All posts by A. David

The Martian Chronicles of Julian Darius, Part II

Continuing our interview with Martian Comics creator and the Sequart Organization founder Julian Darius, we move from his depiction of the prophet Ezekiel to his treatment of Lazarus and of Jesus, “The Galilean”:

S&S: “Ezekiel” is followed by the longer, 11-page, “What Has Athens to Do with Jerusalem?” The title, presumably, comes from the writings of the Church Father Tertullian, yet the story focuses on Lazarus, the man Jesus resurrected, and Paul. What’s the connection between the title and the concerns of the story?

JD: The quote comes from a later period. But it’s key to the point of the story.

On the one hand, the story allows us to catch up with Lazarus, seeing how he’s evolved —

S&S: Since readers last saw him in issue #2 of Martian Comics, freshly resurrected by Jesus but, in effect, unable to fully live or rejoin what was his life.

JD: Right. Lazarus actually has a cameo in issue #1, but issue #2 is the first to have a story all his own. The idea is to follow up on the Lazarus story, because the Bible never tells us what happened to him. The point is that Jesus resurrected him, and it’s a miracle – but Lazarus is just a prop, really. He’s a demonstration of Jesus’s power. So I thought “what happened next” was an interesting idea, and I thought this tension – about how Lazarus is kind of forgotten, once he’s resurrected – should be part of the story.

So in issue #2, Lazarus is resurrected, but he’s been decaying a little, and these rural Jews of the first century, who were pretty superstitious, would have seen him as a supernatural thing. They’re scared of him, and he doesn’t look right. It’s not going to be like “Oh, Lazarus, glad you’re alive again, old chap!” No, there are going to be rumors, and any physical deformity or ailment was seen as potentially demonic or dangerous. That’s why Jesus ministering to lepers was such a thing. And in those days, you really needed a community to survive. So Lazarus is alive, but he’s kind of a pariah. And he sees how this is hurting his family – that, as he says, he’s of no use to them.

So Lazarus is kind of figuring out what being resurrected means. It’s not just that you came back to life. You’re different now. You look different, and you’re treated differently. Jesus does his miracle, and everyone’s impressed, but no one really follows up with Lazarus. There’s no post-resurrection counselors or anything.

Along with this, what does resurrection mean biologically? Does someone who’s been resurrected return to life and live out a normal lifespan, as if they hadn’t died? Do they get a week and then die again? Maybe resurrection’s not permanent! Or do they live forever? I think we usually don’t ask these kinds of questions, and it’s not a focus of these stories in the Bible, where the point is that Jesus is powerful because he resurrected someone – implicitly encouraging us to believe. We kind of assume that any bodily decay is healed as part of the resurrection, although that doesn’t necessarily follow. And I was interested in exploring all of this. My Lazarus doesn’t have his bodily decay healed, and whatever energy resurrected him is still in him. He’s immortal, although he doesn’t know it at first. He learns it in pretty dramatic fashion in that story.

Continue reading The Martian Chronicles of Julian Darius, Part II

Third Time’s the Charm: Steve Bergson on Barry Deutsch

Over at his Jewish Comics blog, S&S’s own Steve Bergson interviews Barry Deutsch on his latest installment of the Hereville series as well as the recent honor of once again winning the Sydney Taylor Award. The Hereville graphic novels feature, as quoted on the latest cover, “yet another 11-year-old time-traveling Orthodox Jewish babysitter” Mirka Hirschberg.

In their third interview together, Bergson asks Deutsch about his inspiration for Hereville: How Mika Caught a Fish:

When I first started writing this story, the villain was originally a magic chicken. But then I was inspired to use a magical fish character by a 2003 news story in New York, in which some Hasidic Jews reported hearing a carp in a fish market yell in Hebrew. This eventually got mixed up with the old fairy tale “The Fisherman and His Wife,” about a wish-granting Fish – the Brothers Grimm collected that fairy tale, among others.

More on this last of the 11-year-old Mirka books (not to rule out a 12-year-old Mirka’s set of adventures) and its link to Menachem Luchins in the interview!

 

The Martian Chronicles of Julian Darius, Part I

Julian DariusThis past month, Sacred and Sequential had the opportunity to chat with Julian Darius, President & Founder of the Sequart Organization and creator of Martian Comics from his own Martian Lit imprint. With the release of the Kickstarter-funded Martian Comics #3 and its intriguing religious content, he talks with us about the wide range of thinking behind his (not-so-)alien tales.

S&S: Before we focus on the most recent Martian Comics #3, perhaps you could outline what “Martian Mythology” is and what was involved in producing these works?

JD: The “Martian mythology” is essentially the backstory of the whole series. Back when I founded Martian Lit, I thought it would be funny to have it actually run by Martians, and I worked up this backstory of planetary orders, an enlightenment program (that included Jesus and others), the cloaking of Mars’s cities, and the sort of vague threat that the Martians are still debating and split over whether to invade. There was a lot of detail for what was essentially a complex joke.

