DESCRIPTION OF THE BOOK:The Hazards of Love follows the story of a queer teen from Queens who makes some mistakes, gets dragged into a fantastical place, and tries to hustle their way back home.
Amparo’s deal with the talking cat was simple: a drop of blood and Amparo’s name to become a better person. Their mother and abuela would never worry about them again, and they’d finally be worthy of dating straight-A student Iolanthe. But when the cat steals their body, becoming the better person they were promised, Amparo’s spirit is imprisoned in a land of terrifying, flesh-hungry creatures known as Bright World.
With cruel and manipulative masters and a society that feeds on memories, Amparo must use their cleverness to escape, without turning into a monster like the rest. On “the other side,” Iolanthe begins to suspect the new Amparo has a secret, and after the cat in disguise vanishes, she’s left searching for answers with a no-nonsense medium from the lesbian mafia and the only person who might know the truth about Bright World.
First, the artwork in this graphic novel was extraordinarily captivating. It almost felt startling at first–the colors were so strong and dramatic, and the weight of the lines was so bold. But the style, which, I believe, was intentionally done in a way that strengthened the Latinx feel of the story, quickly grew on me. The artwork also adds an air of mystery to the story itself.
The Bright World–an alternate and fantastical universe–is brought to life through Stanley’s artwork. It is a complex world clarified through brightly (pun intended) colored illustrations and sharp, heavy black outline. The vividness of the color helps differentiate which world the story is taking place in (which is helpful, as the story line switches between present day Queens, New York, and the Bright World), and highlights the Latinidad of the storyline, reminding me of the brightness that one might see at a feria or fiesta in Mexico. Both the characters and the places in the Bright World could be mistaken for belonging in a Mexican folklore picture book.
The story, however, is definitely not one for a picture book! The artwork appeals to young adult readers, and the story itself is definitely not one for kids. The characters of this story are well developed (and some of them are downright creepy), the world is intricate with a very detailed history of its own, and the plot is enticing while often being thrilling and suspenseful.
Amparo, our queer, non-binary main character, is a feisty high schooler when the story begins. Through the betrayal of a mysterious cat, they find their body stolen and are thrust into a mysterious, fantastical world where their life is on the line, with no corporeal body and they’re unsure that they’ll ever find their way back home. Amparo’s experience in the Bright World is terrifying, but shows how cunning and sharp they are as a character, and how dedicated they are to returning to their real world love, Iolanthe, even if that means making a deal with a metaphorical devil and risking any hope they have of survival. All in all, The Hazards of Love Vol 1 was a delightfully fanciful way to begin this series and I’m excitedly awaiting the next volume!
ABOUT THE AUTHOR: (via Simon and Schuster): Stan Stanley makes comics that are sometimes creepy, sometimes funny, but always queer. She’s been making comics since she was in high school and has continued doing so throughout various science-related careers when she was supposed to be doing science. Instead, she created Friendly Hostility, The Hazards of Love, and her online journal comic, Stananigans. The Hazards of Love is heavily influenced by the ephemera of the Mexico in which Stan grew up, though she now finds herself in NYC among a lovely crew of weirdos. She lives with her spouse, a large cat, and a larger collection of bones.
ABOUT THE REVIEWER: Katrina Ortega (M.L.I.S.) is the manager of the New York Public Library’s College and Career Pathways program. Originally from El Paso, Texas, she has lived in New York City for six years. She is a strong advocate of continuing education (in all of its forms) and is very interested in learning new ways that public libraries can provide higher education to all. She is also very interested in working with non-traditional communities in the library, particularly incarcerated and homeless populations. While pursuing her own higher education, she received two Bachelors of Arts degrees (in English and in History), a Masters of Arts in English, and a Masters of Library and Information Sciences. Katrina loves reading most anything, but particularly loves literary fiction, YA novels, and any type of graphic novel or comic. In her free time, if she’s not reading, Katrina loves to walk around New York, looking for good places to eat.
Please enjoy this interview with Jarod Roselló, the author and illustrator of the Red Panda & Moon Bear graphic novel series, and translator Eva Ibarzabal, who helped create the Spanish version, Panda Roja y Oso Lunar.
