A visceral and neatly executed graphic parable of war’s dehumanizing power.
In Freeman and Romesburg’s graphic novel, a soldier encounters a strange cult on the front lines of World War I.
In this graphic novel, a moldering old diary tells an astonishing story: A young man named Barrow (a thin, innocent waif) is sent to the front lines of the British troops in southern France while fighting in WWI, told by his commanding officer that he’ll be serving in an unusual regiment nicknamed the Hounds because of the long snouts of their omnipresent gas masks. With the Hounds, Pvt. Barrow journeys to a ruined house in the shattered countryside where, to his horror, he finds that his new comrades are far darker than they seem: They’re keeping a group of brutalized German prisoners in the house, and worse is to come—when they release these prisoners, the Hounds devolve into semi-human monsters to hunt and consume the fleeing men. “Before my arrival, I feared the change the trench would force upon me,” Barrow reflects; “I had forgotten that the trenches were dug by the hands of men.” Pvt. Barrow and the Hounds embark on a collision course that will see the young soldier descend to the farthest depths of tragedy that the war has to offer. “I’ve always believed people can turn,” Pvt. Barrow writes in his journal, “from good to bad, then back again. But this … this feels different.” This stark, unsettling story is told by Freeman and Romesburg with confidently effective understatement—they seem well aware that excess verbiage is the enemy of mood. And that mood is greatly enhanced by Vásquez’s vivid, jittery, full-color artwork, full of scratchy line-work that underscores the gruesome horrors that Pvt. Barrow both witnesses and perpetrates; as he’s told when he’s a boy, “In this life, we will hurt those that don’t deserve it.”
A visceral and neatly executed graphic parable of war’s dehumanizing power.Pub Date: Feb. 20, 2024
ISBN: 9781952303784
Page Count: 96
Publisher: Mad Cave Studios
Review Posted Online: Jan. 3, 2024
Review Program: Kirkus Indie
PERSPECTIVES
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced...
A pairing of the text of the Scottish Play with a filmed performance, designed with the Shakespeare novice in mind.
The left side of the screen of this enhanced e-book contains a full version of Macbeth, while the right side includes a performance of the dialogue shown (approximately 20 lines’ worth per page). This granular focus allows newcomers to experience the nuances of the play, which is rich in irony, hidden intentions and sudden shifts in emotional temperature. The set and costuming are deliberately simple: The background is white, and Macbeth’s “armor” is a leather jacket. But nobody’s dumbing down their performances. Francesca Faridany is particularly good as a tightly coiled Lady Macbeth; Raphael Nash-Thompson gives his roles as the drunken porter and a witch a garrulousness that carries an entertainingly sinister edge. The presentation is not without its hiccups. Matching the video on the right with the text on the left means routinely cutting off dramatic moments; at one point, users have to swipe to see and read the second half of a scene’s closing couplet—presumably an easy fix. A “tap to translate” button on each page puts the text into plain English, but the pop-up text covers up Shakespeare’s original, denying any attempts at comparison; moreover, the translation mainly redefines more obscure words, suggesting that smaller pop-ups for individual terms might be more meaningful.
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced e-book makes the play appealing and graspable to students . (Enhanced e-book. 12 & up)Pub Date: Sept. 9, 2013
ISBN: N/A
Page Count: -
Publisher: The New Book Press LLC
Review Posted Online: Nov. 6, 2013
Kirkus Reviews Issue: Dec. 1, 2013
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
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