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.

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.

Crowded, Volume 1

Crowd-sourcing is ubiquitous nowadays, but "10 minutes" in the future it will be even more pervasive. Crowded depicts this world in satirical, troubling, and exciting (because it's not happening to me) fashion. The narrative here follows Charlie Ellison, a gig-worker who wakes up one day to find that she is the target of a $1 million Reapr campaign. Reapr is an app where a person can legally order an assassination that has to happen within 30 days. For some reason, which she may or not be aware of, Charlie finds herself being attacked by all of the would-be assassins who come out of the woodwork to bump her off and cash in. 

Luckily for Charlie, there is also Dfend, an app for bodyguards. She is not super solvent, so she hires the lowest rated bodyguard, Vita. He is grouchy but surprisingly effective. He might actually be able to keep her safe for the 30-day term of the Reapr contract, but Charlie is kind of a wildcard who wants to make her own rules and complicates both their lives. The plot here is excellent, as the clash of personalities makes for great drama in and of itself, but there are also so many different plot twists that come from unshared secrets, wily would-be assassins, and disasters that make this book a real page-turner. The artwork equals the plotting, and it melds realism with a exaggerated, cartoonish style that conveys the action and emotion well. It also captures the flavor of a near-future world in a vibrant way. I loved this book, and it's a great hook for the rest of the series.

Crowded was written by Christopher Sebela and drawn by Ro Stein and Ted Brandt. Sebela has been nominated for four Eisner Awards, and Stein and Brandt have drawn a variety of comics for both DC and Marvel. All three creators speak about their work on Crowded in this interview.

The reviews I have read about this book have been positive. Nicole Drum called it "the comic book equivalent of a viral video," adding, "It sucks you in and leaves you wondering what’s next all the while asking what that says about us." Brandon Lawrence described it, "Well written, well drawn, sets up a world, sates your appetite for action, and leaves you wanting more." You can read more reviews of the series at Comic Book Roundup.

Crowded was published by Image Comics. They have more info about this book and the next volumes in the series here. You can read the first issue, which is the first chapter of this trade paperback, here. This book features violence and profanity, so it is recommended for readers mature enough to handle them.

Hell Phone: Book One

Sometimes, I just have to read a good, creepy story, and Hell Phone fits the bill perfectly. It's the story of a couple of hip (my word, not theirs) best friends and next-door-neighbors, Sissy and Lola, who happen upon a stray flip phone. Strangely the outdated phone continues to ring until they answer it, and when they do they get cryptic directives that lead them all over town.

Spoiler: Whoever the guy is, he's not a hermit, and he was not in that house. I won't spoil what was, but it was gross and horrifying. Of course, no one in authority believes Lola or Sissy, so they are left to their own devices in order to get to the bottom of things. 

As a fan of the teens-who-solves mysteries trope, I really like this well done and contemporary take, and a lot hangs on the two main characters. They are fashionable, savvy, sort of sensible, and darkly humorous. They are also graphically depicted in a wide-eyed, colorful manner that pops. They're cool. They know the kind of story that they are in, and they know how to game the rules. The problem is that the mystery starts taking more turns and involving more people they know, so things start to spiral out of control.

Hell Phone was created by Benji Nate, a comics artist and comedian. She has created a number of other graphic novels and comics, including Catboy, Lorna, and Girl Juice.

This book was named one of the 2023 YALSA Great Graphic Novels for Teens, and all of the reviews I have read have been positive. Alenka Figa commented on the "cute, appealing visuals and humorous dialogue." Arpad Okay gushed that this "book is establishing new territory in comics and crime pulp fiction." Publishers Weekly called it "a quirky and stylish supernatural mystery that still hits her sweet spot of slice-of-life friendship comics."

Hell Phone was published by Silver Sprocket, and they offer a preview and more info here. You can also read the entire story (so far) online and free at Webtoons. I have not seen Book Two solicited yet, and I hope to see it sometime soon.

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.

Friday Book One: The First Day of Christmas

The holidays can be a tough time of year for many people. This is especially true for Friday Fitzhugh, a young woman who comes home to her small New England town after her first semester at college and finds herself embroiled in a mystery. This situation is not novel to her, because she spent most of her childhood traipsing over town with her best friend Lancelot Jones, solving mysteries, foiling villains, and discovering all sorts of magical items. Something menacing and mysterious is lurking in the woods outside of town, driving some townfolk mad. However, something happened just before she left for college that estranged her from Lance, and she does not know quite how (or if) to deal with it. 