Romy Natalia Goldberg: First of all, congratulations on both versions of Red Panda & Moon Bear! It’s exciting to have another Latinx graphic novel to add to our shelves, especially one with a Spanish translation.
Jarod Roselló: Thank you! I’m so excited to have it in the world. I immediately sent a copy to my abuela!
The original English version, Red Panda & Moon Bear, was published in July 2019 and Panda Roja y Oso Lunar was published in July of 2020. What was the genesis of the Spanish translation? Was it in the works from the beginning or did the opportunity present itself further along in the process?
Jarod: It wasn’t an original plan, or at least not one that was shared with me at the time I was working on the book. Shortly after Red Panda & Moon Bear was released, IDW Publishing (Top Shelf’s parent company) announced a new Spanish-language initiative, and then I got an email from my editor that my book had been selected by IDW to be translated as part of the first wave of Spanish-language books.
Beforehand I said “original English version” but that begs the question – when you created these characters and wrote the original manuscript was it all in English in your head? Or were there some scenes or phrases that naturally popped into your head in Spanish first?
Jarod: English is my primary language, despite the fact I was raised in Miami by my Cuban family, and spoke Spanish with certain family members who didn’t speak English. We didn’t speak Spanish much in my house, with my siblings and parents, but still, there are certain words, expressions, and phrases that only exist in Spanish for us. I think it’s easy to explain that growing up bilingual or in a bilingual setting, means that you “switch” between languages. But when I use Spanish terms—in my books, or in real life with my own kids—it doesn’t necessarily feel like two separate languages. I wanted the English edition to feel that way as well, that when Spanish appeared it wasn’t a breach in the English, it’s just the way language developed and is used in these communities and families. That matched my own experience growing up and felt true for me.
I’m curious about the process for creating a translation. In addition to yourself, who else was involved?
Jarod: It started with my editor letting me know they were looking for a translator. We decided early on, that someone else would translate it, and that we would look for someone who was either Cuban, Cuban American, or spoke a more Caribbean Spanish, so the setting would hold.
Eva Ibarzabal: When they contacted me for the first time I had serious doubts. I had already translated fiction and biographies for young readers, but graphic novels were way beyond my comfort zone. The approach is completely different, you have space constraints and a unique style, but then I read the English version and fell in love with the characters and the story. I’m very happy with the outcome.
There are so many variations of Spanish out there. In Spanish translations, this is something that really comes through in figures of speech and exclamations. I learned some new ones reading Panda Roja y Oso Lunar, which I assume are specific to the Caribbean. Did everyone speak the same “type” of Spanish? If not were there particular scenes and word choices that generated debate?
Eva: Jarod and I have something in common, we are both Cuban-Americans. I lived in Miami for a short period of time before moving to Puerto Rico, and my family was very attached to their roots and ancestry. I guess that helped me capture the essence of the characters and their way of speaking. I just had to dust off some memories of my own childhood and the comics I used to read back then. Other than that, some sounds and the use of onomatopoeia are the most difficult to translate because in Spanish we tend to use lengthy descriptions instead.
Jarod: There were also some interesting conversations after we got Eva’s script, because we also had a Spanish-language editor working on it, and they had notes about some of the expressions and suggestions for changes. But sometimes, I’d never heard of the expression the editor wanted to use. In the end, my editor let me cast the tie-breaking vote on which one we would use.
This book feels different from other translations I’ve read. It’s clear you had a specific goal in mind.
Jarod: This stemmed from an early conversation with my editor that it shouldn’t just be a translated book, but that the Spanish edition should be a Spanish-language universe, and it should be read that way.
Eva: I think the best compliment a translator can receive is that their work does not read as a translation. You have to digest all the ideas and convey the meaning in the most natural way possible; the text should flow. In the case of a graphic novel, an additional challenge is to be concise, because Spanish tends to be more wordy. I was counting words and measuring spaces all the time to be sure the new text would fit and not take space from the illustrations. It’s definitely like a parallel universe, as Jarod says.
Jarod: And you did such a fabulous job with that, Eva. I loved how you were able to preserve the puns and references, and still capture the spirit and energy of the book.
It sounds like there were two different processes you had to go through – translating the copy and adjusting the content. Let’s talk about the copy first. For a panel where you had a basic sentence that needed to go from Spanish to English, what did you do? I assume it wasn’t as easy as just copying text from a Spanish script and plunking it into your text bubbles.
