Action Lab Republishing Katie Cook’s Gronk

Beginning in 2011, Katie Cook has released a collection of her adorable Gronk webcomic every year. This year, instead of putting out book four, she’s announced that she will be publishing through Action Lab Entertainment. They will begin by reprinting the first three books before releasing a new fourth volume.

Gronk from Action Lab

This gets Cook into the comic direct market store system without any additional work on her part, I’m assuming, so that’s a good thing, particularly for stores looking for more cute all-ages comics and/or those who want something else to sell from the writer of the popular My Little Pony: Friendship Is Magic comics from IDW. Action Lab has several all-ages titles, including the recent Hero Cats and the popular Princeless, but they also promote heavily such adults-only books as the tacky Zombie Tramp. (Methinks it’s beyond time for them to clarify their imprints.)

Gronk is a young monster who winds up living with a human woman, her pet cat, and a very large Newfoundland dog. The weekly strips generally revolve around quiet observations of how silly behavior can be, with Gronk sometimes acting as a child would and inadvertently destroying parts of the home. Says Cook,

“Gronk has always been a very personal project for me… I developed the character back in college YEARS ago and had always planned on doing something with her. It wasn’t until I kicked myself in the pants and started the webcomic that I started in on the journey that became Gronk: a monster’s story… a project that has seen me through years of my life. Every change my adult life has faced, leaving a comforting job for full-time freelance, becoming a mom (twice!), and more, I’ve always tried to get a Gronk strip up that week! It’s my true “me” creative time every week. It’s a strip that has grown with me as a person and a creator.”

Jim Henson’s The Musical Monsters of Turkey Hollow

As part of Archaia’s continuing line of Jim Henson-related works — such as their publication of Jim Henson’s Tale of Sand and Fraggle Rock comics — they’ve put out Jim Henson’s The Musical Monsters of Turkey Hollow, a print version of a never-produced Thanksgiving TV special by the puppet master.

The adapter and illustrator is Roger Langridge, a talent who’s previously demonstrated how well he understands Henson’s creations in his work on The Muppet Show comics, which were outstanding.

This is a simpler fable than that multi-layered show, but charming all the same. It’s set in 1968, giving us a reminder of a simpler time, and making the kids’ hobby of folk music a bit more sensible. Timmy and Ann like to play guitar in the woods, but an evil neighbor covets their land and chases them away with a pitchfork. He’s the wealthiest turkey farmer in Turkey Hollow and a bully. (His characterization is not subtle.)

Timmy goes to practice one day only to find himself accompanied by odd-sounding harmonies. The musical monsters, seven voyagers from space of different furry shapes, help him get the songs right. Portraying music in comics is difficult, and Langridge handles it both by lettering lyrics and having display text float through the panels, punctuated by drawn musical notes, as shown here.

The Musical Monsters of Turkey Hollow panel

Timmy’s new friends cause trouble as they follow him to school, and when the bad guy sees them, he riles up the townspeople to drive out the “demons” among them. There are accusations of theft and fear-mongering and the problem of dealing with those different from us, until everything wraps up neatly as Thanksgiving is celebrated with friends and feasting and music. Jim Henson’s The Musical Monsters of Turkey Hollow isn’t a deep or challenging book, but it’s a comfortable one, suitable for all ages, and a holiday pleasure to read.

The book opens with an explanatory note by a Henson Company archivist, giving the history of the project, and a photo of Henson’s daughters with the original puppets, built but never used. It closes with biographical sketches of the creators and some insight into the development process. Finally, there’s an amazing drawing of what it might have looked like to see the puppets being operated, creating in me a closing fondness for the genius and talent of Jim Henson. (The publisher provided a digital review copy.)

Memetic #1

The three-issue miniseries Memetic launches strongly.

Memetic #1 cover

James Tynion IV (The Woods) has come up with a dynamite, of-the-moment concept. We open on the end of the world, deserted streets with various bodies laying around and fires burning in the distance. That’s soon contrasted with two days ago, a normal, everyday scene where everyone’s on the internet in some fashion. Soon, they’re all talking about and passing around the latest meme, a picture of a happy sloth.

Weaponized sloth meme

(Isn’t it neat that they actually made an animated version for the internet?)

No one understands why those who view it feel so happy. It quickly sweeps the world, causing almost cult-like behavior. Unfortunately, bad things end up happening to those who saw it.

