Category Archives: contributors

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

Sacred Texts: Lovecraft, Alan Moore, and Religion in PROVIDENCE

(Facts in the Case of Providence is a collaborative blog by Joe Linton, Alexx Kay, and Bobby Derie dedicated to annotating Alan Moore and Jacen Burrows’s Providence and Neonomicon from Avatar Press. In what follows, Derie gives S&S readers a sense of the works’ layers and linkages to the study of religion.)

The seeker of truth for its own sake is chained to no conventional system, but always shapes his philosophical opinions upon what seems to him the best evidence at hand. Changes, therefore, are constantly possible; and occur whenever new or revalued evidence makes them logical.
– H. P. Lovecraft, “A Confession of Unfaith” (1922) [Lovecraft 2010, 1]

neonomiconHoward Phillips Lovecraft (1890-1937) was an atheist materialist, who in light of reflection and the discoveries of science dismissed the orthodoxies and mythologies of the world’s religions, saying such beliefs “could not possibly arise from a close and impartial survey of nature and the cosmos today[.]” (Lovecraft 2010, 89) While he may have lacked belief in God or the supernatural, Lovecraft at least appreciated  the importance of the religious feeling, as he expressed in his seminal essay “Supernatural Horror  in Literature” (1927):

Because we remember pain and the menace of death more vividly than pleasure, and because our feelings toward the beneficent aspects of the unknown have from the first been captured and formalised by conventional religious rituals, it has fallen to the lot of the darker and more maleficent side of cosmic mystery to figure chiefly in our popular supernatural folklore.

Lovecraft’s own mythos, inspired by that of Lord Dunsany and Arthur Machen, was filled with indifferent, alien entities that satisfied both his materialism and his cosmicism; these were not airy spiritual beings, but creatures of matter—yet possessed too of tremendous capabilities and knowledge, and were subjects of worship by strange cults, some of which predated humanity, and their scriptures were terrible tomes like the Necronomicon, Unaussprechlichen Kulten, Cultes des Goules, and Livre d’Eibon.

Alan Moore (1953-) is a ceremonial magician who works in a pantheistic cosmology, taking the ancient Roman god Glycon as his primary deity. (Doyle-White 29) Moore’s approach to Lovecraft is flavored by his interest in the occult, and by Moore’s careful study of the critical literature that has developed surrounding Lovecraft’s life and writings. (Derie) In part, this is an outgrowth of Moore’s continual interest in the blurring between fiction and reality, as expressed in works like From Hell by Moore and Eddie Campbell.

Continue reading Sacred Texts: Lovecraft, Alan Moore, and Religion in PROVIDENCE

Jews and Comics: The Decade in Review

A little over 7 years ago, Aaron Passman wrote an excellent article for The Jewish Exponent, in which he discussed the growing interest in the topic of Jews and the comic book industry. At the time, the book From Krakow to Krypton (by Arie Kaplan) had just been published. In the article, Passman quoted Kaplan as well as the authors of 3 other similar books (Danny FingerothPaul Buhle, and Simcha Weinstein). He also characterized the subject as “something of a cottage industry,” suggesting that the books, panels,and blogs dedicated to the topic were just the tip of the iceberg. In fact, Passman was rather prophetic in that regard.

Haaretz logoAlas, if one were to read Nirit Anderman’s article in last week’s Haaretz (“Supermensches: Comic Books’ Secret Jewish History“), one might think that research on “Jews and comics” mysteriously ended in 2008. None of the five books that have been published after Kaplan’s are mentioned (The Jewish Graphic Novel, edited by Samantha Baskind and Ranen Omer-Sherman; Jewish Images in the Comics by Fredrik Strömberg ; Superman Is Jewish? by Harry BrodGraphic Details, edited by Sarah Lightman; and The Quest for Jewish Belief and Identity in the Graphic Novel by Stephen Tabachnick). If Anderman wanted a 2016 “hook” to introduce the article, she could have announced that the book “How Come Boys Get to Keep Their Noses?” by Tahneer Oksman (a study of Jewish women cartoonists’ autobiographical memoirs) is scheduled to be published this month. There is no mention of the travelling exhibitions which have helped to legitimize the field and to present the stories and artwork to the general public (e.g. Heroes, Freaks & Super-RabbisGraphic DetailsJomix). It would have been nice if the author had made reference to any of the academic courses on Jewish Graphic Novels which are now being taught (e.g. HUM113 at Union College; RELI217 at Wesleyan University; History 490Q at University of British Columbia).

HerevilleAnderman discusses several Jewish-content graphic books in the article. However, many of these are several years old. It is impossible to list off every Jewish graphic novel in such a short piece, but one would hope that the most recent publications would have been included. Hereville : How Mirka Caught a Fish recently won the 2015 Sydney Taylor Award (Older Readers Category), the second such win for its author Barry Deutsch. Although Haaretz is an Israeli publication, no graphic books about Israel (e.g. Not the Israel My Parents Promised MeJerusalem: A Family Portrait; Exit Wounds; Jerusalem: Chronicles from the Holy CityMike’s Place) are discussed.

