The Well

I recently got to know about Jon Allen's Ohio Is For Sale series and read the first collection of those strips. They feature a cast of 20-something characters, depicted as animals but who have real human problems and relationships interspersed with some fantastical elements.  The Well is the latest book set in that universe, and it was available from my local library. Libraries RULE!

The star of The Well is Veronika, a reserved 24-year old who lives with her parents, has a jerk boyfriend in a band, and who has not had a job in about a year.

This situation changes when the band goes on tour, she gets to crash at her boyfriend's gross apartment, and she gets a job coding for a local energy drink/wellness company. She settles in smoothly at first, makes a couple of work friends, Persephone and Dave, and gets into a new pattern. Dave is a go-getter who obviously has a crush on her while Persephone is an open lesbian who has learned not to get involved with straight women (maybe), but they all get along and occasionally go out for drinks. Their dynamics are fun to see, but something is not right with the company's owners.

Her bosses Susan and Jake are distant and weird, and eventually it's revealed that they are running illegal experiments involving the toxic morass that lies below the building as well as the huge creature that lives there. Veronika figures out that something hinky is going on, but she and her co-workers still get roped into the situation. What follows opens her eyes to how she views the world and her role in it.

The artwork in this book is very clean and simple, with bold characters rendered in black, white, and grayscale. This style belies a complexity of character and plotting, and this book is incredibly compelling. I read the whole thing, more than 700 pages (!), in one sitting. It is a master class in graphic storytelling, and I cannot recommend it enough. There are two other books, Julian in Purgatory and The Lonesome Era, available from this series, and I need to get my hands on them ASAP.

All of the reviews I have read about this book have been positive. François Vigneault wrote, "Over the many pages of this book Veronika clearly emerges as Allen’s most well-rounded and engaging protagonist yet." Phantastic Reads opined, "I love Allen’s deceptively simple art, and he’s got some really fun backgrounds in this one. The creeping suspense is a great counterpoint to Veronika’s very real personal problems, and it all comes to a head and wraps up beautifully."

The Well was published by Top Shelf Productions, and they offer a preview and more here. For those interested, Allen speaks about his work on this book in this interview. And if it is not clear by now, this book is not for kids.

Fourth Dimensional

I have been meaning to pick up a couple of books from Cosmic Lion Productions, and with some extra money in my pocket from holiday gifts I got what was available from the series Fourth Dimensional, a graphic novel and two giant-size comic books (the first two installments of the three-part Seal Your Heart). The main story focuses on two characters, Ava a 19-year-old woman who should be thinking of applying to college after high school but is yearning for something else, and Mon, a super-powered fugitive from another dimension. 

Mon's presence cast an entirely different light onto Ava's life, and together the duo get swept up in the tide created by other Light Dwellers from the fourth dimension that disrupt human life on Earth. Plus, there are also a couple of beings who are hunting Mon and want to bring him back home.

The artwork and character designs in these books are outstanding, and they are what drew me in from the onset. What I also liked about this work was that it jumped into the narrative with both feet, not taking much time on exposition or world-building that detracted from the plot. Because of that, there were a couple of places where I got a little lost by what was going on because of vague background or unclear pacing (especially in the early pages of the first book, Summer of Fun), but these moments were few. Additionally, Summer of Fun is more episodic and choppy whereas Seal Your Heart is more of an extended, cohesive story. It is fun and refreshing to see the comics work develop and grow over the course of these books, and the second story arc is really picking up steam. I feel like I am getting in on the ground floor of something really special. 

These books' creator is Seraji, a recent graduate of the IDEA School of Design at Capilano University. In addition to this independent series, he has also worked for DC Comics, notably on the Ringo Award-winning series, Nothing Butt Nightwing and Jon Kent: This Internship Is My Kryptonite. He speaks about his work on Fourth Dimensional in this interview.

I was not able to find many reviews of these books, only two of the first one, but they were positive. I agree with Sean Kleefeld who wrote, "I think it's a worth a look if you want a fun, light sci-fi romp." Sewer Mutant opined, "I love the art in this and enjoyed the breath of fresh air this provided."

Fourth Dimensional was published by Cosmic Lion Productions, and they offer previews and more information about the series here. 

