & Quarterly – 978-1-77046-135-2 Sickness Unto Death Vol. 1 By Takahiro Seguchi Vertical Inc. – 978-1-93913-009-9 Swamp Thing by Brian K. Vaughan Volume 1 By Brian K. Vaughan and Roger Petersen DC Comics – 978-1-40124-304-3 Ten Grand Volume 1 By J. Michael Straczynski and Ben Templsmith Image Comics – 978-1-60706-831-0 The Unwritten: Tommy Taylor and the Ship That Sank Twice By Mike Carey, Peter Gross, and Various DC Comics – 978-1-40122-976-4
The Complete Multiple Warheads By Brandon Graham Image Comics – 978-1-60706-840-2
The Walking Dead Volume 19: March to War By Robert Kirkman and Charlie Adlard Image Comics – 978-1-60706-818-1
Little Fish By Ramsey Beyer Zest Books – 978-1-936976-18-8
Couch Tag By Jesse Reklaw Fantagraphics Books – 978-1-60699-676-8
The Walking Dead Spanish Language Edition Volume 1 By Robert Kirkman and Charlie Adlard Image Comics – 978-1-60706-797-9
Lost At Sea: 10th Anniversary Edition By Bryan Lee O’Malley Oni Press – 978-1-62010-113-1
Dexter By Jeff Lindsay and Dakbor Talajic Marvel Comics – 978-0-78514-844-9
Where Bold Stars Go to Die By Gerry Alanguilan and Arlan Esmena Amaze Ink – 978-1-59362-281-7
Neon Genesis Evangelion: The Shinji Ikari Detective Diary Volume 1 By Takumi Yoshimura Dark Horse Comics – 978-1-61655-225-1
Fairest in All the Land By Bill Willingham and Various DC Comics – 978-1-40123-900-8
Woman Rebel: The Margaret Sanger Story By Peter Bagge Drawn & Quarterly – 978-1-77046-126-0
The Last of Us By Neil Druckman and Faith Erin Hicks Dark Horse Comics – 978-1-61655-212-1
No Matter How I Look At It, It’s You Guys’ Fault I’m Not Popular! Volume 1 By Nico Tanigawa Yen Press – 978-0-31624-316-2
Fatale Volume 4: Pray for Rain By Ed Brubaker and Sean Phillips Image Comics – 978-1-60706-835-8
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Resources book s about graphic nov els Mastering Comics: Drawing Words & Writing Pictures Continued
Graphic Novels in Your School Library
By Jesse Karp, illustrated by Rush Kress
School librarian Karp has been using graphic novels in his library for over a decade, and shares his knowledge and experience in this “all-in-one” volume. He examines the comic form and illustrates how it can be used to teach literacy, offers annotated core lists for K-12, and offers lesson plans to help teachers utilize graphic novels in class.
By Jessica Abel and Matt Madden
Cartoonists Madden and Abel expand on their coursebook DW&WP with this volume, which delves even further into the mechanics of creating comics. Mastering Comics covers story creation, detailed art tips, webcomic creation, and advice on getting work published. A valuable resource for serious comic-makers, or readers seeking deeper insight into the format. SC, $34.99 (First Second) ISBN: 978-1-59643-617-4
A Parent’s Guide to the Best Kids’ Comics: Choosing Titles Your Children Will Love
By Scott Robins and Snow Wildsmith
Written by two School Library Journal contributors, this comprehensive look at 100 graphic novels that are both entertaining and appropriate for children is broken down by grade level. Each entry includes a summary of the book, educational tie-ins, possible objectionable material, and recommendations of similar reads. SC, 16.99 (Krause Publications) ISBN: 978-1-4402-2994-7
SC, $50.00 (ALA Editions) ISBN: 978-0-8389-1089-4
Using Content-Area Graphic Texts for Learning
By Meryl Jaffe and Katie Monnin
BookShelf contributor Monnin and Johns Hopkins University instructor Jaffe aim to help middle school educators integrate graphic novels into their classrooms in four main areas – math, language arts, social studies, and science – by laying out the value of graphic novels as well as providing reading lists and Common Core-aligned lesson plans. SC, $23.95 (Maupin House) ISBN: 978-1-93670-060-8
More Books About Graphic Novels A number of excellent books have been written on the history of graphic novels, their standing among the arts, and the most current academic thinking on their utility today. DiamondBookShelf.com maintains an up-to-date list of the latest books about comics and graphic novels, including those specifically written for librarians or educators.
