Posts Tagged ‘comics’

If you haven’t gathered yet, I love graphic novels. I’ve chewed through a lot of them in my time here at CSC, and while they almost never lack depth or material, they’re usually pretty easy / quick reads. I’ll usually give one a quick pass-over for the sake of the plot, then re-read it slower to better admire the artwork. Either way, it never takes more than an hour.

Except.

Nate Powell’s “Swallow Me Whole” stopped me dead in my tracks. I actually had to re-start it just to make sure I hadn’t fallen off and misunderstood something somewhere. This one is thick, not length wise, but material wise. It’s one of a select few graphic novels I’ve actually had to chew on, and one with an ending that is only remotely clear.

Nate Powell Photo Copyright – Nate Powell

Going Mental

“Swallow Me Whole” deals with the tale of two step-siblings with a dying grandmother and parents that are quick to write off their childrens’ mental instability. Ruth, diagnosed with OCD as well as a form of schizophrenia, hears insects and other animals speak out to her, beg her to be their liaison, their ambassador to the higher world. Perry, also schizophrenic, sees a wizard appear atop all of his pencils, sending him on “missions” that produce fantastic drawings. Both siblings have a grandmother who is expected to kick the bucket relatively soon (who actually stays with them for several years) who also shares some form of mental illness – she is constantly traveling back in her mind to her youth, when her husband was alive and she was an avid painter.

The tale is a hard one to swallow, pun fully intended. Ruth, after outbursts at school, is eventually diagnosed and medicated for her disorders. Perry never does. Perry’s illness, since it results in a creative outlet, isn’t considered illness. Ruth’s non-conventional (for the stereotype of her sex) interest in insects and biology further her along toward medication. The book throws everything on the table: gender stereotypes, mental illness (and its societal stigmas), adolescence, dysfunctional family, the works. It isn’t for the feint of heart by any means. Nor is it an “easy read.” The ending is both tragic and ambiguous. It’s never spelled out for the reader, ala Inception, we are only left with pieces that we have to put together ourselves. A great deal of why this book is so difficult to digest lies in the artwork. So that’s where we’re headed.

wut Photo Copyright – Nate Powell

A Lot to Swallow

Powell’s artwork in this piece is hard to wrap your head around. The entire novel takes on a disconnected, dream-like quality with strictly black and white artwork. Powell doesn’t rely strictly on white as a backdrop either, obviously – there are gobs of black ink in this book. Speech bubbles are distorted and hard to read, stream-of-consciousness thoughts are splattered on the page, and we are treated constantly to perspective shifts as they happen: one moment, Ruth is looking at a vent grate on her ceiling. The next moment, insects are pouring out of it. The unpredictable, dissociative nature of the illnesses Ruth and Perry suffer from are reflected heavily in the artwork. I can’t speak for anyone else, but at times, it became extremely difficult to follow.

Though the tale is about both Ruth and Perry (and memaw a bit, as well) it definitely follows Ruth more often. She goes through stages of silent coping with her disorder, to ignoring it, to even accepting and “embracing” it (which leads to some poor choices and behavioral outbursts), and eventually, being consumed, swallowed whole, by it. The artwork becomes more chaotic as Ruth’s mindset changes. The book culminates in a swarm of insects, and from there – well. You’ll have to read it for yourself.

This one has my brain revving at full speed. There’s a lot to digest, a lot of pieces that need put together (but are all there), and a lot to be said. Did I enjoy it? Yes, I did. There’s definitely a story to be told here, and there are a lot of things to be said. If anything, it made me think. Still has me thinking. I count that as literature any day.

Insania

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As a general rule of them, I don’t hop onto Facebook app bandwagons, or many Internet ones for that matter. As much as I hate to admit it, I think I’m a hipster at heart. I will not accept your CandyCrush or Clash of Clans invite, I’m not gonna play online poker with you, and I’m sure as hell not going to make BitStrips of myself doing my Independent Learning Project.

…Wait.

filefile5741728-117577335_1-v1file

1. The master and the student at work.
2. Tones aren’t Jeff’s strong suit.
3. Jeff studies.
4. and isn’t ready to graduate. 