 

Justice Warriors

Justice Warriors is a series set in a near future where citizens live in a "perfect," domed city called "The Bubble" and are surrounded by the "Uninhabited Zone," which is populated by mutants who live in squalor. The Justice Warriors are police who enforce the laws of The Bubble in the UZ, one officer a monster with a goldfish head named Swamp, the other a walking poop emoji named Cadet Schitt. Swamp is not a great officer, and in the course of the first few pages, his partner is killed in action while he waits for his breakfast burrito to be cooked. Those in charge are perhaps even worse: The mayor is a musician who is more interested in album sales than governing, the chief of police a robot obsessed with social media and not justice. And overall, the entire system promotes capitalism over any sense of morality.

Exhibit A.

This future comments on our present day in darkly funny ways, parodying our contemporary consumption as vapid and in service of maintaining a power structure of media and soft drink companies while shilling cheap goods at the general populace. It is a darkly funny book, full of extreme, slapstick violence and a Judge Dredd-level of social commentary where it is way too easy to find yourself rooting for the wrong side (if there is one). The adversary in this book is a band of Zodiac-driven terrorists, they are Libras, who are exacting justice by taking over social medial popularity and invading the Bubble. They wreak havoc and disturb album sales, but what is disturbing is how most folks are easily swayed to their side and a "new" social order where the new boss will be just like the old one. 

This book is biting and weirdly fun, pointing out many of the foibles of ourselves and our current times. And perhaps best of all, it features phenomenally good artwork. The wide variety of mutants are cartoonish, highly detailed, and quite distinct from each other. There are intricate backgrounds that belay a vast amount of world-building. And the action sequences and comedic timing are both on point. I found myself poring over this book, reading and rereading sections to drink in all the mayhem, hilarity, and detail.

Justice Warriors is a collaboration between writer Matt Bors and artist Ben Clarkson. Bors is a long time political cartoonist who also founded and edited The Nib. He has won multiple Eisner Awards, was twice nominated for a Pulitzer Prize, and also writes the recent Toxic Avenger series. Clarkson works in animation, illustration, fine art, theater and comics, and his work has appeared internationally in many venues. Bors and Clarkson both speak more about their work on this book in this interview.

All of the reviews I have read of this book have been positive. Zack Quaintance called it "a dense, surprising, and often-hilarious read." Ryan Zickgraf wrote, "Part of what makes Justice Warriors feel fresh is that it finds new ways to depict totalitarian regimes. Instead of the predictable censorship-focused Big Brother of the endless 1984 knockoffs, everyone in Bubble City is free to speak their mind online — but the algorithm is tweaked to favor the rich and powerful and ads promoting conspicuous consumption."

Justice Warriors was published by Ahoy Comics, and they offer more information about the series here. It features violence, gore, and profanity, and is advised for readers mature enough to handle those things. For those who enjoyed this book, a second volume, Vote Harder, has also been published.

Golem Pit 224

It's October and to celebrate this spooky month, I am going to review a bunch of different graphic novels that fit the season. First up is Golem Pit 224, a book I got from a Kickstarter campaign last year. The plot revolves around a couple, Thea and Kelsey, who decide to go on a camping trip to explore an unusual land form, the not-at-all-creepy- sounding Exclusion Zone Golem Pit 224. Kelsey is a research professor who is treating the trip more like an opportunity to collect work samples, and Thea would like to actually have fun and spend time with her partner. Without spoiling too much, they end up having to deal with some psychoactive material and find themselves literally and figuratively on shaky ground.

This book was wonderfully weird and compelling. What I liked about it was that it worked as a horror tale as well as a relationship story. Kelsey and Thea have some unresolved tensions that they need to deal with, and the way those manifest both emotionally and physically throughout the story makes for suspense and high drama. There were also several scares, including one pretty gross one that involved possibly swallowing an alien life form. The plot was pretty unique, and at some points I honestly did not know how or if things would resolve. The artwork does not employ the typical panel borders of most comics, and the floating, amorphous way the figures and events are depicted makes for some interesting developments later in the book in terms of how transformations and mysteries play out. Also, the color palette dealt mostly in earthy, brown tones that create a murkiness that well suited the setting and events of the story.

Golem Pit 224 was written and drawn by Julia Gootzeit. She has mostly published her work in mini-comic form, and her more recent comics can be found on her Instagram feed.

Golem Pit 224 was published by Fieldmouse Press, and they offer a preview and more info about it here.

