Crash Site

I was intrigued when I saw this title solicited, and reading it was a beguiling and bewildering experience. Crash Site is a strange and provocative book that definitely makes an impression. It is ostensibly a survival tale starring three protagonists: Rosie, a young, white, British woman who is vapid and self-centered; her devoted dog Denton, whom she uses as a drug mule, and Pants Dude, the most sinister anthropomorphic pair of underwear ever. 

After plane crash left the trio as the sole survivors stranded in the Amazon, they have to deal with the elements as well as a each other. A self-centered woman, emotionally needy dog, and murderous pair of panties that wants to pocket the entire score for itself make for a whole lot of drama.

This survival plot is intriguing and captured my imagination, but there are many aspects in this book that make for curious juxtapositions. The main narrative is a harrowing tale where one character is literally a cute pair of panties wielding a knife. There is an ongoing exploration of colonialism, from the practice of smuggling drugs to racist stereotypes in video games to the artwork of the book, which borrows heavily from the conventions of horror manga. It is also somewhat cartoonish and kawaii, which belies so many of its situations and commentaries. There are also several scenes that look at the intersections of sexuality and violence, such as when Rosie and her friends practically murder a lifeguard who tells them they cannot sunbathe in the nude and when Denton gets caught masturbating to a magazine called Woke Girls.

This is a book that lets readers have their cake, but the cake is a tough one to swallow, a mixture of disparate and clashing flavors. Instances of fan service are combined with horror imagery. Almost every joke accompanies scenes of violence and murder. Social commentary appears and is overwhelmed by absurdity. I think this is a surprisingly complex book, one I appreciated and enjoyed, though I imagine it is not to everyone's taste. So much about this book made me feel uncomfortable and off-balance, but in such compelling ways.

I could not locate much information about this book's author Nathan Cowdry, but I plan to check out whatever he publishes. He has put out a few other zines and comics, including Shiner and Western Voyeur.

The reviews I have read about this book wrestle with its complexity. Publishers Weekly concluded, "Cowdry’s mix of rock-solid gags, horrifying imagery, and surreal satire makes for an unsettling and indelible experience." Nicholas Burman wrote, "Crash Site is a comic that tickles your ribs and also strikes them a few times with a hot poker." Hillary Brown opined, "I kept teetering between annoyance at Crash Site and liking it, which could be what Cowdry is striving for."

Crash Site was published by Fantagraphics, and they offer a preview and more information about it here. If you have even skimmed this review, you should glean that it is suggested for mature readers.

(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.

Chibi Usagi: Attack of the Heebie Chibis

I have read a great many Usagi Yojimbo comics in the past, and consider it one of the modern masterpieces of the medium. Its creator Stan Sakai is one of the greats, who has been awarded pretty much every accolade a living cartoonist can receive, and here he and his wife Julie collaborate on a slightly different version of his classic character. Drawn in a cuter, more cartoony chibi art style, this version seems pitched at a younger audience, but it's still enjoyable for pretty much any age. The artwork is adorable but not juvenile and coupled with a well-crafted plot, which incorporates a number of story elements, including individual character moments, slapstick, quests, and battles. This book offers something for pretty much any reader. It does not talk down to its audience, and I got a big kick out of reading it.

The narrative here focuses on a trio of adventurers, Usagi, Gen, and Tomoe, who are out fishing for unagi (freshwater eels) when they rescue a creature in distress. The creature is an animated clay figure named Dogu, and it tells the trio that it has escaped from slave labor from the nefarious Salamander King. That villainous creature has captured Dogu's people and forced them to do his bidding, and of course our three heroes embark to free the village and defeat the Salamander King's army. This mission is fraught with peril, including shaky bridges, meandering forests, and the titular Heebie Chibis.

This story works well as a straight adventure story, but it also features strong characters who are almost instantly related to the readers as well as snappy dialogue. The situations themselves are based on traditional Japanese folklore, which are explained further in  the end sections of the book. It is fascinating to see how well the detailed fictional world depicted here matches up with real life creatures, creations, and beliefs. In addition, there is a short story at the end of the book where the usual version of Usagi Yojimbo meets the Chibi version, which not only works as a stand-alone tale but may also be a great gateway into the further adventures of the rabbit samurai.

This book is one of the best kids of all-ages fiction in the best sense of the world. I think its potential audience is a vast one, and I hope that this book sells bazillions of copies.

All of the reviews I have read of this book have been positive. Ingrid Lind-Jahn wrote, "It’s an adventure story that has plenty of danger without being overly scary and emphasizes positives like friendship by example rather than explanation." Pharaoh Miles called it "an exciting story that any fan of any age can get into" and "easily the most accessible story involving this enigmatic protagonist."

Chibi Usagi: Attack of the Heebie Chibis was published by IDW Publishing, and they offer more information about it here.

