Petey & Pussy

Petey & Pussy
Genre: Graphic Novel

Written and Illustrated by John Kerschbaum


Publisher: Fantagraphics

Release Date: October 29th 2008





     Petey & Pussy is the story of a dog and cat with human heads, and the adventures and misadventures they find themselves in.  With a slew of other animal characters and very few humans, these two balding anthropomorphics occupy the bulk of the story.  This is not actually a good thing, though.

     I did not enjoy this book.  ANY of this book.  It seemed, as I read it, that it had absolutely nothing to recommend it whatsoever.  I only finished it because it was short, and I was tenacious, determined to find some humor in it.  Unfortunately for me, I failed miserably in that task.

     The story is unimaginative and boring.  There are many small asides to it, but the straightforward plot is this.  Petey is a gross and mannerless stray dog, who is friends with Pussy, a cat who wars glasses.  And once again, yes, they have HUMAN heads.  The bulk of the story surrounds trying to retrieve Pussy's glasses when they fall down a storm drain.  there's also a suicidal parrot, Bernie, who wants nothing more than for Pussy to kill him.  There is a mouse that Pussy repeatedly tells how badly he wants to kill.  Most disturbingly, there is a nasty old woman (Pussy's owner) who apparently suffers from dementia and likes to put things up her cat's namesake.  Yep.

     The writing is equally boring.  I think the extent of Kerschbaum's "idea" was to swear a lot and try to be as grotesque as possible, presumably to shock his readers into laughing.  I'm not easily offended, not by any stretch of the imagination.  I am relatively certain, however, that I did not actually laugh once.

     The art is equally sophomoric.  Unique though his style may be, being unique is NOT the same thing as being good.I'm sure there are people out there who greatly revere his artistic "talents" but I'm sorry, I'm simply not one of them.  Also, what he lacked in quality and creativity, he certainly didn't make up for in variety.  Pages go by with nearly identical panels and nothing else.  At one point, I think I stopped looking at the art altogether.  His work seems better suited to the "daily newspaper strip" format than to full length comics, because that is about all I can stomach of it.

     I have tried to find positive things to say about the book.  Oh, have I tried.  Sadly, I just can't.  As I said before, it truly had no redeeming qualities for me.  Not one.  If you have read this and disagree, by all means, leave a comment with your take on it.  Maybe you can help me see it in a more appreciative light.  For now, though, I suppose there is ONE good thing I can say for it:

     At least it's short.

Story: 1 out of 5
Art: 1 out of 5 (at least it's not stick figures)
Overall Rating: 1 out of 5

Marvel Zombies: Volume 1

Marvel Zombies: Volume 1
Genre: Graphic Novel
Writer: Robert Kirkman
Artist: Sean Phillips
Release Date: September 6th 2006










     Sometimes, a person working in a certain field will come up with something so original, so far above what others have attempted, that their names become forever linked with that genre.  Zombies in popular culture are a great example of this.  You can't have a conversation about zombie films without discussing George Romero.  Likewise, Max Brooks has set such a standard with his books (The Zombie Survival Guide and World War Z), that anyone else is simply playing catch-up.

     Like these two greats, the comics industry has its own heavy hitter when it comes to the living dead; Robert Kirkman.  Fans will know his work from the amazing horror series The Walking Dead, but far more people will recognize him from another series he has helmed.  Marvel Zombies.

     Set in an alternate reality (a convenient plot device the industry as a whole makes liberal use of) we start the first of these five collected issues in Manhattan, the epicenter of superhuman activity.  We are dropped directly into the middle of the action.  The city is one giant disaster area, and Magneto, the only survivor in sight, is attempting to fight off a horde of zombified meta-humas.

     All the fan favorites are in the fray.  Wolverine, Spider-Man, Captain America, The Incredible Hulk, and so on.  Earth's mightiest heroes have become devourers, tearing apart everything and everyone they see in their unending hunger.

     What is different about these zombies from most representations is that, unlike their mindless, animalistic counterparts, these still have a part of who they were.  Whether they embrace their new state or mourn it, the "heroes" know full well what they are doing.  It is only as their hunger takes over that they really begin to lose control of themselves.

     What I find startling and very interesting in Kirkman's interpretation is just how quickly the bulk of these characters take to their new lot.  Most of them seem to become not only willing monsters, but are often thrilled to find their next meal.  In fact, the horrendous acts they commit while in control of their faculties are often worse than those done because of the hunger.  Also interesting is how much this mental transformation is left unexplained.  We don't know what of their new behavior is the cause of the virus, or was perhaps hiding below the surface in each of them, waiting to come out.

