Tag Archives: Sam Noir

Gender, Race, Forgotten Pasts and Hopeful Futures: The Best of Political Comics in 2013

Who Were the Movers and Shakers in Comics for 2013?

In and out of the comics world, it’s been quite a year! For Ad Astra Comix, it was a year that we came to be. But how was our own growth reflective of the rise of political comics elsewhere? Listed below are the people, projects and titles that our contributors believe made the absolute best of the past twelve months, in many different ways. Follow the links to find out where you can purchase their work and learn more about them!


The Ladydrawers Comics Collective

sexmoneyracegenderTwo Thousand and Thirteen was a big year for comics introspection. At the forefront of alternative comics, comics activism, and raising awareness about some of the deficiencies of the industry is the Ladydrawers Collective, who have gained a wider audience from their contributions to the progressive website Truthout.org.

“We are not just readers and fans of comics; we are also creators and active participants in comic book culture,” they explain in their Kickstarter project last summer, which successfully raised over $15,000 for a documentary film about diversity in the industry. “…[A]s a medium as well as a mass cultural instrument, comics should not only represent our society by mirroring genuine aspects of human thought of emotion, but also nurture critical thinking and creativity.”

In addition to creating original works on topics as wide-ranging as feminism and unfair labour practices, the collective has curated comic art exhibitions, interviews with others in the comic industry around these issues, and given much-needed fuel to the fire calling for nothing short of a revolution in comics and the way we use them.cartoon-ladydrawers

Black Mask Banner
Black Mask Studios

Although founded in 2012, Black Mask Studios really heated up this year with a full slate release of titles from this new indie/political/punk publisher. Primary titles of interest: Occupy Comics and Liberator.

Occupy Comics (with 3 issue releases this year) has done much more than just tell the story of Occupy Wall Street. The series captures the feel of the movement. By reaching out to artists and writers from around the genre (Frank Miller need not apply). Occupy Comics offered powerful stories of struggle from early labour history, to OWS, Occupy Sandy, and other elements of the world wide movement for economic and social justice.
Liberator, written by Matt Miner in New York City, has taken an often marginalized sector of the activist community, the animal rights movement, and brought it into a powerful story that can be appreciated by both supporters of animal rights and everyday fans of good storytelling. This story from the political margins earned 4 out of 5 stars from Comicvine, and was described on the website Bleeding Cool is “A fiercely strong book that refuses to preach”. Speaking to the busy year he’s had in comics, (he and his family were still recovering from Hurricane Sandy when he launched his Kickstarter campaign for Liberator–since then, he’s released a first volume of four issues, and is collaborating on a project in the new year with the hardcore band Earth Crisis):

“The launch of Black Mask Studios has certainly helped bring political issues into comics in a bigger way.  I feel that as comics continue to grow and expand we’ll continue to see new and different types of stories that are relevant to the society we live in.”
“…I mean, Liberator isn’t Batman but it’s out there being read and enjoyed by a bunch of people who read Batman.  10 years ago the idea of an animal vigilante justice book never woulda happened.”

Certainly there are “non-political” titles that Black Mask is investing in, such as Ghostface Killah’s and RZA’s Hip-hop crime drama 12 Ways to Die, or Ballistic, a futuristic adventure about a man and his pet gun. But perhaps one of the most innovative and notable actions of the studio is its distribution strategy. Actively seeking out an alternative audience as well as traditional comic fans, Black Mask has placement in record stores, alternative book stores and uses an online subscription model to reach their audience. Black Mask has brought a slate of avant guard and openly political offerings into the wider marketplace.
Imagine: any average kid walking in to pick up the latest X-men or Batman (let’s face it: Superman fans probably weren’t interested) could see titles that made no bone about their politics of Animal Liberation, punk rock anarchists or the 99% sitting proudly beside old favourites. The times, they are a-changin’!

But the evolution of political comics is certainly not limited to North America, or to the new issues rack at the local comic shop.

so close faraway

So Close, Faraway!