Jarod: As Eva mentioned, Spanish tends to be longer, not just in the construction of sentences, but individual words can be very long, which created some visual challenges fitting them into the existing word balloons.
One benefit to being both the letterer and the original artist was that I could adjust the word balloons to accommodate the Spanish, just how I write out the English first, then draw the word balloon around it. It’s not quite that simple, either, though, because the word balloons take up visual space in the panel. So, often, I had to redraw certain panels so that relevant imagery wasn’t being blocked or so the visual composition still looked the way I would want it to look.
I wanted to put the same care and attention to detail in the Spanish edition. And I also really love that the English and Spanish editions are not exactly the same: some drawings are new, some panels are modified, and even corrected a few tiny mistakes I found along the way!
Now let’s talk about what sounds like a much more complex process – altering content, both the text and actual images, that simply would not make sense if translated directly into Spanish.
Jarod: A good example of this was in chapter 7. The kids and the dogs head to the library. The kids are reading a picture book in Spanish and the dogs are curious because they don’t know Spanish. There’s a brief conversation about how the kids’ Spanish is a little rusty, and that they need to practice more. In the Spanish edition, though, it’s a Spanish-speaking world, so this conversation wouldn’t have made any sense, because the dogs are speaking Spanish.
So, I rewrote the opening pages to that chapter so that the characters are talking about how comics are real books, and reading comics counts as reading. I redrew a few of the panels as well and edited the others. And we sent that scene separately to Eva to be translated, and then we went back in and swapped pages to put it all together.
Eva: And I was glad of that decision because I already had a big question mark on that page! That’s the advantage of all the team working together and communicating all along. I think the solution was perfect.
Red Panda & Moon Bear: The Curse of The Evil Eye is slated for January 2022. Will there be a Spanish translation as well? Did the experience of translating the first book alter the way you’re writing and drawing the second installment at all?
Jarod: I don’t know if they’re planning a Spanish translation of The Curse of the Evil Eye, but I really hope so! The experience of relettering and sitting with my book in Spanish definitely affected how I approached book 2. The Spanish and Cuban roots of the setting are more visible, there’s a lot more Spanish, too. I feel like reading Eva’s translation taught me what this world looks like in Spanish, and even gave me a little confidence to use more of it. I feel like I can hear the character’s voices more clearly, and that’s helped me understand them and their world better.
Eva: From my point of view, it was a great learning experience which I really enjoyed. So I hope to be part of the team again if the decision to have a Spanish version is made. How about a simultaneous launching? That would be awesome!
Jarod Roselló is a Cuban American writer, cartoonist, and teacher. He is the author of the middle-grade graphic novel Red Panda & Moon Bear, a Chicago Public Library and New York Public Library 2019 best book for young readers, and a 2019 Nerdy Award winner for graphic novels. Jarod holds an MFA in Creative Writing and a PhD in Curriculum & Instruction, both from The Pennsylvania State University. Originally from Miami, he now lives in Tampa, Florida, with his wife, kids, and dogs, and teaches in the creative writing program at the University of South Florida. You can reach him at http://www.jarodrosello.com and @jarodrosello (Twitter & Instagram)
Eva Ibarzabal is a Cuban-Puerto Rican translator, writer and media and language consultant. After completing a BA in Modern Languages and a MA in Translation, Eva worked in print media and television for 20 years, winning multiple accolades for the production of Special News Programs. A few years ago, her love for Literature made her switch to Literary Translation. Her works include biographies, fiction and children books. Her English to Spanish Translation of El mundo adorado de Sonia Sotomayor won the International Latino Book Award in 2020.
ABOUT THE INTERVIEWER:Romy Natalia Goldberg is a Paraguayan-American travel and kid lit author with a love for stories about culture and communication. Her guidebook to Paraguay, Other Places Travel Guide to Paraguay, was published in 2012 and 2017 and led to work with “Anthony Bourdain: Parts Unknown,” and The Guardian. She is an active SCBWI member and co-runs Kidlit Latinx, a Facebook support group for Latinx children’s book authors and illustrators.
This is the seventh in a series of posts spotlighting Latina illustrators and this time we are shifting focus slightly. Instead of interviewing illustrators of picture books, I had the honor of speaking to two artists who work on book covers and an artist who is publishing her first graphic novel soon.
