My Favorite Graphic Novels of the Year

Well, it's that time of year again. 2015 was an eventful year for me personally. I became a dad; I got married; I got a book contract, and I read a lot of books. Looking back, I noticed that I liked a lot more escapist stuff than usual this year, which maybe I should have expected.

Still, I think there were a good many quality books this year, and a bunch more that might be just as good if not better, only I did not get around to reading them yet. In any case, if you click on the hot-linked title for each book below, you will go to my original, lengthier review. So without further ado, here is my list of best books according to categories I just made up on the spot:

Best Overall Book
Nimona

 I thought this book was exceedingly clever, funny, and nuanced in surprising ways. Plus, it stars a not-so-villainous villain named Lord Ballister Blackheart and a not-so-heroic hero named Sir Ambrosius Goldenloin. I would recommend this book to pretty much anyone interested in reading or graphic novels. Or those interested in reading graphic novels.



Funniest Book
Fantasy Sports No. 1

This book made me laugh out loud frequently. This tale of a couple of magical tomb raiders who have to play an epic game of basketball against a surprisingly skillful mummy was full of heart, humor, and beautiful artwork displayed in a tabloid-sized format. I am so glad there is at least one sequel on the way.


Best Comics Version-of-Road-House-starring-a-former-assassin-who-looks-like-Kurt-Russell-from-Escape-from-New-York
Sexcastle

 If you have read my blog with any regularity you will know I love the work of Kyle Starks. I literally will buy anything he produces sight-unseen. This parody/homage to 1980s action films was not only right up my alley, it also showed just how great the man is at telling a story and also cracking lots of hilarious jokes.


Best Artwork
The Divine

Full of lush greens and beautiful linework, The Divine tells a story that weaves together the horrors of war, questions about youth and innocence, issues of colonialism, and the powers of myth in one gorgeous, thought-provoking package. 



Best Superhero Book
Fall of the House of West

 This third book in the Battling Boy series fills us in on the tragic backstory of Aurora West, a heroine who worked with her father to battle the monsters who steal children. Simultaneously thrilling, sad, emotional, and scary, this book contains some grade A world-building.





Best Use of Comics as Nonfiction
Unflattening

 A dissertation in comic book form, Unflattening is a sequential art exploration of philosophy, education, and communication. This contemplative works employs a true combination of word and image, not just the typical "talking head" kind of academic comics that abound. It is a great book to read, re-read, and contend with.





Best Series
Last Man

 This series is manga done Euro-style, starring a young boy, his mother, and a down-on-his-luck pugilist who allies himself with them out of convenience. It features a fighting tournament, surprising twists, a courtroom run like a professional wrestling match, and interesting characters who live in a not-quite-medieval world where they have more than modern technology.


Best Book About Adolescence
Moose

 A harrowing (for all parties involved) tale about a high school student bullied by a sadistic classmate, and what happens when an opportunity to turn the tables presents itself. It's very visceral and emotionally direct in terms of the story and the illustrations.
 



Best Artwork, Part II
Exquisite Corpse

Originally published in France, this gorgeously rendered book is about a young woman who happens to strike up a relationship with a renowned, reclusive author. It features some good plot twists and a satisfying story, but the artwork is truly exceptional.



Best Use of Comics as Fiction
Russian Olive to Red King

 A genre-defying book, or as one of the creators put it, "It's a ghost story, but it's not frightening. It's a romance, but it's not passionate." It's the story of a couple where one of them gets lost in an accident and the other tries to carry on living while also keeping some semblance of hope alive. This might sound cliched, but I found it an excellent tale of love, loss, and the redemptive powers of art.




Best Use of Comics as Fiction II
Tim Ginger 

Another genre-defying book, this one about an ex-test pilot on a book tour who runs into an old flame. A beautiful book about growing old, finding one's way in the world, and dealing with conspiracy theorists. Also, it features a few meta-narrative touches that make reading this book a unique experience.



Best Nonfiction for Younger Readers
The Underground Abductor

I might as well just call this the "Nathan Hale Award," but it is pretty insane how consistently excellent each entry in his Hazardous Tales series is in terms of style and substance. This one about Harriet Tubman taught me a lot about her history and my own ignorance.

 
 
Best Nonfiction for Adults/Older Readers
Omaha Beach on D-Day

It may not be fair for me to even name this book here, because it is so unlike anything else I have read. A three-part exploration of the life and work of war-time photographer Robert Capa via comics, his photographs, and a few essays. A thorough and apt tribute to an artist I was unfamiliar with.


