Not just a tie-in, this throwback builds on the weirdness of its era and offers something more.
Segura brings the “lost” comic book described in his novel Secret Identity(2022) to four-color life with illustrator Jarrell in this 1970s super-hero throwback graphic novel.
In this work, the Legendary Lynx (aka Claudia Calla) is allowed to operate free from her metafictional origins as a character from the mid-1970s stolen from newbie writer Carmen Valdez (neither the character nor the creator ever existed in real life), prowling the shadowed streets of Triumph City clad in a domino mask and cheetah-print bell-bottoms, “sleek, dangerous, and eager to take out Triumph City’s trash.” Trained as an acrobatic, claw-wielding vigilante by the ghost of a prolific cat burglar to avenge her murdered sister, Claudia becomes a hero who both protects and supports women. Lynx stands apart from other characters of the time due to an absence of the racial or gender stereotypes common to the era. This approach makes her noteworthy even today as the narrative inverts tropes, provides queer subtext, and positions the supposedly “mild-mannered” Claudia as the only hope for intrepid reporter Simon Upton, who is stalked by the vampiric Mr. Void and his translucent skeletal army of Voidoids. Jarrell’s dynamic pencils bring the action on faux-faded, yellowed pages, drawing loving inspiration from Sal Buscema’s work on Steve Englehart’s Secret Empire and giving the book a “dated” look that cleverly helps to frame the story as ahead of its time. Comic-book Easter eggs abound, including The Apparition’s Dr. Manhattan-esque word balloons, a muscular medieval villain straight out of Jack Kirby’s Fourth World, and locations referencing creators like Duffy Vohland. These references are a blast and not just a gimmick; a tongue-in-cheek framing device that pulls in comics legend J.M. DeMatteis and Comic Book Resources reporter Brian Cronin also offers frank commentary and a short but thorough history of the comics industry. The end result is a companion piece to a celebrated novel (and its sequel, Alter Ego) that doesn’t just dither in meta-commentary—it’s actually a fun super-hero period piece that stands on its own.
Not just a tie-in, this throwback builds on the weirdness of its era and offers something more.Pub Date: Nov. 12, 2024
ISBN: 9781545814000
Page Count: 112
Publisher: Mad Cave Studios
Review Posted Online: Oct. 1, 2024
Kirkus Reviews Issue: tomorrow
Review Program: Kirkus Indie
A clever and timely conversation on reclaiming identity and acknowledging one’s full worth.
Superman confronts racism and learns to accept himself with the help of new friends.
In this graphic-novel adaptation of the 1940s storyline entitled “The Clan of the Fiery Cross” from The Adventures of Superman radio show, readers are reintroduced to the hero who regularly saves the day but is unsure of himself and his origins. The story also focuses on Roberta Lee, a young Chinese girl. She and her family have just moved from Chinatown to Metropolis proper, and mixed feelings abound. Jimmy Olsen, Lois Lane’s colleague from the Daily Planet, takes a larger role here, befriending his new neighbors, the Lees. An altercation following racial slurs directed at Roberta’s brother after he joins the local baseball team escalates into an act of terrorism by the Klan of the Fiery Kross. What starts off as a run-of-the-mill superhero story then becomes a nuanced and personal exploration of the immigrant experience and blatant and internalized racism. Other main characters are White, but Black police inspector William Henderson fights his own battles against prejudice. Clean lines, less-saturated coloring, and character designs reminiscent of vintage comics help set the tone of this period piece while the varied panel cuts and action scenes give it a more modern sensibility. Cantonese dialogue is indicated through red speech bubbles; alien speech is in green.
A clever and timely conversation on reclaiming identity and acknowledging one’s full worth. (author’s note, bibliography) (Graphic fiction. 13-adult)Pub Date: May 12, 2020
ISBN: 978-1-77950-421-0
Page Count: 240
Publisher: DC
Review Posted Online: Feb. 29, 2020
Kirkus Reviews Issue: March 15, 2020
BOOK REVIEW
BOOK REVIEW
BOOK REVIEW
A sweet bedtime story.
A boy and his stuffed bear head into the woods.
Having captured readers’ attention with Born a Crime (2016), his bestselling memoir of growing up in South Africa, comedian and television host Noah has written a parable about decision-making. As he puts it in a brief prologue, “It’s about disagreements and difference—but it’s also about how we bridge those gaps and find what matters most, whether we’re parents or kids, neighbors, gnomes, or political adversaries. It’s a picture book, but it’s not a children’s book. Rather, it is a book for kids to share with parents and for parents to share with kids.” With plentiful illustrations by Hahn and in language aimed at young listeners, it tells the story of a small boy so impatient to start his Saturday adventures that he rebels against the rules of his household and heads out without brushing his teeth or making his bed, despite the reminders of his stuffed bear, Walter. “We can’t just run away,” protests the bear. “Your mother will miss you. And where will we sleep? And who will make us waffles?” “We’ll build our own house,” the boy responds. “And we’ll grow our own waffles!” From there, the pair go on their walkabout, encountering a garden gnome, a pair of snails, and a gang of animated coins who have lessons to offer about making choices. Though the author suggests in the introduction that adult readers might enjoy the book on their own, those looking for a follow-up to the memoir or a foray into adult fiction should be warned that this is not that book.
A sweet bedtime story.Pub Date: Oct. 8, 2024
ISBN: 9780593729960
Page Count: 128
Publisher: One World/Random House
Review Posted Online: July 4, 2024
Kirkus Reviews Issue: Aug. 1, 2024
BOOK REVIEW
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