Pushing Buttons

This "futuristic workplace kerfuffle" recently came to my attention via social media, and I was very glad to buy and read a copy. Pushing Buttons features an eventful first day at work. It stars Margit, a young woman who has not had a job in months and is facing eviction. Luckily(?), her best friend Chloe is a supervisor for a local company and scores her a position operating a 3AZ machine, which involves reading a manual to learn which wires to connect and buttons to press. Chloe's supervisory position makes for some awkward situations, and Margit starts to question their friendship. She also quickly realizes that this gig has lots of restrictions.

This was a relatively short graphic novel, but I found a lot to relate to. I felt quickly drawn into the personal drama, and as I realized more about the social and work dynamics the more engrossed I got. The artwork is geometric and cartoony, somewhat drawing to my mind alternative comics artists like Kaz or Chris Ware. I felt that the cute, regular drawings made for a great atmosphere for the rote and soul-sucking situations Margit finds herself in. Additionally, the adorableness of the characters adds an interesting accent to the ways they put up certain appearances and treat each other. 

Pushing Buttons was made by Ursula Blix, an animator and artist who recently graduated from The Animation Workshop in Viborg. She has drawn a bunch of comics and covers, but as far as I can tell, this is her debut graphic novel, drawn as a final school project. She drew this interview that tells a little bit more about her work on the book. I was not able to find any reviews of it online, but I will definitely keep my eyes peeled to see what else she publishes.

Pushing Buttons was published by Black Panel Press, and they offer a preview and more here. 

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.

Jimmy Olsen's Supercyclopedia

When I was a kid, I could buy comic books at lots of places, including supermarkets, pharmacies, flea markets, department stores, and convenient stores. One memorable acquisition for me was Ambush Bug #3 that I got at the Cumberland Farms by my house. I was 12, and it contained a comedic mini-history of the DC Comics universe, including lots of Silver Age madness and strange things like Glop, Egg Fu, Itty, Mopee, and Julius Schwartz. A lot of what I read was unfamiliar but it fired me up to learn more about these fantastical and arcane cast of characters. 

This slice of history is a prologue to why I think Jimmy Olsen's Supercyclopedia might also be a sort of gateway book. My first impression after reading it was to question its audience. I loved the book, but it's full of references that I get because I've read comic books for a very long time. I am all in for a dance battle between the Legion of Superheroes and the Legion of Substitute Heroes. I grin at appearances of Space Cabbie, Blue Devil, Mr. Mind, and Ultra the Ultra-Alien. I know the rules about engaging with Mister Mxyzptlk. And I think it's clever that Toyboy's robot minions have heads shaped like the Hall of Doom. And I feel these things might be lost on younger readers in ordinary circumstances, but the structure of this book has a layer of informational assistance in the form of mini-encyclopedia entries like this one:

Many of the obscure references get explained in quick fashion in a way that does not detract from the story. This book is as much an updated version of Who's Who for a new generation as it is its own adventure. The result is a fun romp through the DC Universe with a wonderful mix of the familiar and new. 

The main narrative is a sort of version of the Hitchhiker's Guide to the Galaxy, with Jimmy Olsen playing the Ford Prefect role. His presence is in a different appearance, as a black teen and not the original freckled faced, red-headed white boy, but the bones of his existence are still based on his many Silver Age shenanigans. When he is tasked with creating and propagating the Supercyclopedia by the New Gods, he gets some unwanted attention from the villainous Toyboy, who steals it and corrupts it into evil. And Jimmy is well suited to solving the problem by relying on his teen pals Rip Hunter and Linda Park and not simply calling in the Big Blue Boy Scout. 

The artwork conveys action as well as many fun moments, and it is jam-packed with Easter eggs for attentive readers. I had a lot of fun reading this book, and I hope that it might attract some newer, younger attention to this vibrant cast of characters. From its cover paying homage to Flash #163 to its conclusion, this book is a love letter to the weird and wonderful DC Multiverse.

The Supercyclopedia is a collaboration between writer Gabe Soria and artist Sandy Jarrell. Soria writes all sorts of things, including books, comics, role-playing games, and album liner notes. He is the creator of the Sword & Backpack RPG, the Midnight Arcade series, and has also co-written the graphic novel Life Sucks. Jarrell has drawn lots of comics, including Meteor Men, Batman 66, and The Legendary Lynx.

