Our Little Wild Time

Earlier this year, I read and reviewed Steady Rollin', a collection of autobiographical comics by Fred Noland, which I loved. I got this book, Our Little Wild Time, as part of Fantagraphics' annual sale, and I could not wait to dig into it. It is a collection of mostly fictional works, originally published as mini-comics, about murderers, cholos playing putt-putt, drug addicts, and artist George Grosz. What I admire most about this book is its frenetic energy. These stories may be brief ones, but they are impactful and impressive.

Also, Noland draws some of the best faces in comics. Growing up, I was obsessed with reading Basil Wolverton's Wolvertoons book with its variety of fantastic and grotesque portraits, and Our Little Wild Time is right up there with its gallery of mugs. Just take a look at these:

Fred Noland is a working artist who has worked for many prominent magazines and media venues. In addition to Steady Rollin', he made a short graphic biography of Major Taylor, the bicyclist who was one of the USA's first global superstar athletes, and has been working on a longer one that will be published later this year.

I was not able to find many reviews of this book online, which is a shame because I feel it deserves wider recognition. Ryan Carey called it a "solid" if "dated" collection of tales, a book to grab when he wants "to be entertained by something seedy, sleazy and, at its best, maybe even a little dangerous."

Our Little Wild Time was published by Fantagraphics, and they offer a preview and more information about it here. This book features a fair amount of nudity, sex, and violence and is recommended from readers mature enough to deal with those things.

This Place Kills Me

I recently borrowed this book from my local library. Libraries RULE!

This Place Kills Me is a murder mystery set at an all-girl private school in the 1980s. The main character is Abby, the new girl there who does not really fit it. She carries the baggage of being expelled from her last school for shady, possibly drug-related reasons. Also, she is a lesbian and catches a lot of flak from other students, which also affects her roommate Claire.

When a student commits suicide after a production of Romeo and Juliet, the two roommates begrudgingly join forces to investigate a few irregularities and find out a strange pattern that may explain what actually happened. The mystery is truly gripping, and part of the fun is figuring out whodunit.

This book has multiple strengths, chief among them the splendid and atmospheric artwork as well as strong characterizations. Abby's feelings of isolation really come through in the visuals, as well as the ornate decor of the school and many of its fancy students. I loved how the characters interact and how they did not end up making nice over the course of the narrative even as they collaborated. In many ways, this book seems like the "beginning of a beautiful friendship," with a pair of unlikely partners solving crime. And I would love to see more adventures featuring these characters.

This Place Kills Me was written by Mariko Tamaki and drawn by Nicole Goux. Tamaki is a prolific writer who has won a ton of awards, including multiple Eisners, being a finalist for the Printz Award (twice!), and a Caldecott Honor. She is known for the graphic novels This One Summer, Laura Dean Keeps Breaking Up With Me, and a few prior entries in DC Comics' YA graphic novel line, including I Am Not Starfire. Goux has several graphic novels to her credit, including Punk'n Heads, Pet Peeves, and Forest Hills Bootleg Society. Tamaki speaks about This Place Kills Me in this interview.

Nominated for an Eisner Award, this book has received much praise. In their starred entry, Kirkus Reviews concluded it was "truly exceptional; a standout." Sean Dillon called it "a thrilling story highly worth recommending." In an another starred review in the School Library Journal, Angie Jameson wrote, "Stunning illustrations coupled with a thrilling plot make this a standout title that belongs in all YA graphic novel sections."

This Place Kills Me was published by Abrams Fanfare, and they offer more information about it here. 

Where the Body Was

I am a big fan of and have read and reviewed pretty much every series or book that Ed Brubaker and Sean Phillips have collaborated on, but Where the Body Was is special among a fantastic body of work. It is their most evocative and character-driven work to date, and I not only could not put it down but I was also moved greatly by the plights of its characters. 

The events of this story occur in 1984, and they involve an array of people from the neighborhood. There are juvenile delinquents struggling with drugs and dabbling in theft, a woman who is bored of her marriage with her psychiatrist husband, a guy who likes flashing his police badge and bossing people around, a wandering veteran who camps in the nearby woods, a young girl who patrols the neighborhood in a superhero outfit, and the local neighborhood watch. For some reason, someone has also hired a private investigator to tail one of these people, and soon enough there is a dead body on the street.