If you live homeless in 2013 Brazil, you face extreme risks. The country has an incredibly high murder rate for its most vulnerable citizens, and they aren’t getting a lot of help. A true case in point: last year, eight homeless people were poisoned when a passerby gave them a bottle of water spiked with rat poison.

Shedding light on this dark and treacherous life, Brazilian creators Augusto Paim, Bruno Ortiz & Maurício Piccini created an interactive webcomic that–for a day–puts you next to Jorge, a 43-year old homeless man from Porto Alegre, Brazil.  So Close, Faraway! a self-described “interactive piece of comics journalism,” is a pioneering effort that stretches the capabilities of the comic medium while forcing us to look at a social issue we often ignore.
Vigorously researched by Paim, the SCF! combines the story of Jorge’s life with real statistics about homelessness in Brazil, like those mentioned above. Ortiz’s art reminds us of the tropics in that it seems almost two bright, yet startlingly accurate, even in the blur of the final page. There are also multiple photos that demonstrate that the artwork rarely takes any liberties, and the harsh conditions on each page accurately reflect the harsh reality of homeless life in Brazil.
Bringing the story of Jorge to the online space is computer science graduate Piccini, who creates each page in layers that let you add or remove statistical or story dialogue boxes to give you some freedom as to how you read the comic. There’s something empowering about having control over the text on a comic page, allowing you to appreciate the art, and giving you the chance to read as deeply into the details of the story as you like.

From left to right: Nate Powell, Congressman John Lewis, and Andrew Aikin standing on the bridge where police had beaten Lewis and his comrades decades before. The scene is depicted in March: Book One.
From left to right: Nate Powell, Congressman John Lewis, and Andrew Aikin standing on the bridge where police had beaten Lewis and his comrades decades before. The scene is depicted in March: Book One.

MARCH: Book One

John Lewis is perhaps one of the few members of American Congress who deserves to be there. As a leader of the Civil Rights Movement and the only person still alive to have spoken alongside Martin Luther King at the Washington Monument rally in 1963.

march__mlk_600px_lgAnd so kudos to him, Andrew Aikin, and the rest of their team for recognizing that the way to pass on this important chapter of American history—a history so often white-washed and told to have a happy ending—is to tell it as children and young adults like to learn it: with comics (electronic orders of this title, available through Top Shelf Productions, even include an electronic copy of vintage comic Martin Luther King and the Montgomery Bus Boycott, a 1950’s-era title that inspired Lewis to re-visit the medium). March: Book One shows us that our history is beautiful, terrifying, and can be powerfully relevant to our own lives. And who else could illustrate this with more grace than comic artist and illustrator Nate Powell?

If a comparison is acceptable, Powell is also another hard-working person who uniquely deserves every ounce of credit for what he has achieved in his life. After self-publishing comics since he was 14, Powell completed a few critically acclaimed and award-winning works like Swallow Me Whole, The Sounds of Your Name, and recently more politically-charged work like The Silence of Their Friends, and Any Empire. In 2011, he appeared at the United Nations alongside the world’s foremost writers of young adult fiction, to present on his contribution to the anthology What You Wish For: A Book For Darfur.

As John Lewis, Andrew Aydin, and Nate Powell so eloquently show us in MARCH, the Civil Rights Movement was a bloody, uphill battle, and should be remembered that way. The struggle and its gains were not the results of a few actions by those now famous historical figures; the movement moved and shaped by thousands of committed activists, many of whom were students, and many of whom lost their lives.


Boxers and Saints

Gene Luen Yan’s Boxers and Saints is a hugely innovative and visionary dual graphic narrative for all ages, from First Second Books. Using cutting-edge creative technique, we can now begin to think about history (and comics) in a very different way.

