by Nir Strulovitz ‧ RELEASE DATE: N/A
Enjoyable lessons on intricate concepts, although the presentation could have used more polish.
Strulovitz’s graphic novel offers scientific explanations and analyses in a virtual-reality adventure.
As the story opens, an Israeli teenager named Dreamy, who begins this five-chapter volume as a high schooler, hops into virtual reality where he’s known as Vision-Man. He connects online with his Siberian friend, Tigress, who’s worried about the clathrate gun hypothesis in which methane, as a greenhouse gas, will accumulate in ice, because it will eventually melt and release gaseous methane all at once. Dreamy, however, as the leader of Highschoolers Organization Protecting Earthlings, dreams up an invention: He suggests employing lightweight aluminum balloons to bounce the sun’s rays away from Earth—a more practical solution than a “space mirror.” Dreamy also has VR conversations with others, including a young Ethiopian desertification expert who calls herself Coffee-Bean, and a cosmology expert known as Californian Redwood. He has ideas for inventions to combat a variety of global troubles, including one that uses reverse osmosis to make salty ocean water fresh in places where the current desalination process doesn’t adequately clear the country’s water of salt and minerals. In other instances, Dreamy merely offers an alternative way of viewing a scientific principle. For example, Californian Redwood isn’t content with scientists using hypothetical concepts of dark matter and dark energy to explain unknowns, such as the universe’s expansion. Dreamy notes that the speed of time in Earth’s solar system isn’t “the ‘golden’ standard for the whole universe,” and asserts that galaxies farther away only appear to be moving faster due to their distances; so, according to Dreamy, the universe isn’t expanding at an accelerated rate.
The author delivers an entertaining debut that makes its scientific explanations easy to understand. Dreamy, for instance, uses simple objects as references; his desalination machine looks like an upside-down cup in a bathtub, and time discrepancies in assorted galaxies seem akin to a video running at different speeds. Each chapter opens with a too-short bit that zeroes in on Dreamy’s life outside virtual reality, in which he misses an important exam or inadvertently throws away plane tickets to a “romantic vacation” with his “love,” Carmiti. Most of the novel consists of Dreamy and his online pals in serious discourse, but there’s occasional humorous banter. In a standout moment, two female characters scoff at Dreamy’s “ ‘don’t worry baby’ machismo.” Each of the five chapters comes with a second version in which much of the artwork changes, but the text and certain diagrams are identical. The illustrations, which appear to have been created with an artificial-intelligence program, feature a manga style at first, and in each ensuing version, are more realistic. However, many of the pages have a lot of wasted empty space, even with enormous word balloons taking up significant room. Strulovitz adds accommodating diagrams and credited photos from various sources, as well as numerous website links, most notably to YouTube videos in which the author offers lectures on a particular chapter’s topic.
Enjoyable lessons on intricate concepts, although the presentation could have used more polish.Pub Date: N/A
ISBN: N/A
Page Count: -
Publisher: N/A
Review Posted Online: Sept. 14, 2023
Review Program: Kirkus Indie
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by Kieron Gillen ; illustrated by Stephanie Hans ‧ RELEASE DATE: Nov. 12, 2024
Lush visuals bring this thoughtfully constructed tale to life.
Wondrous visitors encounter a desperate pocket of humanity.
Lori, a white orphaned teen who’s finally been adopted after bouncing around various foster homes, awakens to discover that nearly everyone has disappeared. The rapture? Maybe. She runs into her classmate Annette, who has brown skin and curly black hair, and they partner up to scavenge for food. The pair tries to evade several threats, such as the large Wolves and a gang called The Dogs. Supernatural Giants arrive, seemingly from space, speaking an impenetrable language of “musical chiming and weird bass-rhythms.” Lori and Annette then meet Beatrice, an older white woman who shares important observations about the Giants and Wolves. The tone of the story then subtly shifts from post-apocalyptic desperation to one that’s somewhat playful. After a certain point, a visual element that appears early on takes on clear significance and meaning in the context of the story at large, offering a subversively humorous twist for readers to consider and a creative element that deviates from other alien invasion narratives. Hans’ artwork and paneling fill each scene with wonders. An interaction with a giant sees the red, violet, and pink figure standing against a bright, otherworldly white-and-blue backdrop with dark contours. Elsewhere, Lori and Annette pause at night as they behold ominous shadows, their foggy breath forming clouds, and they hear a “KRRNCH” sound. The quick-moving plot wraps everything up neatly.
Lush visuals bring this thoughtfully constructed tale to life. (character designs) (Graphic science fiction. 14-adult)Pub Date: Nov. 12, 2024
ISBN: 9781534387072
Page Count: 104
Publisher: Image Comics
Review Posted Online: Aug. 17, 2024
Kirkus Reviews Issue: Sept. 15, 2024
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by Richard McGuire ; illustrated by Richard McGuire ‧ RELEASE DATE: Dec. 9, 2014
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
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