Okay, so I’ve been wrong before. As part of this week’s Digital Literacy class, we were asked to take a look at several possible online tools for visual art making (comic strips, infographs, etc.) and after some digging, I found the most user-friendly and one of the most customizable to be *heavy sigh* BitStrips. I’m sure you’ve seen them on people’s Facebook walls. Usually I’m pretty annoyed with them. The art style is a bit too cartoony for my taste, and often they’re just nonsensical statuses about lunch or what was on American Horror Story last night with little point.

Though, as I’ve said before, technology = tool, tool = up to the user, and after a few classmates made blog posts illustrating their Independent Learning journeys via BitStrips, I thought I would give it a whirl. Ashamedly I admit, I actually had some fun tinkering with this tool. The settings / props / facial expressions are all customizable, limbs are movable, it’s actually really intuitive. What I suspected would be just a selection of pre-constructed images actually has a lot of different options. Characters have actually a lot of options as far as customization goes, with the exception of outfits (I don’t think I even own a blue shirt).

So now the question is, does this have applications outside of mindless meandering / time killing online?

Creative Control

The answer is, yes! Students are going to dick around on FB and the like. This is a proven fact of life in 2015. The fact is that comic generators, infograph makers, etc. flex students’ creative muscles while requiring them to think somewhat situationally. Someone making an infograph needs to have research and statistics done to put anything down in a coherent manner. Comics require (albeit very little) semblance of plot as well as dialogue; essentially, storytelling skills. Tools like this could be used as a fun alternative for traditional research projects or narrative exercises.

On top of the creative building going on, tools like this also teach general tech skills. Unsure how to use a tool properly? A Google or YouTube search can easily yield tutorials. These tools require a general knowledge of how to use either smartphone or computer technology, something that not entirely everyone has. If students can bolster creative thinking on top of learning how to use technology that will be most likely required in higher education as well as a workplace, I count that as a win-win.

Picturae

Ms. Fish, my better half, is a total package – smart, funny, patient with me (this one’s the most impressive), and a huge nerd. I have the “gamer girlfriend” that the Internet claims to be a mythical creature. Her preferred addiction is an MMORPG (massively multiplayer online role-playing game) called Final Fantasy XIV. The game allows her to talk to / play with people in real time from literally all over the world. She’s got a group of friends in a group (called a Free Company in game) that are all tight-knit, and no, none of them are the fabled “creepy 90 year old guy playing as a girl to pick up chicks online.”

These connections between people, “real” or no, are a small part of what the Cory Doctorow-written and Jen Wang-illustrated graphic novel “In Real Life” is about.

jen_wang_irl_page-600x817Photo Copyright – Jen Wang

Another World

“In Real Life” follows the tale of Anda, a high school girl who’s just moved to Arizona from Cali, and is doing her best to adjust in the new school. She’s got a fistful of friends, equally nerdy as her, interested in gaming and D&D. She’s in classes learning to be a game programmer, and one day, a guest speaker arrives talking about Coarsegold Online. The speaker is a high ranking officer in a guild made up of only girls, dedicated to helping new people out and improving the community of players. Anda accepts a low-level position in the guild (after some cautionary words from her mother about creepy people online, blah blah technology scary blah), and quickly befriends another higher-up in the guild named Lucy. Anda inadvertently discovers that Lucy makes real-world money in game by hunting down and slaying other players – gold farmers. Gold farmers are players, usually from other countries, who dedicate all of their playtime to the same menial tasks to make in-game money, so they can sell it for real-world money. It allows those with extra cash to spend to skip the long, tedious processes of improvement, and that pisses Lucy off. Anda helps Lucy with these endeavors until she actually speaks to one of the gold farmers, and finds out that this is what they do for a legitimate living in an office building in China. 12 hours of gametime as work, no benefits.