Best Debut
Invisible Ink

This award might seem like a misnomer, because Bill Griffith has been drawing comics since 1969, but this is is first graphic novel. His account of his searching for clues about his parents' relationships and pasts shows a master artist in charge of his craft in terms of delineating personal moments and overall storytelling. Its insights into families, love, and life are lasting and provocative.




Best Ending
The Sculptor 

I have to admit I am not enthralled with the totality of this book, because it is sort of a cliched tale about a tortured artist finding troubled love and inspiration from a manic pixie dream girl. However, the first actual graphic novel from comics theorist and academic Scott McCloud, about a Faustian deal, features one of the best closing sequences I have ever read. I found it breathtaking, and it stuck with me for a while.

Invisible Ink: My Mother's Secret Love Affair with a Famous Cartoonist

Bill Griffith has been making comics since 1969, and he was involved in producing a good number of underground comix. But he is best known for his long-running syndicated comic strip Zippy the Pinhead, with its serial title character and catchphrase, "Are we having fun yet?" I used to read Zippy all the time, and I loved its obscure references, attention to nostalgia, and biting social commentary. A million years ago when I was in high school, I even drew a number of comic strips about a local pharmacist (Hi Nunzio!) using Zippy as my template. So, when I saw that Griffith had finally created a graphic novel, and one with such a salacious title I was eager to check it out. I am glad to say that it is a very worthwhile read. The comics are well drawn and composed, and the story is very compelling and substantial.

Invisible Ink is one of the most intimate books I have read. It is an exploration by the author of his parents' lives mostly via the artifacts that they have left behind. Much of the book is composed like the following excerpt, with a lot of Griffith's inner dialogue interspersed with images that propel and illuminate the narrative:

I was worried as I read the book that I might get bogged down by so much of the verbal exposition, but there is a good mix of sections that are more word-dense and ones where the imagery dominates the pages, like the following:

In the end, I was struck by just how much of a mystery this book was, with Griffith struggling to learn just who his parents were. His mother seemed to be striving for a bohemian, scholarly life but was trapped by her social situations and took respite in a long affair with a cartoonist, Lawrence Lariar, whose fame was fleeting and today is all but forgotten. More troubling and less spoken of, Griffith also sought to know more about his terse, gruff, and turbulent father, though in the end he is still left with a lot of conjecture about both. Certainly, I can see some people not really caring about one person's family history, as idiosyncratic as it is, but still I feel this book gets at many important themes about life, love, and family, not to mention a close look at mid-20th century romantic relationships.

This is a cerebral and deeply personal book, perhaps most typified by a sequence of pages toward the end with small, wordless tableaus accompany large text tracts of Griffith's mother's letters. I know that I was worried about the words taking over the imagery, but perhaps the best part of the book was seeing those spare images along with the deeply felt, well composed letters where she spills most of her guts. Here, virtuoso images juxtapose with artful, accomplished prose with heart-rending results.

For those wanting to know more about the book's origins, Griffith speaks more about his inspirations and intentions in this interview.

All of the reviews I have read about this book show positive responses to a complex narrative. Etelka Lehoczky wrote, "Griffith's wonderful art and charmingly bemused perspicacity would make Invisible Ink a treat even if it stuck to the narrow topic of the affair and its effect on his childhood. But he goes far beyond that." Hillary Brown commented that the book "is at its best when Griffith meanders into tangents, not when he sticks to the main narrative, which isn’t a particularly long or complex story." Publishers Weekly called it "an evocative portrait of postwar America." Henry Chamberlain wrote that what is best about the book is that Griffith "is just like any of us trying to deal with the past and that is an excellent hook for readers."

Invisible Ink was published by Fantagraphics, who has an excerpt and more information available here.

Russian Olive to Red King

The last book I read by these creators, Moving Pictures, was a very mature and serious look at art, life, and the lengths that people will go to preserve both. Russian Olive to Red King takes on a different set of themes, those of love and loss, but it does so in a similarly complex and nuanced manner. This is not really a book for younger readers, not because it is full of sex or violence but because it tackles legitimately mature themes about major life events.