Andrea Galecio is a designer and illustrator from Lima, Peru. Her art can be seen on the cover of Sal and Gabi Break the Universeby Carlos Hernandez, released in March 2019 from the Rick Riordan Presents imprint at Disney/Hyperion.
Q: What or who inspired you to become an artist?
A: I always liked cartoons and then I began to draw little by little. But in adolescence I learned to draw better because I found a page that was called Deviantart and I saw many great illustrations of many good artists, that inspired me a lot.
Q: Tell us something about your favorite artistic medium—why you like it, when you first learned it, etc.
A: I work in all art media, traditional and digital, but I like more the digital art. The illustrations I make in Photoshop, there are a lot of great brushes. I learned to draw in the digital medium when I was 15 years old and at the beginning I was watching tutorials, exploring different techniques, then I studied at the university and improved my skills as an illustrator.
When I learned to draw in traditional and digital, I created a channel on YouTube where I talk about being an illustrator, I give advice and I love it.
Q: Please finish this sentence: Books with pictures are important because…
A: … they help us improve our imagination a lot more and give us a guideline about the literary world.
Saskia Bueno is a graphic designer and lettering artist from Barranquilla, Colombia. Her work can be seen on the cover of Sal and Gabi Break the Universeby Carlos Hernandez.
Q: What or who inspired you to become an artist?
A: Well I believe art runs in my family. My grandpa was a painter. I remember he used to sit at his table, which was full of papers, colors and art stuff, and he would paint for hours. Sometimes he would let my brother and I paint with him. He would give us some sheets and colors and he always loved what we did with them. Years later, my brother began to study Graphic Design, and I liked so much what he did. I even used to help him with his homework, and that’s when I realized I wanted to study Design, too. So yeah, if I am an artist today its thanks to my family.
Q: Tell us something about your favorite artistic medium–why you like it, when you first learned it, etc.
A: My favorite tools are, without a doubt, my iPad Pro and Procreate. I fell in love with the iPad a few years ago, when I saw an artist on Instagram and her beautiful work. So the following week I went to an Apple Store and got myself one. What I love about the iPad is that is extremely practical and working with Procreate means having a world of possibilities. You can create sketch, draw, paint landscapes, portraits, watercolors and of course, letters, and that is just amazing.
Q: Please finish this sentence: “Books with pictures are important because…”
A:…in every single one there’s world full of wonder that a kid can discover and be inspired.
A: I’ve always loved drawing since I was little. I was mostly inspired by animated movies and a love for cartoons. Tom and Jerry is an old favorite.
Q: Tell us something about your favorite artistic medium–why you like it, when you first learned it, etc.
A: Right now, I predominantly work in digital media. It is less frustrating for me and less messy. I got my first tablet around fifteen and I have just stuck with it since.
Q: Please finish this sentence: “Books with pictures are important because…”
A: Books with pictures are important because it’s another avenue of expression and communication. I myself have always found it difficult to convey what I feel just through text, and the ability to incorporate images, color, texture into a book is important to me, and something I am having a lot of fun doing with our graphic novel.
Cecilia Cackley is a Mexican-American playwright and puppeteer based in Washington, DC. A longtime bookseller, she is currently the Children’s/YA buyer and event coordinator for East City Bookshop on Capitol Hill. Find out more about her art at www.ceciliacackley.com or follow her on Twitter @citymousedc
DESCRIPTION OF THE BOOK: How would a kitchen maid fare against a seven-headed dragon? What happens when a woman marries a mouse? And what can a young man learn from a thousand leaf cutter ants? Famed Love and Rockets creator Jaime Hernandez asks these questions and more as he transforms beloved myths into bold, stunning, and utterly contemporary comics. Guided by the classic works of F. Isabel Campoy and Alma Flor Ada, Hernandez’s first book for young readers brings the sights and stories of Latin America to a new generation of graphic novel fans around the world.
