Brings little that’s new to the world of literary vampires, but its unconventionality should leave readers with fanged...
Grayson’s debut comedy trails a relatively young vampire helping his high school crush—the woman who turned him—stop a powerful old vampire with plans for world domination.
When Josh Blackthorn’s vampire sponsor leaves on business, the two-year vamp’s replacement is Becky, who gave Josh his first bite at their high school reunion. Becky requested the gig to ask Josh to join in her fight against her evil stepfather, Günter Van Helsing. The bloodsucker may have killed Becky’s father, and he also seems to have hypnotized her mother into marriage—practicing the same mind control he’s plotting to use against the world. Are the fledgling vamps a match against a vampire more than a century old? A number of vampire novels have a tendency to list guidelines for the undead, particularly when one is the narrator, but Grayson’s story thankfully avoids this. He allows the specifics of vampire life to unfold gradually (Josh quells the garlic myth with a quick joke about using it as a spice), without interrupting the main plot of stopping Van Helsing and rescuing Becky’s mom. The majority of vampire attributes cover familiar terrain: Senses are heightened, stakes kill and sunlight is tolerable with enough sunscreen. Grayson adds a few atypical touches—vamps reflect in mirrors and werewolf-killing silver bullets prove lethal to vampires. Josh and Becky’s romance isn’t fully fleshed out, relegated mostly to Josh’s jealousy over the presumed closeness between Becky and his human pal Steve. But Josh and Becky’s scenes together are pure regalement, especially when they spend the book’s second act practicing hypnosis and psychokinesis to combat Van Helsing’s powers, leading to their donning aluminum-foil hats to block the old vamp’s mind reading and caps to cover the foil so they aren’t seen as conspiracy nuts. The final act involves a somewhat typical attempt to infiltrate the villain’s HQ, but Grayson retains a good amount of humor throughout and incorporates subtle wordplay: “Vampires are suckers for the gothic look.”
Brings little that’s new to the world of literary vampires, but its unconventionality should leave readers with fanged smiles.Pub Date: June 4, 2013
ISBN: 978-1480179066
Page Count: 376
Publisher: CreateSpace
Review Posted Online: Aug. 20, 2013
Review Program: Kirkus Indie
Gorgeous and troubling.
Cartoonist Kuper (Kafkaesque, 2018, etc.) delivers a graphic-novel adaptation of Joseph Conrad’s literary classic exploring the horror at the center of colonial exploitation.
As a group of sailors floats on the River Thames in 1899, a particularly adventurous member notes that England was once “one of the dark places of the earth,” referring to the land before the arrival of the Romans. This well-connected vagabond then regales his friends with his boyhood obsession with the blank places on maps, which eventually led him to captain a steamboat up a great African river under the employ of a corporate empire dedicated to ripping the riches from foreign land. Marlow’s trip to what was known as the Dark Continent exposes him to the frustrations of bureaucracy, the inhumanity employed by Europeans on the local population, and the insanity plaguing those committed to turning a profit. In his introduction, Kuper outlines his approach to the original book, which featured extensive use of the n-word and worked from a general worldview that European males are the forgers of civilization (even if they suffered a “soul [that] had gone mad” for their efforts), explaining that “by choosing a different point of view to illustrate, otherwise faceless and undefined characters were brought to the fore without altering Conrad’s text.” There is a moment when a scene of indiscriminate shelling reveals the Africans fleeing, and there are some places where the positioning of the Africans within the panel gives them more prominence, but without new text added to fully frame the local people, it’s hard to feel that they have reached equal footing. Still, Kuper’s work admirably deletes the most offensive of Conrad’s language while presenting graphically the struggle of the native population in the face of foreign exploitation. Kuper is a master cartoonist, and his pages and panels are a feast for the eyes.
Gorgeous and troubling.Pub Date: Nov. 5, 2019
ISBN: 978-0-393-63564-5
Page Count: 160
Publisher: Norton
Review Posted Online: Aug. 18, 2019
Kirkus Reviews Issue: Sept. 1, 2019
Chwast and Twain are a match made in heaven.
Design veteran Chwast delivers another streamlined, graphic adaptation of classic literature, this time Mark Twain’s caustic, inventive satire of feudal England.
Chwast (Tall City, Wide Country, 2013, etc.) has made hay anachronistically adapting classic texts, whether adding motorcycles to The Canterbury Tales (2011) or rocket ships to The Odyssey (2012), so Twain’s tale of a modern-day (well, 19th-century) engineer dominating medieval times via technology—besting Merlin with blasting powder—is a fastball down the center. (The source material already had knights riding bicycles!) In Chwast’s rendering, bespectacled hero Hank Morgan looks irresistible, plated in armor everywhere except from his bow tie to the top of his bowler hat, sword cocked behind head and pipe clenched in square jaw. Inexplicably sent to sixth-century England by a crowbar to the head, Morgan quickly ascends nothing less than the court of Camelot, initially by drawing on an uncanny knowledge of historical eclipses to present himself as a powerful magician. Knowing the exact date of a celestial event from more than a millennium ago is a stretch, but the charm of Chwast’s minimalistic adaption is that there are soon much better things to dwell on, such as the going views on the church, politics and society, expressed as a chart of literal back-stabbing and including a note that while the upper class may murder without consequence, it’s kill and be killed for commoners and slaves. Morgan uses his new station as “The Boss” to better the primitive populous via telegraph lines, newspapers and steamboats, but it’s the deplorably savage civility of the status quo that he can’t overcome, even with land mines, Gatling guns and an electric fence. The subject of class manipulation—and the power of passion over reason—is achingly relevant, and Chwast’s simple, expressive illustrations resonate with a childlike earnestness, while his brief, pointed annotations add a sly acerbity. His playful mixing of perspectives within single panels gives the work an aesthetic somewhere between medieval tapestry and Colorforms.
Chwast and Twain are a match made in heaven.Pub Date: Feb. 18, 2014
ISBN: 978-1-60819-961-7
Page Count: 144
Publisher: Bloomsbury
Review Posted Online: Nov. 2, 2013
Kirkus Reviews Issue: Nov. 15, 2013
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