The story follows a couple, Olive and Red. Olive leaves for a business trip to a remote spot in the Russian wilderness when there is an accident. From there, we see how she tries to deal with it as a survival tale. But we simultaneously see how Red is dealing with it at home. As he struggles to get out of bed, do any work, or even walk their dog Pasha, dribs and drabs about him and their life start to emerge and give a larger picture of their relationship.

In an interesting twist, there are also some major indications that at least one of the main storylines is not as it seems. It is that conundrum that really sells the book for me, making for excellent drama and also commentary about the power of will and hope. I do not want to spoil things, so I won't get much more into the plot but will say that the final chapter is an emotional roller coaster ride that is revelatory in multiple senses of the word. Not only is it an essay about life and eventually hope, but it sheds a new light on the entire enterprise.

I was especially taken with the artwork in this book, and how it shifts between minimalist panels and more detailed splash pages. It contains a great range of emotion as well some beautiful wilderness vistas as the story shifts back and forth between locales. This deft combination of images helps to drive the story and create a strong atmosphere, a feature that comes to the foreground even when the time comes in the final chapter when words dominate its pages.

ROtRK is a beautiful and heart-breaking book that is one of the best I have read all year. It is the latest creation of Kathryn and Stuart Immonen, a wife and husband who have worked on many comics over the years. Kathryn has also written multiple series for Marvel Comics, most notably Patsy Walker: Hellcat and Journey into Mystery. The Joe Shuster Award winning Stuart has drawn multiple series for both major comics companies and is the artist for the latest batch of Star Wars comic books. The Immonens speak more about their collaboration on ROtRK in this interview. and also this interview.

All of the reviews I have read about this book have been full of praise. Jason Wilkins extolled its virtues, "Evocative and enthralling, this is easily one of the best, most accomplished books I’ve read this or any year." Seth T. Hahne had some great points about its  experimental storytelling, and he expected the book to be "divisive" but still admitted that it "makes for a peach book club discussion." Johanna Draper Carlson wrote, "It’s beautifully illustrated, which makes the harsh story all the more powerful, particularly with the contrast with the warm, often orange coloring." Caitlin Rosberg called it "an excellent read."

Russian Olive to Red King was published by Adhouse Books, and they provided a preview and much more here.

Sequel Sunday!

Today, I am going to check in with the latest entries in a couple of promising series to see how they are progressing and if they are living up to the great expectations I had reading the first volumes. I think both series feature examples of exceptional world-building and strong character work.

The Chase is the third book in the Last Man series (my first two reviews are here), what has so far been a tale set in a small fictional town, focusing on a fighting tournament. All of those provincial matters from the Valley of the Kings get left way behind here. Mom Marianne has taken her son Adrian out of town to track down his former fighting partner, the scalawag Richard Aldana, who has skipped town with the trophy. Amazingly, she has a badass motorcycle, a map to strange lands, and hitherto unknown ability to summon powerful spells.

The emergence of Marianne's secrets is just one of the surprises this book holds. There are also a massive trek through a wasteland, a battle with corrupt policemen, a surprise rescue from some quite remarkable firemen, a visit to a crazed city, some duck and covering in a brothel, and a trial that is part professional wrestling, part kangaroo court. A lot of the reviews I have read compare it to Mad Max, and there definitely are similar insane energy and situations at play here. There is so much that goes on that it is sort of hard to believe this is the same series as before, but the action is frenetic and breathtaking. And I continue to be won over by the winning characters. They are so much fun to read about and see in action.

Don't mess with Mama, dude...

The artwork is as excellent and expressive as ever, a great mix of European and manga comics conventions. I have not been able to find many reviews of it as of yet, but the ones I have read have been positive. Matthew Garcia called it "engrossing, gripping, and a lot of fun." Comic Bastards called it "another really impressive addition to the Last Man series and a bright spot in the dull year that 2015 has been for comics."

A lot of the action in this book is set in a whorehouse and there are a few threats of sexual violence, so I wonder how kid-friendly this book is. But at the same time I can't help but think that the fast-paced action and broad humor cannot help but win readers over. I'd recommend it for older young adult readers.

Verdict: I am still hooked on reading what will happen for two reasons: 1) to see what awesome and insane venues this adventure will lead, and 2) to see what other surprising twists and turns lay out there for these endearing characters.