I was not able to find many reviews of it online, but the one I did read was a rave: J. Caleb Mozzocco liked the book so much, he actually bought a physical copy (He works in a library so that is a big deal!). He also wrote, "If you're a DC Comics fan, or are just curious about the publisher, it's a real love letter to the company, its creators and its universe, filled with appearances of many less-seen characters (Warlord, Captain Carrot and his Amazing Zoo Crew, Angel and The Ape) and intriguing reinventions of a handful of characters (Cain and Abel as TV horror hosts, Doc Magnus as a kid with action figure-sized Metal Men)."

Jimmy Olsen's Supercyclopedia was published by DC Comics, and they offer more info about it here.

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.

Boys Weekend

The best kinds of satire usually skirt the lines between funny and horrible, and Boys Weekend certainly falls into this category. It's about Sammie, a newly out trans person who has been asked by her old friend Adam to be his "best man." 

As you might glean from this excerpt, Adam does not know about this change. Moreover, he certainly does not know how to deal with Sammie's new reality, nor do the even more clueless members of his groom's party. Still, all of them embark on a weekend trip to El Campo, an island resort where you can get away with way more than you can in Las Vegas, especially in the even more libertarian near-future when this book is set. For instance, they have an attraction where you can clone yourself and then go all "Most Dangerous Game," hunt it down and kill it.

Complicating matters even further from the incredibly cringe-worthy bachelor party is the rash of bloody murders happening in El Campo, and everything devolves into a disastrous survival situation more reminiscent of a horror movie than a weekend getaway. What makes this book work is that the horror stakes are real, the humor is sharp and topical, and the contemporary concerns about gender politics and discrimination are prominent. Boys Weekend is brutal, biting, and hilarious, a satiric parable for our times.

Mattie Lubchansky is a self-called "Award-Winning Transsexual Comics Idiot." She has a long history with making funny, political comics, from being an editor of the Eisner Award winning website The Nib to creating scores of comics for that venue to her own graphic novels, such as The Antifa Super-Soldier Cookbook. She speaks about her work on Boys Weekend in this interview.

The reviews I have read about this book have been mainly positive. Michael Kurt wrote, "It’s funny, deeply insightful, and even more wild than you’d expect for a story about a hedonistic future-tech-Vegas." Sylvie Rosokoff opined, "Lubchansky’s razor-sharp satire, eerie sci-fi sensibility, and distinctive illustration style make Boys Weekend the perfect mix of darkness and light." Kirkus Reviews found it a bit clunky in parts and summed up, "An uneven but undeniably original adventure."

Boys Weekend was published by Pantheon Graphic Library, and they offer a preview and more here. Because of adult humor and gore, I recommend this book for more mature readers.

Odessa

I have read tons of dystopian future stories from the YA graphic novel market, and Odessa is one of the best ones, because it is well realized and complex. It begins when Ginny, the main character, gets a package for her 18th birthday. This package, it turns out, came from her mother Odessa, who has not been home in years and was presumed dead. This gift sets off an entire series of events that put Ginny on a quest across the environmental disaster the western United States has become to either find her mother or some sort of resolution to this situation. Along the way she runs into a good number of interesting folks (both friends and adversaries), including two stowaways that really up the stakes for her (and their) safety.

I am being vague because I do not want to spoil too much, but suffice it to say that I feel that the plot of this book is excellent, with lots of moments of suspense and cliffhangers (both emotional and physical), superb character designs, grand vistas of devastation, and palpable character moments. The way the book ends very much begs for a sequel, and I really hope we eventually get one.

One big reason why we have not gotten a sequel yet is that this book's creator, Jonathan Hill has been working on another graphic novel series, Tales of a Seventh-Grade Lizard Boy and its soon-to-be-published sequel Lizard Boy 2: The Most Perfect Summer Ever. He speaks about his work on Odessa in this interview.

All of the reviews I have read about this book have sung its praises. In a starred entry, Kirkus Reviews summed it up as "a gritty, raw page-turner."  Sara Smith wrote, "There are parts of this story that are hauntingly beautiful." Becky Proie opined, "Odessa is a seemingly simple and effortless graphic novel that manages to take the well-used dystopian setting and somehow bring a welcoming feel to it that makes readers not want to put it down."

Odessa was published by Oni Press, and they offer more info about it here. 

