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Interview: Ivy Noelle Weir and Christina “Steenz” Stewart, Creators of Archival Quality

It wasn’t too long ago that we reviewed the graphic novel Archival Quality by Ivy Noelle Weir and Christina “Steenz” Stewart. Monster Librarian reached out to the creators, both professionally qualified librarians, through reviewer Lizzy Walker. Check out their interview, read our review, and then get your library card and check out Archival Quality!

 

Interview with Christina “Steenz” Stewart and Ivy Noelle Weir 

 

Christina

Christina “Steenz” Stewart

 

 

 

 

LW: Tell Monster Librarian readers about yourselves.

CS: My name is Steenz! It’s short for Christina. I work at Lion Forge as the social media and community manager. I used to be a manager of a comic shop and a comics focused librarian. I live with my fiancé Keya and my cat Marko. We are currently going through Arnold Schwarznegger’s entire filmography.

 

Ivy Noelle Weir

Ivy Noelle Weir

 

IW: I’m Ivy Noelle Weir, I’m a writer and an MLS-holding former librarian who now works in book publishing.

LW: What attracted you to working on this book?

CS: We became friends through The Valkyries. As I moved on to working in a library after comics retail, I reached out to Ivy to talk about the switch. And then we just started talking every day, every hour, from morning till night and became besties. It was soon after best friend status Ivy asked if I wanted to illustrate a webcomic with her and of course since I’d been itching to do a longform story for so long, I said yes! Also, the story is really good, so I was 100% on board after reading her summary.

IW: As Steenz said, we met in The Valkyries, and I just immediately loved her art from the moment I saw it. There’s a liveliness to Steenz’s art, her expressions are so lifelike and fun. I knew I wanted to work on something with her.

LW: What inspired you to create Archival Quality?

IW: It’s sort of a long story. I did my undergraduate studies in photography, and I became really fascinated by 19th century medical photography, and the ethics surrounding it. I took an internship in a historical medical archive, where I was working closely with images all day that were, to put it mildly, somewhat disturbing, but also deeply sad, isolating, lonely. While I was working there, I fell deeper and deeper into considering the ethics of archiving, what we preserve, and if it consents to being preserved. So, I started writing a ghost story about the ghost of an object in an archive, who doesn’t consent to being archived. Eventually, this turned from a prose novel to a comic script when I met Steenz, and now here we are.

Image from Archival QualityLW: Why did you choose to frame Archival Quality as a ghost story? What drew (ha) you to the horror genre? Are you a horror fan? Why or why not? Do you have recommendations for similar material?

CS: I’m ALL ABOUT horror. I love being scared. There’s something thrilling about watching a film and feeling uneasy afterwards. It’s kind of like a high. I recommend the Poughkeepsie Tapes if you don’t want to sleep for like two nights and Housebound if you’re looking for humorous horror.

IW: I’m a big ol’ horror nerd, and I always have been. I particularly love ghosts and haunted houses – I think they represent so much more than jump scares, they can be this pensive consideration of memory and trauma. The biggest influences on this story were Guillermo Del Toro’s The Devil’s Backbone, Mark Z. Danielewski’s House of Leaves, and Shirley Jackson’s The Haunting of Hill House. I think Jackson’s book in particular blends the concepts of the highly personal with horror in a really fantastic way.

LW: You tackle the subject of mental illness and care very delicately, while at the same time head on. How did you manage to craft such a powerful narrative and equally powerful artwork for this story?

CS: I think when it comes to the art, I read the story… and knowing Ivy as a person, I felt like I had a good idea of what she was looking for in terms of style. We were on the same page when it came to aesthetics for this story. A shared Pinterest helped me a lot. Also knowing that Ivy trusted me entirely with the design of the book and characters let me stretch my world building muscles.

IW: For the story, it was very important to me to show a realistic portrayal of mental illness as it exists for one person. I think when you try to generalize, and make a narrative that fits everyone, or has a “happy” ending where someone is cured or “fixed”, you come up with something that I don’t feel is as genuine or effecting. Depression doesn’t always mean being beautifully sad. Sometimes it means being a jerk to the people around you because you feel out of your own control. I know some people won’t relate to Cel – and I think that’s okay. Depression looks different on everyone, and everyone’s path to helping themselves is doing to be different, too. It was important to me to show someone who struggles with the concept of getting help, because I think a lot of people who struggle with their mental health can relate to that feeling.