Untangling that mystery is one thread in this book, but several more follow the exploits of the various characters. They all have their own sets of surprises and internal struggles, and it was excellent to get to know each of them from the narrative but also from the narration that they provide from the present. The coloring work by Jacob Phillips especially shines here, as he changes pallets to differentiate from the past and present.

The result is not only a compelling and deftly constructed whodunit but most impressively a series of character studies that play out similarly to a true crime documentary series. That all of this emotion, action, and depth was created in the space of 144 pages is nothing short of incredible. I urge anybody who loves a great crime story to check this simply superb book out. 

The reviews I have read of this book have been glowing. Zac Owens stated, "Their work has never been so paradoxically raw and thought out."  Justin Harrison wrote that it "is good comics made by folks who know good comics. It’s a joy to read and well worth checking out." Brad Gullickson concluded, "I'd rank it at the tip-top of their collaborations."

Where the Body Was was published by Image Comics, and they provide more information about it here. It contains profanity, drug use, nudity, and sexual situations and is intended for readers mature enough to handle those things.

Beneath the Trees Where Nobody Sees

I read this series on the Global Comix app, and it's also now available in a handy trade paperback. Beneath the Trees Where Nobody Sees is a title that has been very popular at my local comic shop, and I have been pretty curious what all the excitement was about. It's a beautifully drawn book, with characters who are depicted as anthropomorphic animals a la Richard Scarry's Busytown but who act in much darker ways. In my description below, I am purposefully being vague, because I do not want to give too much away.

The main character is Samantha Strong, a bear who runs the local hardware store in the sleepy town of Woodbrook and who engages in some pretty vicious deeds on the sly. When some of the locals get murdered, the ensuing investigations threaten her secrets, so she decides to take matters in her own hands to find the culprit.

Woodbrook is full of a vast array of inhabitants, including dogs, birds, mice, pigs, goats,cats, foxes, raccoons, turtles, and more. They are all panic-stricken by the murder and their small town is gripped by terror. Part of what is engaging about this book is seeing a sort of crime procedural plot occur in this picture book setting, but the mystery elements are well-plotted, and there are enough suspects and plot twists to make things interesting. Because of the dark subject matter, I suggest this book for more mature readers who can deal with gruesome murder, but there is also a touch of whimsy that comes with the watercolor artwork that sets this series apart. I found it a very entertaining and sumptuous reading experience.

Patrick Horvath wrote and drew this series, with lettering by Hassan Otsmane-Elhaou. Horvath has written and directed a number of movies, and this is his debut comics work. Otsmane-Elhaou has lettered books for many different publishers and also was a co-editor of PanelxPanel, an excellent, Eisner Award-winning web journal about comics. Horvath speaks about his inspirations and work on BTTWNS in this interview.

All of the reviews I have read about this collection have been positive. Publishers Weekly wrote, "Horvath’s charming picture-book artwork, rendered in bright painterly strokes and packed with visual detail, makes the gruesome subject matter all the more disturbing." Kate called it "one of the most unique graphic novel experiences I’ve had this year." Zack Quaintance concluded, "It all makes for a great spooky season read, and a fun addition to your comics bookshelf from a cartoonist whose work definitely bears following into the future."

Beneath the Trees Where Nobody Sees was published by IDW, and they offer more information about it here. For those who want more, a sequel series, Beneath the Trees Where Nobody Sees: Rite of Spring, which is set a decade after this series, is currently being published.

The Great British Bump-Off

I am a big fan of The Great British Bake Off and murder mysteries, and boy was I excited when this series was solicited. The Great British Bump-Off not only marries these two things, it's also written by John Allison, whose work I have been following for decades now. It stars sleuth Shauna Wickle, one of the stars of the webcomic Bad Machinery, as a contestant on a parody version of the esteemed reality baking competition. Someone has poisoned one of the most competitive bakers, and the producers have tasked Shauna with finding the culprit while also being on the show and completing the challenges. Hijinks and suspense ensue.

Drama!