Friday is a sort of version of Sally Kimball,  tough and athletic and able to be a body guard for her friend. Also, she is a multi-faceted young woman who is trying to figure out her place in the world, and what a strange world it is. The seaside New England town where this book is set is like a character unto itself, full of interesting characters, adjoining a creepy forest, and a focal point for dark magic. 

I really enjoyed reading this book, and I may just be the perfect demographic for it. It smacks of things I read when I was a kid, like the Encyclopedia Brown series and John Bellairs novels, only with a twist that carries them beyond a children's book perspective. The characters and setting coalesce organically in the tightly plotted narrative, plus the artwork is exceptional. It is full of atmosphere, and I loved poring over pages to admire the archaic architecture, creepy critters, and spot-on character designs. My admiration of the art, along with the need for checking for clues to the mystery, led me to re-read this book a few times for fun. The worst thing I can say about it is that it is a long prologue for the real  narrative, because the last few pages of the book add a twist that I did not see coming. But it's so incredibly intriguing and well crafted  that I really did not care. It's a great piece of genre fiction, and I cannot wait for the next two books to see how things resolve.

Friday is a collaboration between writer Ed Brubaker, artist Marcos Martin, and colorist Muntsa Vicente. Brubaker is a multi-award winning comics creator whose works include Sleeper, Criminal, Incognito, Fatale, The Fade-Out, and Kill or Be Killed. Martin has also won Eisner Awards for his art in the superhero series Daredevil and the webcomic The Private Eye. Vicente has done design and illustration work for a number of high profile clients and more recently has also gotten into coloring comics.

Friday won the 2021 Eisner Award for Best Digital Comic, and all of the reviews I have read about this book have been positive. Publishers Weekly wrote that "this atmospheric first installment sets up compelling sequels, with a sucker punch ending that demands follow-up." Luke Chant opined, "Ed Brubaker’s script is excellent, while Marcos Martín and Muntsa Vincente combine to do a great job capturing the 70s feel." Steve Baxi called it "an incredible start to what is sure to be an incredible series."

This trade paperback of Friday Book One: The First Day of Christmas was published by Image Comics. All individual and future issues are and will be available from Panel Syndicate.

Losing the Girl

Losing the Girl is one of those books that has been on my to-read list for way to long, and I am very glad to have finally read it. It is the first of a trilogy, and it sets up a great many plot threads in both a compelling and moving manner. I knew vaguely that this was a book about adolescents and (maybe) some extraterrestrial hi-jinx, but it turned out to be so much more than some clever scifi romp.

The book is divided into five chapters, each one focusing on one of four teens who attend the same school. In the background of their stories is the disappearance of Claudia Jones, an honors student who attends their school. This disappearance is teased perhaps to be an alien abduction, but there is also a possibility it is linked to the presence of a homeless woman named CJ who appears around town. This mystery is secondary to the main plots, but it also provides a nice narrative through-line that builds suspense that should pay off in later books. 

The first chapter is narrated by Nigel, an African-American boy who uses humor to compensate for his struggles with his parents' divorce. He cracks wise and flirts with a lot of girls.

He has a short relationship with Emily, who is the narrator of the second chapter. She is Asian-American, and after dating Nigel, she starts pursuing her dream-boy Brett. She has a lot of choices to make when she becomes pregnant, both in terms of her relationships and her future. The third chapter is about white boy Brett, who is not a stereotypical jock but harbors a secret artistic side and an unrequited crush. The fourth chapter focuses on Paula, who I believe is Latinx, Emily's friend who gets treated poorly by her overbearing boyfriend. She has to deal with a number of complicated emotions, and she makes some questionable choices of her own. The fifth chapter returns to Nigel for a quick coda that sets up the next book.

The power in this book lays in its character-work and its artful ways of communicating feelings and emotionally volatile scenes. The artwork subtly shifts in each chapter, to capture each character's sensibility and also create unique spaces for them. So much of this book relies on verbal communication and captions, not so much action, but it still flows incredibly smoothly. The artwork is simple looking and economical, but it packs a powerful dramatic wallop. Just check out this sequence:

Losing the Girl is a page-turner that features real-feeling characters who go through realistic, complicated events. I will definitely be reading the next two books in the Life on Earth trilogy. 

This book was created by Marinaomi, an artist, scholar, podcaster, and activist who maintains multiple databases for cartoonists of color, disabled cartoonists, and queer cartoonists. She has created an array of comics in print and digital formats, including the Eisner Award-nominated Dragon's Breath and Other True Stories. She speaks about her career and works in this interview.

