A Review of Ballad for Sophie by Filipe Melo and Juan Cavia

by Jason D. DeHart

Ballad for Sophie, by Filipe Melo and Juan Cavia, Top Shelf Productions, ISBN 978-1-60309-498-6, $24.99, https://www.topshelfcomix.com/catalog/ballad-for-sophie/1068 

First, here are some excerpts press release to summarize the plot and creators - Top Shelf Productions (an imprint of IDW) will be releasing Ballad for Sophie, a new music-themed graphic novel by Portuguese musician Filipe Melo and artist Juan Cavia that is packed with all of the drama of a rock ‘n’ roll biopic and with more twists than a night at the opera.  Ballad for Sophie is a sweeping tale about what happens when a young journalist prompts a reclusive musical superstar to finally break his silence. Starring child prodigies, bitter old men, beautiful dancers, demonic managers, Nazi commandants, compassionate nuns and lifesaving animals, Ballad for Sophie is a stunning graphic symphony exploring a lifetime of ambition, betrayal, compassion anguish, long-buried secrets and flying pianos. 

FILIPE MELO is a Portuguese musician, award-winning film director, and author. With decades of experience in classical and jazz piano, he teaches music at ESML, a university in Lisbon. He has developed commercials, music videos, and award-winning short films such as I’ll See You in My  Dreams and Sleepwalk. His international writing career includes the Dark Horse Presents anthology, a career award from the Amadora  comics festival, and several projects with Juan Cavia. JUAN CAVIA has worked as an art director and illustrator since 2004, after studying illustration and painting with the Argentinean  artist Carlos Pedrazzini. His work includes graphic novels, advertisements, TV, music videos, theater and nine feature films, including  Juan José Campanella’s Oscar-winning The Secret in Their Eyes. Listen to the beautiful Ballad for Sophie theme song on Spotify HERE.

 and now, the review -

Writer Felipe Melo and artist Juan Cavia collaborate to share a visually gripping story that spans time, exploring identity, relationships, and music through the kinds of work that only comics can do. The story begins frame from the view of a journalist, and invites the reader into the narrative, with wordless panels giving us a clear time and place, and the hint of some mysterious turn to come. 

Setting the foundation this way, along with the realistic style, are notable moves on the part of the artist and author, as the story travels back and forth across decades, and yet keeps the reader in tow through these twists in time. Another effective part of the storytelling is reader’s introduction to the maestro, the focal point in the story, first revealed as a figure turned away who closes out the inquisitive reporter, and then gradually warming to her questions. His reclusiveness forms one side of the mystery, and the motivations this interviewer create more questions for the reader.

Drawing on what can be communicated in the comics format, Melo and Cavia convey ideas and emotions through expressions, movements, and gestures, sometimes with words contained in panels, and sometimes not – and the hook of the story is set as we wonder about the maestro’s silence. Through the narrator’s voice, the story travels effectively, first revisiting events in 1933, expanding on elements of the central mystery. The same intrigue that underscores the play Amadeus by Peter Shaffer is a feature that works on these pages, probing into the hesitation and revealed genius of a composer. 

 The emotional power of the story comes through in Melo’s use of historical points and Cavia’s clear depictions of suffering and loss that build a foundation for the contemporary introduction the reader experiences, filling in gaps in character and motivation in a visual and very literary way. Working in a magical and supernatural way, the reader meets the character of Triton, the producer, to convey the devilish aspects of signing a professional contract for an artistic endeavor. This is another use of symbolism that the author and artist include, adding suspense. 

Ballad for Sophie depicts the price of fame, the weight of guilt, the development of a life across times of war and affliction, and the emotional consequences of a life on display. These are themes that such stories have gone to before and almost inevitably address. Arguably, the comics page presents the emotion and experiences of characters more effectively than a prose novel could. The swirling images of sexuality, temptation, and addiction add to the reading, offering a storytelling technique that allows the reader to imagine what the main character is feeling. Movies have been more of mixed bag in exploring fame, sometimes pausing on moments with thoughtful weight and sometimes glossing over them as scenery the viewer expects to see along the way. 

Though these themes may be found in other biographical and autobiographical works, the power of Ballad for Sophie is the way that the story is conveyed, including the ways the artistic choices support the narrative, and the presentation of images that could only exist in the minds of characters. The graphic novel and the innovation found in certain panels lifts the book, as well as the creative turns in the storytelling. With all of this taken in mind, I recommend this book for readers to enjoy. 