LW: Are there any plans or desire to further develop Celine’s story?

CS: I think Celine’s story is done. Celeste on the other hand could have many more adventures and continued growth. But I think we both want to take a break from the world of AQ for a little bit before getting into that.

IW: No, I think she’s got what she needed.

LW: Steenz, your artwork is so unique. I particularly love Holly’s character design! I also follow you on Facebook and adore your kung fu poses. How did you achieve your art style? What tools do you use for your work?  

CS: Thank you! I think when you’re learning to draw you subconsciously create your own style by fusing your interests with what your muscles naturally want you to do. I love Chris Sanders, Rebecca Sugar, and similar works. So, you can see the inspiration, but my style peeks through. I use a WACOM Cintiq, Manga Studio, and Photoshop. I’m hoping to get an IPad soon because all of my other comics friends has one and I’M HORRIBLY JEALOUS. Also, being able to work away from the desk is an amazing idea.

LW: Why should new graphic novel readers seek this out?

CS: Ivy and I both love reading works that aren’t just graphic novels. So, I think our work shows that. It has elements of cartoons, manga, and YA novels. So, if you like those things, there’s no way you won’t like Archival Quality.

IW: I think if you’re interested in haunted house tales, we’ve done something unique here in regard to the genre. And like Steenz said, we both brought techniques from a lot of the other media we consume to this book.

LW: Why should libraries be interested in Archival Quality?

CS: Well, we used to be librarians. And once a librarian, always a librarian. Support the homies, yanno?

IW: I think books that discuss the ethics of librarianship and archives in a conversational way are few and far between, and I hope Archival Quality offers libraries a way to engage with the topic while also getting spooked.

LW: What are some of your favorite books/graphic novels?

CS: Novels: The Lunar Chronicles, Six of Crows; Graphic Novels: Extremity, Daytripper, This One Summer, Batman: Detective Comics, Ms. Marvel, etc. I could go on for a really long time, but those came to my head first. Webcomics: On A Sunbeam, Agents of The Realm, Star Trip, Witchy

 

IW: Well, my favorite book is the previously mentioned The Haunting of Hill House. I just finished Night Film by Marissa Pessl and really enjoyed it. As for comics, I read pretty widely: I’m a big fan of Hellboy, Saga, Wicked + Divine…I also read a lot of manga – I’m loving The Girl from the Other Side right now.

LW: What other work have you done, separately or together?

CS: We’ve done work for anthologies together. Separately I’ve done work for the MINE! Anthology for Planned Parenthood and the ELEMENTS: Fire Anthology.

IW: We had a short story come out this month in Action Lab’s Princeless Charity Anthology!

LW: What else would you like librarians and readers to know about you?

CS: I tell everyone this, but GET A LIBRARY CARD. Also, I’ve spent many, many, many hours in libraries and I can guarantee you 100% that this is a book that you will want to curl up in a corner of your local library and read from beginning to end.

IW: I second Steenz’s urging for readers to get a library card. Libraries serve so many roles in their communities; your support is integral!

LW: What’s next for the amazing Ivy/Steenz team? 

CS: We’re working on a pitch for another book! Can’t say much other than that. So, GET READY.

IW: We’re working on something new! Which I should really get back to writing.

Posted on June 21, 2018 by , Reply

Graphic Novel Review: Marley’s Ghost by Charles Dickens, Harvey Kurtzman, Josh O’Neill, and Shannon Wheeler, art by Gideon Kendal

Harvey Kurtzman’s Marley’s Ghost based on A Christmas Carol by Charles Dickens, adapted by Harvey Kurtzman, completed by Josh O’Neill and Shannon Wheeler, illustrated by Gideon Kendal

comiXology Originals, 2017

ASIN: B01LZAATMD

Available: Kindle, comiXology

 

Marley’s Ghost is the posthumous completion of Harvey Kurtzman’s (1924-1993) adaptation of the classic Charles Dickens novel A Christmas Carol. Kurztman’s concept for this book started in the 1950s, but was never brought to fruition. Josh O’Neill and Shannon Wheeler decided to expand upon Kurtzman’s adaptation notes and partnered with Gideon Kendall to supply his rich artwork to bring this work to the comic world.