There are a few things that make this book highly appealing. The artwork is cartoonish and dynamic, a great platform for both broad humor and some of the more sinister undercurrents of the plot. The dialogue is snappy, and I found myself laughing and smirking along at this book a few times. The murder mystery plot is a lively one, with plenty of colorful suspects and red herrings, a la Agatha Christie. And if you are a fan of the actual reality competition, like I am, there are plenty of delightful in-jokes and references to the show's many tropes. Still, I feel this book would be attractive to anyone who is not familiar with the show, as these are some excellent comics, and the storytelling is masterfully crafted.

The Great British Bump-Off was created by writer John Allison, artist Max Sarin, colorist Sammy Borras, and letterer Jim Campbell. Allison and Sarin also collaborated on the Eisner Award-winning series Giant Days. Borras colors many comics, most recently in The Phoenix. Campbell has lettered a good number of comics, including Barbaric. Allison talks about his inspirations and work on The Great British Bump-Off in this interview.

All of the reviews I have read of this book have been glowing. Johana Draper Carlson called it "a joy to read" and added, "The mystery is legitimate, and I was thrilled to follow through the twists and turns." And I completely agree with Tegan O'Neil who wrote, "The problem with The Great British Bump-Off is simply that the series is only four issues long." Nathan Simmons concluded, "Don’t worry if you haven’t watched that series [The Great British Bake Off] before, though; you should still be able to enjoy mystery and the lunacy on display in The Great British Bump-Off, even if you can’t tell a parfait from a trifle."

The Great British Bump-Off was published by Dark Horse, and they provide more information about it here. Fans of this series will be happy to know there is a follow-up, The Great British Bump-Off: Kill or Be Quilt being published right now.

Rebecca and Lucie in the Case of the Missing Neighbor

There is an avalanche of true crime and mystery narratives lately, but Rebecca and Lucie in the Case of the Missing Neighbor stands out for its offbeat set up and strong characters. Rebecca is a new mom, and she is wary of her maternity leave running out and not getting to spend so much time with her 8-month-old daughter Lucie. One night, after breast-feeding her daughter, she sees a couple of people loading something heavy into a white van and thinks nothing of it. Days later, a local homecare worker is reported missing and her alarm bells start going off. In small pockets of time, between caring for her daughter and shopping around for daycare options (a bittersweet occurrence), she begins her own investigation.

The local police and her social worker husband seem skeptical of her efforts, and the family of the older woman who received care from the missing person begin to cry harassment, but Rebecca persists in her quest. 

What follows is an interesting series of events, some trails pay off while others are dead ends. In all, this book is great because it tells a compelling mystery while also shedding insight into what it is like to be a parent/spouse/worker in these times. This book is deceptively simple, both in terms of its spare but colorful artwork and streamlined story, but it pays off as a unique and fun genre piece. I could easily see (and would look forward to) there being future adventures of these sleuths.

Rebecca and Lucie in the Case of the Missing Neighbor was created by Pascal Girard, a part-time social worker and cartoonist. He has published a number of other graphic novels, including Nicolas, Bigfoot, Reunion, and Petty Theft. Girard speaks about his craft in this interview.

All of the reviews I have read of this book have been positive. Rachel Cooke appreciated how Rebecca is based on Girard's wife and "that this sweet, funny book is a tribute to her courage, her determination and, above all, her wit." Publishers Weekly wrote that it  "succeeds as both a mystery and a chronicle of day-to-day parenthood. Readers won’t be disappointed if this evolves into a series of offbeat mother-daughter mysteries." Brian Nicholson called it "a breezy romp, coming in at under a hundred pages, and featuring attractive, accessible cartooning."

Rebecca and Lucie in the Case of the Missing Neighbor was published by Drawn & Quarterly, and they offer a preview and much more here. This book was originally published in French and was translated by Aleshia Jensen.

American Cult

Comics anthologies can be very uneven, but I feel that American Cult is an excellent introduction into the strange, uniquely American blend of religion/fanaticism and capitalism/exploitation that is the cult. This phenomenon is defined in an introduction to the book, and many chapters straddle the line between reporting and commenting on these movements characterized by charismatic leaders and their sometimes insane, yet still convincing (to some) preaching. There are some of the "greatest hits" one who expect of such a book, including a look at the Jonestown Massacre (Ryan Carey and Mike Freiheit) and the Manson Family murders (by Janet Harvey and Jim Rugg).