     Reading the book, one might begin to wonder why there are no zombified "normals".  Does the virus only target meta-humans?  Does exposure kill those without extraordinary gifts?  The answer is as simple as it is grotesque.  Any normal human facing exposure is also facing a horde of hungry supers.  Once they are done fighting for the scraps, there is simply nothing left.

     Through these first five issues, the books does a great job of exploring not only the toll this outbreak has taken on the few pockets of survivors, but also the changes to the lives of the former heroes.  I think it is a nice choice to make the "zombies" cognizant of what is happening.  It is an interesting change in perspective to have the story told from the point of view of the zombies, something that has been impossible in the bulk of zombie-lit.  Whether the character's response is revelry or regret, the dynamics between them make the book a fascinating read.  Once a powerful, intergalactic force makes an appearance, thing really start getting interesting.

     The art has all the gore and violence you would expect and hope for in a piece like this.  From the scenes of dismemberment and devouring, to the zombies themselves, who experience a wide spectrum of bodily destruction and decay, these monstrous versions of our childhood heroes are simultaneously repellent and fascinating.  That is what impressed me most about the illustrations.  The variety of characters tackled in the story, and how well the "zombification" translates for each of them.

     The coloring is, likewise, very appropriate.  With a lot of shadows and dark coloring, the reader is given the sense that not only is the sun gone, but that it is never coming back.  The horror being presented makes even the idea of a surcease impossible, setting and maintaining a great tone for the book.

     There is one place that I felt the book was lacking.  Being a comic, not much is left up to the imagination.  Any horrifying thing they want to depict is done vividly and graphically.  Though I usually don't mind this in a comic, part of what makes good horror books (like World War Z) so terrifying is precisely the fact that so much is left to the reader's imagination.  Therefore, it is the nature of the medium that the art here keeps the book from being truly frightening.  It is still a great read, with a number of equally gross and engaging books released since.  If you like zombies, then by all means, check out the whole catalog of the Marvel Zombies series.

Concept: 5 out of 5
Story: 4 out of 5
Art: 4 out of 5
Fright Factor: 3 out of 5
Overall Rating: 4 out of 5

Joker

Joker

Genre: Graphic Novel

Writer: Brian Azzarello

Artist: Lee Bermejo

Release Date: October 28th 2008

*Warning* Book Contains Graphic Violence

     Graphic Novels are filled with colorful villains of every stripe, performing every evil deed you can imagine and then some.  It is the nature of the medium.  Writers and artists are completely freed to depict however much or little detail they want.  Need more information for the plot?  Add a few panels.  Too much background causing a distraction?  Simplify the art.  Because of this, creators can take chances that wouldn't succeed in other mediums.

     Sometimes these risks don't pan out.  The story or character doesn't translate to the page the way he appeared in your head.  Maybe a feature of a character, or an entire character, just don't work the way you imagined.  Sometimes, though, a character comes through so perfectly, so precisely, so complete, that it feels less like a fiction, and more like a biography.  Brian Azzarello and Lee Bermejo's one shot adaptation Joker falls squarely into this latter category.

     The story opens in a wide shot of Gotham City.  Through the narration, we learn a startling fact, one that right from the gate will shock any fan of the Batman universe, and set the tone for the rest of the book.  The Joker is being released from Arkham Asylum.  Jonny Frost, a low level henchman and the book's narrator, volunteers to go pick The Joker up at the gate, setting off a series of events that quickly spin far out of his control.

     Without missing a beat, The Joker does exactly what you would expect of him; he begins picking up where he left off.  Immediately, he starts a frantic and chaotic campaign to retrieve his territory, his underling, and his status.  Not everyone is thrilled about his return, though.  To get what's rightfully his, The Joker must crack some heads, spill some blood, and spread some good old fashioned fear among the criminal underbelly of Gotham.  He even has to put the hurt on a few familiar faces.

     Former rivals turn and, whether willing( like Killer Croc) or unwilling (like The Penguin), they help him in his attempt.  Others keep their distance from the situation as best as possible, such as The Riddler.  And still, others, such as Harvey Two-Face, actively try to stand against him.  As he has proven so many times before, though, however hard they strive to be, no one is the equal of The Joker.

     Joker is easily one of, if not the, most enduring villains in the history of comics.  Many writer/artist teams have tried to give the character their own spin, and not all of them have been successful.  It takes a very certain type of person to truly understand the character well enough to write for him, and Azzarello has done a brilliant job of it.  I think his choice to have a third party as the narrator was a very smart move.  No one can truly get into the mind of The Joker, and Azzarello must have known what an insurmountable task that would have been.  Rather, in having a narrator act as witness to The Joker's maniacal crime spree, and even participate in it, really works to convey to the reader that sense of madness, that total loss of control that is just a Tuesday for The Joker.  While reading it, we really feel that we are being swept up in something far bigger than we could have imagined.

