Mujirushi: The Sign of Dreams

Being contacted by the Louvre, one of the most well known and prestigious museums in the world, to collaborate on a comic seems a highly unlikely proposition, but then again most artists are not as renowned as Naoki Urasawa. Among his many manga credits are contemporary classics such as 20th Century Boys, Monster, Pluto, as well as the ongoing Asadora! Urasawa has won numerous awards, including the Shogakukan Manga Award three times, the Tezuka Osamu Cultural Prize twice, and the Kodansha Manga Award. He has also been recognized internationally, with honors from the Angoulême International Comics Festival and the Eisner Awards.

Mujirushi is exceptional among Urasawa's works in two ways: first, because it is based on holdings and input from the Louvre, it features a lot of the architecture, artworks, and behind-the-scenes schematics from the buildings. Second, it is a serial story that can be contained in one graphic novel-seized volume and not a multi-volume epic that takes years to be published. Still, it features the grand craftsmanship, pacing, and vivid characters that are a hallmark of his past work. 

The plot focuses on a father Kamoda and his young daughter Kasumi. Kamoda stops paying taxes and gets mixed up in some get-rich schemes, which end up with him destitute, desperate, and stuck with a factory full of unwanted rubber novelty masks. Also, his wife leaves him. Through a convoluted series of events he and Kasumi end up involved with a Francophile con man ("the Director") who has a scheme to "borrow" a Vermeer painting from the Louvre. What they do not know is that they have all become people of interest in an investigation of an international art smuggling ring, and the detective is determined to catch them in the act.

What makes this book work is its incredible artwork, strongly defined characters, and a plot that takes many twists and turns as the complicated backstory of the Director is slowly untangled. There are many revelations and twists in these nine chapters, maybe too many coincidences, and the ending is a clever weaving together of seemingly unrelated plot threads. If you would like to get a taste of what makes Urasawa's work so appealing and do not want to invest the time to read multiple volumes of a manga serial, this book is for you. If you are already a fan of his, this book is another gem to be enjoyed. 

The reviews I have read of this book have been mixed. Morgan Santilli wrote, "Though perhaps not as engrossing or complex as some of Urasawa’s other offerings, Mujirushi does leave the reader with that familiar feeling of awe at a master’s manipulation of line, panel, and story." Irina found it "to be both entertaining and endearing in many ways." In a long critique of this book and Urasawa, Austin Price calls the story "cute" but also "contrived and overblown."

Mujirushi was published by Viz Media, and they offer more information about it here.

Karate Prom

Karate Prom was written and drawn by Kyle Starks and colored by Chris Schweizer, two of my favorite comics creators who have collaborated before on the series like Rock Candy Mountain, Mars Attacks!, and Six Sidekicks of Trigger Keaton. Their storytelling and artistic chops complement each other very well, and they are expert at conveying action and atmosphere. 

In Karate Prom they are abetted by Liz Trice Schweizer (on color assists) as they spin the tale of Don Jones. He is participating in the All-City Karate Tournament, but he has been training so much that he almost arrives late for his match, where he meets Sam (short for Samantha) Steadman. He is instantly smitten, then she knocks him out with one kick. 

After he comes to, they get snow cones, they get to know each other, and she asks him to prom. What follows is an escalating series of high school dramas involving exes, ninjas, crime cartels, and a battle royale to end battle royales. However, this book is not just a fight-fest, it is also hilariously funny. There are witty banter, fun nicknames, and clever plot twists that subvert stereotypes. Karate Prom is a lot of fun to read, and I hope that it opens up opportunities for more YA-focused work from Starks and Schweizer.

These two creators have a bevy of other graphic novel and comics work available as well, including Starks's Kill Them All, Sexcastle, The Legend of Ricky Thunder, Old Head, and Assassin Nation. Among my favorite works of Schweizer are his series The Crogan Adventures and The Creeps as well as his contributions to the History Comics and Makers Comics graphic novels. Starks speaks about making Karate Prom in this interview.