Some, like Lonnie Mann's "Orthodox Judaism is a Cult" are more potentially controversial in their takes on organized religion, while others Like Ben Passmore's examination of MOVE look at cults as political entities.

Some, like Josh Kramer and Mike Dawson's "Cults Reoriented" revealed strange connections like the one between Sufism Reoriented and the Cheescake Factory. Others are more wrenching and personal, like the particularly memorable entry by J.T. Yost, a look at a refugee from the Westboro Baptist Church.  

That the entries in this book are presented in chronological order invites comparing and contrasting them, and I learned a great deal about these various groups, even ones I thought I was pretty familiar with. This book is ideal for those interested in nonfiction, history, religion, or unique social phenomena. I got a lot from reading it.

American Cult was edited by Robyn Chapman, and she  also contributed an entry about Heaven's Gate. She has been involved in the comics industry in a number of ways, most notably as proprietor of Paper Rocket Minicomics. The book features story and art by creators I am familiar with, such as Box Brown, Mike Dawson, Mike Freiheit, Emi Gennis, and Ben Passmore, while also showcasing a bunch I am just learning about. I will definitely be on the lookout for more from them.

All of the reviews I have read of this book have been positive. Rob Clough wrote, "Chapman’s decision to sequence the stories in chronological order further cements this impression of history repeating itself. What makes this an interesting book to read is that the contributing artists use widely varying approaches." Publishers Weekly concluded, "Though these comics raise more questions than they answer, they sweep admirably through a little-understood phenomenon." Leonard Pierce called it "a pretty good reflection of its subject matter: never coherent, often shocking, full of little revelations, and liable to pull you in to its strangely riveting view of the world."

American Cult was published by Silver Sprocket, and they offer a preview and more about it here. Although it is about US history, this book features a lot of sex, drugs, and profanity, so it is suggested for more mature readers.

Maids

Maids is a crime tale based on the Papin sisters, Christine and Léa, who worked together as maids until they murdered their employer's wife and daughter. This is a slow burn of a book, only six chapters long, with the first five establishing background and subtly ramping up tension. The events occur mostly in the Lancelin residence, where Christine began work as a maids. She advocated for her younger sister Léa to be hired on as  cook, and the two were reunited in service.

Over the course of the book, we get insights into the young women's lives, from their troubled upbringing to their years in a convent. They were unusually close and frequently got into trouble. As maids, they often were up to some form of chicanery, pilfering items, messing with food, and trying to enjoy some of their employers' finery for themselves. They worked everyday from 6 AM to 7 PM and were also treated shabbily by the Mrs. Lancelin and their spoiled daughter Genevieve. On February 2, 1933 after being blamed for a power outage in the house due to a faulty iron, the sisters brutally murdered Mrs. and Miss Lancelin.

The artwork in this book is spare but masterfully laid out in ways that build suspense to a crescendo. The color palette is warm, which contributes to a muted, dark ambience that lend a drabness to scenes of everyday life and also a sinister edge to the violence. It's a beautifully affecting book, and Skelly gets every ounce of nuance and feeling from her economical imagery. This book is gorgeous and horrible as well as a clinic in storytelling.

And what an opening page!

 This book is the creation of Katie Skelly whose prior comics include My Pretty Vampire, Operation Margarine, Nurse Nurse, and The Agency (NSFW). She speaks extensively about her work on Maids in this interview.

The reviews I have read of this book have been positive. In a starred review, Publishers Weekly summed up, "This subversive horror story will satisfy readers who like their crime stories served with gender and class analysis and a pretty whipped topping." Writing about Skelly's art, Etelka Lehoczky opined, "It's a style that invites you to take it at face value while mocking your inclination to do any such thing. The theme Skelly expresses in every layer of this book is our tendency — or need, really — to underestimate anyone and anything we can't immediately assimilate: maids, girls, comics, comics about girls." Tom Murphy had a different take on the visuals, writing, "Its strong structure and narrative get as close as possible to the bond of blood between the sisters, but the bubblegum realisation on the page creates an uneasy dissonance."

Maids was published by Fantagraphics, and they offer a preview and more information about it here. Due to violence and adult subject matter, I suggest this book for mature readers.