     Bermejo's art is the perfect complement to Azzarello's writing.  Combining just the right elements from he character as he has appeared over the years, and with an obvious but perfect dose of Ledger's amazing portrayal in the movie The Dark Knight, we see on every page a world that could be.  Bermejo's art is realistic enough to make us discomforted by the events unfolding, as if we are actually watching them.  He has enough fantastical elements, though, and art that is stylized just enough, that we still feel like we are being held outside of events and the control of them (much like I imagine the Joker's victims must feel).

     The story they have chosen to tell is unsettling, disturbing, and brilliant.  The pacing keeps you on edge from start to finish.  I found myself so caught up in the story at times, I had to remind myself to stop and look at the art, too.  You will always find yourself on edge, waiting for the next more to be made.

     Two points of note:

     1) If you are looking for Batman, look elsewhere.  Though the Dark Knight does make an appearance, this is all about The Joker, and Bats has very little influence on this book.

     2) At a meager 128 pages, and of course, being a heavily illustrated Graphic Novel, this is a very fast read.  In fact, my only complaint was that I wanted more.

Story: 4.5 out of 5

Art: 4.5 out of 5

Length: 4.0 out of 5

Overall Rating: 4.25 out of 5

The Nobody

The Nobody

by Jeff Lemire
Genre: Graphic Novel
Published by Vertigo (DC Comics)
Date Of Publication: July 7th 2009









      Many writers (myself included) make an attemtp at some point to take an established story and tell their version of it. We like the challenge of trying to take a well known piece of literature, and retell it in such a way that we make it our own. Unfortunately for many people (again, including myself) our success in this arena is minimal or simply non-existent. The trick in such an endeavor is to find that balance between respecting the original author and their work without sacrificing yourself or being afraid to take those chances that are not only necessary, but crucial to the validity of such a work. Without that balance, the work will either be simply a bland summary of the original, or will be so far removed from it that it becomes unrecognizable. That balance comes through every page of Lemire's work with such ease, it puts my meager attemtps to shame.

     The Nobody is a reimagining of the classic novel The Invisible Man by H.G. Wells. It is the story of John Griffen, a drifter clad head to toe in bandages, who finds himseslf settling in the town of Large Mouth, "Home Of The World's Biggest Bass!" Large Mouth, your typical small town, doesn't know how to react to the spectre that has come to inhabit their community. Griffen, not obtuse to the effect his presence has on the townsfolk, keeps to himself and tries not to bother anyone, preferring to remain in his room, with only brief excursions outside for food and fresh air.

     Being like most small towns, the gossip flows as freely as cheap diner coffee, and despite his intentions of styaing out of the public eye, he is frequently beset by cool indifference at best, if not overt suspicion and hostility. Only Vicki, daughter to the local cafe owner and the narrator of the story, makes any attempt to befriend him. She alone makes an attempt to know the man, rather than ponder and gossip over the enigma he represents. She brings him food, company, and friendship. The bond that grows between them is quite touching.

     But things have a habit of changing, of refusing to go according to plans, however well laid, and Griffen's past catches up with him. This sets into effect a string of events that turn the townsfolk (who after a long enough time have finally begun to ignore Griffen, allowing him to blend in) into a cacophonous mob howling for his head, all over what is ultimately a misunderstanding.

     Though Griffen is far from either the heroic OR monstrous ends of the spectrum, he illicited a number of strong reactions from me. Pity or anger, I felt for him, for the bad things that happened to him, whether they were consequences of his actions or simple circumstance. Despite all that occurs, you can't help but have sympathy for him.

The text of the story is complemented perfectly by he art. Lemire is one of my favorite comic artists working in the industry today. With simple black and white drawings (he uses only a shade of blue in lieu of traditional shading technique) and a minimum of unnecessary detail, he creates characters every bit as strong visually as they are in the narrative.

     Before his characters even utter line, you have a perfect sense of who they are and how they approach their life, from the gossiping spinster who runs the motel, to the caustic barfly wo tries at every turn to spread distrust toward Griffen.  Vicki's father, a sturdy man of simple means who possesses great courage and strength, but is also quite reserved and uncomplicated, is likewise fully formed before the first word is put to his lips.  Even Griffen, clad entirely in bandages, is clearly every bit as concealed and withdrawn within as he is on the outside.