The first thing that struck me about this graphic novel version of A Christmas Carol was the designs of the ghosts. Marley has the typical rendering, but he’s somehow more effective. His expressions of frustration and, at the same time, remorse for his past are so clear. The Ghost of Christmas Past is depicted as a woman dressed in white with windswept hair and glowing orbs in place of eyes. She’s truly beautiful and haunting. The Ghost of Christmas Present, in his rich velvet robe, surrounded by abundance, takes Ebenezer to show him the jollity the members of his community experience despite the ills they face every other day of the year: from the humble home of his clerk, to a ship’s crew out at sea, and the very home of his nephew who graciously invited his uncle to Christmas dinner, only to be scorned and thrown out of the shop. The Ghost of Christmas Future has always been my favorite spirit to visit Scrooge, and it’s interesting to see how creators depict this harbinger. This volume is no different. The color tone also changes with this spirit’s visitation. All of the panels are tinted red, and the shadows are more prevalent. When Scrooge awakens, the color changes to a light blue, and the sun is shining in through his window directly on his cowering frame. It’s a very effective use of color to evoke the message of redemption Scrooge is experiencing.

Kurtzman was the creator of Mad, Playboy’s Little Annie Fanny and Trump, and Help! Magazine, among other creative endeavors. O’Neill is the Eisner and Harvey Award-winning writer and editor of Little Nemo: Dream Another Dream, and Wheeler is the Eisner Award-winning creator of the comic Too Much Coffee Man and a contributor to The New Yorker. Kendall is an illustrator and animation designer whose clients include Disney, Cartoon Network, and New York Times. All of these great contributors have helped create an incredible graphic novel adaptation of one of Dickens’ most influential works. I recommend this particular version to anyone who has a love of Dickens and enjoys seeing new adaptations of his classic ghost story. Any library that collects creative adaptations may be interested in taking a look at selecting Marley’s Ghost for their collection. This could also be a useful addition to graphic novels courses, Victorian literature courses, or other courses that explore the classics. Academic libraries that are growing their comics and graphic novels collections to support the teaching, learning, and research goals of their universities might consider speaking with interested liaisons to gauge interest. Recommended.

Reviewed by Lizzy Walker

 

Posted on June 8, 2018 by , Reply

Book Review: The Trials of Apollo, Book Three: The Burning Maze by Rick Riordan

The Trials of Apollo, Book Three: The Burning Maze by Rick Riordan

Disney-Hyperion, 2018

ISBN-13: 978-1484746431

Available: Hardcover, paperback, Kindle edition, audibook, audio CD

 

The Trials of Apollo is probably my favorite of all Rick Riordan’s series, and the third series starring Greek gods and demigods. To be fair, I have read them with my kids starting when they were in elementary school and hero Percy Jackson was not that much older than they were, and the characters from the original Percy Jackson books are now college-aged, with much more complex stories and relationships.  The Trials of Apollo is unique in that it backtracks to a point in the earlier series The Heroes of  Olympus, where Zeus picked Apollo as his scapegoat for the terrible events that take place in the series due to Apollo’s self-centered and impulsive behaviors. Apollo’s punishment was to be literally thrown to Earth as a mortal 16 year old boy, Lester Papadopolous. Narrated in first person by Apollo, The Trials of Apollo reveals the god’s thought processes as an powerful, gifted immortal who has had adult (if immature) relationships and feelings, who is suddenly forced to deal with the limitations of being a less-that-perfect human mortal, who is dependent on others. Apollo’s absence, because he is the god of prophecy, means that no new prophecies can be created to guide heroes on their quests, and the oracles have been taken captive by Roman god-emperors as part of a larger plan of world domination. I suggest reading the books in this series in order, and it wouldn’t hurt to read the previous two series (Percy Jackson and the Olympians and The Heroes of Olympus) first to get a complete picture of the characters and world presented in the books.