Ghostwriter

Ghostwriter is a gorgeously illustrated, stylized murder mystery set in 1943 Barcelona. It features a fascinating cast of characters and a taut plot. The protagonist Laia is a pregnant wife whose husband has seemingly abandoned her, and she looks after the two young children of her downstairs neighbor when her husband is physically abusive. Rounding things out are a detective who uses hypnosis to gather evidence, a paraplegic beggar who can scale fire escapes like an ape, and a group of clergy and matronly women who write the scripts for a wildly popular weekly radio program that doles out advice on romance and other domestic matters. Add to the mix a series of grisly murders, and what you have is a serious pot-boiler of a mystery that plays with basic gender assumptions. I won't get much more into the plot, as I don't want to spoil all the twists and reveals, but I would like to draw attention to the artwork.

What you see here are the first pages of the story, and they are unusual in that they contain a lot of exposition, which is not characteristic of the rest of the book. What is typical is the wonderfully geometric architecture of the buildings and panels. Also, the interplay between black and white makes for some excellent atmosphere and contrast throughout the book. It is a clinic in setting and conveying tone. There are a few (bloody) instances later in the book where red is used to highlight the gory murders, adding an element of shock to the proceedings. 

The artwork also acts in some ways to create leitmotifs that foreshadow later events in the story, an aspect that invites and rewards multiple readings. Overall, I was impressed by how well crafted a mystery this was, both in terms of story and art. I don't know if this book has broad appeal, but it is a spectacular period piece for murder mystery and European comics fans.

This book is the creation of Rayco Pulido, a Spanish illustrator and educator. It is his English language debut, having won Spain’s National Comics Award in 2017.

All of the reviews I have read of this book have been positive. Publishers Weekly concluded, "The enigmatic tale is recommended for genre readers seeking a classier flavor of pulp fiction than the standard femme fatale and shoot-’em-up fare." Kirin Xin called it "thoughtful and stunning." Andy Oliver opined that "two readings of Ghostwriter are a must – the first to lose oneself in the unpredictable turns of Laia’s story and the second to enjoy in hindsight just how tautly plotted Pulido’s tale is."

Ghostwriter was published by Fantagraphics, and they offer a preview and much more here.

In a Glass Grotesquely

2020 has been a turbulent year, full of turmoil and tragedy. One of this year's biggest losses for me in the world of comics was the sudden death of Richard Sala. I love his distinctive art style, which was reminiscent of many influences, an amalgamation of Mad magazine details and Expressionism as well as elements of Charles Addams and Edward Gorey. He was excellent at creating tone and crafting punchy, creepy, compelling stories.

 

In a Glass Grotesquely contains one large story and three shorter, black and white pieces. The three final stories are more emblematic of Sala's general style: dark, claustrophobic spaces full of terrible and weird characters. The lead tale, "Super-Enigmatix," originally serially published as a webcomic, contains many elements of what made Sala's work so memorable and exciting. Tonally, it's like a old-time movie serial, packed with plot and powerful visuals. It features a mysterious genius figure bent on murder, conspiracy, and sowing chaos. There is an army of armed female assassins, giant killer plants, and many red herrings/plot twists. It also strikes me as being a story that at once recalls the past in terms of genre but in terms of theme speaks to contemporary matters such as reality television, fake news, and government manipulation. It plays as both loving homage as well as biting satire. I find it fascinating just how timeless and timely this book is. 

But, this being a work by Richard Sala, for me it's biggest selling point is the artwork. The main story is rendered in color, and it contains a number of fantastic elements, including a wonderfully disguised antagonist, a bevy of evening gown-clad women, monster plants, monster-masked villains, and some psychedelic, dreamlike layouts. He was masterful at designing worlds for bold characters and bombastic action.

All of the reviews I have read about it online have been positive, though I feel they don't quite account for how much bitterness is mixed in with its sweetness. Jason Sacks called it "a classic Sala style delight that brings new treats on every page." Graham Johnstone called it "an enjoyable romp" that will sweep readers along with its "joyful energy." Sala speaks more about all of his works, but "Super-Enigmatix" specifically in this interview.

In a Glass Grotesquely was published by Fantagraphics, and they offer a preview and more here.