Cyclopedia Exotica

Cyclopedia Exotica is an amazing graphic novel that explores issues of identity in an intriguing way. The book starts off as a series of encyclopedia entries on cyclopes, their biology, and their history as a race. However, once it touches on the life of Etna, a model who became a sensation when she posed nude for a men's magazine, the book becomes an immersive look into the lives of contemporary cyclopes and all that they entail. After reading this book, I was struck by just how deft it is in creating a parallel world based on a fantastic premise and then immediately normalizing that premise. It makes the cyclopes so human and relatable that they actually seem a real ethnic group, and also acts like an extended metaphor for Orientalism.

What I find most charming and provocative about this book is how subtly it tells a long form narrative through a series of short episodes that read like an amalgamation of gag strips and short stories. Each one is finely crafted, sometimes resulting in a chuckle but more often in a poignant moment or insight into being a frequently fetishized minority. This book operates almost like a pointillist painting, with each tiny detail contributing to an artful, moving portrait of a people.

Ostensibly a book about mythological creatures, it actually has lots of insight into modern humanity and the many choices we face. Over the course of the book, I got to know each character and how they cope with the world. Some, become twin artists who make plenty of conceptual pieces that cast an interesting light on the ways cyclopes are and are not incorporated into human society. Others are trying to make their way in the world with romantic relationships, either with cyclopes or humans. Some of the characters try to do things to "pass," from having elective surgery to become a "two-eye" to wearing special clothing that shapes their bodies to be more ideally human. And one cyclop woman has to make some hard choices between being a parent and re-entering the work force. 

I loved getting to know the world and characters in this book, and the slight consolation I had when it ended were the very informative entries about each character, why they were named as they were, and the author's intentions with their plots and sub-plots. This book is so fully realized and thoughtful, and it calls to mind poet Marianne Moore's line about "imaginary gardens with real toads in them" with how much the artful fiction evokes reality.

Cyclopedia Exotica is the creation of Aminder Dhaliwal, an animator who has worked for a number of major studios. Her debut graphic novel, Woman World was nominated for a 2019 Ignatz Award. She also has published the graphic novella Dead End Jobs for Ghosts. The coloring of this book was done by Nikolas Ilic, a production artist who specializes in character design. Dhaliwal speaks about her work on the book in this interview.

All of the reviews I have read of this book sing its praises. Carmen Maria Machado wrote that "the characters in Dhaliwal’s stories sparkle. They’re tenderly rendered and their problems are real." Oliver Sava was impressed by how she tackled "complicated subject matter with empathy and humor, offering ample social critique while keeping the focus on how these characters connect with each other—and learn how to love themselves." Jeff Provine opined, "The emotional touches with the engaging characters brings the reader along through quick comic stories, always wanting more even after the final page."

Cyclopedia Exotica was published by Drawn & Quarterly, and they offer a preview and much more here.

History Comics: The Wild Mustang: Horses of the American West

The History Comics series began last year, and I was impressed with the initial offerings. This volume, The Wild Mustang, lives up to the great start, featuring a wide range of history that touches on matters of biology, plate tectonics, politics, and culture wars. The story begins hundreds of millions of years ago when horses first evolved in what is now North America. About 150 million years ago, there were none of these creatures left there, as they had all migrated to other continents and were isolated by continental drift. It was only with the re-introduction of the Spaniards and other colonial powers that these creatures returned to where they originated.

What I liked about this book was that it takes a long view of history but also makes sure to show how these animals were used for various social and political means. Aside from agrarian labor, they were used for war purposes, for the Spanish to conquer native people or the Comanche to dominate land and property. It counters a lot of the romantic thinking of some idealistic native species that embodies the spirit of the American West, showing how they have since propagated, been hunted and slaughtered, and later protected by various laws, many championed by Velma B. Johnston (AKA, Wild Horse Annie).

This book is dense with facts, but it is still very readable and engaging. Plus, there are plenty of resources for further information in the end papers of the book, making a great starting point for eager readers. I think it would be attractive to people who love horses but it's also good for a general survey of US history and a great model for what historical research focused on a specific subject can look like. The artwork captures the energy of the animals and also communicates many shifts in scenery and tone, from pastoral plains to meat packing plants to villages to courtrooms. It's a excellent text to teach about the complexities of history in an entertaining and relatable medium.

This book's creators, writer Chris Duffy and artist Falynn Koch, have created a number of other graphic novels. Duffy has written or edited a number of anthologies, including Fairy Tale Comics, Fable Comics, Nursery Rhyme Comics, and an anthology of World War I poetry titled Above the Dreamless Dead. Koch has drawn a couple of entries in the Science Comics series, Bats and Plagues, as well as a Makers Comics book about baking. Koch speaks about her work on this book in this interview.

The reviews I have read about it have been mainly positive. Kirkus Reviews called it "A surprisingly comprehensive history of wild horses." Brett at Graphic Policy called it "a little weighty at times" but "well worth it." As of this review, it has a 4.05 (out of 5) star rating at Goodreads.

