Deftly unorthodox and wickedly delectable; not so much a story as an experience.
In Pizzolo’s stellar graphic novel—the first three issues of his debut comic-book series—an orphan boy braves a desolate, post-apocalyptic land in search of a heart for his sister.
Tommy Stark and his 14-year-old comatose sister, Lucy, live in an orphanage in a world that’s barely survived a nuclear holy war. The markets for clean blood and fresh organs are thriving, and Dr. West is ready to give up on Lucy to harvest her organs for profit. Tommy hopes to save Lucy by finding her a new heart, but tracking a couple of organ thieves takes him to Outer City, a savage region where undesirables crave his exceptionally clean blood. Dr. Mulciber, who has the power of insight, sees something special in the boy and enlists prostitute Halfpipe to help save Tommy from the likes of Beezal, a vicious pimp. There’s a lot going on in Pizzolo’s wonderfully bizarre story, but its most distinctive feature is a barren, nearly dead world. The outside world is filled with decrepit, abandoned buildings, and even characters’ bodies are in disrepair, adorned in lacerations and stitches. The people, too, are lost souls: Tommy defies the reputedly civilized Republic in Silver City and swears an oath to the Burnt, an order he’s only read about in comic books (he took a hot iron to the face, the corresponding bandage serving as a constant reminder of his want for independence). The decidedly adult novel features a good amount of sex and violence, though never in a typical fashion. Characters tend to walk away from bloody assaults, and sex isn’t always for personal gratification: Angelfuck, an organ thief, claims her orgasms are weaponized, and sexual indulgence for Mulciber unlocks his extraordinary gift. Wieszczyk and Templesmith’s artwork is enchanting and a true visual companion to Pizzolo’s story. Characters are etched in chaotic scratches as if carved in stone, and pages are saturated in a rusty hue, like the soot and dirt corroding the atmosphere. The ending, of course, saves plenty for the second volume.
Deftly unorthodox and wickedly delectable; not so much a story as an experience.Pub Date: April 7, 2015
ISBN: 978-1628750546
Page Count: 128
Publisher: Black Mask Comics
Review Posted Online: Feb. 4, 2015
Kirkus Reviews Issue: March 1, 2015
Review Program: Kirkus Indie
BOOK REVIEW
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
BOOK REVIEW
BOOK REVIEW
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