House of the Black Spot

I try to read as many new graphic novels every year, but sometimes I just fall behind. House of the Black Spot was published in the summer, and it's the latest entry in Ben Sears's Double+ series. As with other books in the series, it follows the escapades of Plus Man and Hank. Plus Man is a young adventurer who works delivery jobs while frequently foiling criminals. Hank is his more sensible and mature robot friend.

Plus Man: Not necessarily the guy you want to deliver your groceries.

In this book, we travel to Gear Town, where Hank's uncle Bill lives. Or lived rather, because he was murdered. It turns out that there is a nefarious scheme to gentrify Gear Town, with real estate developers intimidating residents to sell their properties. They are seemingly aided by the town's founder, a ghostly figure who was long thought to be dead.

Our heroes happen upon this situation at the reading of Uncle Ben's will, where friends, family, and antagonists are all locked in the house until his murderer is revealed. This being a good mystery, of course there are many things that are not as they seem...

I very much enjoyed the murder/adventure plot of this book, but the best part of it was Sears's colorful artwork. He does superb work at world-building, and I spent much time looking over his deceptively simple-looking images. The buildings' architecture is inventive and fun, and I just loved looking at all the details, such as what people have on their kitchen counters in this world. Plus, there are lots of nods to classic murder story elements, like secret passages and paintings where the eyes follow people around. As with the other books in the series, this one is a true all ages book, with lots of features to please and amuse readers young and old.

All the reviews I have read about this book have been positive. Leonard Pierce wrote, "Sears’ strength is absolutely as a visual storyteller, but there’s enough happening in his engaging characters, involving storylines, and light-fingered explorations of contemporary issues that the books are always something to look forward to." James Ardis commented that "for a graphic novel accessible to both children and young adults to tackle gentrification in any capacity is quite ambitious." Tom Shapira opined that "charm is something Ben Sears has in spades. The art, the colors, even the lettering, everything in this story screams for unencumbered joy."

House of the Black Spot was published by Koyama Press, and they offer a preview and more here.

Lodger

Originally published as a 5-isse series, Lodger is a piece of awful business. It portrays two horrible, broken people who are on a collision course that one won't survive. The first is Ricky Toledo, a troubled woman whose life was rocked when she was 15. At that time, a handsome drifter named Dante ended up in her house renting a room. He had an affair with her mother that ended in violence, her mother's death, and her father's imprisonment.

Years later, Ricky is armed and on the search for that drifter, whose name is decidedly not Dante. He is "the Lodger," an itinerant serial killer who is a master of disguise, likes riding buses, and writes a travel blog about his exploits in veiled manner. Ricky wants revenge, and the result is a wicked game of cat and mouse, which turns out to be more like a game of "cat and cat."

This book is a testament to excellent graphic storytelling. The plot is intricate and hinges not only on a taut narrative but also frequent clues and images communicated through the artwork. The stark contrast in the black and white artworks lends a documentary aspect to the story, and reading the book is like experiencing some nasty, true-crime tale unfold before your eyes. Even though the subject matter here is dark, it is easy to admire the craft that went into telling this story. This book is grisly and ugly sometimes, but it is always compelling and gripping. The Laphams revel in beautifully rendering horrible things.

David and Maria Lapham are best known for their Eisner Award-winning series Stray Bullets, which has been published off and on in different incarnations since 1995. That series typically deals with crime related stories, but in a very human way. David has worked for lots of different comics publishers and is also known for the Vertigo series Young Liars, about a group of 20-somethings with disturbing secrets.

The reviews I have read of this book praise it, though they also tend to note the niche audience for this tale. Andy Oliver praised the book and  wrote, "Lapham’s crisp, clean and yet fluid art transitions between the drama of densely packed, moody set pieces and close-ups, and sudden, open moments of destructive energy." Jonathan O'Neal spoke to the density and atmospheric qualities of the book and noted, "but if you can show patience and the willingness to give yourself over the these characters, you will ultimately be rewarded." Derek and I discuss the first two issues of the series here.

Lodger was published by Black Crown, an imprint of IDW. They offer a preview and more here. Because of violence, profanity, and sexual content, I recommend this book for mature readers.

