Who Said Unicorns Were Majestic?

Who Said Unicorns Were Majestic?

A review of Katie Shanahan and Steven Shanahan’s Silly Kingdom: A New Steed Indeed (www.sillykingdom.com , 2105)

People frequently portray unicorns as majestic, gentle, caring creatures… but not the Shanahans. In their comic Silly Kingdom: A New Steed Indeed, The Prince becomes obsessed with the fact that a neighbouring prince, Peatrid, manages to have a pet unicorn where The Prince only has the traditional steed of his kingdom… the llama. Obsessed with beating his rival, The Prince heads out with Markus The Kingdom Jester in search of a rare Nocturnal Black Unicorn.

He quickly discovers that his prey is far less gentle than he had assumed… and far more of a trickster herself. In a set of Wiley Coyote and the Roadrunner-like attempts to catch the unicorn, The Prince and Markus end up realizing that the unicorn they are searching for has a wicked sense of humour and a lot of attitude.

Like their first Silly Kingdom comic, Katie and Steven Shanahan combine the magical with the hilarious, bringing the reader on a ridiculous adventure into a world of mishaps and magic. In this second comic, the Shanahans focus even more on the visual than they had in their first comic, stepping away from the conversion from radio play to graphic medium and instead getting into the storytelling power of images. They allow the images on the page to tell their own stories, relying on the power of expressive faces to reveal their own internal narrative and set the tone for dialogue that is used.

To find out more about Silly Kingdom: A New Steed Indeed and the work of Katie and Steven Shanahan, visit http://sillykingdom.tumblr.com/about

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Wiley, Weird, and Wizardly

Wiley, Weird, and Wizardly

A review of Katie Shanahan and Steven Shanahan’s Silly Kingdom: Alengrimrickshaw’s 211th Birthday (www.sillykingdom.com, 2011)

By Derek Newman-Stille

I just got back from the Toronto Comic Arts Festival (TCAF) and one of the first things that caught my attention was a short comic by Katie and Sreven Shanahan called Silly Kingdom.

As adorable as it is hilarious, Silly Kingdom: Alengrimrickshaw’s 211th Birthday is a tale of the magical in the mundane. It is a story of magical mishaps and jealousy by a 211 year old wizard who is jealous of a jester who performs magic tricks as part of his act. Katie and Steven Shanahan’s playfulness suffuses every page of this short comic involving an overly optimistic princess and a prince who enters far too easily into existential crises. This is a cute, fast paced, and exciting comic that brings humour and the fantastic together.

Silly Kingdom: Alengrimrickshaw’s 211th Birthday was originally a radio play that was adapted into graphic form, providing a fascinating view on the process of converting a tale from one format to another. One would think this would create a text-heavy comic, but the Shanahans have been able to adapt the story effectively to graphic novel pacing. The story is as much told by the hyper-expressive facial features and exuberance of movement by the characters as it is by the dialogue.

To discover more about Silly Kingdom: Alengrimrickshaw’s 211th Birthday and about the ongoing work of Katie and Steven Shanahan, go to http://sillykingdom.tumblr.com/about

Planets Contaminated

A review of Crystal Yates’ “Earthsong” (Overmorrow Media)
By Derek Newman-Stille

“Earthsong” is an incredibly beautiful and chilling fantasy graphic narrative. Crystal Yates plays with light and images of fabric to create a comic that, while dealing with serious issues, also feels like a warm blanket wrapped around the reader. 

Crystal Yates’ “Earthsong” is an interplanetary fantasy where the planets themselves take on life and consciousness. Some of these planetary spirits interact with their creations, their children, but most have been content to sleep. Many of them have slept right through a crisis that has been happening throughout space and on their own surfaces. A contamination has leaked onto the surface of planets that attaches itself to various of the planet’s sentient children and, if unchecked, will destroy the lifeforce of the planet itself.

The planets got together to deal with what was occurring and decided that the best way to solve the issue of contamination is to remove contaminated people from their planet and place them on a new planet and the planet who named herself Earthsong has become a host for all of this misplaced travellers. These planet children end up on Earthsong without their memories, dropped into a complex battle they know nothing about.

Yates explores ideas of quarantine, contamination, the loss of selfhood, and the desire to learn about oneself in “Earthsong”, creating a narrative about planetary contamination that isn’t about pollution but reminds us of the fragility of our place on our planet nonetheless.