Tales of a Seventh-Grade Lizard Boy

 

I caught a lot of teasing about my name throughout my schooling, and I cannot imagine what it would have been if I had been called Booger Lizk’t. On top of that name, Booger is a lizard person from Elberon, an underground civilization that faced a natural disaster that drove his family to the surface. So he would stand out pretty starkly in a typical US middle school. Luckily for him, his people can shape their skin pretty much as they please, which makes it possible for them to pass as human. However, Booger also has to fit in socially, which is why he goes by the name of Tommy Tomkins while in Eagle Valley. But he is still having a very difficult time, especially when so many of his classmates watch a popular TV show about villainous alien lizard invaders who want to invade Earth (sort of like V).

From the informative back matter of the book, I learned that many of these feelings and situations are based on the author's Vietnamese heritage, and much of the book reflects commonplace immigrant experiences. This aspect gets highlighted by Tommy's friendship with Dung Tran, a Vietnamese immigrant and kindred spirit. The two gravitate toward each other and take solace in each other's company. Like Dung, Tommy has to figure out how to find friends, speak the language, eat strange food, deal with bullies, and navigate academics on top of passing as a human being, so they are both under a lot of pressure and stress. 

What I liked about this book was how human and organic it was. The plot takes all sorts of twists and turns, and this is not a simple tale of a kid learning to fit in or find his people. Tommy is not perfect, and he makes mistakes, pulls some ill-advised pranks, and hurts some of the feelings of his few friends. I found a lot to relate to as well as laugh and marvel at.

This book was created by Jonathan Hill, who also wrote and drew a fantastic apocalyptic graphic novel Odessa. He also drew Americus, a book I reviewed some years ago. He speaks about his work on Tales of the Seventh-Grade Lizard Boy in this interview.

The reviews I have read about this book have been positive. Kirkus Reviews summed it up as "engaging and thought-provoking." Publishers Weekly wrote, "Employing a bright and energetic palette, uncomplicated paneling, and a cast comprising varying skin tones and body types, Hill keenly portrays the effects this othering has on Tommy and Dung, and how connection, mutual support, and earnest understanding can bridge even significant differences." April Spisak opined, "Vivid colors, wry humor, and playful ignoring of traditional panel structure lighten the heaviest moments, firmly focusing this story on working toward better things."

Tales of a Seventh-Grade Lizard Boy was published by Walker Books US, and they offer a preview and more info about it here.

Radiant Black Volume 001: (Not So) Secret Origin

I have read a lot of superhero comics in my days, and Radiant Black is a very good one. I like how it plays with common tropes and makes them fresh and exciting. To start, it stars a man named Nathan Burnett, who is not the typical alter ego. To begin, he's relatively older, a 30-year-old white man who is a struggling author, has racked up substantial credit card debt, and is forced to move back in with his parents. While he feels humiliated to be back in his hometown just outside of Chicago, his childhood friend Marshall is thrilled to see him and also give him a healthy dose of grief. One day, while they are out catching up and drinking, Nathan encounters some strange mini-black hole/ball of energy and is transformed into a helmeted, super-powered being. 

Of course, he decides to use his powers for good, but things become complicated by the mystery of what gave him his powers and also the growing realization that he is not the only one in the world who has been so gifted. 

What made this book work well for me was its character work, suspense, and plotting. Nathan makes for an intriguing hero and Marshall is much more than a comedic, smart-ass sidekick. Their relationship is makes for fun reading, as does how well the details of Radiant Black's origin are teased across the length of this book. Add some genuinely surprising plot twists, and the result is an engrossing, addictive, and fun series. I will definitely be checking out more of it.

Radiant Black was created by writer Kyle Higgins and artist Marcelo Costa. Higgins is best known for his comics work on Batman and Mighty Morphin Power Rangers. Costa also worked on Mighty Morphin Power Rangers as a colorist. In the later chapters of this trade paperback, they are joined by guest artists Eduardo Ferigato and David Lafuente. Higgins and Costa speak about their work and inspirations for this book in this interview.

The reviews I have read about this collection of the series' first six issues were mostly positive. Henry Varona called it "already one of the most immersive and exciting superhero comics of the decade." Kris wrote, " If you grew up reading comics or watching the TV shows the creative team is riffing on here, then you’ll likely enjoy the series." Colin Moon was not thrilled with the first four chapters of the book, but opined, "For all my griping — and all the spinning of the book’s wheels — the final two issues of this collection reignited my excitement, making me much more willing to join the adventure in progress."

