An entertaining suspenser with slyly funny writing, captivating visuals, and a cool, spunky hero.
A woman solves crimes via psychic visions of strings connecting murderers to their victims in Tobin’s fizzy graphic novel.
The story unfolds in an unusually grungy Seattle beset by so many killings by gangs and street crazies that the police turn to clairvoyants for help. Stepping up is Yoon-Sook Namgung, a 20-something woman resplendent in long pink hair and heels who has somehow been able to see black strings coiling between the bodies of murder victims and their killers ever since her own parents were assassinated. (She also sees blue strings linking people who have had sex with each other, which furnishes many awkward revelations and blackmail opportunities.) Yoon-Sook teams up with Detective Lucas Mayfield, who takes her to the cold case morgue; there, she sees a black string trailing into the distance. It leads them to a lunatic who hurls a French bulldog at Yoon-Sook and then blows himself up with a dynamite vest. Repairing to her apartment with the orphaned bulldog, Yoon-Sook sees a black string attached to herself, suggesting that she is soon to be murdered—or commit murder herself. Yoon-Sook and Lucas start sleuthing, assisted by Litty Mondo, a porn star who hires Yoon-Sook to find out who murdered her dog. Tobin populates this straightforward paranormal private-eye yarn with lots of quirky characters, gonzo scenes with comic-book sound effects (“THAKK…unhh!” is the sound of a porn star slugging her sleazy manager with a potted plant), and hilariously off-the-wall dialogue. (“The toilet didn’t work. Sager just liked sitting on toilets. They calmed him down.”) Illustrator Olivares and colorist Colella create a slightly noirish but richly colored world with lurid highlights, muscular megaliths, and goggle-eyed banshees with gaping, sharklike maws. The result is a page-turner with plenty of hang-dog wit and pictorial pizzazz.
An entertaining suspenser with slyly funny writing, captivating visuals, and a cool, spunky hero.Pub Date: May 20, 2025
ISBN: 9781960578839
Page Count: 120
Publisher: Mad Cave Studios
Review Posted Online: March 19, 2025
Kirkus Reviews Issue: May 1, 2025
Review Program: Kirkus Indie
Immensely enjoyable.
The debut graphic novel from Mohamed presents a modern Egypt full of magical realism where wishes have been industrialized and heavily regulated.
The story opens with a televised public service announcement from the General Committee of Wish Supervision and Licensing about the dangers of “third-class wishes”—wishes that come in soda cans and tend to backfire on wishers who aren’t specific enough (like a wish to lose weight resulting in limbs falling from the wisher’s body). Thus begins a brilliant play among magic, the mundane, and bureaucracy that centers around a newsstand kiosk where a devout Muslim is trying to unload the three “first-class wishes” (contained in elegant glass bottles and properly licensed by the government) that have come into his possession, since he believes his religion forbids him to use them. As he gradually unloads the first-class wishes on a poor, regretful widow (who then runs afoul of authorities determined to manipulate her out of her valuable commodity) and a university student who seeks a possibly magical solution to their mental health crisis (but struggles with whether a wish to always be happy might have unintended consequences), interstitials give infographic histories of wishes, showing how the Western wish-industrial complex has exploited the countries where wishes are mined (largely in the Middle East). The book is exceptionally imaginative while also being wonderfully grounded in touching human relationships, existential quandaries, and familiar geopolitical and socio-economic dynamics. Mohamed’s art balances perfectly between cartoon and realism, powerfully conveying emotions, and her strong, clean lines gorgeously depict everything from an anguished face to an ornate bottle. Charts and graphs nicely break up the reading experience while also concisely building this larger world of everyday wishes. Mohamed has a great sense of humor, which comes out in footnotes and casual asides throughout.
Immensely enjoyable.Pub Date: Jan. 10, 2023
ISBN: 978-1-524-74841-8
Page Count: 528
Publisher: Pantheon
Review Posted Online: Oct. 26, 2022
Kirkus Reviews Issue: Nov. 15, 2022
PERSPECTIVES
PERSPECTIVES
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
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