They are in fact, two separate but complementary graphic novels, Boxers, and Saints, that challenge a traditional black & white world-view.  They are also available together as a boxed set and share trade-dress (including connecting imagery on covers/spines), and the reading of both is highly recommended to fully appreciate the richness of the larger world and the historical backdrop of China’s Boxer Rebellion.

Even though Boxers is the heftier of the two physical volumes, both are balanced in substance. Yang has tackled the problem facing anyone trying to fairly depict two sides of a conflict, and finds a rather eloquent solution: each is given it’s own stand-alone (albeit interrelated) story, and it’s own protagonist.

Boxers tells the story of Little Bao, an ignorant farm boy turned rebel leader, while Saints follows a young Christian girl, whose lowly status does not merit a proper given name until she chooses her vocation.  The two meet only briefly, but with significant repercussions on the lives and ultimate fates of both.

In addition to being a critically acclaimed and award winning Graphic Novelist (American Born Chinese won an Eisner and other honours in 2007), Yang is a high school teacher. He shows deftness and ease at breaking complex concepts and events into accessible, yet entertaining, ways for his primary audience of children and youth.

He crafts fictionalized version of very real events, using what we as adults might liken to “Magic Realism”.  It’s not surprising that Yang also writes the graphic novel adventures of Avatar: The Last Airbender. He has essentially turned his protagonists into superheroes, while the very human reactions of his adolescent characters remain easily relatable to young readers.

Yang’s work pushes the boundaries and demonstrates the potential of the medium. Boxers and Saints highlights the complexities and ambiguities of political/social/economic conflicts, and illustrates to his readers that the world isn’t cleanly divided into “good guys” and “bad guys”.

symbolia logo

Symbolia – A Periodical of Comics Journalism

Symbolia Magazine started out this year doing something that seemed very logical: an electronic periodical composed entirely of comics journalism. In fact, it seemed so logical that many of us forgot that this had never been done before. Celebrating the genre in and of itself and not merely as decoration for other more “legitimate” pieces of print journalism, the periodical format reminds us that this category of work is alive, kicking, and packs a healthy dose of diversity (and punch, in case anyone’s wondering). The latest instalment just came out on December 24. and the electronic-only format means that the editorial board can focus on quality content and not pinching pennies to make the next full-colour print run (electronic comics also mean interactive comics, of which the magazine takes full advantage!)

femalesuperheroesTom Humberstone and Female Superheroes

For those unfamiliar, Tom Humberstone is an award-winning comic artist and illustrator based in London. This year, he launched the platform Female Superheroes on femalesuperheroes.nl (with access in English and Dutch), featuring inspiring stories about ordinary women from around the world, who face great adversity and overcame it to do extraordinary things with their lives. The platform is unique because, “it showcases how Comics Journalism can be combined with a game-like interface, 360-degree photography and video to create an immersive experience”. Pretty awesome.

Screenshot of the interactive Female Superheroes website, available in English and Dutch.
Screenshot of the interactive Female Superheroes website, available in English and Dutch.

Tess Fowler, Mari Naomi, and the “Open Letters” to the Comics Community of 2013

Similar to this last project was some of the initial work released by Tess Fowler, who gained recognition for her modern remix of Disney heroines, called “Apocalypse Princesses.”

For better and for worse, Fowler arguably made less waves with her incredible artwork this year than for her calling sexist foul on Brian Wood, a leader in the mainstream comics industry for sexually harassing her during a comic convention social. Open letters such as hers and other women in comics (most recently comic artist Mari Naomi re-lived, in comic form, how she was repeatedly sexually harassed during a panel at a comic convention) are pointing to a deep and powerful undercurrent of male chauvinism in comics.

Certainly, these talented women would like to focus on what they love doing most, which is telling stories and drawing comics. But for the purpose of this post talking about who has had the most significant impact on comics from a political perspective, their public positions against harassment in the industry have been huge. The ripple effect of these public-yet-very-much-“inter-community” criticism is going to be felt for years to come, and has very likely changed the titanic course of the comics industry as we know it. The letters, each as they pop up, have obviously been constructed with great caution and forethought, but ultimately released for the betterment of the comics community, and are therefore courageous and worthy, more than any other buzz news or gossip, of our time to read.