Radiant Black was published by Image Comics, and they offer a free preview and more about the entire series here.

(Cover Not Final)

It's tough to make a book that is simultaneously high-concept, inventive, and laugh-out-loud funny, but that is exactly what Max Huffman pulled off here in (Cover Not Final). This collection of mini-comics portrays a world with a logic and rhythm of its own, a place where the madcap energy of Harvey Kurtzman comics collides with noir genre conventions and our contemporary world. It is a place where chemical companies send a message to a snooping private detective by leaving a modern art installation outside his apartment. It's silly and somewhat random, but also hilarious. The logic of the place makes for great story and dialogue beats. Just check out this sequence:

The line about Uncle Chest is gold, and this book has quite a few similar deadpan zingers that made me chuckle. There are a number of different stories in this book, and the glue holding it together is the nogoodnik Career Criminal who appears in each. He is an agent of chaos and mayhem, the snappy dresser who appears on the cover of the book. He embodies the book's energy and style. 

The illustrations remind me some of 1960s tiki art, which is part of what contributes to its retro feel. The geometric artwork adds to the ambience of the book, providing a strange, angular perspective that contrasts well with the madcap twists and turns. The size and format of this book also recalls a vintage paperback vibe, which adds to its charm. The stories in this book are relatively short and zippy, and taken together they constitute a brief visit to a zany world that invites multiple re-readings. Reading (Cover Not Final) is flat-out fun.

This book's creator Max Huffman is the Print Graphic Designer for Cat's Cradle and the Small Press Director at Peel Gallery. He speaks about some of the inspirations and process behind these comics in this article.

The reviews I found about this book have been positive. Brian Nicholson wrote that "the comic’s great. It’s constantly delightful, and the pleasures accumulate with each new short story." Ryan Carey opined that "works that defy conventional description or, at the very least, can’t be boiled down to the old reductivist 'elevator pitch', are often the most rewarding to spend some real time with, and, despite its admittedly short length, this comic definitely lends itself to re-reading and careful examination."

(Cover Not Final) was published by AdHouse Books, and they offer a preview and more information here.

Kindred: A Graphic Novel Adaptation

I have never read the novel Kindred, so I cannot really compare this version to the original, but I can say that after reading this adaptation I really want to check it out. The story focuses on Dana, a black woman from 1976 who is suddenly, mysteriously thrown into the past where she rescues a little red-headed, white boy named Rufus from drowning.

It turn out Rufus is actually one of her ancestors, the son of a slave-owner and a future slave-owner himself, and somehow her fate is tied to his. Stuck in the early 1800s in rural Maryland, Dana finds that she has to make a lot of compromises in order to survive in a place where slavery is not only legal but the guiding force of society. Dana ends up returning to the present, but she bounces back and forth in time a few times over the course of the story, finding that months spent in the past only add up to hours or days in the present. Each time brings different revelations, emotions, violence, and consequences.

What makes this book especially powerful for me is how it engages with the conflicting views of the past and present. Having to make do in the past, Dana learns the absolute horrors and terrors of slavery. She sees firsthand how ugly and dehumanizing it was, and she also sees just how strong and stoic many of her forebears had to be in order to survive. Her modern sensibilities are profoundly affected by her sojourns into the past. This book is a harrowing and traumatizing one, and not one I will soon forget. I think that the illustrations and pacing make for compelling reading, and they also capture the horrible aspects of slavery and racism in visceral ways. It was riveting and also repulsive, a work that is challenging in the best sense of the word.

This book is based on an original text by Octavia Butler, a Hugo and Nebula Award winning writer who was inducted into the Science Fiction Hall of Fame. This adaptation won the 2018 Eisner Comics Award for Best Adaptation From Another Medium, and it was created by writer Damian Duffy and artist John Jennings. These frequent collaborators also have adapted another Butler novel Parable of the Sower into graphic novel form. Both creators weigh in on their work on the Kindred adaptation in this interview.

All the reviews I have read of this book have been positive. Shawn Taylor gushed, "Not only is this one of the very best adaptations of an existing work, ever, but one of the best graphic novels in twenty years." John Denardo opined "Duffy's adaptation perfectly captures the horrific situations forced on the lives of black people in the pre-Civil War South and conveys the emotional impact of Butler's work." Publishers Weekly wrote, "It’s an effective recap, clearly produced with great love and respect, but the book remains the gold standard."