In the series’ first book, Apollo is not especially likable, due to his character flaws and refusal to admit that he now has limitations, but as the story goes on, he begins to gain some perspective in spite of himself, and we do get to see that he has deep regrets for some of his past actions. There are funny moments and times when he steps up to do the right thing, and he becomes a more sympathetic character.  The disparities between his perceptions of himself as an adult and long-lived immortal and the reality of being a mortal teenage boy are really interesting. While Riordan touched on sexual orientation in The House of Hades, in the series The Heroes of Olympus,  Apollo’s long history of relationships with members of both sexes is addressed frankly and nonjudgmentally, and flows naturally from the character. Riordan gives us the expected entertaining modern interpretations of characters from Greek mythology and pop culture references, as well. At the end of the book, the characters finally receive a prophecy, which sends them, in the second book, to Indiana.

As a longtime Indiana resident, I found The Dark Prophecy to be really entertaining, and it’s also where Apollo really starts to tap into what it means to be human. He continues to encounter the results of his actions on others when he was a god, and being faced with them forces him to rethink the way he has acted and treated others in the past. Watching his character evolve in The Dark Prophecy, as well as seeing how other characters deal with change, makes this an outstanding book. Apollo is still selfish, immature, and arrogant, but he has developed more compassion, understanding, and loyalty.

In this book, The Burning Maze, he has managed, with help, to defeat (at least temporarily) two of the three god-emperors (who are textbook cases in human cruelty and capriciousness) attempting world domination, and restore two of the five oracles. He’s clearly weaker than the other demigods and mythological characters he encounters, and they’re not doing so well themselves. Traveling through the Labyrinth to southern California, accompanied by the satyr Grover (he appears in earlier books as Percy Jackson’s friend) and Meg, a demigod daughter of Demeter who Apollo is bound to serve, they arrive to find it a desert, with wildfires and drought having destroyed most vegetation. The Erythnean Sibyl, the oracle they have come to free, is being controlled by the god-emperor Caligula, who is probably the most vain, erratic, cruel, narcissistic, and sociopathic of the three emperors Apollo and the demigods must face. He also prefers to delegate much of the work to others– in this case, the sorceress Medea. Medea appeared in the previous series as well, where she was cleverly presented and defeated. She’s not as creatively used here, and I wish Riordan had picked a different villain to do the dirty work in this book. Grover and Meg are perfect additions to this story about the destruction of nature by human carelessness, fire, and climate change, and their relationships with the dryads of the desert plants are well done. Meg’s warrior dryads, the Meliai, and Caligula’s furry henchmen, the pandai, are fun additions to the cast of characters, and add a touch of humor as well as menace to the story.  Apollo’s references to popular culture lace the story and act as reminders of his influence on music and literature.

This story has the most evidence of character growth on Apollo’s part, as he starts to see some of the complexities involved in human relationships, and the selflessness that some people have when it comes to protecting the ones they love or the world around them. At one point, he even asks himself if he would take immortality back if it meant abandoning his companions. Because of this, though, the two divergent aspects of his life don’t contrast as effectively, so even though his character shows more growth and reflection, we don’t see as much tension between the perspectives of Apollo-as-god and Apollo-as-mortal, and the story doesn’t seem as dynamic.

Something I appreciated in this book was that it returned us to characters who seemed to have their stories neatly tied up in the series Heroes of Olympus to show us that the “happily ever after” ending of a series is not always the ending of the story. Piper and Jason, a happy couple at the end of that series, turn out to have had some rocky times since it ended, and their subplot and its devastating consequences have a significant effect on Apollo’s continued character growth. That character growth seems to be the major focus of the book, though– while there is plenty of fast-paced action, I didn’t feel like it moved the story forward as much as previous books did. As with Piper and Jason’s relationship, The Burning Maze also does not have its ends tied up neatly, with the characters scattering in various states of grief, despair, determination, and hope as Apollo prepares to move on to fulfill the next piece of the prophecy.  This time, I really wish the story had been tied up a little more neatly, as the next volume is not scheduled to be released until fall of 2019, and I would have liked for the book to end on an up note. Still, Riordan has left me wanting more of Apollo and his trials and adventures, and I look forward to seeing where he takes the story next. Recommended for middle school and older.

Contains: Violence, murder, torture, cruelty, adult situations

 

Reviewed by Kirsten Kowalewski

 

Posted on June 6, 2018 by , Reply
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