All of the reviews I have read of this book have been positive. Kirkus Reviews called it "mercurial and cartoonishly violent but enjoyable thanks to its exuberance." Jordan Jennings wrote that it is "a delightful graphic novel that is full of action and romance," featuring "a strong cast of characters that you will come to love by the end of the story." In a starred review, Adam Fisher summed it up as "a joy-filled story about two teens who want to be together so badly, they are willing to fight for it."

Karate Prom was published by First Second, and they offer a preview and more information here. 

Barbaric Book One: Murderable Offenses

Sometimes you just need to read some fun genre fiction, and Barbaric is just that. The star of this fantasy series, Owen the barbarian, starts out as a typical ruffian, drinking, fighting, and enjoying all sorts of carnal desires. However, he runs afoul of a trio of witches who curse him to only do good for the rest of his life, saddling him with an enchanted, talking axe (named Axe, of course) who constantly craves the blood of evil-doers. Together this terrible duo has a streak of misadventures, applying justice in their own warped way, with Axe constantly yakking Owen's ears off.

As their journeys continue, they pick up a motley assortment of allies and rack up quite the body count. What I loved about this book is how weird it is, with Axe explaining its strange sense of justice that determines just who is and isn't worthy of slaying. And there is also witty wordplay that complements the gore and nudity, making this book into a fun, engaging adventure. What is more, there are three subsequent volumes as well as some related series, which I have also read and enjoyed. So if this book is to your liking, you have more in store.

This book was written by Michael Moreci, drawn by Nathan Gooden, colored by Addison Duke, and lettered by Jim Campbell. Moreci is a screenwriter and author known for his comics series The Plot and Wasted Space as well as the movie Revealer. Gooden is a co-founder of Vault Comics and is involved in developing a number of series, including Post Malone's Big Rig. Duke began his career as a production artist, and Campbell has lettered a good number of comics, including The Great British Bump-Off. Moreci speaks about his work on the development of the series in this interview. 

Certainly, this series has a specific audience, and the reviews I have read about it have been positive. Brad Gullickson penned the memorable line, "If Gooden's art does not belong in a museum it sure as hell belongs on the side of a van." Matt wrote, "The prudish will not approve, but fans of dark fantasy will love it and eagerly anticipate Barbaric, vol. 2."

Barbaric Book One was published by Vault Comics, and they offer a preview and more information about the series here. This book contains profanity, gore, nudity, violence, and is suggested for adult readers.

Santos Sisters, Volume 1

This collection gathers the first five issues of the 2025 Eisner Award winner for Best Continuing Series. Santos Sisters is a tough book to categorize, but I think it characterizes some of the best aspects of comics in general. It looks like an Archie comic, features adventures and characters straight out of superhero stories, and is mostly full of clever repartee and relationship talk. This strange amalgamation makes for some very funny and engaging stories, and I have really enjoyed reading this series and revisiting the comics in this version was very rewarding.  

Ambar and Alana are the titular sisters, and one day they discovered a pair of medallions on a beach and were transformed by the mysterious and mystical Madame Sosostris into masked super-beings to defend the fictional town of Las Brisas. That is, when they are not laying about the house, watching silent bee cartoons, and bickering, especially about Ambar's self-absorption or boyfriend Dirk. 

Together they deal with a motley crew of threats such as the saboteur 8Ball, Scope the assassin, Weird A.I. Ankhovic, Kreg the Handsome Barbarian, and Bridgette Spinner (say it out loud). These characters are a vivid and distinctive bunch, and a lot of the fun of this book is seeing just how ridiculous they and their villainous motivations are. The sisters often defeat them more out of personal reasons or irritation than altruism, and as they battle they are often engaged in side conversations about food, relationships, or sex acts. 

And there are lots of comics Easter eggs. Check out those teeth!