Battling Boy was one of my favorite books of 2013, and I was very impressed by the dark turn and  truly scary tone of its follow-up The Rise of Aurora West. Fall of the House of West very much continues in the same vein, and in this book we learn more about the plans and intentions of the monsters. And more importantly we learn the full story about the death of Rosetta West, Aurora's mother. There are a great many revelations in this book, and I have to say that the narrative is very well thought out and quite heartbreaking. It is also quite impressive how all three book's narratives fit together and compliment each other in suspenseful and satisfying manner.

I know that many people are down on the fact that Paul Pope is not drawing this book, but I have to say that I don't miss his artwork because David Rubin's artwork is simply stunning. It is simultaneously realistic, cartoonishly animated, and monstrously frightening. The layouts and storytelling are masterful. He really takes all of the nuances and affordances of sequential and uses them to his advantage here. Even in the smaller paperback format, his art pops and really sells the book.

In his hands, even a moth can be menacing...

All of the reviews I have read about this book have been strongly praising. Dustin Cabeal impressively called this series "the best superhero stories being told in comics to date. Nothing is even remotely close to being as good." Tobias Carroll concluded simply that it was "a terrific ride." Lindsey Morris summed it up as  "Recommended reading for any comics fan."

The monsters and family issues in this book are quite horrible and harrowing, so I don't think this book is quite for younger elementary school students, but I think it would be a great for grades 4 and up, especially if they can handle scary stories.

Verdict: I am very eager to see what the next follow-up in the Battling Boy series will be. It has been a fantastic series full of action and a surprising amount of heart.


Both books were published by First Second. They provide previews and much more information for The Chase here and for Fall of the House of West here.

Omaha Beach on D-Day

This book is a unique one, an auspicious beginning of a series of books that are part graphic novel, part photo-essays, and part historical commentary about great moments of World War II. Omaha Beach on D-Day focuses on the life and work of Robert Capa, whose internationally famous photos of the June 6, 1944 battle captured the horror and brutality of war in an intimate way. Amazingly, he lost many of those photos due to wear and tear in the ocean as well as a chemical accident during development, but the ones that survived made quite an impact. Here, we see how he prepared for that day when he bravely rode in with the troops on a seafaring transport.

 

Capa's photos were the inspiration for the opening scene of Saving Private Ryan, and the war sequences in this book are equally harrowing. The rest of the tale depicted here is fascinating, though, and I was very taken with its attention to detail and historicity. Following the comics story is a gallery of his WWII pictures, and following those were a series of articles about Capa's life, career, artistry, and technical take on photography. I found myself fascinated by the entire package, and I love how the whole work coalesced into a pretty complete reading experience.

Writers Jean-David Morvan and Séverine Tréfouel collaborated with artist Dominique Bertail to create the comics in this book. Morvan is an award winning writer for his work on youth comics, and he and Tréfouel  also write a comic series called Ocelot. Bertail is a prolific illustrator who has been making comics for two decades.

I was not able to find many reviews for this book, but the ones I read were glowing. The reviewer at Coverless Review simply stated that "Writer, Jean-David Morvan and artist Séverine Tréfouel do an amazing job with this book." Kelly Fineman summed up, "This book, through its combined story-telling methodologies, makes these images accessible today in a powerful and gripping way." And I agree with Nick Smith who wrote, "This book will appeal to fans of serious graphic non-fiction, but also to World War II buffs and students of photography."

Omaha Beach on D-Day was published by First Second in collaboration with Magnum Photos, and they have a preview and much more available here.

Thank you, Gina, for the review copy!

The Underground Abductor

If you have been reading my blog and paying attention, you pretty much know that I think Nathan Hale's Hazardous Tales are some of the best historical graphic novels I have read EVER. This volume, The Underground Abductor, continues that tradition. It tells the story of Araminta Ross, better known to most of us as Harriet Tubman, a civil rights activist and conductor on the fugitive slave network called the Underground Railroad. The book spans her whole life, from her time as a young slave through her adulthood when she accomplished a great many brave and cunning deeds.

Aside from the expert storytelling and excellent artwork, which is full of affect, action, and meaning, there are two things I really admire about this book. One, it takes a very broad consideration, that of slavery, and puts a very human and personal face on it. Two, it has shown me that I pretty much knew nothing of this remarkable woman's life. It even has a couple of sizable digressions to give the tale more context, one about Frederick Douglass and the other about Nat Turner. A great book informs as well as entertains, and this is a great book, in my estimation.