MY TWO CENTS: I need to get one thing out of the way early on: when I saw the title of this book, I was excited at the possibility of seeing a myth told from my own native country, Brazil. After all, Latin America is an enormous catchall term covering the nations of Central and South America. But The Dragon Slayer, as a book for children, understandably has limited space and only tells three tales. Also understandably, these tales all originate from Hispanic countries, which comprise the majority—though not the entirety—of Latin America. The book includes a forward by author F. Isabel Campoy, and closes with a Notes, Glossary, & Bibliography section. In all of these, it is acknowledged that Latin America is a widely diverse region, with influences from Native American cultures and all of those that had interacted with its European forbears, the Spaniards. However, the omission of any mention of Portuguese, French, or African influence was a disappointment. This is erasure of a large swatch of Latin American peoples that is altogether common, but always unfortunate. Hispanic and Latinx are not synonymous terms.
The tales themselves are absolutely delightful. We begin with the eponymous The Dragon Slayer, which tells the story of a family’s youngest daughter, exiled from her family and forced to find alternate means to support herself. What follows is a fantastical twist on the “typical” slay-the-dragon-marry-the-princess tale. The hero, the dragon slayer, is a poor young woman, and we watch her vanquish each and every difficulty set before her with a combination of magic, courage, and more than a small amount of cleverness. Hernandez illustrates the story in a simple 6-panel per page format, making the story easy to follow for even the newest graphic novel readers. The cast of characters are simply drawn but easy to differentiate and recognize, and the colors used are very effective in communicating changes in lighting or mood. Young readers are treated to a strong narrative, but will also learn quite a bit of visual literacy from these subtle cues throughout.
The second story, Martina Martinez and Pérez the Mouse, is penned by Alma Flor Ada, from the book Tales Our Abuelitas Told. The end notes explain that this is one version of a popular folktale, giving a nod to oral storytelling tradition in explaining that the story’s details can vary widely. This telling involves the marriage of human Martina and her mouse husband Pérez, who one day suffers a tragic accident. Various themes are featured, from the rallying of community support and grief, to the wisdom and practicality of elders. As in the first tale, the hero of the tale is a woman—the only one who knows how to save Pérez. Though this version has a happy ending and there is quite a bit of silliness to charm any child, the end notes do discuss sadder endings and the role of this tale in a traditional velorio, or wake.
The final tale, Tup and the Ants, also shares themes with the first two, specifically, the value of cleverness and common sense. The trope of the lazy son (or son-in-law here) is turned on its head as Tup devises a way to pass his fieldwork on to a colony of ants, and emerges the most successful of the family. Along the way, we see that Tup isn’t only exploiting his ant friends; he pays for their efforts and expertise by giving the colony his own daily lunch portion in exchange. The characters, from the family members to the many tiny ants, are drawn in a very expressive style and adds to the overall silliness of the story. Kid readers are sure to delight in Tup’s mischievousness and success in getting out of actually doing his chores.
Overall, The Dragon Slayer: Folktales from Latin America, is a fun collection and a very accessible sampler of Latin American folktales. It succeeds especially at being a graphic novel that can be read at storytime or bedtime, all at once or in parts, and is an easy introduction for even the newest graphic novel readers. My only hope is that, should any continuations of this series be in the works (and I really hope they are!), that more effort is taken to include and explain the wider breadth of Latin American diversity.
Oral Storytelling. The end notes spend time discussing Latin American oral tradition and the tendency of storytellers to adapt stories in their own tellings. Some “once upon a time/habia una vez” story starters are given. Have children retell popular stories using these various starters. Encourage them to change details or embellish the story where they wish.
Exploring Latin American folktales. Hernandez provides a bibliography of further reading (books and websites), and teachers could make these or others like them available to students to read and explore. Write about common themes or character archetypes. Is there a historical reason for these recurring themes? How have stories been used in day-to-day life (e.g. in velorios)? How do similar stories vary among people of different cultures, native languages, ways of living?
Adapting stories into visual form. One important way Hernandez makes these old stories come to life is by adapting them into comic form. Ask students to select a folk tale of interest to them and illustrate it. Use The Dragon Slayer’s 6-panel format as a starting guide. Or, select a few folktales for students to draw from, and compare and contrast everyone’s different versions. Allow students to explain why they chose certain visual elements, from character design to which plot points to illustrate.