They also talk to lots of anthropomorphic animals, including a bunch of jerky forest animals and a know-it-all dolphin. These are some surreal, fun, and smart comics that have a lot going on but also trust the reader to catch onto what's happening without needing much context or backstory. I love the episodic way the tales are structured like classic Archie comics: each one is a celebration of comics, a burst of inventiveness and joy. And much like stones in a mosaic, cumulatively these stories depict a wonderfully realized fictional world.

This book's creators Greg & Fake collaborate between Chicago and Manzanillo, Mexico, respectively. Fake Petre is the writer and Greg the artist, and they also incorporate ideas and input from Graham Smith, Dave Landsberger, and Marc Koprinarov. G&F speak more about their origins and work in this interview. You can learn more about the series at its official website.

All of the reviews I have read of this book have been full of praise. D. Morris opined, "It is a book that knows great comedy comes from putting well defined characters into absurd situations." Timothy Callahan wrote, "None of these three- to eight-pagers would feature in a Best American Comics anthology. But as a whole, the accumulation of details and comedic elements and relentlessness work to make this a highly entertaining comic." 

Santos Sisters was published by Fantagraphics, and they offer a preview and more about it here. This book is not for kids. 

Godzilla's Monsterpiece Theatre

If I were writing an elevator pitch for this book, it'd be "American literature + kaiju +Universal monsters." It 's sort of like a US version of League of Extraordinary Gentlemen, only more fun and slightly less horrific. The central conceit is that Godzilla attacked West Egg, and Jay Gatsby amasses all his resources to both repel the beast and impress his lost love Daisy Buchanan. 

The drama!

His G-Force pulls out all the stops to defeat the massive beast and going to the ends of the Earth to bring the fight. Along the way, a number of other prominent literary figures, including Sherlock Holmes, Captain Nemo, Dracula, and Frankenstein's monster join in the fray, some as friends others as foes. The result is some inspired madness. 

What I love about this book is that it portrays so much action and also sets up excellent cliffhangers. Certainly there are a good number of clever scenes and funny moments, but thrilling action is what drives the narrative. Most impressively it does so while also honoring the literary histories of the characters involved, so that the whole enterprise comes off organically. That is no mean trick to pull off, especially toward the end when a myriad number of characters have to be coordinated in an epic final battle royale. This book is a page-turner and the worst thing I can say about it is that it ends too abruptly for my liking. But they say to always leave the audience wanting more, yes?

Godzilla's Monsterpiece Theatre was the product of Tom Scioli. He is a prolific comics creator who has made his own series such as  Gødland and American Barbarian as well as work-for-hire ones, including Fantastic Four: Grand Design. He has also drawn a number of licensed properties, including Transformers Vs. G.I. Joe and delved into nonfiction with graphic biographies of Jack Kirby and Stan Lee. He speaks about his work on Monsterpiece Theatre in this interview.

All of the reviews I have read of this book have been glowing. Frank Plowright wrote, "A gleeful absurdity prevails throughout yet the strength is evident via a story that would work if given an entirely straight treatment." Kara Dennison called it "a great deal of fun." Zack Quaintance wrote that it "is, simply put, one of the best comics of the year."

Godzilla's Monsterpiece Theatre was published by IDW, and there is more information about it here.

Beat It, Rufus

I feel that any time a new book comes from Noah Van Sciver is time to celebrate. Van Sciver is one of my favorite comics creators, the Ignatz Award-winning author of the graphic novels One Dirty Tree, The Hypo: The Melancholic Young Lincoln, Saint Cole, and Fante Bukowski. His work is often darkly funny and full of compelling characters who are often depressed, sad sacks, or incredibly delusional. The title character of Beat It, Rufus hits the trifecta there. Rufus Baxter is a washed up rock guitarist who has been living off of the fumes of his slight musical success for decades. After he gets kicked out of his storage unit, he embarks on a cross-country road trip to try to revisit old friends, rekindle past glory, and recoup the royalties that could fund his big comeback.