In addition to creating the first four entries in this series, the prolific Nathan Hale also has drawn two other graphic novels, Rapunzel's Revenge and its sequel Calamity Jack. He has also worked on a variety of children's books, including Frankenstein: A Monstrous Parody and The Dinosaurs' Night Before Christmas. He shares a lot of fun artwork and news via his blog, and he speaks about his career in this interview.

The reviews I have read about this book have been very positive. Sarah wrote, "I learned so much about Tubman's life - I actually got chills while reading this story as I thought about what a truly exceptional woman she was." JediKermit praised how it "honors the pain and condemns the horrors of slavery, but is still appropriate for the target audience of 5th - 8th graders." Kellee called it her favorite in the series so far, "the most intense of his stories" of "one person’s resilience in the face of pure doom."

The Underground Abductor was published by Amulet Books, and they have a video preview, teaching guide, and more information available here.

Tim Ginger

I think if there is any question that we are living in a great age for graphic novels, Tim Ginger would settle it. This beautiful, spare, idiosyncratic  book is unlike other graphic novels I have read, with a pretty singular subject and wonderful execution. It focuses on the life of an ex-test pilot living out in the desert after being widowed. He leaves this sanctuary to go on a book signing tour where he encounters a persistent conspiracy theorist who keeps asking him questions and an old friend who brings back lots of buried feelings and remorse.

All of these interactions are prelude to contemplations of life, marriage, family, legacies, love, and keeping secrets. Additionally, his old friend is a potential old flame who has written a book of comics about people who decided to not have children, which is excerpted throughout, adding a meta-commentary to the proceedings. I feel the entire narrative is mature and nuanced, aided by expert storytelling that is effective at simultaneously being evocative and subtle while also incorporating some flights of fancy.

I feel that the artwork is appropriately stylized so that feelings are as muted as the coloring, and overall I was quite moved by what I read. I cannot see this book being of much interest to younger readers, but I feel that it is an excellent meditation on life, love, and finding one's place in the world.

Award winning artist Julian Hanshaw created this volume. He is from the UK and is known for his prior two graphic novels The Art of Pho (also available as a motion comic) and I'm Never Coming Back. Tim Ginger is his US debut, and he speaks at length about its creation in this article.

All of the reviews I have read about this book have been full of praise. Joe Gordon called it "a hugely satisfying, maturely emotional work, which gets under your skin in a quiet, calm, gentle manner." Neil Bason praised it as "deeply moving, brilliantly witty, and wonderfully written." Chris White wrote, "The story of Tim Ginger will stay with me for some time, thanks to the great writing and artwork—take a chance on this smart, funny and emotional indie comic and thank me later."

Tim Ginger was published by Top Shelf, and they provide a preview and more here.

Fantasy Sports No. 1

Usually, I try to be academic and critical when I review a graphic novel, but I have to tell you that this book, Fantasy Sports No. 1, made me laugh out loud at least 4 times before I even got to the main action bit. I think it's smartly written and deftly drawn. This is an energetic and exciting book that just made me want to share it with others as soon as I read it. Along with Nimona, with which it shares a couple of similar features, it is one of my favorites this year.

The main characters here are Mean Mug and Wiz-Kid. Mug is a mage, but a brutish one whose typical methods are to smash first and to grab what's valuable after. Wiz is more cerebral, a problem solver who tries to use her intellect first. In an interesting twist, he is the master while she is the apprentice. To say that their relationship is full of static and conflict would be an understatement, but their dynamic over time changes some in the space of the book, with them developing a kind of grudging respect for each other. But, I am getting ahead of myself. Check out the excerpt below to see how they variously approach the problem of breaking into a mystical tomb:

I do not think I am spoiling much by revealing that they eventually solve the puzzle and enter a realm of the dead ruled by the mummy "He of the Giant Steps." After a very comical exchange between Mug and the mummy, a challenge is issued and the two mages find themselves involved in a battle not only for the treasures of the vault but their very lives. They have to play a cosmic game of basketball, and the mummy, despite his decrepit outward appearance, has a whole lot of game.

The culprit behind this fantastical and fun adventure is Sam Bosma, who first self-published Fantasy Sports in a shorter form as the comic book Fantasy Basketball. This new format features larger pages and color, and I think that the whole package is so beautiful and enjoyable. Bosma is also known for his work as an artist on the cartoon show Steven Universe. He speaks more about his work on this book and career in this interview.