The Wild Mustang was published by First Second, and they offer a preview and more information about it here.

Snapdragon

Snapdragon is one of the best books I've read in a while. It is about a brash, young woman named Snapdragon (named after her mom's favorite flower). When the book opens, she is looking for her lost dog Good Boy, and she braves going into the house of a woman purported to be a witch, because it is rumored that she eats pets. She does find Good Boy there, but he had been hurt and the "witch," whose name is Jacks, took him in and patched him up. 

That may have been the end of matters, but soon afterward, Snap ends up with a bunch of orphaned baby possums so she turns to Jacks to help her raise them. Jacks agrees, but only on the condition that Snap helps her with "her work," which involves roadkill and taxidermy. The two form an unlikely friendship, and as Snap gets to know Jacks she learns that the old woman has connections to her family and also that she may well be a real witch. 

There is plenty of mystery, action, and intrigue in this book, but what makes it exceptional is its complex world full of realistic, well-realized characters. Snap and Jacks both feature strong personalities, but so do all the supporting ones, from Snap's put-upon Mom to her friend Louis, who shares her fandom for horror movies and likes to wear dresses and paint his nails. What is more, this book does an excellent job exploring the various relationships between them. Snap gets Jacks to open up about her past, and she stands by Louis in dealing with bullies and his rough-and-tumble older brothers. And not only is there a lot of strong emotional work, but as you can see in the excerpt above, this book is also frequently funny in its dialogue and pacing. There are parts, such as the sequence where Snap's mom goes to buy her an animal anatomy textbook, that made me want to cheer. This book is moving in many ways and also a joy to read.

This book was created by Kat Leyh, who is an artist and writer who is known for her work on the Eisner and GLAAD Award-winning Lumberjanes series and the graphic novel Thirsty Mermaids. She speaks about her inspirations for Snapdragon in this audio clip and her career in this interview.

All of the reviews I have read of this book have been glowing. Kirkus Reviews summed up their starred entry, "Sweet and fierce, this is a must-have." Ashley Dunne wrote, "It could be a good book for opening up conversations about respecting the earth’s creatures, normalizing the concept of trans kids and queer seniors, or just plain finding a fun story with witchy elements." Hillary Brown opined, "The star of the book is the way Leyh draws her flippin’ heart out to make a story that really doesn’t need words at all." Anna Schaeffer wrote that it "glitters with imagination, sweetness, and grit."

Snapdragon was published by First Second, and they offer a preview and more info here.

The Thud

The Thud is a graphic novel told from the perspective of Noel, a young man who lives with his "mumsie" and is excited about his upcoming birthday and present of going to see his favorite band AC/DC. Everything literally comes crashing down one day when he hears a thud from the next room. 

It turns out that his mother had a stroke and is now in a coma. Because he is developmentally disabled and cannot live on his own, he is taken to Neuerkerod, a German village where most of the inhabitants have developmental disabilities. There, he has to learn to make sense of and live his own life.

Everything has left Noel disoriented, and it is through his eyes that we get to know the lay of the land and the locals. His friend Valentin is obsessed with dates and times, and his strictly scheduled proclivities sometimes clash with Noel's more freewheeling tendencies. Noel also develops an unrequited crush on Penelope, while another young woman named Alice, who is epileptic, tries in vain to gain his attentions. These relationships show both a relatable sense of humanity as well as humor, especially when people's intentions get mistaken. These scenes are often sweet and heartfelt, not pandering, and the humor does not come at the characters' expense.

The artwork is colorful and highly expressive. I love how the characters are distinct, with unique sizes and shapes and imbued with personality. These aspects come out strongly in the episodic fashion of the story, which is structured as a series of sequential short stories. I love how this book develops a longer narrative over the space of these stories, with the reader and Noel both getting more of a sense of this village and the people who live there. It even introduces some historical context, about this village that has existed for 150 years and the dark days of Nazism, when many of the village's citizens were deemed unfit to live. 

Finally, I loved the open-ended, powerful way that the book concluded. It is a beautiful, thoughtful, and respectful look at people who are often overlooked, ignored, and/or underestimated. You will fall in love with these characters.

This book was created by artist/scholar Mikaël Ross and translated into English by Nika Knight. Ross has created a number of comics works and received Berlin’s Senate Department for Culture and Europe’s first graphic novel scholarship. He speaks about The Thud in this interview.

All of the reviews I have read about this book have been positive. Publishers Weekly called it a tale "told with an endearing combination of empathy and humor." Andy Oliver wrote, "Ross mixes poignancy with humour in a book that runs the emotional gamut, culminating in a heartrending finale where events come full circle." Kevin Wolf opined, "Everything about this graphic work is touching … emotionally … visually … conversationally between characters"

The Thud was publish in the US by Fantagraphics, and they provide a preview and more information about it here.