ABOUT THE AUTHOR-ILLUSTRATOR: Jaime Hernandez is the co-creator, along with his brothers Gilbert and Mario, of the comic book series Love and Rockets. Since publishing the first issue of Love and Rockets in 1981, Jaime has won an Eisner Award, 12 Harvey Awards, and the Los Angeles Times Book Prize. The New York Times Book Review calls him “one of the most talented artists our polyglot culture has ever produced.” Jaime decided to create The Dragon Slayer, his first book for young readers, because “I thought it would be a nice change of pace from my usual grown-up comics.” He read through tons of folktales to choose these three. What made them stand out? Maybe he saw himself in their characters. Jaime says, “I’m not as brave as the dragon slayer, but I can be as caring. I’m as lazy as Tup without being as resourceful. I am not as vain as Martina, but I can be as foolish.”
Isabel Campoy (left, Introduction, “Imagination and Tradition”) and Alma Flor Ada (right, Martina Martinez and Pérez the Mouse) are authors of many award-winning children’s books, including Tales Our Abuelitas Told, a collection of Hispanic folktales that includes Martina Martinez and Pérez the Mouse. Alma Flor says, “My favorite moment in the story is when Ratón Pérez is pulled out of the pot of soup!” As scholars devoted to the study of language and literacy, Alma Flor and Isabel love to share Hispanic and Latino culture with young readers. “Folktales are a valuable heritage we have received from the past, and we must treasure them and pass them along,” Isabel says. “If you do not have roots, you will not have fruits.”
ABOUT THE REVIEWER: Marcela was born in Brazil and moved to the U.S. at the age of three, growing up in South Florida. She is now the Library Director at Lewiston Public Library in Maine. Marcela holds a Master of Library and Information Science degree from the University of Illinois at Urbana-Champaign, where she Concentrated on community informatics and library services to teens. She is a copy editor for NoFlyingNoTights.com, has served on the Will Eisner Graphic Novel Grants for Libraries jury, and speaks about comics in libraries at library conferences and comic conventions. She can be found on Twitter @marcelaphane, and Goodreads .
DESCRIPTION OF THE BOOK: Thirteen-year-old Wax’s life may not be perfect. But that doesn’t stop him from spinning some of the sickest beats on their Brooklyn block… but he’s a better DJ than he thinks.
One night, while making a mixtape for his crush, Wax scratches the perfect beat and responds to an interstellar challenge that transports him and the entire block to the robot-filled planet of Discopia. Mistaken by the locals for a master of the futuristic, sound-bending martial art known as SCI-FU, Wax finds himself on the wrong side of a showdown against the Five Deadly Dangers and their leader, Choo Choo.
With help from the sci-fu master Kabuki Snowman and Wax’s crew—including his best friend Cooky P, his sister The D, and even his crush, Pirate Polly—Wax has to become a sci-fu master or risk losing Earth forever!
MY TWO CENTS:Sci-Fu is a love letter mixtape to all things 80s hip hop that can be appreciated by middle grade readers and adults alike. It’s a book that demonstrates the power of graphic novels to speak to the senses: the colors and lettering, heavily influenced by graffiti art and 8-bit video game graphics, are so vibrant and kinetic that you can almost hear the music popping off the page. At the end, writer-illustrator Yehudi Mercado includes a link to a Spotify playlist of iconic old school hip hop that will make you want to re-read the book while listening—and actually, I’d recommend it.
Main character Wax moves through his hero’s journey against a psychedelic sci-fi background, first in a diverse, multilingual 1980s Brooklyn alive with cool characters, fashion, and of course, sick beats, and then on to Discopia, the alien robot planet Wax has to save. He dreams of becoming the best DJ in the universe, but also struggles with normal kid problems, like fending off bullies and finding the courage to talk to his crush. Under the tutelage of his alien Sci-Fu sensei, Kabuki Snowman, and support from his friends and family, Wax faces off against a team of fantastical villains that, in classic hip hop fashion, are clearly sampled from some of the best of 80s pop culture. He’ll learn the skills he needs to save the universe and come into his own as a DJ and a person in the process, learning valuable lessons about hard work, friendship, and standing up for oneself.
