Skip to main content

Wolves - Becky Cloonan





For those who have listened to Episode 13 of the podcast you will know I was raving about Becky Cloonan's 'The Mire', her self-published haunted fantasy comic.  Well, in 2011 she self-published a precursor of sorts called 'Wolves'.

Self-published comics are usually, almost by default, a labour of love.  That's certainly the feeling that 'Wolves' exudes.  The small, short, black and white comic just feels much more intimate than a big glossy 'professional' comic.  I'll hopefully touch on this in more detail in a later blog or episode, but the feeling that a comic has been made just for you helps you connect with the art and narrative in a way that a blatantly mass produced piece of art never could.

'Wolves' is a short story, and reads like the literary expectation of that would; carefully building an atmosphere through a simple narrative, with a 'twist' ending that on second reading makes you feel foolish for not twigging the first time round.  The tale follows a hunter through darkened woods in pursuit of his vulpine prey.  Things quickly turn out to be more than expected, leading to a low key and sombre finale with echoes of the aforementioned 'The Mire'.


Cloonan's artwork is perfectly suited to this 'Game of Thrones'-esque tale, which will come to no surprise to those who have seen her Conan, Dracula and Northlanders work. Somehow mixing clean and crisp lines with a sense of the dark and foreboding, her drawing evokes the Gothic illustrations of a Brothers Grimm fairytale.

Taken together with 'The Mire' it is clear Cloonan's talent extends beyond simply drawing and I look forward to seeing more of her as a writer. 

Both comics are available to order from her website.  Wolves can also be downloaded from there for a measly $0.99.

M.
 
Wolves

Becky Cloonan

Self-published


Comments

Popular posts from this blog

Fun Home by Alison Bechdel

 Fun Home is the somewhat depressing memoir-cum-analysis of cartoonist Alison Bechdel's childhood and teenage life, linking her own discovery of her sexual identity with the death of her father and the subsequent revelations of his sexuality. Contradiction and ignorance lie at the heart of this story.  Bechdel's childhood is portrayed as the product of a cold and loveless marriage, where the children are treated more as school pupils and free labour than beloved offspring.  Yet Bechdel and her siblings for the most part come across as happy and content with their lives - at least until the confusion of puberty and sex rears its head in the later years.  The narrative revolves around the death of Bechdel's father - hit by a truck whilst crossing the road from a house he was renovating - which she adamantly maintains throughout the story was an un-confessed suicide driven by his secret homosexuality (or bisexuality - he never articulates any specifics) in their local sm

Sub-Mariner: The Depths

One big trick I think Marvel is constantly guilty of missing is that they’ve created this huge and popular universe, filled with vibrant characters and a rich history, yet they only really use it to tell superhero stories.   Sub Mariner: The Depths , originally published in five parts under the Marvel Knights banner in 2009, is a rare exception. This claustrophobic psychological thriller, written by Peter Milligan with art by Esad Ribic, is loosely based on Joseph Conrad’s novel Heart of Darkness (which also served as the basis for the film Apocalypse Now ), and is one of Marvel’s best comics in recent years.   The tale is a fantastic little examination of what it must be like to live in the Marvel universe, however unlike Kurt Busiek’s Marvels which tackled the same issue, The Depths  is more about what we don’t see than what we do. Set in an art deco Marvel universe before the advent of the super-heroes, Dr Randolph Stein - scientist and ‘profession

Bang! by Matt Kindt and Wilfredo Torres

 Bang! is definitely familiar ground for Matt Kindt; a secret agent romp with a heavy slice of weird on the side.  The story opens with tackling the question of how James Bond manages to still be a relatively young all action hero despite first bursting onto the scene in the 60s, and just why does he look like a different person every few years?  We then jump into an almost Morrisoneqsue metatextual team up adventure with variations of John McClane, Miss Marple/Poirot, and an east Asian techno-spy whose homage I'm sure I would be able to explain if only I was a bit better well-read. The plot races to a somewhat rushed and truncated ending that feels more like a set-up for the next chapter in the story of these characters - indeed, the book finishes with 'to be continued'.  The story itself is interesting enough, but the best chapters and the first 4 which focus individually on our cast of characters, where Kindt does a good job of balancing the recognisable aspects of thes