Choosy Beggar Books

Alfonso Wong

Posted in International Comics, Miscellaneous by mvblair on January 13, 2017
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An original “Old Master Q” strip

The comics world lost a big star recently.

Born in China in 1925, Alfonso Wong worked in illustration before and after his move to Hong Kong in 1956. Sometime around 1960 or 1961, his beloved character Old Master Q took shape. Old Master Q turned into a comic strip with several repeating characters, including his two buddies, a foil, and a love interest.

Although some of the strips have words, many are wordless. The “Old Master Q” comic reads like the best pantomime strips, such as the original “Ferd’nand” and “The Little King.” There is always the set up, the reveal, and the reaction. The strips were seamless, with a quick buildup to the gag. They could take place in any country, any time.

As the years passed, Old Master Q became a marketing empire, especially in Hong Kong, but also extending to other areas of southeast Asia and other areas with large overseas Chinese populations. A namesake comic was printed monthly and Old Master Q began to appear on licensed products and in advertisements.

Sometime in the 1980’s, his son Joseph Wong took over. Unlike many strips that are continued after the creator’s retirement, Joseph Wong was an able heir. Alphonso Wong moved to California where he continued making art and no doubt stayed in touch with his characters. He died this month due to organ failure.

Check out more of Alphonso Wong’s work here: Old Master Q Comics. You certainly won’t regret it!

 

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Mao-Era Cartoons

Posted in International Comics by mvblair on December 8, 2016

One blog that I frequently check is Everyday Life in Maoist China maintained by Covell Meyskens. The author scours Chinese websites to find pictures, mostly from the days of Mao or thereabouts, and reposts them. Lots of great, old photos that are not collected elsewhere and that I would never be able to come across alone. I was delighted to see this post with scans of old political cartoons.

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A few of the cartoons show some pretty ugly racism directed especially toward the Japanese, though one of the cartoons shows particular sensitivity to African-Americans. If I could read Chinese, I’m sure I could comment more on the content, but at least the artwork in is as good and accessible as anything in the West. Several of the cartoons really shine and make great statements, especially from the anti-war side. Although, those anti-war cartoons are also somewhat hypocritical (not from the artists’ points of view, but the state’s) given the People’s Republic of China’s rampant militism. Frequent commentary in the political cartoons of communist countries includes the commentaries on racism in the United States. This is a fine and legitimate target for political cartoons, but again, given China’s treatment of minorities, it is also somewhat hypocritical.

For more on Chinese cartoons, check out this post about Sanmao and this post about Battle of Wits: We Are Chairman Mao’s Red Guards.

“Hooked”

Posted in International Comics by mvblair on May 22, 2015
Buba from

Buba from “Hooked”

The BBC continues experimenting with comics as reporting, although their most recent attempt is fiction based on reporting. The fifth of five installments was released today. “Hooked” is the story of Buba, a young man in Guinea-Bissau who becomes addicted to drugs.

The author, an English reporter named Benjamin Dix, spent time in Guinea-Bissau before writing the short script for the comic. The artist, English-Nigerian political cartoonist Tayo Fatunla, is known more for artistic editorials than comics.

Unfortunately, “Hooked” comes off more as a public service announcement than a comic. It is not terrible, but it moves like a pamphlet or a Chick tract than something you read once and return to a second time for the art. Were “Hooked” to be longer and more character-driven, it would certainly be much more interesting.

Priya Kurian

Posted in International Comics by mvblair on March 10, 2015
Nike Granny by Priya Kurian

Priya Kurian’s “Gramma Rocks the Nikes.”

I recently came across artist Priya Kurian when I read this illustrated article on the BBC. Look at those delightful pictures!

After a quick search, it seems that she mostly works with book illustrations, but also dabbles in advertising, comics, and animation. Kurian maintains two blogs (I’m not sure what the difference is): Delhittante and etcetera etcetera. Most of her casual work seems to focus on Indian daily life, but her for-hire illustrations range from folktales to young adult novels to, well, anything else.

There is a great universality to her pictures. Take the example to the right. Replace the dress with anything else and you have a scene from anywhere else in the world. Very cool.

I just love her natural drawings and colors. You can search all day but you won’t find an artist with more interesting work today!

Battle of Wits: We Are Chairman Mao’s Red Guards

Posted in International Comics by mvblair on March 11, 2014

Like every other guy on the planet, I consider myself a student of history. I particularly enjoy reading the history of people in turmoil. One topic which I’ve read at least a dozen books about is the Cultural Revolution in China. It was a time of torture, gulag, forced disappearances, and even famine. The most widely documented part of the Cultural Revolution is the anarchy created by the Red Guards, groups of mostly middle and high school students in the cities who organized destructive campaigns against Old Habits, Old Culture, Old Customs, and Old Ideas in the name of modernity. Mao himself encouraged the Red Guards as a way to rehabilitate his image after the disastrous Great Leap Forward.