There is a lot to love about Sci-Fu, especially its cast of interesting supporting characters. Pirate Polly escapes the typical love interest trope with an exciting side plot and destiny, and smart, take-charge little sister The D deserves a spin-off series of her own. Sidekick Cooky P is a loyal friend who pushes Wax to keep improving, and ice cream-truck driving guardian Uncle Rasheed provides some comic relief in the form of dessert-flavored expletives. The villains rap, in a fun twist on typical superhero-fight banter, and bring their own surprise swerves to the storyline and its eventual resolution.
Many elements, from the plot to the characters to the visual style, are clear homages to music, films, and even other comics. Perhaps strongest here is the “boys adventure” plot type, like the classic Stand by Me or modern throwback show Stranger Things. However, refreshingly, here we get a kids adventure with a mix of genders and backgrounds, and a plot firmly rooted in African-American and Afro-Latinx culture. This is not the 1980s of frizzy perms and synthesizer pop. This is tracksuits and sweatbands, Pan-African pendants, chunky hoop earrings and roller skates, and De La Soul. And the best part is, it’s only Book One.
Writing: Students could be encouraged to write raps (and rhymes) about their own lives in alternating pairs, just like many of the tracks we hear from Wax and Cooky P.
Using onomatopoeia to tell stories: Many of the sound effects in Sci-Fu are examples of onomatopoeia (click, BOOM, whing) or in the Sci-Fu martial art, slang words (wiggedy wack) can be used as attacks. Ask students to illustrate scenes using onomatopoeia sound effects to bring their stories to life.
Kung-Fu: One aspect of Sci-Fu that could be better explored is the major influence of kung-fu and martial arts. Research the history of kung-fu and martial arts in American culture, especially in film and its impact on Black culture (for example, on breakdancing).
History of hip-hop: Learn about the history of hip hop, especially around when Sci-Fu takes place. Visit online collections such as The Cornell Hip Hop Collection and the Hiphop Archive & Research Institute to see examples of early intersections between hip hop and visual culture (graffiti, DJ flyers, zines). Create zines or flyers inspired by these works.
ABOUT THE AUTHOR/ILLUSTRATOR: Yehudi Mercado is a self-proclaimed Pizza Laureate, cartoonist, writer and animator living in Los Angeles by way of Austin, Texas. Yehudi spent many an afternoon in detention during his formative years and credits that “thinking about what you’ve done time” for his unstoppable imagination. As a latchkey kid, Yehudi would choreograph elaborate kung-fu fight scenes set to his Run-D.M.C. and Beastie Boys records, thus providing the foundation for Sci-Fu. His projects as writer-illustrator include Rocket Salvage, Hero Hotel and Pantalones, TX.
ABOUT THE REVIEWER: Marcela was born in Brazil and moved to the U.S. at the age of three, growing up in South Florida. She is now the Library Director at Lewiston Public Library in Maine. Marcela holds a Master of Library and Information Science degree from the University of Illinois at Urbana-Champaign, where she concentrated on community informatics and library services to teens. She is a copy editor for NoFlyingNoTights.com, has served on the Will Eisner Graphic Novel Grants for Libraries jury, and speaks about comics in libraries at library conferences and comic conventions. She can be found on Twitter @marcelaphane and Goodreads.
Joe Pi’s almost full name is Jose Pimienta. He was born in the Imperial Valley and raised as a Cachanilla in Mexicali, BC. During his upbringing, he was heavily influenced by animation, music and short stories. He’s been drawing as long as he can remember and loved analyzing everything on the TV screen.
After high school, he left his garage band and ventured toward Savannah, Georgia, where he studied Sequential Art and discovered the wonders of Storyboarding. He also discovered a wider variety of music, traveled more and made friends. By the age of 24, he ran into a good suggestion, which was to move to SoCal and pursue a career in storyboarding. In 2009, he packed his belonging and drove to Los Angeles, with a friend. Nowadays, he resides in Tujunga where he takes walks every morning along with a big cup of coffee. He draws comics, storyboards, and sketches for visual development.
Joe’s latest book is the YA graphic novel Soupy Leaves Home, a historical fiction story by Cecil Castellucci set during the Great Depression. He was kind enough to talk to us about his background and work as an artist.
Did you read comics as a kid? What were your inspirations for becoming an artist?
Unfortunately, I didn’t read many comics as a kid. I tried getting into superheroes several times, but they never really hit a chord with me. It wasn’t until my teens that I discovered other graphic novels, manga, and slice-of-life stories in comics that rocked my world. I did, however, read a lot of newspaper strips, but I also felt that wasn’t my fit for the type of stories I wanted to tell.