     Even Lemire's use of panels is flawless.  He knows just when and how many to use, what size and shape, and moves perfectly from a single full-page image, to a number of small, quick moving panels.  These then meld, within the same page, into an intriguing mosaic shot.

     At only about 180 pages (pretty short for most hardcover graphic novels being released these days), it is a great afternoon's read, and well worth a trip to the library to grab a copy.  That is assuming you are lucky enough to have a library that carries it.  But even if they don't, with only a $20 price tag, it is worth every penny to just buy it outright.  Everything about the book tells you clearly how much effort and thought went into every panel, every word, every choice.  Lemire is one of the most respected comics authors in Canada.  That much deserved acclaim is now spreading worldwide.  We have great things to expect from him.  I just hope we don't have to wait too long.

Story: 4.5 out of 5
Art: 4.5 out of 5
Overall Rating 4.5 out of 5

Asterios Polyp

Asterios Polyp

by David Mazzucchelli
Genre: Graphic Novel
Published by Pantheon
Date Of Publication: July 7th 2009










     I came across this book entirely by accident while browsing the Barnes & Noble site.  I clicked on it for one reason and one reason alone: the title.  I didn't order it that day, but it stuck with me.  For six months, in fact.  It was so unusual, and so adamantly refused to leave my brain, that when I received a gift card for my birthday, my mind went straight to it.

     I had heard many good things in the interim between discovering and buying, but to be honest, I'm a horrible impulse buyer and would likely have picked this up regardless.  However it had to happen, though, I am so thankful that it did, because it has become one of the prizes of my collection.

     Asterios Polyp is not just the name of the book, but of the protagonist as well.  Polyp (it was cut in half by a frustrated Ellis Island worker) is a once renowned architect famous for his brilliant designs, none of which has ever been built.  Now, he is a reclusive shut-in who, at the start of the book, watches his apartment building burn to the ground, escaping just in time to be a witness, rather than a victim.  Instead of picking up the pieces and moving on with his life, though, he abandons the city and what's left of his career and goes as far into the countryside as the cas in his wallet will take him.  He winds up in a small country town, and starts over as a mechanic.

     The rest of the book not only follows his growth in this new life, but piece by piece shows us the events that have brought him to where he is today.  We see him connect with people in his new life, and see him build real friendships.  Yet in contrast to that, we are shown why, in retrospect, even his attempts in this area could only be described as Herculean.

     The narration is splendid throughout, and is imparted eloquently through the ghost, or possibly just the alternate self, that is Asterios' still-born twin, Ignazio.  There are some nicely executed scenes where Asterios discusses the biology, as well as the psychology, of the often very similar lives that twins lead.  His discourse on the subject is as wit- and barb-filled as it is on any subject, because Asterios is not only a genius, he knows it.  Parallelling this, though, are intercut a number of "dream" sequences, where we observe, from Asterios' point of view, him interacting with his own life, but with Ignazio in the starring role.  Even more important to his development as a character, we see the growth, then stagnancy, then dissolution, and then (one hopes) reconciliation of his marriage.

     The art is simple, but certainly not simplistic.  Whether it is simply his natural style, or was perhaps a conscious decision to excise it, there is little of the flash and garishness that the modern comics industry (read: Superhero Comics) are notorious for.  His color pallette is likewise simple, usually confined to a nice balance of blues, reds, and purples. 

   

     The style itself is realistic to the point of clarity (in objects, people, etc.) but has enough of the artist's unique touch so that you don't feel like you are looking through a photo album, and can still enjoy the interpretation.  I really look forward to seeing Mazzucchelli's art grow as his projects do, beccause I couldn't begin to guess what he will be producing in the future.

     There is some adult material scattered throughout.  Both implications and images of sexuality in particular occur on several occasions, but are not gratuitous in the least, and are very tastefully executed.

     This is the point in the review where I was going to do a "cons" section.  The problem with that, though, is despite the 344 page count, the only complaint I did have was that I didn't want it to end.

     I admit heartily that I am biased when it comes to the graphic novel as an art form.  I believe that the right combination of the images and the story waiting to be told can be most amazing art in the world, and something that can (and has in my personal experience) continue to stay with you and affect you for many years.  Having said that, and all bias aside, this really was a fantastic book.  The message of it is very simple, and is an important one that, I feel, more people need to learn:

     Don't just hear someone; LISTEN to them.  Cherish what you have, and cling to it with everything you've got, because you never know when an asteroid might strike...

Story: 5 out of 5
Art: 5 out of 5
Overall Rating: 5 out of 5