 

As I've spent far more time at a computer screen during covid, I've fallen way behind on doing book reviews. Thanks to Prof. Jason DeHart of Appalachian State University who reached out to volunteer to help, and he will be doing more reviews for us. He also has his own site, Book Love: Dr J Reads. - Mike

 

Meet a Local Cartoonist: A Chat with Vanessa Bettencourt

by Mike Rhode

Last weekend, I briefly stopped in the Hooray for Books bookstore in Alexandria on Saturday to meet Portuguese cartoonist Vanessa Bettencourt who was doing a drawing workshop for children, and I enjoyed seeing her interact with the kids in the audience. She agreed to answer our usual questions about her journey from Europe to northern Virginia.

What type of comic work or cartooning do you do?

My comics have a lot of humor and fantasy and a mix of manga and Disney styles together. When I'm not working on commissions for business, websites or people who want their portraits as comic characters, I work diligently on my personal projects.

I work daily on my free webcomic series, Notfrombrazil.com.

It started as an effective way to communicate with Jon, my fiancé in a long-distance relationship, and became a way to share my life with those who stayed behind at home after I moved from Portugal to the USA. Now I share my daily adventures as a freelance artist in the USA.

In 2015 I set a goal of a year to write, illustrate and completely finish a graphic novel on my own. I accomplished the goal. Polly and the Black Ink is 520 full-color pages that I divided into five paperbacks. The first three volumes are already available.

Sometimes I take commissions to do political cartoons (as happened with the Brady Campaign to Prevent Gun Violence), but between social and political I favor social issues.

How do you do it? Traditional pen and ink, computer or a combination?

For Polly and the Black Ink, I drew and wrote it all in paper for a few months first, then I scanned it and edited before the digital process of inking, coloring and adding the text. I write the text as I draw the scenes, instead of having a script. This way I have a better sense of space and where the text will fit in each panel.

This is my first graphic novel and I learned a lot, especially about writing short but meaningful sentences when sometimes I feel the character has so much more to say. For notfrombrazil.com I only work digitally. I have my format and I stick to it. Commissions can be digital or traditional. I use Photoshop and I recently upgraded from an Intuos3 to a Cintiq 13HD.

When (within a decade is fine) and where were you born?

I was born in December, 1979 in Lisbon, Portugal.

Why are you in Washington now? What neighborhood or area do you live in?

I moved to the USA in 2015. I met my fiancé in 2012 when he hired me to draw all the covers for his epic fantasy series Heir of Scars, including chapter illustrations and maps. A few years later we started the K1 Visa (fiancée process), which I describe with a lot of humor in notfrombrazil.com. He was currently working in DC so we decided to stay. I'm a freelance artist so it's easier to adapt. We live in Alexandria near the Potomac river. As a Portuguese soul, I miss the ocean a lot, so the river is nice to have nearby.

What is your training and/or education in cartooning?

I have a degree in Portuguese and English literature. I became a teacher and worked for publishers as a fantasy illustrator Then, I returned to college for Fine Arts while I worked. I'm self-taught when it comes to comic books and cartoons. I started drawing this style for fun. A simple away to share my day with Jon then it became more serious. I intend to continue to learn, share and create more stories and worlds.

Who are your influences?

For fantasy illustration: William Bouguereau, Larry Elmore (and all D&D art), Luis Royo, Donato Giancola, Prince Valiant by Hal Foster…


For comics and cartooning: Calvin and Hobbes’ Bill Waterson, Bones by Jeff Smith, Asterix, Turma da Monica by Mauricio de Sousa, Hagar the Horrible by Chris Browne, W.I.T.C.H fantasy series, Naoko Takeuchi (Sailor Moon), Akihiro Yamada (Junni Kokki - The Twelve Kingdoms artist), all Disney, many manga, anime and fantasy books.

And for the surreal humor with a lot of nonsense: Mortadelo & Filemon by Francisco Ibanez Talavera, Guillermo Mordillo, Janguru wa Itsumo Hare Nochi Guu manga.

If you could, what in your career would you do-over or change?

Sometimes I want to go back and retouch finished work. In the beginning, I wished I had more time to finish a cover or a project, but to get the commission we have to go with the publisher's schedule.