Though not as troubling as the incompleteness of the research, it’s a bit off-putting that carelessness seems to have resulted in quite a few factual errors. Batman first appeared in Detective Comics #27, not in Batman #1. Iron Man is misspelled as “Ironman.” The story in which Superman captured Stalin and Hitler wasn’t published in a comic book, but in the magazine Look. MAD didn’t start out as a magazine. It was a comic book, but the publisher switched formats to avoid the restrictions of the Comics Code.

To be fair, I don’t know to what extent the shortcomings of the article may be the fault of the editor assigned to the story. However, ultimately, it is the article’s author who gets the byline and is deemed responsible for it. As someone who enjoys reading about the work of Jewish comics professionals and Jewish comic stories, I was looking forward to reading Anderman’s article after Weinstein posted on Facebook about it. I was expecting the article to be more relevant and up-to-date, but instead came away feeling disappointed. Jews have a rich and centuries-old history, but the immediate history of scholarship on comics and Judaism cannot be glossed over so hastily by any reputable news or academic source.

Jewish Comix Anthology*****

Steven M. Bergson is a blogger at http://www.jewishcomics.blogspot.com and has reviewed several graphic books for AJL Reviews (Association of Jewish Libraries). He edited the first volume of  Jewish Comix Anthology (Oakville, ON : AH Comics, 2014).

Who Gods the God/Men?, Part II (Or, Prepare Ye the Way of the Rao)

WARNING: This is a spoiler concerning JLA: Justice League of America #2, just out this past July from DC Comics.

jla2aSo, immediately on the heels of JLA: Justice League of America #1‘s last-page surprise that Superman’s Kryptonian god Rao has come to Earth, issue #2 provides a full look at the supposed divinity and offers his directives.

“Prepare the way for me, Kal-El. Tell the people of your world who I am.”

Rao sounds much like the voice of the Abrahamic God as chronicled in such places as Mark 1:2-3: “As it is written in Isaiah the prophet: ‘Behold , I send my messenger ahead of you, who will prepare your way; the voice of one crying in the wilderness, “Make ready the way of the Lord, make His paths straight.”‘”

In that case, then, Superman/Kal-El is Rao’s John the Baptist (or, depending on your reading of the scripture, perhaps Isaiah). At the same time, if Rao is going to speak through Superman with his “way,” then Kal-El could have a (thoroughly un-Islamic) Mohammed-like role.

It could also make Kal-El Moses, depending on one’s translation of Exodus 3:13-14, namely: “Then Moses said to God, ‘Behold, I am going to the sons of Israel, and I will say to them, “The God of your fathers has sent me to you.” Now they may say to me, “What is His name?” What shall I say to them?’ God said to Moses, ‘I AM WHO I AM’; and He said, ‘Thus you shall say to the sons of Israel, “I AM has sent me to you.”‘” And a number of writers would be thrilled to have Superman represent Moses instead of Jesus

Continue reading Who Gods the God/Men?, Part II (Or, Prepare Ye the Way of the Rao)

Comics Alternative Podcast Features Roundtable Discussion on Religion and Comics

Religion-PanelistsOn Monday, the Comics Alternative podcast hosted a “special roundtable” discussion featuring S&S’s own A. David Lewis, Elizabeth Coody, and Jeff Brackett on the subject of religion and comics. One-half of the show’s “2 Guys with PhDs,” Derek Royal, led the animated conversation, spanning all manner of engaging topics:

The subjects that come up during the discussion range from superheroes and myths, manifestations of the afterlife, adaptations of religious texts, biographies of religious leaders, expressions of heaven and hell, the crossroads of faith and ethnicity, and parodic (even heretical) representations of religious figures, doctrines, and practices.

At times on the panel the discussants clash or come at books from different angles — for example, Jeff and David disagree on the usefulness of Craig Thompson’s Habibi and Derek pushes back on the “religiousness” of such comics as MausA Contract with God, and Persepolis — but the talk is always lively and insightful. Among the many texts they reference are Neil Gaiman’s Sandman series, Mike Carey’s Lucifer, Justin Green’s Binky Brown Meets the Holy Virgin Mary, Robert Crumb’s The Book of Genesis Illustrated, Sean Murphy’s Punk Rock Jesus, Mark Waid’s Kingdom Come, Mark Millar’s American Jesus, and Craig Thompson’s Blankets. They even discuss comics as religious propaganda, such as what you’ll find in the Spire comics published by Archie during the 1970s and the ever-present Chick tracts.

A panel from Spire Comics’s Christian-themed ARCHIE.

As Royal noted, there was plenty more to be said, so, based on their audience’s response, a follow-up discussion could well be in the works!

Listen to the episode either on the Comics Alternative website, downloaded to your personal device, or via iTunes.