Kindred was published by Abrams ComicArts, and they offer more info about it here. It's also currently available on Comixology Unlimited, which is where I read it.

BTTM FDRS

BTTM FDRS is a complicated, thought-provoking, and entertaining book that melds social issues with a horror story. Its protagonist is a young black woman named Darla, who has graduated art school and is trying to break into the fashion industry. She moves into a building in "the Bottomyards," a fictional section of Chicago that was once a thriving community but is now a burnt out shell of dilapidated buildings and poverty. It's the perfect place for bohemian, artsy lofts, and when Darla moves in she is accompanied by her opportunistic, trendy, white friend Cynthia. While in this building, they meet a Latinx DJ named Julio, who ironically dresses up and performs as a pilgrim under the name Plymouth Rock. Darla also encounters a worker from the electrical company who is paranoid about an invasion of reptile people and also bent on solving the mystery of why the building manages to power and heat itself without drawing on any outside utilities. That's when they discover what lives in the plumbing/walls, and the whole enterprise turns into a sci-fi/horror show.

It only gets worse :)

My description of this book does it no justice, because it's got so many disparate aspects going into the plot. What does stand out to me are a few things: 1) The genre aspects of horror and sci-fi play out in suspenseful and delightfully gruesome ways. 2) There is plenty of overt and subtle exploration of how multiple identities are employed, exploited, and co-opted in terms of popular and everyday culture. 3) The characters are complex and interesting. 4) The artwork highlights the horror with detailed, grotesque creatures and unreal coloring. 5) After about 50 pages in and some basics were established, this book turned into a page-turner I could not put down.

BTTM FDRS is an excellent book that can be read as an action-thriller, but it's also a smart commentary on contemporary racial, gender, and class issues. It's the best kind of sci-fi: a fantastically entertaining work that makes you look at the world from different angles.

This book is the creation of writer Ezra Claytan Daniels and artist Ben Passmore. Daniels has worked in multiple media and is probably best known in comics for his Dwayne McDuffie Award for Diversity in Comics-winning Upgrade Soul. Passmore is known for the Ignatz Award-winning comic Your Black Friend, as well as Sports is Hell, DAYGLOAHOLE, and his regular contributions to The Nib. Both creators speak about their collaboration on BTTM FDRS in this interview.

All of the reviews I have read about this book have been positive. Philippe Leblanc declared it "one of the best graphic novels I read in 2019... a thoughtful meditation on not just gentrification, but inequality." Alex Hoffman wrote, "With its biting social commentary and fascinating worldbuilding, plus Passmore’s vibrant illustration and otherworldly colors, BTTM FDRS is the book of the summer. An absolute must read." Austin Price called it "a delightfully and rightly angry polemic," though he was disappointed by its lack of scope.

BTTM FDRS was published by Fantagraphics, and they offer a preview and more here. It is also available on Comixology Unlimited, which is how I read it. It features mature themes, violence, and horror scenes, so it is recommended for mature readers.

Spotlight on Shortbox

With the COVID-19 pandemic and the cancellation of most comics conventions, many independent publishers have lost out on one of their prime markets. In lieu of getting to browse for these books in person, I have been ordering a few from various folks online. Today, I am going to spotlight one of these publishers, Shortbox, a UK-based company with an array of strong creators. I bought these four books and am excited to review them here.

Cry Wolf Girl was the first book I read from this batch, and it was very affecting. It's a story about a woman who has experienced great trauma, losing her entire family to a great sickness. Feeling empty and lost, she begins to act out, literally crying wolf many times. She may or may not be imagining these creatures, and they might be manifestations of her grief. Still, the tribal elders start to grow weary of her behavior, and with the Wolf-Hunter absent, they leave her to fend for herself. I won't spoil the ending, but I will say that it is a testament to the unique storytelling aspects of comics, a powerfully moving conclusion told through exquisite imagery and pacing. This story impressively communicates  complicated emotional states and has lingered with me for what I think will be a long time.

This book's creator Ariel Ries is based in Australia, and they also have published the Ignatz Award-winning webcomic Witchy, which has been partly collected by Lion Forge.