To find out more about Earthsong and read some of the online comic, visit http://www.earthsongsaga.com

Speculating Fantasy

Speculating FantasyBy Derek Newman-Stille
Fantasy fiction is frequently viewed as an escapist form of fiction, one whose sole purpose is to provide a retreat from reality. Even people who advocate for the importance of fantasy tend to treat it as being important solely for its ability to provide an escape from reality. However, fantasy, like any genre fiction, is produced and created through the social lens of the author who writes it. Authors draw on the events, anxieties, uncertainties, ideas, developments, and issues of the world that they belong to when writing fantasy, converting these contemporary thoughts into symbolic form and writing them onto the canvas of a different world. 
Fantasy is unselfcritically defined in opposition to realism, not seeking to pretend to be based on the real world and therefore it has leeway for addressing issues that are “too real” for realist fiction by converting them into symbolic media, transforming them from issues into ideas. By defining itself as “untruth” – as fantasy – the genre does not lay claim to any single truth or single interpretation, but, instead presents a series of dream-like images. Dreams have symbolic power and blend images together in a way that requires the mind to be actively involved in translating them. 
Fantasy provides a lens for us to examine our own world in abstraction, slightly removed from reality. It is as much a journey as it is a genre, pulling the reader between the pages with an intensity that makes him/her come back to the everyday with a form of culture shock, suddenly viewing the “normal” anew and asking questions about the taken-for-granted qualities of the “real” world. 
In saying that fantasy has the power of reflection (though a distorted mirror) embedded into itself, I am not suggesting that fantasy is without problems. The genre has been based on extreme ethnocentrism, colonial ideologies, racism, sexism, heterosexism, and ableism. But, fantasy still contains that seed of change, that embedded potential that allows for engagement with mythic themes, fairy tale ideas, and the power of imaginative new possibilities. Fantasy could invite questions about the normative gaze, that socially embedded structure that reifies the world into Us and Them, Self and Other by providing a more distant Other, an Otherworldly set of encounters that invite questions about the Self, about what we consider the easy-to-define norms. 
Fantasy operates through the power of estrangement, inviting readers to accept unfamiliar universal rules (planes where magic exists alongside technology, where orcs and elves and goblins are possible, and where it is possible to confront the monsters that lurk in the shadows) and through this process of exploring the unfamiliar, fantasy has the ability to question the familiar, to invite questions about why we accept certain ‘rules’ as universal and instead open the world up to the question “what could be true?” and “what is possible?” 
We return from the adventure of fantasy with quest items that are really questions, speculations that invite us to wonder at the world we return to like our epic heroes/heroines, who once they return, discover that they have been permanently changed by their experience.

Speculating Canada on Trent Radio Episode 66:

In this episode of Speculating Canada on Trent Radio, I have a chance to do an audio interview with Julie Czerneda. I have previously interviewed Julie in text format, but wanted a chance to share her spoken words with you.

Julie and I discuss the boundary between science fiction and fantasy, the power of SF to teach, developing fantasy worlds, ecosystems, and magical creatures.

You can listen to this episode of Speculating Canada on Trent Radio at the link below.

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This audio file was originally broadcast on Trent Radio, and I would like to thank Trent Radio for their continued support. I would also like to thank Dwayne Collins for his consistent tech support and help with the intricacies of creating audio files.

Make sure to allow a few minutes for the file to buffer since it may take a moment before it begins to play.

Bronze Age Magic

Bronze Age MagicA review of Caitlin Sweet’s The Door in the Mountain (ChiZine Publications, 2014)

By Derek Newman-Stille

Caitlin Sweet’s The Door in the Mountain is a mytho-archaeological story of wonder, blending the mythology of the Ancient Greek world with archaeological settings from the even earlier society of Minoan Crete and populating this world with deep, complex characters. Sweet follows authors like Mary Renault who in works like The King Must Die and Bull From The Sea play with the meeting of myth and archaeology and use this blend to evoke characters whose lives are similarly stretched between the fantastic (through the elements of magic) and the realistic (through their engagement with the very real issues of family, the struggle for a place of belonging, and misinterpretation, which fuels so many conflicts). 