All of the reviews I have read of this book have been positive.  J. Caleb Mozzocco wrote, "Deceptively simple-looking, this is a genuinely complex comics work." Rob Clough opined, "There are many familiar elements of teen romance here, to be sure, but MariNaomi approaches with a level of sophistication and humanity that's rare for any story of this kind." Kirkus Reviews summed up, "A moody, compassionate reflection of adolescence in turmoil."

Losing the Girl was published by Graphic Universe, and they offer a preview and more information about it here.

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.

Something is Killing the Children, Volume One

A million years ago when I was a wee ankle-biter in a comic shop, I remember Vic Bertini, the owner of Iron Vic Comics ("He rules Poughkeepsie with an iron fist!"), saying about Neil Gaiman's Sandman series that it was the only book that brought "Vassar girls" into his shop. From what I've read, the series whose first five issues are collected here, Something is Killing the Children, has similar drawing power for non-typical comics shop goers. After reading this trade paperback, I can see why. It's got an intriguing premise, compelling characters, and scenes that are genuinely horrific.

The setting for the story is the small town of Archer's Peak, where, as of the start of the book, at least 15 children have either been killed or gone missing. And by killed, I mean butchered, chopped up, and left in pieces. The entire town has been traumatized and is desperately searching for answers. One boy, James, who somehow survived a monster attack contacted a woman named Erica Slaughter. She has monster-killing expertise and a mysterious backstory. Not to mention that she carries around a stuffed octopus toy that she has regular conversations with. Her methods are unorthodox, to say the least, and I found her absolutely compelling.

Erica knows how to make an entrance...

As for the rest of the town, it is filled with a complex set of characters. James is sort of an outcast, and many students at his school suspect he is a murderer. Tommy is a manager of a local restaurant whose sister is missing, and he begins to tail Erica and complicates her work. The local police department, populated via nepotism, is flummoxed to the point of accepting unorthodox help. All of these various motivations and characterizations are what make this book work so well.

The artwork is appropriately spooky, with horrific monsters and lots of great storytelling that helps build suspense. This book does not show all the gory details, but it shows enough to get the reader to fill in the gaps in ways that elevate the horror. Plus, there are some very cool visual designs, particularly Erica's "work gear," complete with its creepy mask and power tools.

I have to admit I am not typically fan of horror comics, but this series is utterly compelling. I put it in the pantheon of superb, frightening, and unsettling horror comics with Southern Cross and Wytches. This volume collects the first five issues of the series, which was originally meant to be a limited series but has since been made ongoing.

This series is a collaboration between writer James Tynion IV, artist Werther Dell'Edera, and colorist Miquel Muerto. Tynion IV is known for his GLAAD Media Award winning series The Woods as well as writing a large number of Batman-related titles for DC Comics. Dell'Edera has drawn a number of titles for DC's Vertigo imprint. Muerto is a colorist with many credits for companies such as Boom! Studios, Vault, DC, and IDW. Tynion IV and editor Eric Harburn speak about the series in this interview.

All of the reviews I have read of this book have been positive. Jenny Robins wrote, "While there’s nothing earth-shatteringly original in the story, there are more than enough strands of intrigue to keep you turning the pages, from the mysterious Slaughter family Erica belongs to, the efforts of the local police, and of the relatives of the missing kids and their already layered stories." Justin Monday wrote, "The unique plot, excellent character writing, and nailbiting presentation are sure to excite, intrigue, and scare the hell out of you." Gregory Paul Silber opined that the series's "slow start may discourage some readers, but its first volume has loads of promise for patient ones."

Something is Killing the Children was published by BOOM! Studios, and they offer a preview and more info about the series here.

Investigators

As a professor at UTK and a grad of UGA, I have an antipathy for gators. But Investigators is utterly charming and hilarious, and 5-year-old is currently obsessed with it to boot. It stars two gators named Mango and Brash who are agents of Special Undercover Investigation Teams (SUIT). You can tell them apart by their jawlines and coloring. Mango's jaw is round and he is dark green, while Brash is lighter green and has a square jaw. Clad in their high-tech Very Exciting Spy Technology (VEST), they go into action to solve some extraordinary cases. In this book they are trying locate a famous cupcake baker named Gustavo Mustachio, who has gone missing for two weeks, and suspect foul play. 

Also, they want to foil a villain who has stolen a device that digitizes physical money and automatically deposits it electronically. It even works through walls, which makes it especially harmful. It might not be so much a spoiler that these two cases eventually intersect.