Tonta

Long-time readers of this blog should know that Jaime Hernandez is a living legend and one of my favorite comics creators. He has won multiple Harvey and Eisner Awards for the long-running Love and Rockets series he co-created with his brothers, and I loved seeing his work in various anthologies over the years. Last year he also ventured into the arena of children's comics with The Dragon Slayer.

This book, Tonta, gathers together material published a few years ago in Love and Rockets: New Stories. For the most part, these stories focus on the titular Tonta (her nickname, Spanish for stupid or dummy), a teenager who tries to fit in the best she can. Her family is sort of a mess, with a network of older half-sisters and a half-brother who occasionally nose into her business. Also, her mother seems to be a black widow sort, leaving a trail of exes who have been suspiciously murdered. That last bit entails a prolonged legal drama that is woven throughout the book.

As you can see, Tonta also does typical sorts of teenager things, like sneaking booze, hanging out with people she shouldn't, hiding out in the woods with her clique, and cozying up to members of her favorite band. She is not always successful with her intentions, or come off the coolest, but she is a dynamic and expressive character. That is what I perhaps appreciated most about this book. You do not necessarily need to know a lot of background to catch on to the multitude of things that go on. Each character is defined and memorable. Each episode is powerful and economically communicated, and it is very easy to get swept up in the narrative flow. This book is yet another testament to Jaime Hernandez's incredible artistic and storytelling chops.

The reviews I have read about this book have been very positive. Publishers Weekly concluded, "This rambunctious ride may be more minor in the Hernandez catalog, but it’s still a master class in cartooning." Hillary Brown commented in a similar vein, "It seems like the abiding conception of Jaime Hernandez’s Tonta is that it’s a minor work of his, a sort of tossed-off compilation of stories focusing on a character who’s more an Io than a Jupiter, a character actor rather than a leading lady. But the fact is that reading it, for me, produced the same rush of blood to the brain and almost dizzying happiness as his “major” Maggie and Hopey stories."

Tonta was published by Fantagraphics, and they offer a preview and more here. This book features some profanity and nudity, so it is suggested for readers mature enough to handle those things.

Frank

I get a bunch of books from various creators and publishers for the Comics Alternative podcast, and we don't get the chance to speak about them all on the show. The book I am writing about today, Frank, falls into that category, and I think it's a unique and compelling book well worth checking out. It walks the fine line between being entertaining and informative, and it both moved me and taught me about Canadian history. This tale is set in 1903 in the town of Frank, which was a coal mining town next to Turtle Mountain in Alberta. The protagonist is a troubled woman named Eve Lee, who finds herself frequently in the local drunk tank. One day, her old flame Oscar mysteriously disappears and she suspects something shady has happened to him, so she starts an investigation. What she discovers (without spoiling so much) is that something is not quite right with the records of the local mining company.

As you might guess, at least two murders are uncovered, and much of this book is involved with Eve trying to get to the bottom of matters while facing various roadblocks. All the while there are slight tremors and disturbances in the mine, and the latter parts of the book occur simultaneously with the Frank Slide, the most deadly rock-slide in Canadian history, when 90 million tons of limestone came loose from Turtle Mountain and decimated the town of Frank.

In the end, I felt that this book was a great blend of fact and fiction, with interesting characters and a complex plot that kept me intrigued throughout. It was the debut graphic novel of Ben Rankel, an illustrator who has had work in a number of indie comics anthologies. He speaks about his work on this book in this interview.

All of the reviews I have read remark positively on the book. Kevin Skinner wrote, "FRANK is both faithful to a profound moment in Canadian history while still creating something new and exciting to engage comic fans who may not even care about Canadian history. " The reviewer at 49th Shelf called Rankel "a gifted graphic novelist, soon to be amongst the most highly regarded." Insha Fitzpatrick summed up, "Frank presents a historical event with a creator that knows how to honor it but also expand it, creating a story that’s heartbreaking yet filled with world building and characters that are intense and riveting."

Frank was published by Renegade Arts Entertainment, and they offer more info about it here.

A review copy was provided by the publisher.