Mao created an enormous propaganda campaign that included comic books, which helps give me something to talk about here. “Battle of Wits: We Are Chairman Mao’s Red Guards” is a fifty-four page comic about Xiao Hong, a middle school student who spies on her own grandpa and catches him in a conspiracy to send a university journal to Soviet spies. She goes through his mail, spies on him from above, and eventually gets the military police to catch him fleeing his own apartment in a rush to make a drop. It was all encouraged by Mao and the comic was all relatively mild compared to what actually happened during the Cultural Revolution.

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45. Suddenly his eyes stopped on “Technological Research”. This was the internal monthly periodical that Xiao Hong’s father edited in the university, containing published reports on electronic industry development and new technological discoveries and achievements. That guy [the Grandfather] quickly opened his back to stuff several books inside.

If you have a chance, read the English translation here at China Smack. As with most propaganda comics, the writing is terrible. It’s the typical “illustrated narrative” style that is easy to do and not exactly a comic: the book does not need the illustrations. Nevertheless, the illustrations are beautiful. The artist used lots of different brushes and pens to create lush pictures that are somewhere between “Little Orphan Annie” and a really good Japanese comic. The writing and story, well, clearly leave a lot to be desired.

On a historical note, it appears this book was published in 1976, the year the Cultural Revolution ended, along with Mao himself. This propaganda was one of Mao’s last breaths, a desperate grab to keep his movement going.

On a literary note, there is a pretty big English translation (via the French) of Chinese communist comics called “The People’s Comic Book: Red Women’s Detachment, Hot on the Trail, and Other Comics.” It’s from 1973. I’ll write a review of it soon now that I’m thinking about it. Terrible comics, but interesting culture.

British Library to Stage Comic Exhibition

Posted in International Comics by mvblair on January 24, 2014

This is the librarian who decides what comics are good and what comics are not.

In high school, I joined the crusade of fanboys who demanded that comic books be taken seriously. My senior paper described the deft combinations of art and literature that made writers like Will Eisner and the Brothers Hernandez modern day Shakespeares. I demanded the use of the term “graphic novels.” I preached the “comics as literature” gospel as well as Scott McCloud. My parents and teachers, predictably and justifiably, made fun of me. As I moved on to college, comics slowly began to appear on library shelves, something I’d never seen growing up.

The crusade was naive on my part. Today, a huge section of the comics industry has been co-opted by academics, librarians, and, worst of all, publishing houses.  The academics were probably fanboys like me but hard-working enough to get their papers published once they became adjunct professors of communications, and they are now writing a new history of comics.

The industry has never been healthier, but there is a cost. Many new comics or “graphic novels” that we see on library shelves rehash popular scholastic content: history narratives, science-made-fun, and posterized dry literature. The most popular titles that end up in libraries and Christmas packages are neither creative nor innovative. It’s as if the publishers, who co-opted comics, shoot comics out just to appease the library industrial complex. That makes it a mixed bag: there are more comics around, but they aren’t that great.

Enter the ultimate co-opter: the British Library. Home of innumerable stolen treasures from the greatest civilizations, the British Library is now preparing to steal England’s comics history.

Your chance to win 25 pounds rather than lose them.

They’re starting with “Misty,” the supernatural adventure comic, a collage of Gothic stories about ghosts, monsters, and teenage girls discovering demons in their grandparents’ attics. It’s apparently a cult classic in Ye Ol’ Britain that has been forgotten about by all but a few hardcore fanatics until a stuffy academic recently decided it should be filed under “worthy.” The British Library is suddenly jumping on the bandwagon driven by publishing house horses and turning it into so-called “high art.” The people who enjoyed “Misty” during its six year run between ’78 and ’84 are watching academics and librarians run wild with theories as to why people liked it. The fans, of course, are left in the dark.

The British Museum will not display this particular cover as “art.”

Another comic that will be exhibited is “2000 AD,” which was readily available to Yankee colonists during the ’80s and ’90s. The comic gave birth to such characters as Judge Dredd, an extrajudicial judicial branch member who wears an NFL helmet, and Robo-Hunter, an extrajudicial executive branch member who smokes cigars alongside his robot companions, Hoagie and Stogey, who at one point uncover an insidious extraterrestrial plot to obstruct Britain’s robotic World Cup team. I’m not kidding.