I’m impressed with Tynion’s acknowledgement of how different the internet can be for those with challenges. His two leads are a color-blind boy who needs a hearing aid and a former soldier who’s lost his sight. The meme doesn’t affect them, due to their impairments. They team up with a scientist who’s done research on “memetic warfare”, weaponized memes (demonstrating the problem of how to study something that’s not safe to look at).

The boy, Aaron, doesn’t react the way his friends do, and that just reinforces how lonely he feels after a breakup with his boyfriend. Tynion’s dialogue is realistic and expressive, building the characters through the ways they interact naturally with friends.

That works because Eryk Donovan, billed as a newcomer, is able to draw both people going crazy and acting terribly and normal conversation scenes. He’s talented. His portrayals make me care about these folks, even when I know I shouldn’t get too attached, since this is a horror comic at its core.

I like that it’s a limited series, which means I know there’s an ending coming (not just continuing cliffhangers, a pattern which has sunk other hot, well-done series for me). It is high-priced, at almost $5 an issue (although it is oversized, with 32 story pages compared to the usual 20 or so, plus six behind-the-scenes pages). Given the limited run and the substantial cover price, I imagine many readers will want to wait for the collection — and to see if the conclusion lives up to the suspense of the opening.

You can read preview pages as part of this interview with the creators. (The publisher provided a digital review copy.)

Phil Jimenez Comes to Madison

Phil Jimenez

Speaking this Thursday, October 23, on “Comics and LGBTQ Identity” is Phil Jimenez. It’s the Keynote for LGBTQ History Month at the University of Wisconsin – Madison. Phil is a comic artist and writer who’s worked on such titles as Wonder Woman, Teen Titans, The Amazing Spider-Man, and X-Men. Come hear him “on his creative process, his favorite drawings, and the influence his identities have had on his artwork” from 6-8 PM at room L140 in the Conrad A. Elvehjem Building.

A Movie Studio Enters the Direct Streaming Market

Following up on last week’s news of CBS and HBO planning to offer direct-to-customer streaming services, a movie studio has jumped into the market.

Lionsgate logo

Lionsgate and Tribeca Enterprises are teaming up on Tribeca Short List, “an online video-on-demand service focused on “curated” prestige titles drawn from their libraries, along with a selection of foreign films.” This will debut by next June; no price information is yet available.

Tribeca is best known for their New York City film festival. Lionsgate is best known for The Hunger Games movies, and with their acquisition of Summit, the Twilight franchise. I know them best for action films like Dredd and I, Frankenstein, although they have also released plenty of more arty movies. They may have an audience, but I’m not sure their properties are deep enough to support a service that can attract subscribers month after month.

This is the quote I find most intriguing:

Jane Rosenthal, Tribeca’s chief executive, said in a statement that the goal was a “highly curated experience that disrupts the ‘more is more’ model in today’s streaming on-demand landscape.”

That “more is more” — in other words, the idea that customers want plenty of content to choose from for one low monthly price — is the appeal of streaming, in my opinion. I can see why studios would hate it, though, because it doesn’t allow them to value their content as more special than others. But I don’t know of many fans (with the exception of the classic “Marvel zombie”) that segregate their entertainment by who releases it. I don’t want to watch only Warner or Universal movies, so a streaming service per studio is of minimal interest.

Sleepy Hollow: The Book, The Comic, The DVD

I’ve been looking forward to the return of Sleepy Hollow. It’s a terrific adventure show with something for everyone. I haven’t wanted to start Season 2, though, until I finished up Season 1.

Ichabod Crane (Tom Mison) is killed in 1781 during the Revolutionary War by a Hessian mercenary, but since his wife (Katia Winter) is a witch, he rises from the dead in modern-day Sleepy Hollow, New York. Unfortunately, his killer has become the demonic Headless Horseman, so Ichabod teams up with police officer Abbie Mills (Nicole Beharie) to find out what’s happening, stop the supernatural bad guys, and save the world.

There’s horror — all kinds, from outright monsters to haunted houses to more subtle mental fears — and comedy (particularly when Crane encounters a particularly odd part of modern life), suspense, mystery, and teamwork. Mison plays admirably old-school heroic (the British accent helps) while Beharie is determined and strong and caring and fearless, with a mystical history of her own. They’re truly partners, helping each other to win through against the Four Horsemen of the Apocalypse, trusting each other in spite of their very different backgrounds. When they first meet, Crane gets off on the wrong foot by referring to her as an emancipated slave, since that’s the only thing he can assume about a black woman with a badge, but he soon learns much more about our world.