Contributing Writers:
Zachary Dunlop-Johnson
José Gonzalez
Raisha Karnani
Sam Noir
Nicole Marie Guiniling


Exhibit of Chester Brown’s Louis Riel at Art Gallery of Ontario

Photo courtesy of the AGO Art Matters blog - http://artmatters.ca
Photo courtesy of the AGO Art Matters blog – http://artmatters.ca

By Sam Noir
December 18, 2013

Something significant and radical has occurred in the Georgia Ridley Salon at the Art Gallery of Ontario.  Original comics artwork has steadily gained acceptance within the hallowed institutions of mainstream galleries and museums, but never in as bold a curatorial manner as this.

A stark black and white, inked, portrait of Louis Riel sticks out like a sore thumb. Surrounded by stacks of period specific, painted, (colour) artwork, in a setting that recreates the viewing context of a period spanning Canadian Confederation and the First World War.

A portrait of Riel would never have found its way into any English Canada salon of that time.  A crusader for Métis rights, and charismatic leader of the 1869-1870 “Red River Rebellion”, Riel was branded a “traitor” by the federal government, and viewed as such in the province of Ontario, and particularly the city Toronto.  How fitting then, that he should end up here of all places, today.

This decidedly contemporary juxtaposition provokes conversation, and challenges our traditional narrative as Canadians.  The portrait incidentally, is the original cover art for the tenth anniversary edition of Chester Brown’s graphic novel Louis Riel: A Comic Strip Biography.


Riel remains controversial figure, and difficult to place within Canadian history.  He’s a powerful symbol of Native and French Canadian rebellion against centralized English-speaking government powers.  However, we now live in a society where Multiculturalism is espoused, and Bilingualism is national policy.  Chester Brown’s graphic biography is a reflection of this current cultural paradigm, particularly since Riel is now viewed as a “Father of Manitoba”, in spite of his defeats.  It is notable that the Canada Council, a government run funding agency for the arts, provided support to Brown in the creation of this work.

Tucked away in a small alcove in a corner of the salon, original artwork from Chester Brown’s Louis Riel graphic novel is displayed, revealing Brown’s process.  Each frame showcases what are essentially small individual panels of the same dimensions, on separate small pieces of paper, a half dozen of each which were eventually grouped together to form a “page” of artwork.  Imagine each of these panels to be a frame of film.  In film editing terms, this allowed Brown the ability to “non linear edit” as he crafts the story… adding or deleting panels and moments from any point in the chosen narrative as he goes along creating the work as a whole.

We also need to note that Brown calls his biography a comic strip.  Drawing from a more traditionally populist format, and defining itself away from the more literary pretentious term, graphic novel or even the more common place name of comic book.   Both terms which come with a degree of cultural baggage in the current landscape.

During the process of creating this work, Brown adapted a large stylistic influence from cartoonist Harold Gray, the creator of the comic strip Little Orphan Annie.  In fact, there are examples out there showing how Brown redrew panels he created earlier in the process to keep this aesthetic choice consistent.  The choice of Gray is interesting in that Gray is largely considered a political artist himself during a tumultuous period of American history.   Recall that the original Little Orphan Annie cartoon strip was a politically charged reaction to the changing times of the depression-era nineteen thirties – a fact largely forgotten in the shadow of the Broadway musical and cinematic adaptation that has taken popular root in its cultural stead.

Gray could originally be defined as a Republican during the pre-Depression years at the start of Little Orphan Annie (most historians cite the name of his character “Daddy” Warbucks as a suggestion about where the character’s initial fortunes came from), but many argue that the views expressed by his characters in later years were libertarian in nature.  Brown became politicized during the creation of Louis Riel, and has run as a candidate for the Libertarian Party of Canada in the riding of Trinity-Spadina since the 2008 federal election.