These happy gents are editing “Punch,” the comics magazine about high society that was sold on street corners by smudgy-faced nine-year-olds while their fathers failed to conquest Afghanistan.

Perhaps an even bigger focus of the exhibition will be Britain’s history with political and social comics, which dates back to the mid-1800s. The comic “Punch” is oft cited by high school fanboys like me as an example of why comics should be looked at as serious literature. “Punch” discussed the many problems that faced members of high society in London, such as unpoached eggs, problems with striking coal miners, and the difficulty finding good estate help. Again, not kidding.

While the British Library was getting diplomats to ransack foreign capitals for copies of antique Korans, original poems, and hand-drawn maps, comics readers were busy collecting magazines back home, saving them for a rainy day. That rainy day has arrived. The publishers, librarians, and museum officials from whom we demanded so much respect in years past have now taken comics from our hands. They are writing their own revisions of this art form’s history.

The crusade, which began as innocent children marching off to Palestine with genocidal visions, has been taken over by the Vatican.

Sanmao: China’s Endearing and Enduring Comic Strip

Posted in International Comics by mvblair on January 16, 2014
While the trees in the park are protected over the winter, Sanmao is not.

While the trees in the park are protected over the winter, Sanmao is not.

Sanmao is one of China’s most popular comic strips. The title has been around for 79 years, longer than most other comics around the world. Published in newspapers, comic book specials, and in other forms of media, Sanmao made an impression on several generations of Chinese readers. Sanmao is endearing, enduring, violent, and political.

Born during the Japanese invasion of China Sanmao was orphaned when Japan attacked China, he wanders the streets of Shanghai as part of an army of skin-and-bones orphans. He is so malnourished, that he cannot grow much hair, thus the name, Sanmao, which means “three hairs.” At the time, street orphans were ubiquitous in China and Sanmao gave them an odd charm. He was kicked around by rich business elites while trying to find bread and a place to sleep.

Zhang (left) inspects the work of his fellow artists working for a state-run newspaper.

Zhang (left) inspects the work of his fellow artists working for a state-run newspaper.

Zhang Leping created Sanmao. He was eminently familiar with the hardships of his character. Zhang grew up during the Warlord Era and saw firsthand the corruption and disregard for life that existed at the time. The quality of Zhang’s early dark comics stands with the best of the other socially criticizing comics that have appeared since then. The artwork is sparse and uncluttered, with fast, moving lines.

Through the years, Sanmao evolved. He joined the army in order to fight the Japanese. During the war, he watched his fellow soldiers and friends die in bloody pages. Smaller, more cunning and more astute, Sanmao evaded death and survived the war. When the war with the Japanese was over, the little boy joined the Chinese Communist Party to fight against the Kuomintang.

Sanmao reads the "diary" of Lei Feng, a mostly fictionalized communist worker who gave his life selflessly for his country.

Sanmao reads the “diary” of Lei Feng, a mostly fictionalized communist worker who gave his life selflessly for his country.

By the time the CCP took over China, Sanmao became a propaganda tool, following his Zhang’s sympathies. Zhang worked for state-run newspapers and periodicals for his entire career. Sanmao would read books by exemplary communist workers and then follow their orders to do the right thing in difficult situations. During the Cultural Revolution, he would gather friends to criticize more sophisticated members of his environment. He would teach children about safe drinking water and sharing food with workers. Later, in less propagandist but equally goody-two-shoes strips, he would throw dirt on drug users, expose petty counterfeiters, and plant trees in public parks.

After the Zhang passed away, his studio was turned into a museum and a typically Western fight for ownership of Sanmao’s copyright occurred and now Sanmao travels in space and appears in less propagandist comics and movies. Since his inception, Sanmao has done well in movies, including cartoons and live action specials.

Sanmao tries to sleep on the streets of Shanghai.

Sanmao tries to sleep on the streets of Shanghai as aristocrats and Kuomintang soldiers pass.

Sanmao’s life during the war is most remembered. It was a turning point in Chinese history, defining generations of activist citizens. Sanmao showed in an honest fashion just how brutal life was in China at the time, for orphans and soldiers, and later the comic boy represented his generation as an ideal communist flag bearer.

Primer on Popular Comic Book Styles

Posted in International Comics by mvblair on January 15, 2014

This is going on two-years-old, but I clicked on an old bookmark of a BBC article about comic book styles from around the world. In no way is it comprehensive, but it’s a quick and fun read.

Odd that there is no mention of this extremely popular genre from the ’80s…