U S E F U L The Comic Book Project – Center for Educational Pathways
L I N K S
GNLib: Graphic Novels in Libraries
Maryland Comic Book Initiative
http://groups.yahoo.com/group/GNLIB-L/
http://www.marylandpublicschools.org/ MSDE/programs/recognition-partnerships/ md-comic-book
http://www.comicbookproject.org/
ComicsResearch.org – Academic & Library Resources
Good Comics for Kids (School Library Journal Blog)
http://www.comicsresearch.org/academic.html
http://blog.schoollibraryjournal.com/ goodcomicsforkids
Eek! Comics in the Classroom! (Education World)
Graphic Novels for Multiple Literacies (IRA – Gretchen Schwarz)
http://www.education-world.com/a_curr/ profdev/profdev105.shtml
http://www.readingonline.org/newliteracies/ lit_index.asp?HREF=jaal/ 11-02_column/index.html
NACAE: the National Association of Comics Art Educators http://www.teachingcomics.org/
Expanding Literacies through Graphic Novels http://www1.ncte.org/Library/files/Free/ recruitment/EJ0956Expanding.pdf
The Graphic Novel and the World History Classroom (History Cooperative) http://www.historycooperative.org/journals/ whc/4.2/rhett.html
Graphic Novel Reporter http://www.graphicnovelreporter.com
No Flying, No Tights (Graphic Novel Review Site) http://www.noflyingnotights.com/
Using Comics and Graphic Novels in the Classroom (The Council Chronicle, Sept. 05) http://www.ncte.org/magazine/archives/122031
YALSA’s Great Graphic Novels for Teens List Making Curriculum Pop
http://www.ala.org/yalsa/ggnt
http://mcpopmb.ning.com
More Links DiamondBookShelf.com maintains an ever-growing database of web resources for educators and librarians. Categories include official Publisher sites, resources for teachers, resources for librarians, graphic novel and comics review sites, resources for kids and more!
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HOW TO ORDER COMICS & GRAPHIC NOVELS Yo u h a v e m any options – choose the one that works best for you!
1. Buy from your local comic book shop
2. Buy from your usual wholesaler or book jobber
For a variety of reasons, your local comic book shop could be the best possible resource for your purchase of graphic novels. In fact, many local comic shops service both schools and libraries already with the latest comics and graphic novels.
Baker & Taylor, Inc., Booksource, Brodart, BWI, Follett, Ingram, Partners West, and other wholesalers all carry a full line of graphic novels. Most schools and libraries already do business with one or more of these companies, and it’s easy to add in your order through these procurement channels. Why not add graphic novels to your next order?
3. Buy direct from Diamond If there are no comic book stores in your area and your usual wholesaler doesn’t have deep stock on a variety of titles, Diamond does sell directly to educators and librarians. For more information, call Allan Greenberg at (800) 318-8001 ext. 8864 or email library@diamondcomics.com or schools@diamondcomics.com
A Great Resource: Your Local Comic Book Shop Quality comic book shops are a valuable resource for libraries and schools seeking graphic novels and graphic novel information. In the past, such partnerships have proven successful for all involved, with increased sales and circulation, as well as the satisfaction that comes with community involvement. As comic book and graphic novel specialists, comic shop retailers have up-to-date knowledge on the most recent and upcoming hits, and a great familiarity with what their customers are reading and enjoying. Many are more than willing to work together on cross-promotional events, reaching out to and expanding the audience of graphic novel fans. So, how do you go about finding and dealing with your local comic shop? Well, it’s easier than you think. By following these easy steps, you’ll be coordinating with your local comic shop in no time!
Research and Choose a Store. Once you’ve located a store, the next thing to do is find out more about it. If you used the Comic Shop Locator, many of the stores have posted brief profiles. The best way to find out more information about a store is to visit it in person. That way, you’ll have the opportunity to browse through the store’s collection and get personal advice from the knowledgeable experts on hand. All stores will have their own unique approach – find one that you feel comfortable with. Introduce Yourself. Going into any new environment can be intimidating, especially when you have preconceived notions. But there’s nothing to fear from comic shop retailers. Many of them are happy to welcome librarians and teachers into their stores because they understand the mutual benefit working together can achieve. Let them know you’re interested in using graphic novels and they will be more than happy to help!
Find a Store. We’ve already done the work for you! To find your closest comic shop, all you have to do is use the Comic Shop Locator Service. Just log on to http://www. comicshop locator.com and enter your zip code. It’s as simple as that! Located on the store listings is the School and Library Partners icon above. Stores with this designation have told us they are willing to partner with schools and libraries to aid with selection, programming, purchasing, and more.
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DIAMOND BOOKSHELF e - N e w s l e t t e r Sign-up • Contact Us
SIGN UP NOW For Our Monthly e-Newsletter!
BOOKSHELF WANTS TO HEAR FROM YOU! What did you think of this issue of the Diamond BookShelf? Send your feedback, ideas and suggestions for future articles to: Diamond BookShelf 10150 York Road Hunt Valley, MD 21030 Email: editor@diamondbookshelf.com We at Diamond have known for years that comic books and graphic novels are excellent teaching and learning tools…we’re pleased that so many educators are starting to agree! We hope you find this publication and our website a useful resource to convince others that comics can make a difference in helping to promote literacy, motivate readers and more. If you find Diamond BookShelf worthwhile, be sure to pass it on and tell your colleagues!
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Find us on Facebook at www.Facebook.com/DiamondBookShelf and Twitter at www.Twitter.com/DiaBookShelf
The BookShelf newsletter is designed to inform educators and librarians about the best graphic novels for their schools and libraries! Diamond Comic Distributors is the world’s largest distributor of English-language comic books, graphic novels and comics-related merchandise. We believe that comics are not only great fun and great art, but also have educational value and are terrific tools for promoting literacy. The BookShelf magazine and website are two of Diamond’s outreach initiatives to support the use of comics and graphic novels in schools and libraries.
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