All of the reviews I have read about it have been glowing. Pipedream Comics concluded, "Marvellously drawn and coloured, Cry Wolf Girl is a compact, masterful exploration of the ignorance of patriarchy and the compassionate strengths that empathy can offer to someone." Fred McNamara called it "a comic where everything clicks into place and rattles along at breakneck speed."

Dead End Jobs for Ghosts is actually the book that brought this publisher to my attention. I follow its creator Aminder Dhaliwal, the animator who published Woman World, on Instagram and saw that not only that she had this new book but also that the publisher was having a sale. I am really glad I happened upon both.

The premise of this book is a wild one, namely that the 1990 movie Ghost (the cheese-fest starring Demi Moore, Whoopi Goldberg, and Patrick Swayze) was in fact non-fiction. In this world, the ghosts strike a deal with humans, and they make a company that revolutionizes labor. The ghosts animate machines in a way that makes them seem like highly capable robots. The entirety of human history is profoundly altered by this industry, but there is also some interesting interactions between the ghosts and their living relatives that make things very complicated. This book is whimsical, for sure, but it also is a commentary on work and how it affects people's lives (and afterlives).

I was not able to find many reviews of this book, but it currently has a 4.2 (out of 5) star rating on Goodreads.

The artwork in Don't Go Without Me is breathtakingly excellent, but the stories are also provocative and complex. The first, the eponymous "Don't Go Without Me," is a science fiction tale about a romantic couple who decided to travel to a parallel dimension. Without spoiling things, I'll say that once there they experience that the place operates on a logic that has disastrous results for their lives.

The second story, the Eisner Award-nominated "What is Left," is another science fiction tale. It explores the aftermath of a deep-space disaster involving a spaceship that is powered by memories. The third, "Con Temor, Con Ternura," is more an existential fantasy tale, where a race of people develop multiple theories about a sleeping giant who is prophesied to awake. 

All three stories deal with profound topics: love, loss, memory, science, and faith. And they do so in earnest and engaging ways. I think that they are the best sort of sci-fi/fantasy stories, ones that have fantastic premises that allow for a frank, deep exploration of authentic human issues. I found them entrancing and exquisitely constructed. This book was the stand-out from the very deep field here.

This book's creator Rosemary Valero-O'Connell is a relative new-comer to comics but has already won major awards, including  the 2020 Eisner Award for Best Penciller/Inker for that year's Best Publication for Teens Laura Dean Keeps Breaking Up with Me. She was also the 2020 Ignatz Award winner for Outstanding Artist. She speaks about her work on Don't Go Without Me in this interview.

All of the reviews I have read of this book has been glowing. Rob Clough called Valero-O'Connell "the comics equivalent of a five-tool baseball prospect." Rebecca Burke wrote, "Valero-O’Connell’s beautiful spreads balance immense detail and powerful compositions with soft words and captivating storytelling." Keith Silva opined, "Perhaps Valero-O’Connell is the cartoonist of these socially-distanced days."

 

The fourth book I got from Shortbox was the first one I had seen from the publisher. Minötaar was nominated for multiple Eisner Awards, and I just loved its premise. The story focuses on two friends who go on a shopping expedition in an IKEA-inspired store named IKOS. Dena wants to get the bookshelf of her dreams (and eat some meatballs) and she brings along Mel to help keep her on track (and also eats some meatballs).

The premise sets up what seems to be a humorous situation, but this book gets much deeper than that, delving into matters of desire and identity as well as what constitutes a strong friendship. This venture tests both women's mettle, and it is a pretty harrowing adventure. I loved the clever mix of mythological archetypes, introspection, and comedy at play here.

This book's creator Lissa Treiman is story head at Disney, and has worked on multiple films as an animator, including Zootopia, Big Hero 6, Wreck-It Ralph, and Tangled. In terms of comics, she is also accomplished as the artist on the Harvey Award-nominated and Eisner Award-winning series Giant Days.

I had a hard time finding reviews of this book, and David Harper called it "a singularly unexpected and tremendously well-done read."

Summing up, I loved all four of these books, and I think they are all exceptionally well-done. I will definitely check out more titles from Shortbox, keeping an eye out for any future Kickstarter campaigns. You can order and preview all these titles on their website, or if US-based readers want to skip out on international shipping fees, you can also find most titles from indie-comics shops via web-searching.