When Kevin Thurman pitched me on what became “The Girl from Mars,” it was wedded to this backstory I’d worked up for Martian Lit. As we collaborated on the early “Girl from Mars” chapters, I began expanding this backstory and writing these other Martian stories. It’s kept growing. It’s really because of this that the series is called Martian Comics — a throwback to titles like Adventure Comics and whatnot — and wasn’t titled The Girl from Mars. Initially, “Martian mythology” was a way of separating this backstory I’d created and was exploring in these side stories from “The Girl from Mars.” “Martian mythology” is kind of the backbone of the series — “The Girl from Mars” is the first story, the first window into that mythology.

But this “Martian mythology” has kept growing. There’s a map of stories waiting to be told, whole arcs of Martian history, ways in which themes echo throughout the stories and into the various more narrow stories, like “Girl from Mars.” It’s a pretty vast thing, which I’ve kind of put together over the past several years and keep adding to.

Martian Comics #3 Continue reading The Martian Chronicles of Julian Darius, Part I

DHQ Features “Graphic Images of YHWH,” Adapting Ezekiel to Comics

In their final issue of 2015, Digital Humanities Quarterly (DHQ) dedicated nearly the entirety of its content to the theme “Comics as Scholarship.” Included among the sensational pieces there was B.J. Parker’s daring imagining and annotation of Ezekiel 16, a text “early Jewish communities were wary of including […and] Christian communities have likewise wrestled with.” Parker not only fashioned his own comics version of the scripture but also some of his own exegesis. Such an approach, says Parker, “requires the scholar/artist to engage in fascinating and novel means of reflection.”

A panel from B.J. Parker's adaptation of Ezekiel 16 (DHQ 9.4, 2015)

B.J. ParkerSee Parker’s graduate student profile at Baylor University. His full adaptation can be downloaded as a .PDF file or .CBZ file for viewing (sans annotations).

Announcement of Open Membership for New Comics Studies Society

FOR IMMEDIATE RELEASE:
Comics Studies SocietyComics Studies Society goes public on Feb. 14, 2016, launches its founding membership drive

The Comics Studies Society, a new professional association comics researchers and teachers, has launched its inaugural membership drive and is now welcoming members. Members who join now, at http://www.comicssociety.org/members/, can become Founding Members of this important new association, which promotes the critical study and teaching of comics both within and without the academy.

Announced in 2014, and now incorporated as a 501(c)3 nonprofit, the CSS is a learned society open to scholars across the disciplines and from diverse backgrounds. It is the first US-based comics studies organization to be supported by members’ dues while advocating for professional development, teaching, and the expansion of resources for comics research.

Founding memberships are now available at various levels: students, comics professionals, independent scholars, contingent faculty, tenure-line faculty, librarians, curators, and academic administrators. Founding memberships run from 2016 to December 31, 2017.

All new members during this Founding Membership drive will receive:

  • A two-year membership (after the membership drive is over, all memberships will be one-year);
  • The member’s name forever (digitally) inscribed in the roster of Founding Members at the Comics Studies Society website;
  • The Best of Inks Series 1 collection, featuring a selection of the best essays from the pioneering comics studies journal of the early ’90s, edited by Lucy Shelton Caswell and with an all-star cast of collaborators; and
  • A one-year subscription to the new journal of the Comics Studies Society, launching in 2017.

In addition, all CSS members are entitled to quarterly electronic newsletters and to vote in elections for the CSS Executive Committee.

The CSS is committed to the mentoring and professional development of students in comics studies, and to supporting student networking and activism. The CSS Graduate Student Caucus, http://gradcaucus.comicssociety.org/, is a vital component of CSS business. The Caucus maintains its own executive board, bylaws, election procedures, and website, while fully participating in the business of the Society. New student members of CSS are encouraged to reach out to the Caucus and seek opportunities for service and leadership.

The CSS is partnering with the International Comic Arts Forum through at least 2017 and will sponsor programming at the ICAF conferences, starting with ICAF 2016 at the University of South Carolina-Columbia (April 14-16). Plans are underway for expanded CSS conferences in the future. The next round of elections for the CSS Executive Committee will begin this March and conclude at ICAF 2016.

Background: The CSS launched at ICAF 2014 at the Ohio State University in Columbus, where its bylaws and interim Executive Committee were voted in. Since then the Committee has been hard at work, incorporating, securing nonprofit status, establishing the Society’s web presence, setting up membership and finance arrangements, collaborating with ICAF, and developing future plans for the CSS journal and conferences.

The CSS is open to anyone with a serious interest in comics studies, which it defines liberally to include the study and critical analysis of comic strips; comic books, papers, and magazines; graphic novels, albums, and other graphic books; webcomics and other electronic formats; single-panel cartoons, including editorial and gag cartoons; caricature; animation; and other related forms and traditions. All types of sequential art, graphic narrative, and cartooning are relevant to the Society’s mission.

Those interested in joining CSS are referred to its website, http://www.comicssociety.org/members