The worst thing I can say about this book is that I want more of it, right now. Luckily, Bosma has written that he is working on a second volume. All of the reviews I read of this book seem to share in my enthusiasm. Zainab Akhtar called it "an irrepressibly fun, knowing, and breezy tale of sporting playoffs, magical mages, and surprisingly cute skeletons." Megan Kirby wrote that "the large hardcover book looks and feels great. As a YA release with a standout female protagonist, it’ll hit off with readers off all ages." Richard Bruton called it "a stellar début book" and "the very definition of fast, furious fun."

Fantasy Sports No. 1 was published by Nobrow Press, and they have more information and some preview images available here. I feel that this would be a great book for older elementary or YA readers, and in the words of Bosma from his Tumblr page, "It’s funny and dumb and good for all ages as long as you’re cool with some rude ‘tude and some cartoon violence."

The Divine

The Divine was inspired by God's Army, a group of Burmese dissidents led by twin 12-year-old boys, but it takes that seed of truth and spins it into a much broader and fantastic fiction that still manages to comment on contemporary issues. The plot follows Mark, an ex-military explosives expert from the US who is stuck in a crappy job, with a baby on the way and pressure to move on to better conditions. He gets contacted by his friend Jason to be a contractor on a lucrative mining job in the fictional southeast Asia country Quanlom. Soon, he finds himself surrounded by conflict and he is moved by the plight of the country's inhabitants, particularly the children who are caught up in the violence.

 

In this book, the dragons are both literal and figurative. Mark is astounded when he finds that two of these young soldiers he befriends can summon gigantic warriors and also control powerful, destructive supernatural forces. Jason is not so sympathetic, and much of this book is a debate/commentary on the nature of war and its consequences. Even though it is a work of fiction, it packs a powerful and realistic punch. There are a number of monsters in this book, and some of them are actually humans.

In discussing this interesting, gripping, and provocative tale, I have not even gotten to what I feel is the strongest part of this book, the artwork. Brothers Asaf and Tomer Hanuka have hit a home run with their expert depictions of human moments, frenetic action sequences, and broad vistas that call to mind classic Asian landscape paintings. The pages ripple with action, and I love how the coloring is used to convey mood with foreboding reds, soothing greens, and murky browns. As you can see in the splash page below, the art is wondrous to drink in.

Asaf is also known for his work on The Realist webcomic, and both brothers have impressive portfolios of commercial art work for major media outlets. Writer and filmmaker Boaz Lavie has written for many venues, and he is also known for his short film, The Lake. This interview with all the creators casts more light on their work on this book.

The reviews I have read of this book have been celebratory. Publishers Weekly called it "heady, hellacious, and phantasmagoric." Scott at the Open Book Society called it "one of the most perfect blends of word and pictures." Nathan Wilson called it "the latest installment in a catalog of award winning books."

The Divine was published by First Second, and they have a preview and much more available here. Because of occasional swearing and a few scenes of graphic violence, I would recommend this book for readers mature enough to handle both.

Thank you, Gina, for the review copy!

Last Man, Book 2: The Royal Cup

The first volume of this series ended with a cliffhanger, which is resolved here in dramatic and exciting fashion. The formerly overmatched Adrian finds the strength and ability to hold his own in the competition, and the motley duo finds themselves a measure of fame from their tournament exploits. I don't want to give too much away, but a lot happens in this book: success gives us some insight into these characters, a flirtation blossoms into some romantic episodes, and we learn a lot more about Richard Saldana and what a jerk he might actually be.

As you can see from the excerpt above, the action sequences are great, giving a clear sequence of events and also building up suspense and mystery. This artwork is emblematic of the story in this book as well. The plot is breath-takingly fast, with multiple revelations, mysteries uncovered, and other mysteries created. I don't know exactly where this series is going, but I am definitely along for the ride.

Like I noted in my review of book one, the three creators behind this book all come from different field: Balak is a noted animator who also does some digital comics work. Michaël Sanlaville is a video game designer, and Bastien Vivès is an award winning comics artist. All three creators speak more about this volume and where this series might be going in this series of interviews.

I have not seen many reviews of this book of yet, but the ones I have read are very positive. I find so much to agree with in Seth T. Hahne's take on the book, that it follows "in one of my favourite manga traditions by decimating what I had imagined was status quo. By the end of the volume, we realize that the last two volumes are mere prologue for what should prove to be a much larger, more satisfying story. And I am blisteringly excited to watch it unfold." Caro called the artwork "opulence given form."