It’s also great to see Abbie with her sister Jenny (Lyndie Greenwood). They have severe disagreements, but eventually, they’re able to appreciate each other, and it’s a pleasure to see such a complex relationship between two strong women. The interactions among the cast are outstanding, particularly with Orlando Jones as Abbie’s boss, a man who slowly comes to accept the weirdness while trying to protect his daughter and atone for the times he left her and her mother alone.

The show does a good job of balancing the overall mythology — the battle against the Horseman — with specific challenges in individual episodes — such as when a boy from the lost colony of Roanoke carries a plague to Sleepy Hollow, or they fight that episode’s demon or other supernatural threat. As the season continues, we learn more about Ichabod’s history, with flashbacks to his prior life and time with his wife as he seeks to free her from Purgatory.

There’s a lot in this series. They’re not skimpy with ideas or revelations, making for an enjoyable roller-coaster ride with characters you can care about, spooky twists, and some gorgeous scenery. The first season, 13 episodes, is available on DVD now.

DVD Special Features

There’s a commentary for the pilot episode, but it’s directors, writers, and producers, not cast, so much of it is about details of filming that I didn’t find particularly insightful. (I did like the comment that they aimed for a look that was not gloomy or despressing but colorful and vibrant, since that’s the kind of positive approach I look for in my entertainment.) I much preferred the final episode discussion with Mison and Beharie, as well as a couple of producers.


The two longer features are similar. “Welcome to Sleepy Hollow” (21 minutes) opens with a spoiler warning, since it covers the whole of the first season. The producers and cast members talk about the origin of the series and casting (see Mison without his wig!) and shooting the pilot, particularly the historical segments. “Mysteries and Mythology: The Secrets of Sleepy Hollow” (19 minutes) is similar but discusses the characters and being able to continue the story after the pilot. They do quick check-ins with many of the episodes and key elements (whether villain or monster or setting).

The Deleted Scenes run nine minutes for nine scenes, although individual length varies. The most substantial is one that focuses on Jenny getting out of the asylum and speaking with a parole officer about her previous travel.

“The Corbin Files” are 2 1/2 minutes of the former sheriff’s audio recordings about his research into the oddities of Sleepy Hollow. The last four items run between two and three minutes each. “Welcome to the 21st Century, Mr. Crane” is a series of show clips where Ichabod experiences the modern era. “The Horseman” is about the animals used in filming. “The Horseman’s Head” covers the special effects involving the skulls. There’s also a gag reel, of which my favorite part was Mison having trouble with log-splitting.

The Books

To tie into the DVD release and the return of the show (on Fox Mondays), there are two new books out. I haven’t read Sleepy Hollow: Children of the Revolution, an original story with the characters, but the opening sample chapter seems to capture the flavor of the series.

I did read The Secret Journal of Ichabod Crane by Alex Irvine, a faux notebook of Crane’s thoughts (provided as a review copy). It’s faithful to the character’s voice, written as the thoughts of a man from almost 250 years ago trying to process the events and setting of our modern day.

Many of the scenes will be familiar to viewers of the series (and I’m not sure why someone who wasn’t watching would want to read this), but it’s fun getting another, more interior take on Crane’s initial arrest or his determination to answer the mysteries of his existence. The elaborations are often recaps, but all have at least a new detail of interpretation.

The vocabulary is charming, a stretch for some as the words are flavorfully old-fashioned and the phrasing archaic. The journal is also populated with sketches of show locations and characters as well as reproduced files and clippings relating to the premise.

My favorite bits, as above, are those where Crane muses on the modern world, even beyond what we’ve seen on the show. He discovers how wonderful a hot shower can be and bemoans the treatment of the Indians in the years since his time. He views the internet skeptically but quite rightly decries the use of “impact” as a verb. He encounters a Tea Party member and children dressed up for Halloween and the rituals of Thanksgiving, including shopping and football. The Secret Journal of Ichabod Crane made a good companion to the Season One DVD.

The Comic

Sleepy Hollow #1 cover

Boom! Studios has put out the first issue of a Sleepy Hollow comic written by Marguerite Bennett and drawn by Jorge Coelho. Like one of the novels, it’s a new story with the characters.

A child gains super-strength to protect her brother, but she seems possessed when questioned. Another woman thinks she has healing powers, but they quickly go out of control.