At least his tape deck still works...

I am not going to spoil things, because most of this book is Rufus back-tracking through the wreckage of his life, but I will say that mostly things do not go to plan. The journey is full of surprises, weirdos, and disappointments, although there is an occasional bright spot, such as a free Quiznos gift certificate. 

One of the things I admired about this book was how much it portrays the road of this road trip. There are lots of depictions of street signs, buildings, wilderness, and businesses that make the American landscape as much as a character in the book as humans. Beat It, Rufus grounds the weirdness, zaniness, and melancholy in drab reality in a way that makes this book completely engrossing.

All of the reviews I read of this book have been positive. Frank M. Young wrote that the affection for ambitious self-doubters "gives this and Van Sciver’s other books a warmth, even as his characters debase themselves in their failed grabs at the big brass ring." AJ Frost called Rufus "a character of surprising depth and complexity: an aging hair metal dreamer whose stubborn refusal to abandon his long-dead aspirations is simultaneously hysterical, harrowing, and deeply human." Publishers Weekly called it "a must-read comic about a must-avoid person."

Beat It, Rufus was published by Fantagraphics, and they offer a preview and more information about it here. This is not a graphic novel for kids.

Grommets

Grommets is a series I read via the Global Comix app on my phone, and it is an engaging and moving coming-of-age story. It was definitely a blast from the past for me, taking me back to the 1980s, skateboarding, and punk rock. Although I only really dipped my toe into the world of skateboarding, because my sense of balance was lacking, I was a big fan of the music in this book and had not a few friends who resembled characters in Grommets. The two main characters, Rick and Brian, live in Sacramento, California in 1984 and are loners who find common bonds in skating and music. Together, they navigate a great number of things, including being latchkey kids, dealing with disappointed parents, dating, getting hassled by jocks, dodging security guards, having illegal parties, and finding places to hang out.

As a person who lived through this era, I felt that the creators got so much of the feel and tone of the time period correct. It does not just throw out token references for the sake of nostalgia but weaves all the technologies, musicians, and politics of the 1980s into an organic whole. The artwork in particular is very well researched and portrays a very 1980s world, full of denim, run-down buildings, skate ramps, convenient stores, and other locales. It meshes realism with a cartoon style, a sort of hybrid of classic MAD artists Mort Drucker or Jack Davis and Tank Girl co-creater Jamie Hewlett. It works very well at capturing characters' emotional states as well as bringing energy and dynamism to the action sequences, especially with the vibrant coloring. 

The artwork well suits the funny, honest, and often brutal aspects of the plot, which does not sugar coat any of the rough stuff that come with being a social outlier, physical and emotional violence from peers, and fallout from family who might not see things the same way you do. I read the book as a series, and the wait for the final issue was a struggle because of the cliffhanger, I am not going to lie. It was a very gripping and emotional read for me, with very strong character work, and I found myself very concerned for Rick and Brian's well being. 

Grommets was created by writers Brian Posehn and Rick Remender, artist Brett Parson, and colorist Moreno Dinisio. Posehn is a stand-up comedian and actor who also has a bunch of writer credits for the Marvel character Deadpool. Remender is a comic book writer and television producer known for his work at Marvel as well as his original series Fear Agent, Black Science, and Deadly Class. Parson has drawn a number of Tank Girl comics as well as worked for a number of publishers. Dinisio is an artist and colorist for a wide range of comic books. 

I have read a number of online reviews about this series, and they were all celebratory. Javier Reyes called it "a love letter to 80s skater culture and punk rock." Publishers Weekly wrote, "This sweet and raunchy slice of life spikes its 1980s California skate-punk nostalgia with brutal face-plants, hard-won lessons, and bursts of violence."

Grommets was published by Image Comics, and they offer a preview and more information about it here. I recommend this book for readers mature enough to handle the drinking, language, and mature situations that these kids deal with. The first issue/chapter is available to read for free here.