The spine of Brown’s Louis Riel rests on the side of democratic process, with the elected leadership of the largely mixed francophone/aboriginal Red River Settlement majority (Métis), battling against the tyranny of an oppressive English Canada asserting its agenda and the machinations of The Hudson’s Bay Company, hoping to profit from this transfer of power and land rights.  Though Riel’s methods and actions may not always be viewed sympathetically, you can understand his motivations of fairness.  Particularly as the elected leader of the provisional government, negotiating its place in the developing country of Canada – and as an member of Canadian Parliament, elected multiple times, but never having sat in the House of Commons for fear of arrest.


Canada’s first Prime Minister John A. Macdonald is not painted in a flattering light, and his decisions shown here have far reaching implications.  A political creature, choosing the expediency of arms over the complications of keeping his promises to Riel and the provisional government of Manitoba; a far cry from the Father of Canadian Confederation we learned about in our history books.  More devious still were his manipulations around the negotiations with the Métis in Saskatchewan to incite rebellion, and justify the mounting expenses in construction of the Canadian Pacific railroad across Canada, by sending in troops.

Whereas his sympathies undoubtedly lie with Riel and the Métis, in the story he’s chosen to tell, Brown has selected moments that highlight a certain degree of ironic, even dark, humour to Riel’s story. Reminding us that this book is designed to entertain as much as it is to inform. Far from being a comprehensive volume on the life of Riel, Brown’s selection of vignettes within the allotted pages is equally fascinating.

Brown’s exploration of Riel’s years following Red River, institutionalized and gripped by “Divine Madness” is not surprising to those familiar with his earlier autobiographical work.  Where his mother’s schizophrenia was not overtly stated, but often a strong subtext in the depiction Brown’s developing years.  These visions and religious fervour haunt Riel, and follow him through the Métis uprising in Saskatchewan, leading up to his surrender to the Canadian authorities, and to the end of his life.  The closing chapter, leading us to the final moments of Riel’s execution, depicts the courtroom where the question of his sanity is laid before those who knew and encountered him.

In some parts of the chronology, the narrative jumps years at a time, quickly through different characters and settings between panels on the same page.  However, when Brown chooses to slow down the pace, utilizing what has commonly become known as “decompressed storytelling”, the quiet results are compelling and moving.  Individual “moments” paced out in panels of the same size, six to a page stretching across multiple pages.  Similar to Watchmen, which functioned similarly using a nine panel per page grid structure.  With no variation in size and placement of panels, the panels become a singular viewing portal… a “window” into the world of Louis Riel.

The final sequence in Part One of the story, depicting Louis Riel alone in Fort Garry, and then leaving the Red River Settlement, stretches across a luxurious four pages.  Dwelling on mundane, yet affecting moments of Riel rising from bed and eating a solitary meal, before being warned of the English troops descending upon him.  Unlike the end of a traditional American cowboy movie, in this Canadian “Western”, Riel does not head triumphantly into the horizon and the sunset, but towards the reader, who is looking down above him as he walks in the rain.

You can view these particular pages of original art for yourself, showcased in the salon’s alcove at the Art Gallery of Ontario until September 2014.

Honours bestowed on Louis Riel: A Comic Strip Biography include 2 Harvey Awards, and its placement as a semifinalist in CBC’s prestigious Canada Reads program.  It was the first Canadian Graphic Novel to become a best-seller, and on its heels has spawned a renaissance in the genre of graphic novel/comic book biography and similar non fiction illustrated work.


During an earlier regeneration, the author of this article found himself living as an academic. He held three degrees from Queen’s University in Fine Art, Art History and Film Studies in a death-like vice grip, describing himself at the time as an Installation Artist, Pop Culture Junkie and Film Maker. 

Sam Noir is currently a rabble rouser, and maker of comix and toys.  He claims Toronto, Canada–the most culturally diverse city on the whole damn planet–as his home.