Deftly unorthodox and wickedly delectable; not so much a story as an experience.
In Pizzolo’s stellar graphic novel—the first three issues of his debut comic-book series—an orphan boy braves a desolate, post-apocalyptic land in search of a heart for his sister.
Tommy Stark and his 14-year-old comatose sister, Lucy, live in an orphanage in a world that’s barely survived a nuclear holy war. The markets for clean blood and fresh organs are thriving, and Dr. West is ready to give up on Lucy to harvest her organs for profit. Tommy hopes to save Lucy by finding her a new heart, but tracking a couple of organ thieves takes him to Outer City, a savage region where undesirables crave his exceptionally clean blood. Dr. Mulciber, who has the power of insight, sees something special in the boy and enlists prostitute Halfpipe to help save Tommy from the likes of Beezal, a vicious pimp. There’s a lot going on in Pizzolo’s wonderfully bizarre story, but its most distinctive feature is a barren, nearly dead world. The outside world is filled with decrepit, abandoned buildings, and even characters’ bodies are in disrepair, adorned in lacerations and stitches. The people, too, are lost souls: Tommy defies the reputedly civilized Republic in Silver City and swears an oath to the Burnt, an order he’s only read about in comic books (he took a hot iron to the face, the corresponding bandage serving as a constant reminder of his want for independence). The decidedly adult novel features a good amount of sex and violence, though never in a typical fashion. Characters tend to walk away from bloody assaults, and sex isn’t always for personal gratification: Angelfuck, an organ thief, claims her orgasms are weaponized, and sexual indulgence for Mulciber unlocks his extraordinary gift. Wieszczyk and Templesmith’s artwork is enchanting and a true visual companion to Pizzolo’s story. Characters are etched in chaotic scratches as if carved in stone, and pages are saturated in a rusty hue, like the soot and dirt corroding the atmosphere. The ending, of course, saves plenty for the second volume.
Deftly unorthodox and wickedly delectable; not so much a story as an experience.Pub Date: April 7, 2015
ISBN: 978-1628750546
Page Count: 128
Publisher: Black Mask Comics
Review Posted Online: Feb. 4, 2015
Kirkus Reviews Issue: March 1, 2015
Review Program: Kirkus Indie
BOOK REVIEW
A gorgeous symphony.
Illustrator McGuire (What’s Wrong With This Book, 1997, etc.) once again frames a fixed space across the millennia.
McGuire’s original treatment of the concept—published in 1989 in Raw magazine as six packed pages—here gives way to a graphic novel’s worth of two-page spreads, and the work soars in the enlarged space. Pages unspool like a player-piano roll, each spread filled by a particular time, while inset, ever shifting panels cut windows to other eras, everything effervescing with staggered, interrelated vignettes and arresting images. Researchers looking for Native American artifacts in 1986 pay a visit to the house that sprouts up in 1907, where a 1609 Native American couple flirtatiously recalls the legend of a local insatiable monster, while across the room, an attendee of a 1975 costume party shuffles in their direction, dressed as a bear with arms outstretched. A 1996 fire hose gushes into a 1934 floral bouquet, its shape echoed by a billowing sheet on the following page, in 2015. There’s a hint of Terrence Malick’s beautiful malevolence as panels of nature—a wolf in 1430 clenching its prey’s bloody haunch; the sun-dappled shallows of 2113’s new sea—haunt scenes of domesticity. McGuire also plays with the very concept of panels: a boy flaunts a toy drum in small panels of 1959 while a woman in 1973 sets up a projection screen (a panel in its own right) that ultimately displays the same drummer boy from a new angle; in 2050, a pair of old men play with a set of holographic panels arranged not unlike the pages of the book itself and find a gateway to the past. Later spreads flash with terrible and ancient supremacy, impending cataclysm, and distant, verdant renaissance, then slow to inevitable, irresistible conclusion. The muted colors and soft pencils further blur individual moments into a rich, eons-spanning whole.
A gorgeous symphony.Pub Date: Dec. 9, 2014
ISBN: 978-0-375-40650-8
Page Count: 320
Publisher: Pantheon
Review Posted Online: Oct. 14, 2014
Kirkus Reviews Issue: Nov. 1, 2014
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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