As a kid, my inspirations tended to come from animated movies, books with illustrations and music videos. As long as I can remember, I’ve always liked all those “making of-” featurettes and interviews with film makers and artists. They tended to reveal parts of the process and how a piece of art (whether it was a cartoon, a movie, or a song) was made. So, I guess I was inspired to be an artist by learning more about the arts I liked. The thought seemed logical: I like this Art and this is how they’ve done it and I want to do that because when I try it, I love it. Conclusion: learn more how to do it and keep going.
Please tell us a little bit about the tools you used to draw Soupy Leaves Home.
On regular type paper, 8.5 by 11 and a mechanical pencil (0.5, to be precise). I draw 1″ by 1.5″ rectangles and that is the thumbnail for a comic page. I draw my thumbnails small while reading the script, so it helps me to plan out the pace and what the beats of the story are. That way I know if I want to build up to a big scene or if I want to keep a steady pace for a few pages.
After that, I draw on 9×12 2-ply bristol board. Personally, I like the Smooth surface better than the Vellum, but sometimes, Vellum is all the store has, so… ANYWAYS, I draw the page with a blue-lead 0.5 mechanical pencil. I keep my pencils a bit loose, but knowing that I can tighten up later with the inks.
Once the pages are approved, I ink on top of the original pencils with micron pit pens, brush pens, India ink and brush, liquid paper white-out, and sometimes a few fountain pens. After that, I scan the pages and color them digitally with Photoshop. In this stage, I also do some more specific edits, such as deleting certain pencil marks that I couldn’t erase, or making sure the white out looks cohesive on the page. If the blacks look a bit too strokey, or if I just want a solid black instead of having visible brush marks, this is the stage to fix that. After that, my editor takes my files and has a letterer do that which I cannot: letter the book. Those are all my tools: papers, 0.5 mechanical pencils, brush pens, India ink and brush pens, AND Photoshop.
Soupy Leaves Home joins a growing field of comics of all genres, aimed at a teen audience. Are there other titles you recommend to people looking to read more YA comics?
While comics for kids and young adults has been exploding as a publishing field, there have been comparatively few Latinx authors and artists getting attention, with the exception of the Giants Beware and Lowridersseries. What advice do you have for young Latinx artists looking to break into comics?
Dear Latinx who want to break into comics: Be bold, fearless, humble, and optimistic. Bold, because it reflects confidence and strength. Fearless, not just because of the current atmosphere, but also because that’s how we fight fear mongering, which is used to keep us quiet and divided. Humble, because, it reminds us that there is a bigger picture in our society, and that which benefits our community, automatically helps us grow to be better individuals living together. And optimistic, because as artists, our spirit is essential, so it’s important to keep it bright.
About breaking into comics? We can post and share. Ask everyone for support, launch Kickstarters, look at companies that you’re interested in, and see their submission guidelines and follow directions, while showing why your stories matter and why they’d be a great fit for their company. Go to conventions near you, small or big (of course they can be expensive, but plan for that. See how many you can make it to), make minis to hand out to show what you’re interested in doing. Go to conventions of what you like (for example, if you like baking, wrestling, cars or music; go to those conventions) get a small vendor table and sell your comic (about baking, wrestling, cars or music.) Starting a Patreon account, I hear, is a popular avenue these days. Most importantly: KEEP GOING. Do not stop making art and telling others about it. I’ve heard several quotes, and the one that still fits best is: It’s a marathon, not a sprint. Do not give up sharing your stories.
On a last note, see if I can end well here: When I first became interested in comics, I wished I had known more Latinx cartoonists (which there were, but I didn’t know about that many). To those who see my work, I hope I can make a positive impression, but furthermore, I hope that they go on to make art that inspires even more people.
Cecilia Cackley is a performing artist and children’s bookseller based in Washington, DC, where she creates puppet theater for adults and teaches playwriting and creative drama to children. Her bilingual children’s plays have been produced by GALA Hispanic Theatre and her interests in bilingual education, literacy, and immigrant advocacy all tend to find their way into her theatrical work. You can find more of her work at www.witsendpuppets.com.