As you might tell from the names of devices and agencies, this book is full of puns, and Mango is very fond of them, too. The back and forth conversations and sound effects are frequently funny. This book is also full of pop culture references and snappy dialogue, and the sum of all these things makes it a fun book to read aloud. There is also some potty humor, as the agents' main mode of transportation is flushing themselves down into sewers.

Adding to the fun visually is a wild array of characters and character designs. There is a triceratops escape artist named Houdino. There is a villainous crocodile who is part baked good named Crackerdile. There is a giant chicken who is also a scientist/inventor named Dr. Doodledoo. There is also Doctor Copter, a brain surgeon who was bitten by a rabid helicopter and who is compelled to transform into a helicopter to cover anything especially newsworthy. There is lots of whimsy and invention at play in this book, and my 5-year-old is really taken by this motley assortment of characters. He especially wants to read and re-read the chapters that tell Dr. Copter and Crackerdile's origin stories.

The end-papers also have a few bonus features, including a guide on how to draw the main characters, which my son is very into. Altogether, this book has lots to offer in terms of readers young and old. It is fun to read together. It has vibrant, unique characters. The plot is off-the-wall and the dialogue laugh-out-loud funny. It truly is a great graphic novel for all ages, which is a pretty hard trick to pull off.

This book was created by John Patrick Green. I enjoyed his first graphic novel Hippopatomister, and he has also drawn a number of other books for children as well as the mini-comic Teen Boat! written by Dave Roman. He speaks about the origins of the Investigators series in this interview.

All of the reviews I have read of this book have been positive. Kirkus Reviews concluded that it was "silly and inventive fast-paced fun." Publishers Weekly called it "fast-paced fun for the bad pun and dorky joke crowd: 'Now let’s flush ourselves down the nearest toilet and GATER DONE!'" Kate Quealy-Gainer wrote, "While the art is a bit more sophisticated than Pilkey’s Dogman, the tone is the same, and those waiting for the next installment of that series may want to spend time with this weird reptilian pair."

Investigators was published by First Second, and they offer a preview and more here. A sequel is due to be published at the end of the month.

Frogcatchers

 

Frogcatchers is a brief but memorable book about memory, aging, and second chances. It begins with an older man waking up in a strange room, attached to medical equipment. As he gets untangled and disconnected he begins to wander; then he finds he is in a strange hotel building. When he goes outside, he finds himself in a tunnel where a young boy is hunting for frogs. As he gets his bearings, he finds more mysterious items and learns about the ominous being known as the Frog King, who runs the place. 

I don't want to describe much more about the plot of this book, because of spoilers but also because it is more based on tone and sensation than narrative. There are extended passages without words, where the scratchy images establish context or feelings. Sometimes the imagery also complicates to the overall enigma that is this place and setting. I know that it does not always look polished, but I feel that is what makes it exceptional. The lines are expressive and capture so much feeling with their kinetic energy. 

When I called this book brief I meant that it goes by quickly, but it also invites multiple re-readings and opportunities to suss out just what happened. It is a quiet, introspective book that offers interesting insights into what makes a life worth living.

This book's author Jeff Lemire is one of the most prolific comics creators in the field today. He has a huge list of comics credits and has won a few major awards along the way to boot. He is best known for The Essex County Trilogy, Black Hammer, and Sweet Tooth. He speaks about his work on Frogcatchers in this interview.

All the reviews I have read about this book have been raves. Irene Velentzas called it "a visually and narratively rich tale that suggests the key to navigating life and the self is to remain amphibious, to see under the surface of things, to grasp at opportunities, and to remain open to the constant change found within life’s current." John Seven commended the emotional work in this book, opining that it is "more like a visual poem than a character drama." Kevin Apgar gushed, "Unlike so many other graphic novels that sometimes overstay their welcome, I didn’t want Frogcatchers to end. Ever."

Frogcatchers was published by Gallery 13, and they offer more information about it 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.

Spill Zone, Book 1

I must admit part of why I read this book is because it is set in Poughkeepsie, New York, which is right across the river from where I grew up. There is a part of me that is fascinated to see a place I know be ravaged by a destructive force and made into a wasteland. Spill Zone is a compelling work of science fiction that features quite a bit of mystery and intrigue. The set-up of the plot is that three years ago, something strange happened that transformed this city into something hazardous to humans, where the living things are mutated and beyond dangerous. There are places that turn living things into two dimensional figures, places where people are animated as "meat puppets" that float around with glowing eyes, places populated with cats who constantly cry out in what sounds like the word "wrong." And the rats, don't even let me tell you about them.

