A young wolf strikes out on her own in this first installment of a graphic-novel series.

Meroz’s work opens with the line, “The Snowlands are a dangerous place for little creatures,” and at its story’s center is a young wolf cub named Feba, who’s unquestionably in danger herself. She’s orphaned soon after her birth and ostracized by most of her pack for her white fur, which wolves see as a bad omen. The harsh winter has resulted in a severe shortage of sheep in the area, which has left the pack hungry and desperate for a scapegoat. Despite appeals to reason from her late mother’s allies, Feba finds herself on the run, cast out of the only home she’s ever known; soon, she’s caught in a double-crossing lynx’s trap alongside a moody snow leopard called Usha and a comical wild cat named Batu (which is also the only word he ever utters). The trio narrowly escapes several harrowing incidents together, largely thanks to Feba’s courage. Despite the fact that Usha insists that “leopards are always alone,” she reluctantly allows Feba and Batu to tag along with her on her personal mission: to find the all-knowing and mysterious Seeress, who she hopes will help her to find her own lost cub. As the unlikely trio make their way through the wintry, mountainous terrain, they encounter bears, pandas, crocodiles, monkeys, and badgers, some of whom are more deadly than others. Meanwhile, Feba’s pack continues to face misfortune as a mysterious force kidnaps their cubs and endangers their best warriors. The two plotlines dovetail in a surprising final conflict in which Feba must prove her worth.

Meroz’s background as an animator shines through in this graphic novel’s page-turning action sequences, and artist Fogel and colorist Comodo use their considerable skills to turn desolate landscapes into rich, engrossing images. The numerous adversaries that the main trio of characters encounter are truly sinister, and they’re just the right amount of scary for middle-grade readers. That said, the youngest of those readers may be frightened by some of the work’s more intense and bloody imagery. As an outsider with outsized courage, Feba is a classic, lovable protagonist, and it’s easy to root for her from the start. In the end, though, it’s Usha, the snow leopard, who has the most moving character arc, as her quest to find her lost son becomes a bittersweet story of accepting the world’s natural order. In the second half of the book, Meroz introduces an element of mysticism and a surprising twist on the order of the food chain, but he may have bitten off more than these critters can chew over the course of a single story. His ideas are extremely clever, but their ingenuity gets a bit lost in the final act’s rush of reveals, incantations, and explained motivations. Still, Meroz successfully delivers intriguing characters and necessary worldbuilding for a series that promises to be as likable as its lead character.

Sumptuous visuals and intriguing ideas will leave readers hungry for more time in the Snowlands.

A comprehensive, expanded edition of a 2014 how-to guide for readers seeking careers in animation.

Meroz, the creator of the animation training website Bloop Animation, explains that his art form is more than just classic cartoons: “Animation is the art of creating life,” he writes, and that act of creation is more complicated than many would expect. He begins by challenging a commonly held notion: “I always assumed animators had to be amazing fine artists,” he writes. “But there was another way to make movies: 3D animation,” which uses very different skills. Meroz then leads readers through the basic principles of animated works and the different types of animation, from traditional, frame-by-frame cel animation to stop-motion and more. In the book’s second part, Meroz explores his own experiences creating a short film, including the complex process of preproduction and storyboarding, and defines such terms as animatics. Meroz makes it clear that he can’t effectively teach readers everything they need to know about 3-D modeling or cinematography in a single chapter, but he strives to succinctly explain the basic, essential processes involved. He delves into technical aspects, such as rigging and pre-visualization, and artistic considerations, such as choosing a genre and a catchy title. He even provides detailed recommendations on how to cast voice actors and how to create a good first press kit. The author concludes by showing how animators can potentially monetize their art and get freelance work.

The author’s perspective in this book, as a recent animation school graduate making his way in the industry, nicely lends itself to concrete and practical advice. He’s clearly thought through every tricky detail that might halt someone’s progress when making a first film. He clearly explains the pros and cons of using YouTube, for example, and clarifies his own “Restriction Method,” which involves setting constraints that can foster creativity. His personal, conversational tone makes much of the text feel like the advice of a good friend. For instance, for those who have no idea where to start with a project, he urges, “Do what I did. Pick the simplest environment and focus on the characters.” Meroz never shies away from the many difficulties that animators face, however, and he honestly notes the large amount of work that one must put in: “If you’re an artist, and you don’t continually work on your art because you’re not inspired, there’s a very simple term for you: amateur.” In the book’s later sections, though, he drifts from how-to into self-help, advising readers on how to deal with rejection, waiting on potential jobs, and even talking to loved ones who are less than supportive. These sections may not appeal to those looking for a more technical manual, but Meroz is clearly writing to a very specific audience: people traveling the same career path as he is. For them, he certainly has a lot to say about getting the most out of their chosen art form.

An impressively thorough and well-rounded tour of the animation game.