The dialogue is in keeping with the show, but unfortunately, the figures don’t look right to me. It’s not the likenesses, although Crane is better than Abbie, but the way they move and the attitudes and expressions with which they’re portrayed. The visual storytelling wasn’t always as clear as I would have liked, but when it’s so easy to re-watch the show, I find myself having very high standards for comic adaptations.

There are several references in the story that aren’t explained for new readers, either. If I hadn’t read it while rewatching, I wouldn’t have recalled who Serilda was or the details of her story, and there’s an earlier reference to a broken timepiece that I clearly haven’t gotten to yet in the show, because I don’t know what it means. The story seems abbreviated, as though it would have been better told in two issues instead of crammed into only one. Particularly since our heroes reference a triad but only after we’ve seen two examples, which left me confused throughout.

The two-page backup “Movie Night” by Noelle Stevenson is much truer to the characters and a better tale. She does an excellent job of capturing the appeal of their interaction in just a couple of pages, and her caricatures feel more like the characters I enjoy watching.

Random Final Note

While rewatching, I noticed that the two main characters have the same hairstyle at the beginning — top part pulled back, back left free, with a couple of front strands loose to frame the face. I don’t know what it’s called, officially, although I wear it myself often. Later in the series, though, Abbie’s hair is most often down, without any ties.

*Princess Ugg Volume 1 — Recommended

The first collection of Princess Ugg is due out at the end of November, and the timing is well-chosen, since I’m thankful this new series by Ted Naifeh exists.

As I said in my review of the first two issues, this series is “a social satire, a fresh take on what it really means to be a princess.” Volume 1 collects the first four issues, in which we meet and come to admire the barbarian Princess Ülga.

She’s come to the civilized lands for personal reasons, revealed over the span of the story, and she conflicts with the more proper princesses, who are more concerned with dresses and attention than the earthier Ülga. The contrast provides a good deal of comedy, but there are important lessons as well — about the value of each individual, about different not being bad, about learning to get along with people not like you, of finding knowledge in new places while still valuing where you came from.

When the other girls choose dresses, Ülga selects battle-axes. They use her lack of knowledge of their customs against her, but her ignorance doesn’t make her stupid, as she later proves when training another princess’ unicorn. (Yes, this is a fantasy story.) Not only the author but an authority in the story has a sense of humor, as they send Ülga to room with Julifer, the most precious of the young ladies.

Ülga gets lessons in etiquette and fashion and grace and history, and finally, an ally in the quest to learn diplomacy. In issues 3 and 4, Julifer’s pet, in preparation for competition, demonstrates the difference between a beautiful appearance and an attractive demeanor.

Ted Naifeh’s art is full of detail, whether he’s drawing hordes of warriors on ice-covered craggy peaks or young women surrounded by feudal castle luxury. The characters have great emotion and expressiveness. Ülga is one of several recent characters that young women of many ages can admire for breaking the mold of the typical girl. I enjoy reading her adventures and hope to see many more. (The publisher provided an advance digital review copy.)

Famous Last Words

I thought the premise of this YA thriller — a serial killer is recreating famous scenes from movies for his deaths — would be intriguing, but I found too much of it assembled from overly familiar bits. Plus, I was disappointed to find that it was also a ghost story, with spirits helping solve the mystery. I’m ok with real-life villains, but I don’t believe in ghosts, and mixing the two seemed to do both a disservice.

Willa’s mother has married Jonathan, a famous movie director, and moved them both to Hollywood with him. Willa is grumpy about everything, and when she starts having creepy-real flashbacks of the last moments of the young women killed in movie scenes, her life spins out of control.

Typical of the YA genre, there are two dreamy boys for her to choose between — Wyatt is a fellow student investigating the killings while the older Reed is Jonathan’s assistant — as well as a modern-day take on a Cinderella story, as her new stepfather gives her gifts and brings her to a former movie star’s mansion to live. Willa’s damaged, haunted by her father’s sudden death after an argument with her, and she’s hiding the trauma from everyone. She does make a friend, who provides entry to some glamorous Hollywood events, but even the friend has her own secrets.

By the end of the story, I was tired of Willa’s adolescence, mostly reflected in reading over and over how she’s afraid to tell anyone the truth. It’s an idiot plot, since if she spoke to any of the people that care about her, there wouldn’t be a book. Instead, we get several life-threatening scenes as both supernatural and psychotic monsters try to kill her. There are too many various bits spinning around for them all to get the space they need, and I found the whole a waste of the Hollywood connections. (The publisher provided a digital review copy.)




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