Just outside of this town lives a young woman named Addison, whose parents were in the city when things went down. Now she lives in isolation with her little sister Lexa. She ventures out from time to time, illegally, in order to explore the city and take pictures.

Not that she is just some civilian documentarian, she is selling the photos on an art black market. Her trips into the city bring her into contact with many dangers, and in the course of the book we are also privy to a great many mysteries. Such as, what happened in North Korea at the exact same time as the incident? Why doesn't Lexa ever talk? What's up with Lexa's weird doll Vespertine? And biggest of all, what was the cause of the incident? All of these questions drive a well plotted introduction to this world, and happily (for those wanting a sequel) almost none of them are resolved.

This book is a fantastic introduction to this fictional world. The artwork, as you can see from the preview, is appropriately energetic and creepy. The characters are well defined, and what we do learn is just enough to want me to keep reading on. I loved the level of action and plot twists here, and I cannot wait to get my hands on Book 2.

This book is a collaboration between author Scott Westerfeld and artist Alex Puvilland. Westerfeld is an accomplished novelist with multiple credits for adults and younger adults, with The Uglies series being his most notable works. Puvilland is an animator and illustrator who has worked on feature films like Shrek 2 and Boss Baby as well as illustrating a graphic novel version of Prince of Persia. Both creators discuss their work on this series in this interview.

All of the reviews I have read of this book have been glowing. In a starred review, Publishers Weekly called it "fascinating and hard to forget." Kirkus Reviews wrote that "readers will be demanding the next installment as they close this one," and summed it up, "A necessary start, with intriguing hints at action and weirdness to come." In another starred review in School Library Journal Matisse Mozer wrote, "This unnerving, gripping title—Westerfeld’s first original graphic novel—is bound to entice older comics fans, especially those interested in darker sci-fi and nuanced characterization."

Spill Zone was published by First Second, and they have a preview and more available here. The second volume is available now, and you can read a preview of it here.

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.

The Ideal Copy

The Ideal Copy is the third book in the Double+ universe I have read, and it is truly amazing to me how Ben Sears manages to create phenomenal all ages comics. In this book, our heroes Plus Man and his robot pal Hank lose their jobs as treasure hunters because they refuse to raid the house of a dead man. Left with little other prospects, the duo eventually take jobs as caterers. Because they are hardworking, they do well serving food and washing dishes. However, at a ritzy hotel gala for a fraternity of weird, obnoxious guys who all have the same haircut and wear the same clothes, they suspect some foul play.

After some snooping around, Plus Man uncovers a nefarious counterfeiting scheme that gets further complicated when a blizzard traps everyone at the hotel. There is a growing cast of characters who get embroiled in this situation, including a little child actor named Mickey who is surprisingly resourceful, and Gene, a grizzled, ex-treasure hunter who sports an eye-patch. Together, this motley bunch takes on the plot with surprising results. There are captures, thrills, and more than enough hi-jinx to keep them and the reader occupied.

As I hope you can see from this short excerpt, The Ideal Copy is a book of beautiful rhythms. The dialogue is snappy and clever. The artwork is gorgeously detailed and geometrical. The colors are vibrant and pop. The characters are complicated and wonderfully unpredictable. Ben Sears is a virtuoso who weaves all these elements together into a sumptuous visual symphony. I loved the derring-do, caper aspects of the plot, and I am very happy to read the note at the end that this duo's adventures will continue. This third book is the best of the bunch, in my opinion, and I am thrilled for more.

All of the reviews I have read about this book have been positive. Rob Clough had much praise for the book and declared it "the best of the three volumes." Tom Baker called it "rip-roaring rib-tickling romp." Ryan Carey opined, "Ben Sears is a cartoonist who intrinsically understands what younger readers want in a story, but the tent he’s hosting his party in a big one, and there’s plenty of room in it for us old-timers, too." Mel Schuit was more lukewarm and wrote, "All in all, fans looking for more of the trademarked Plus-Man-and-Hank antics we saw in the first two books in the series might find The Ideal Copy slightly lacking, but it’s a nice effort on Sears’ part to flesh out his human characters further and begin to hint at events further down the line in the series."

And in case you are interested, my reviews of the past Double+ books are here and here.

The Ideal Copy was published by Koyama Press, and they offer more information and a preview here.

I saw Sears this year at HeroesCon, where I bought this book from him, and he was nice enough to sign it and also draw a sketch. He's a great guy!

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.