Minky Woodcock: The Girl Who Handcuffed Houdini

Minky Woodcock: The Girl Who Handcuffed Houdini collects the four-issue comic book series in a gorgeously illustrated and lustrous hardcover. It is a delightful piece of historical fiction, a detective tale set in the early 20th century, where Harry Houdini is engaged in both amazing escapes while also lecturing to debunk fraud being perpetrated by so called mediums at staged seances. The latter enterprise brings him into conflict with famed author Arthur Conan Doyle (creator of Sherlock Holmes), which is based in historical fact. Here, the enterprise also drives at least one party to attempt to murder the famed magician/escapist.

 

 

Enter into this situation the crafty and resourceful Minky Woodcock, the daughter of an investigator who seeks her own life of intrigue. She ends up traveling with the Houdinis and investigates the suspicious happenings. Minky poses as Houdini's assistant, and she proves quite an asset to his act and also his debunking charlatans. She also gets deeply involved with the couple in personal ways, which creates its own set of complications. The rest of the plot unfolds in a combination of historical fact and fantasy, spinning an engaging and titillating mystery tale.

The highlight of this book for me was the luxurious artwork by Cynthia von Buhler, a Renaissance woman who acts, paints, sculpts, and creates in many ways. Here, the artwork properly evokes a sense of history with its stylized layouts and character designs. Not only are the main characters strong and sensual, the whole book also pops in terms of linework and coloring. She speaks more about her work on Minky Woodcock in this interview. Also, this book will be adapted into an off-Broadway production, which seems very cool.

I was not able to locate many reviews about this collection, but the ones I found were positive. Ryan C. Bradley called it "a love letter to noir" and "a Houdini pastiche that offers a new theory about his death." Kristel Yeager summed up, "Amazing art and unique storyline."

Minky Woodcock: The Girl Who Handcuffed Houdini was published by Hard Case Crime/Titan Comics, and they provide more info and a preview here. This book features some profanity, nudity, and sexual situations, so I recommend it for mature readers.

Dead Weight: Murder at Camp Bloom

Dead Weight is a murder mystery for YA readers. It is set a Camp Bloom, a "fat camp" where young people come to work off the pounds and learn healthy eating habits. The twist here is that one night two of the campers witness a popular counselor get brutally murdered. Of course, it was past curfew and they should not have been out, so they keep things to themselves. The next day, no one seems to have noticed what happened, and there was a note left to explain the counselor's absence. Also, from what they could see they feel that the culprit was one of the camp leaders, so they do not feel they can go to the adults. So the two campers recruit two of their friends, and the quartet becomes a team of amateur detectives.

They are a motley, diverse bunch: Jesse, a Latina girl who would rather be at fashion school than Camp Bloom; Noah, a white boy who is a veteran fat camper; Tony, an African-American boy who is freaked out to have no access to his cell phone or computer, and Kate, an aloof white girl who would rather observe nature than interact with people. They bumble their way through the investigation at first but eventually they get themselves together and solve the mystery.

 

 

 

 

For me the highlight of the book is the vibrant and energetic artwork. I love the character designs and visual storytelling, and Seely's background in animation well informs both. I think that the setting and cast are also big pluses. They might not be the most complex characters, but they are diverse in terms of identity categories, and I appreciate seeing that here. About the plot, I have to say that I did not see the ending come at all, and although there were some visual clues I think it would be impossible for a reader to solve the crime on their own. Still, I enjoyed the plot twists and this book overall. It was a fun, breezy read.

Dead Weight is the creation of writers Terry Blas and Molly Muldoon and artist Matthew Seely. Blas has lots of comics credits and is probably best known for his webcomic Briar Hollow. Muldoon is a teacher, librarian. editor, and author who has also written another story for the graphic novel The Cardboard Kingdom. Seely is an artist and animator who has created a segment for MTV's Greatest Party Story Ever as well as a bunch of self-published mini-comics. Those interested in learning more about the inspirations and process of making this book can read this interview (or this one, if you prefer).

The reviews I have read about this book have been mixed, with much of the negative criticism aimed at the cast of characters, which are seen more as types than actual personalities. Kirkus Reviews called it a "lighthearted mystery with diverse characters" as well as "an accessible, if not entirely satisfying, read." Johanna Draper Carlson wrote, "Young readers who aren’t used to seeing characters like themselves, if they fit one of the many categories portrayed here, will likely be more forgiving than I was."

Dead Weight was published by Oni Press, and they have more info about it here. They also offer a video trailer for it here.