Exhaustive but exhausting.
A metaphysical examination of 20th-century comics artists takes an odd turn.
With both metafictive and metaphysical slants, this exploration of midcentury photorealistic comics artists introduces Jack, a pretty young White woman working at Local Heroes Comic Books & Graphic Novels. She finds a strange comic on the counter called “The Strange Death of Alex Raymond,” and as she finishes reading it, the next issue suddenly appears. Chronicling the untimely death of artist Raymond, Sim and Grubaugh’s work transports readers along a comprehensive and dense history of the photorealistic style and the cadre of artists that shaped its evolution. However, about halfway through, the narrative switches course, eliminating Jack almost entirely and instead drawing increasingly tenuous and esoterically obsessive links to Gone With the Wind author Margaret Mitchell. As the title dives down these rabbit holes, the text increasingly descends into incomprehensibility, punctuated with recursive chants and repetitive numerology. This devolution makes further reading extremely challenging, as intricate panels become cramped and text bubbles obscured. The finely detailed, highly stylized art, however, is beyond masterful and a true accomplishment. Ultimately, this is overly complex for a casual comics history buff and perhaps best appreciated by an academic audience.
Exhaustive but exhausting. (Graphic fiction. 17-adult)Pub Date: Sept. 7, 2021
ISBN: 978-1-73686-050-2
Page Count: 320
Publisher: Living the Line Publishing
Review Posted Online: July 7, 2021
Kirkus Reviews Issue: Aug. 1, 2021
A gripping and well-crafted tale of prisoners and guards.
In this graphic novel, a group of prison guards attempts a heist against the backdrop of the March on Washington.
Baltimore’s Jessup Penitentiary, 1963. A former prison guard finds himself an inmate, and he has a story to tell. Kendrick Robinson was part of a family of prison guards, including his uncle Marcus and his cousin Francis—called Freckles for his light complexion. When one of their fellow guards is injured, Francis suggests they attempt to steal the score of mouthy former hit man Sid Scisiani, who is about to get paroled. Kendrick warms to the idea after learning he’s been drafted for the Vietnam War—he needs the cash to flee to Canada or buy a new identity. When Sid gets out, Kendrick and Francis follow him to his homecoming job—and learn that his first mission back is to assassinate the Rev. Dr. Martin Luther King Jr. Now Kendrick and his comrades need to plan a heist and save the celebrated civil rights leader at the same time. Meanwhile, back at the prison, a group of prisoners has escaped, including one White supremacist who would like nothing more than to settle a score with his Black prison guards. With the help of artists Oliveira and Dunbar—whose work evokes the bleak superhero comics of the 1980s—Walker spins a cinematic story that propels readers from panel to panel. “People in prison love to talk,” begins Kendrick in a nonchalant opening monologue right out of a Martin Scorsese movie. The words drift incongruously over scenes of inmates fighting and rioting: “There’s nothing more popular...given the other options....Just ask for an opinion...and cons will come running.” The book blends issues of race, civil rights, and prison reform in a way that is cogent while still providing an entertaining, guns-blazing crime story. The tale questions what sorts of behavior count as ethical while driving at a larger, societal morality embodied by the words of the very man whose assassination Kendrick is trying to prevent. Despite the darkness, the story manages to find its way to an ending of hopefulness—though not quite in the way readers will expect.
A gripping and well-crafted tale of prisoners and guards.Pub Date: Aug. 28, 2020
ISBN: 978-1-71914-473-5
Page Count: 153
Publisher: CreateSpace
Review Posted Online: Nov. 25, 2020
Kirkus Reviews Issue: Jan. 15, 2021
Review Program: Kirkus Indie
BOOK REVIEW
BOOK REVIEW
A grim, noir modernization of childhood classics that doesn’t quite hit the mark.
Joe Hardy investigates Nancy Drew’s death and the corruption within River Heights.
Joe, confronted by the apparently accidental death of his childhood friend and crush Nancy, believes she was murdered, and he begins tracking whomever is responsible, starting by retracing her obsessive investigation to destroy the Syndicate, an organized crime group. Nancy’s hometown of River Heights is struggling economically, with closed factories, high unemployment, and rampant crime and corruption. With his brother, Frank, focusing on college, Joe is left alone to follow up potential leads—including information from Nancy’s friends and family and the place where she was last seen—leading to shocking discoveries. While elements of family, love, trust, and grief will feel familiar to fans of the young detectives, themes of revenge and obsession fit the noir tone. The pages reimagining Nancy’s past are terse in composition and work well. Unfortunately, the story meanders from clue to clue with only sporadic scenes that hit the right emotional and dramatic notes. With a muted color palette, minimal linework, and simple backgrounds, the atmospheric art clashes with the overuse of narration from multiple characters who sound too similar to one another. Clunky panel flow and awkward action sequences detract from the sense of danger in otherwise dramatic scenes. The main cast is White; there is minor background diversity.
A grim, noir modernization of childhood classics that doesn’t quite hit the mark. (Graphic mystery. 12-16)Pub Date: March 30, 2021
ISBN: 978-1-5241-1914-0
Page Count: 132
Publisher: Dynamite Entertainment
Review Posted Online: Dec. 21, 2020
Kirkus Reviews Issue: Jan. 15, 2021
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