Though it’s well-stocked with context-building features, the tale’s flippant dialogue and inconsistent visual details sound...
This spare, graphic retelling of the myth features illustrations that underscore its pervasive sadness.
Not that the story’s tragic events sit heavily on this rendition. In Pommaux’s neoclassical-style drawings, slender, pale Orpheus looks so fetchingly ethereal it’s no wonder that when he plays for the ladies, one sighs: “He’s so dreamy.” Arbitrarily right-handed in some scenes and left-handed in others, he produces music—represented by odd airborne flurries of dots and hinky abstract symbols—from a lyre with a turtle-shell soundbox that likewise switches sides on occasion. When Eurydice, fending off a grabby wedding guest, is fatally bitten by a snake, Orpheus cuts a wrenchingly lonely figure as he makes his way to Hades’ eerie otherworldly realm in an almost successful effort to bring his love back to life. Later, after he is dismembered by incensed female groupies (“Get over her already”), his still-singing head and other parts (unillustrated, unfortunately) are gathered for burial by the Muses. In an apparent effort to keep it from competing with the art for attention, the text is printed in widely spaced blocks of microscopic type, with obtrusive asterisks that accompany the first iterations of every proper name throughout. Both a final spread of “character cards” and the index include explanatory annotations about the tale’s mortals, immortals, and locales.
Though it’s well-stocked with context-building features, the tale’s flippant dialogue and inconsistent visual details sound discordant notes. . (map, bibliography) (Graphic mythology. 10-13)Pub Date: June 2, 2015
ISBN: 978-1-935179-84-9
Page Count: 56
Publisher: TOON Books & Graphics
Review Posted Online: Feb. 15, 2015
Kirkus Reviews Issue: March 1, 2015
BOOK REVIEW
BOOK REVIEW
Kibuishi gives his epic tale a hefty nudge toward its long-building climax while giving readers plenty of reasons to stick...
Stonekeeper Emily frees the elves from their monstrous masked ruler and sets out to rejoin her brother and mother in the series’ penultimate episode.
The multistranded storyline picks up with Emily’s return to the world of Alledia. Now a fiery, destructive phoenix struggling to regain control of her actions, Emily goes on to follow her brother Navin and allies as they battle invading shadows on the nearby world of Typhon, then switches back to human form for a climactic confrontation with the Elf King—in the course of which Emily rips off his mask to a chorus of “ERGH!! NO!!! GRAH! RRGH!! AAAGH!” to expose a rousingly hideous face. Cute animal heads on many figures (the result of a curse) and a scene with benevolent-looking trees provide at least a bit of relief from the grim expressions that all the human and humanoid elven characters almost invariably wear. But along with emphatic sound effects, the battle and action scenes in the cleanly drawn, if sometimes cramped, panels feature huge blasts of fire or energy, intricately detailed giant robots, weirdly eyeless monsters, and wild escapades aplenty to keep the pace’s pedal to the metal. Aliens and AIs in the cast come in a variety of hues, elves are a uniform gray, and except for a brief encounter between Emily and a slightly darker lad, the (uncursed) humans default to white.
Kibuishi gives his epic tale a hefty nudge toward its long-building climax while giving readers plenty of reasons to stick around for it. (Graphic fantasy. 10-12)Pub Date: Sept. 25, 2018
ISBN: 978-0-545-85002-5
Page Count: 208
Publisher: Graphix/Scholastic
Review Posted Online: July 23, 2018
Kirkus Reviews Issue: Aug. 15, 2018
Stronger in character than plot but spooky in parts.
An old Colorado hotel with dark secrets and a brooding horror novelist as its caretaker make a properly atmospheric setting for a young filmmaker’s latest project.
Fresh from the cinematic escapades of Shark Summer (2021), teenage documentarian Elijah Jones arrives in Estes Park thinking he’s been invited to record a rare interview with famous recluse Jack Axworth—but he’s actually been summoned to make a biopic of the novelist, who has young-onset dementia. Once again, the footage Elijah ends up with tells more than the story he set out to make, as Axworth’s poignant reminiscences and increasingly erratic behavior become inextricably mixed with a portrait of a struggling town whose history and very survival center on the nearby Underlook Hotel, a closed-up resort haunted by tales of supernatural evil and slated for imminent demolition. Is there time to save it? The storyline struggles to advance through thickets of subplots and hints, but the Underlook’s deadline adds enough suspense to keep readers interested, and the hotel turns out to have hidden levels and treasures to be discovered when the action flags. Also, Marcks trots out such an engaging supporting cast, led by local teen engineering whiz Suzy Hess and including colorful characters like a ghost hunter with a truly creepy crow, that watching the ensemble in action is pleasurable enough. Finished art was not seen, but Elijah and another significant character present as Black in the otherwise White cast.
Stronger in character than plot but spooky in parts. (Graphic fiction. 10-13)Pub Date: Oct. 25, 2022
ISBN: 978-0-316-27806-5
Page Count: 304
Publisher: Little, Brown
Review Posted Online: Aug. 16, 2022
Kirkus Reviews Issue: Sept. 1, 2022
BOOK REVIEW
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