My masters’ research was in Aegean Bronze Age archaeology, examining the civilizations Caitlin Sweet explores in her novel, and I was moved by the way she brought these artifacts that I had spent so many years examining to life, mingling them with complex characters who brought a sense of mythic nearness to this ancient world. Sweet was able to animate these artifacts, let them shape the characters she populated her novel with, and express the sort of magic these artifacts inspire in our minds by giving them associations with magical powers. Using fantasy, Sweet was able to get at different truths than archaeology would be able to find, an imaginative truth that these artificers can inspire. 

Archaeology is speculative, imagining the lives of people long dead from the refuse they left behind and the places they eventually abandoned, and perhaps it is this speculative quality that led Sweet to imagine a speculative fictional world around these artifacts, to put them into a framework of magic and fantasy and allow them to evoke wonder. 

As much as The Door in the Mountain is a tale of wonders, it is also a tale of human experience, focussing at its root on family conflicts. This is a tale of the toxicity of envy in a family, of rejection and the desire for belonging, of power and the loss of control. It is, at its roots, a tale of those everyday conflicts that shape the lives of people and turn them into who they will become. The power of transformation in this novel is not just one of characters who can turn into Bulls or birds (although, of course, they do) of even of characters growing into their magical powers as they discover how they are god-marked, but is also about the way that simple actions, misunderstandings, interpretations, and ideas can change a character, shaping them from childhood to adulthood and determining who they will be and what will continue to motivate, hurt, inspire, and influence them.  

To discover more about The Door in the Mountain, visit ChiZine Publications’ website at http://chizinepub.com/books/door-in-the-mountain

To find out more about Caitlin Sweet, visit her website at http://www.caitlinsweet.com/

Robo-religion

A review of Derwin Mak’s “Mecha-Jesus” in Tesseracts Eighteen: Wrestling with the Gods (Edge, 2014)
By Derek Newman-Stille

Religion (particularly when represented in fantasy) is generally constructed as something that is bounded, something that has clear boundaries and belongs to one specific group who all believe the same thing. Derwin Mak’s “Mecha Jesus” blends categories, blending religious systems and getting away from the idea that a religious figure can be exclusively the property of one group. Mak sets his story in a Shinto temple of the future, but one in which Jesus is one of the Kami. The Kami are the spirits and gods of Japanese Shintoism, but the Kami are considered boundless and can encompass any entity that is a force of creation and has influence on our world. It is therefore understandable that Jesus, a figure from Christian belief, could be adopted into Shintoism one of the Kami.

It is always challenging to explore real-world religions in speculative fiction, but Mak shows an ability to question the boundaries of religion and explore universal human themes like the quest for the ‘truth’ (and the eventual discovery that ‘truth’ is subjective), battling against discrimination and oppression, the realisation that the universe is infinitely more complex than we can imagine, and the magic of self-discovery. Mak recognizes a similarity in aspects of Shintoism and Christianity such as the idea that a man can also be a god or have something divine in him and the connection between the Catholic notion of a relic, an object that relates to a particular saint that still holds some of their power and the Shinto notion that an object that belonged to or contains part of a Kami can still hold its power.

“Mecha Jesus” features a Shinto temple devoted to Jesus as one of the Kami and the principle characters in this short story are a Japanese Catholic priest who understands both the Christian context of Jesus and the Japanese cultural context of Shintoism, a fundamentalist Christian who spends most of the time at the temple trying to convince Shinto practitioners that they are worshiping Jesus wrong, and, of course, mecha Jesus himself – a robot who has taken from the principles of Shintoism that any object that holds a relic can become a shrine, making mecha Jesus himself a walking, operating shrine that holds the power of Jesus inside of it. And houses his spirit.

As much as this is a story about recognising the interconnections between religions and the need to see beyond the isolating potential of religion, it is also a story about discrimination and facing social oppression. In the future that Derwin Mak creates, groups are destroying robots, considering them to be a threat to human employability and an abomination. These hate groups attack robots and those who protect them because they believe they are working for humanity. These groups, seeing robots as soulless face a critical moment when they come into contact with a robot who seems to have a soul and a group of people who are willing to defend him from persecution.

To discover more about the work of Derwin Mak, visit his website at http://www.derwinmaksf.com/

To read more about Tesseracts Eighteen, visit Edge’s website at http://www.edgewebsite.com/books/tess18/t18-catalog.html