What work are you best-known for?

Notfrombrazil, because for the past two years I’ve been uploading thrice a week online, on the usual social media and in platforms such as tapastic and LINE Webtoon.

What work are you most proud of?

Polly and the Black Ink. I am really happy that I was able to create a compelling world, story and characters with a lot of adventure, action, mystery and fantasy parallel worlds that children, teens and adults feel compelled to read and discover. Also, the new art for the Heir of Scars book series.

What would you like to do or work on in the future?

Continue to get as many commissions as possible so I can make my dreams come true. HaHa!
I will focus on finishing my epic novels so there’s not a gap between publishing Polly’s 5th volume and my next project. I will continue to work on the next covers for the Heir of Scars book also. My husband and I decided to agglomerate our projects under the same name, Violet West Entertainment, as we build our brand together.

I want to be proud of my projects, control the outcome as much as possible and be sure it's something memorable. I might return to Polly and the Black Ink for a second arc too later.

What do you do when you're in a rut or have writer's block?

Because I work in so many different projects and styles I got used to having an escape, but there are times that I can't work at all and I need to watch animation, movies, read, learn a new technique, go to a museum or a park, do something completely different from my daily routine and refill my batteries.

What do you think will be the future of your field? 

Things change so quickly now. Everything has an up and down side. The system or the rules change without notice, and we're forced to go with the flow or stay behind. Artists and authors will always create and try to reach their audience.

The Internet allows us to publish our books, to see people engage daily with our process and become part of the process. What we do is starting to be seen more as a job. We are professionals.

Also, the audience is starting to learn how to give back. It balances all the free entertainment or work they've been having access to. That's why it's important to support artists. Kickstarter and Patreon are good examples of making it possible for an artist to work full time on their craft and support themselves.


What local cons do you attend? The Small Press Expo, Intervention, or others? Any comments about attending them?

I attended Katsucon last February as an artist with Polly and the Black Ink debut. I got a table and it was a great experience. The audience reacted very well to the books. We'll be attending Awesome Con DC again in June with Polly and the Black Ink and the Heir of Scars books and art. I will have book III available at our table.

Next event will be Small Press Expo. We've attended it as visitors before, but this time in September we will be managing a table with our books, including Polly and the Black Ink volume IV. The downside of having a table is to be stuck behind it and miss the panels, the contests, etc.

I also attend local events as much as possible, from bookstores to street art festivals when schedule allows. I had a great opportunity to publish one comic page on the Magic Bullet #14 and I intend to keep going.

I also have an invitation from Alexandria's Duncan Branch Library, where I taught a comic book workshop last year. I will be drawing people's portrait in my cartoonish style on the street and raise money for the library during the Del Ray Street Art Festival next September 7th, 2017.

Polly and I are available to attend schools, libraries and other events to share my experience as an independent author, but also to share my process and give some tips (ages 5 up). You can reach me on my official website www.vanessabettencourtart.com or contact me at vanessabettencourtart@gmail.com.

What's your favorite thing about DC?

I love the free museums and the food diversity.

Least favorite?

The business, political stiffness and mood of the city.

What monument or museum do you like to take visitors to?

The Lincoln Memorial. The size of the sculpture helps, but the entire area has soul. There are many good museums. The National Museum of Natural History is my favorite to visit over and over. I get so much inspiration from it to draw and come up with new storylines. And I have to visit the Zoo. I haven't had the chance.

How about a favorite local restaurant?

I love food. It's hard to pick. Each day is a different mood. From Asian to Americana. There are good seafood places in Old Town, but being Portuguese, I also miss some of the fresh and diverse seafood that we don’t have here.

Do you have a website or blog?

I keep two websites. One as an artist and another for the free webcomic series notfrombrazil.
My website www.vanessabettencourtart.com has a blog where I share news of my creative process, tutorials, articles with events and book releases.

People are free to subscribe to get news of the next events or book releases.

For those who wish to get a weekly reminder of notfrombrazil.com subscribe to the website www.notfrombrazil.com. I add new episodes every Monday, Wednesday and Friday.

You can also find the following pages on Facebook: @pollyandtheblackink, @notfrombrazil, @vanessabettencourtart and @heirofscars up to date.

On Instagram: @vanessabettencourtart where I host giveaways.