The Royal Cup was published in the US by First Second, and they have a preview and much more here. Because there are more sexual situations in this book than the first, I would recommend it for older adolescents or readers mature enough to handle them.

Nimona

Nimona tells the tale of heroes, villains, intrigue, adventure, dragons, magic, and science. It looks like a sword and sorcery yarn, but it is so much more than that. It follows the titular character, a young female shapeshifter who seeks out the land's most nefarious villain, Lord Ballister Blackheart, so she can become his sidekick and wreak some serious havoc.

As you can see from even the brief excerpt, this book has an excellent sense of humor, timing, foreboding, and storytelling. I know it is a debut book but it seems much more an assured and mature work, where the creator has a firm handle on comics conventions.

On top of all this excellent craft, the story itself is full of much suspense, and it is subversive in the best possible ways. Almost nothing, from the vile villain to the golden boy hero Sir Ambrosius Goldenloin to Nimona to the protective Institution of Law Enforcement is as it seems. This book is full of complicated, interesting characters, unexpected plot twists, and I do not want to spoil much about the story, but I can say it was one of the most gripping and entertaining books I have read this year.

Nimona was originally published as a webcomic by Noelle Stevenson. She has drawn a few other comics, but this is her debut graphic novel. She is also known for co-writing the series Lumberjanes from Boom! Studios. She talks about comics and her work on Nimona in this interview.

All of the reviews I have read about this book have been full of praise. Tasha Robinson called it "a fleet-moving, breathless story." Ana Grilo gave it a "Perfect" rating and playfully wrote, "OH YOU BEAUTIFUL BEAUTIFUL BOOK LET ME HUG YOU FOREVER." J. Caleb Mozzocco smartly commented that "Stevenson uses the conventions of popular fantasy, science-fiction and superhero narratives to explore the way in which society imposes labels and roles on us all." Jenn remarked that "the world Stevenson crafts is quite brilliant. Set in Renaissance times, but with the technology of modern times.  Truly brilliant."

Nimona was published by HarperCollins, and they have a sample and much more here (or you can just skip right to sample below):

Moose

Originally published as a series of 14 mini-comics by Oily Comics, Moose tells the story of Joe, a put upon high school student who has to face a relentless, sadistic bully aptly named Jason.

Joe goes to great length to avoid Jason, walking to school instead of taking the bus, eating lunch in closets, trying to stay out of his way, and getting detention for his troubles, but Jason goes to equally great lengths to find Joe and dish out his violence. I found those parts with their confrontations to be especially unsettling and horrific, but there is also a certain brutal realism in how this tale is paced and artistically rendered.

Sporadically, Joe finds solace from this cycle in nature, and there are a few excellent wordless scenes where we are privy to him connecting with nature and having some wondrous, if also scary, experiences.

Joe fantasizes about taking vengeance on Jason, but he really does not think he has has much recourse. I don't want to spoil the way this book ends, but something occurs that gives Joe the upper hand suddenly, and how he uses this opportunity is pretty gut-wrenching. I really liked how gray everyone in this story is eventually painted, with the "good guys" not always seeming so good, nor the bad ones as bad (or at least they have their own troubles, I guess I might say). For what could easily be a two-dimensional story there is some real complexity and depth.

As you can tell from the excerpts, the artwork is pretty stark, with seemingly simple lines packing much emotional punch and also an economy of motion. I felt that the storytelling was excellent in heightening drama, setting scenes, and establishing personalities. Like another Oily Comic I read, TEOTFW, Moose was a visceral and moving reading experience for me.

Moose is the creation of Max De Radiguès, a Belgian comics artist who tweets updates about his works here. He was a 2009 Fellow at the Center for Cartoon Studies, and his newest projects are called Bastard and Rough Age. He speaks more about his comics work, inspirations, and creative process in this interview.

There are sparse reviews for this book as of yet, but the ones I have read have been positive. Alec Berry called it "a well-crafted, chilling read." Rob Clough praised the book, stating that "De Radigues' trembling but clear line and angular character design is perfectly matched to the subject matter." Clough also added that the "characters, though simply-rendered, are lively and bursting with emotion."

This collected volume of Moose was published by Conundrum Press. They have more info about the book here. Because of the brutal language and violence in this book, I would recommend it for mature readers.