A well-done terrorist tale for those with a taste for in-your-face, rage-fueled, vicious carnage.
A radical underground group fights against tyranny in this graphic novel set in the near future.
After a wealthy white businessman is killed in a suicide bombing, his high school daughter, Sera Solomon, is framed as a terrorist; his son’s whereabouts are unknown. Sera is taken to a black site and tortured for information that she doesn’t have—but she’s no helpless victim, having spent a lifetime being physically and mentally toughened up (some would say abused) by her father. Scarred but unbroken from guard-run fight clubs, Sera escapes two years later. The story turns to Cesar, a young man on the run whose parents are illegal immigrants from Guatemala. He’s dedicated himself to the cause of animal liberation by any means necessary but often finds himself beaten, hungry, and naked. Baby, an intimidating black man, appears and muscles Cesar to Detroit, where Sera and her crew, an exotic bunch with big plans, have a secret base. Confused and appalled but low on options, Cesar agrees to join them, especially when he gets a chance to rescue animals from a factory farm. But the real mission turns out to be far bloodier, more shocking, and more complicated than that. Additional material includes Sera’s backstory, an interview with the author, and an image gallery of characters and alternative covers. Pizzolo (Calexit #2, 2018, etc.) delivers a high-octane mix of anger, violence, gore, sex, and rebellion, with a sprinkling of humor, snappy dialogue, and human connection. Cesar, for example, trying to hide out with clothes stolen from a trucker, is discovered and chased: “I’m literally the worst at going underground,” he moans. Ironic commentary is provided by Christopher Johanssen, an Alex Jones–like character whose Infocide online broadcast offers paranoia, his patented survival kit, and, sometimes, the truth. Nahuelpan’s (Calexit #2, 2018, etc.) illustrations depict action and characters boldly, with exciting cinematic scenes and wordless panels. But under the scar tissue and punk haircuts, Cesar, Sera, and her band possess perfect bodies (the women with large, gravity-defying breasts), which seem awfully conventional for terrorists and rebels.
A well-done terrorist tale for those with a taste for in-your-face, rage-fueled, vicious carnage.Pub Date: May 15, 2018
ISBN: 978-1-62875-209-0
Page Count: 224
Publisher: Black Mask Comics
Review Posted Online: May 14, 2018
Review Program: Kirkus Indie
BOOK REVIEW
An original project worth watching as it shapes up to something that may be quite magnificent.
This black-and-white historical narrative, written and illustrated by Lutes, collects eight volumes of his ongoing comic book set in Berlin during the late ’20s. It’s a multilayered tale of love and politics at the beginning of the Nazi era, as Lutes follows the stories of three characters: a 20ish art student from the provinces, a textile worker, and a young Jewish radical. Their lives intersect in only the subtlest way—Lutes depicts them crossing paths at some great public events, such as the Mayday march that closes this part of his book. And Lutes plays with perspective in a visual sense as well, jumping from point-of-view frames to overhead angles, including one from a dirigible flying above in honor of the Kaiser. At street level, Lutes integrates his historical research smoothly, and cleverly evokes the sounds and smells of a city alive with public debate and private turmoil. The competing political factions include communists, socialists, democrats, nationalists, and fascists, and all of Lutes’s characters get swept up by events. Marthe, the beautiful art student, settles in with Kurt, the cynical and detached journalist; Gudrun, the factory worker, loses her job, and her nasty husband (to the Nazi party), then joins a communist cooperative with her young daughters; Schwartz, a teenager enamored with the memory of Rosa Luxembourg, balances his incipient politics with his religion at home and his passion for Houdini. The lesser figures seem fully realized as well, from the despotic art instructor to the reluctant street policeman. Cosmopolitan Berlin on the brink of disaster: Lutes captures the time and place with a historian’s precision and a cinematographer’s skill. His shifts from close-ups to fades work perfectly in his thin-line style, a crossbreed of dense-scene European comics and more simple comics styles on this side of the Atlantic.
An original project worth watching as it shapes up to something that may be quite magnificent.Pub Date: June 1, 2001
ISBN: 1-896597-29-7
Page Count: 212
Publisher: Drawn & Quarterly
Review Posted Online: June 24, 2010
Kirkus Reviews Issue: May 1, 2001
BOOK REVIEW
A not-very-illuminating updating of Chaucer’s Tales.
Continuing his apparent mission to refract the whole of English culture and history through his personal lens, Ackroyd (Thames: The Biography, 2008, etc.) offers an all-prose rendering of Chaucer’s mixed-media masterpiece.
While Burton Raffel’s modern English version of The Canterbury Tales (2008) was unabridged, Ackroyd omits both “The Tale of Melibee” and “The Parson’s Tale” on the undoubtedly correct assumption that these “standard narratives of pious exposition” hold little interest for contemporary readers. Dialing down the piety, the author dials up the raunch, freely tossing about the F-bomb and Anglo-Saxon words for various body parts that Chaucer prudently described in Latin. Since “The Wife of Bath’s Tale” and “The Miller’s Tale,” for example, are both decidedly earthy in Middle English, the interpolated obscenities seem unnecessary as well as jarringly anachronistic. And it’s anyone’s guess why Ackroyd feels obliged redundantly to include the original titles (“Here bigynneth the Squieres Tales,” etc.) directly underneath the new ones (“The Squires Tale,” etc.); these one-line blasts of antique spelling and diction remind us what we’re missing without adding anything in the way of comprehension. The author’s other peculiar choice is to occasionally interject first-person comments by the narrator where none exist in the original, such as, “He asked me about myself then—where I had come from, where I had been—but I quickly turned the conversation to another course.” There seems to be no reason for these arbitrary elaborations, which muffle the impact of those rare times in the original when Chaucer directly addresses the reader. Such quibbles would perhaps be unfair if Ackroyd were retelling some obscure gem of Old English, but they loom larger with Chaucer because there are many modern versions of The Canterbury Tales. Raffel’s rendering captured a lot more of the poetry, while doing as good a job as Ackroyd with the vigorous prose.
A not-very-illuminating updating of Chaucer’s Tales.Pub Date: Nov. 16, 2009
ISBN: 978-0-670-02122-2
Page Count: 436
Publisher: Viking
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Sept. 1, 2009
PERSPECTIVES
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