“In Real Life” is a complex tale in that it’s about much more than just gaming, and it’s not a generic coming-of-age tale. It’s about international relations, economics in particular. Anda sees a strike going on at her Dad’s company, and inspires her Chinese friend Raymond to do the same so they can be given the proper benefits for their work. It’s a tale of introspection: Anda loves the game because she can be any number of things she feels she can’t in real life: a leader, a hero, a warrior, etc. Raymond and his plight inspire Anda to take real-world action, to make a difference both in the game she loves and the real world.

Bonus points to the tag-team of authors: they’ve done their video game homework. Many books / movies / tv shows with Video Game-centric themes either rely on the “dorky gamer” tropes or stretch the realities of games and the technology so stupidly out of bounds that any real gamer turns their head in disgust. The in-game system is lovingly based off of real games, and gold farming in other countries is a very real thing in our world.

InRealLife-COMBINED_100-681280VVVVVPhoto Copyright- Jen Wang

Different Strokes

Wang does an excellent job of differentiating in-game and out-of-game artwork. Anda isn’t some hyper-sexualized character in game, nor is she quintessentially thin or “scene” looking in real life. She’s average, as are nearly all the real-world characters. The real-world style is somewhat darker and less colorful, lines are bolder, and scenery is about what you would expect. In-game the art is light and extremely colorful, scenes are grandiose and ornate, and characters are all extremely unique, including, but not limited to, elves, pixies, and a talking penguin. The jump from fantasy world to real world is impossible to miss, but both art styles are fantastic. Wang avoids the tropes that often come with “gamer” girls in graphic novels: no hyper sexualization, no extremely unattractive “nerd” caricatures. This is life, plain and simple.

Fans of gaming will obviously be more inclined to enjoy “In Real Life,” but the story is compelling enough that non-gamers should give it a try. It’s pretty friendly about easing new people into the lingo and crazy world of online gaming, it’s pretty hard to get lost. The tale is an inspiring one about friendship, economics, and taking action. Give it a whirl.

See you online!

Ludus

There’s a fundamental flaw in this society in the sense that people, young boys in general, are heavily discouraged from sharing feelings. Emotions aren’t for sharing. Bottle ’em up. Be tough, be stoic, don’t waver, and don’t care.

But, what if you literally couldn’t unbottle your emotions? What if all of your thoughts and feelings were trapped inside of you, aching for an avenue out, and you couldn’t set them free even if you wanted to?

Enter David Small’s “Stitches.”

David Small Photo Copyright – David Small

Tale of the Tape

David Small’s “Stitches” is a memoir, a story of his childhood and an abusive, repressing family (who have reasons for the things they do, regardless of whether or not they’re “good” reasons). David Small grew up in the Mad Men era of the 1950’s with mom, dad, and a brother. Mom’s language was silent anger: door slamming, quick to physical discipline, and quiet, reserved frustrations. No language. Dad was a radiologist who was relatively scarce when it came to home life, and older brother was an older brother; enjoyed tormenting David, exposing him to crude things in Dad’s medical textbooks, etc.

David’s passion lies in artistry. When he needs to escape, needs to express, he draws. Feelings aren’t allowed in the Small household, so David finds his moments wherever he can: sock-skating through the halls of an empty hospital, getting lost in his imagination, and reading (when his mother isn’t busy burning his books.)

David is a sickly child, prone to respiratory infection and irritation, and it being the grand ol’ 1950’s, Dad sees fit to treat these problems with x-ray radiation. It isn’t surprising when David develops a lump on his neck. What is surprising is how long it goes untreated. When it is finally treated, what is expected to be a routine, one-time surgery turns into a limbo of two surgeries, interspersed with unexplained kindness from his family members. David, needless to say, has cancer. He doesn’t know, however. Not even when he awakes to find a giant suture on his neck, and a missing lymph node / vocal cord. David’s ability to speak has been taken from him in a home that already allows no expression.

As the story progresses, David grows into his own. His repressed feelings and inability to speak lead to a resentment for his abusive family members. Throw in an insane, old-world fire and brimstone grandmother, and a closeted lesbian mother who feels no love for her family, and you’ve got a seriously broken household.

Stitches is about expression, or the lack thereof. David’s mother is silently angry and abusive because she is lashing out at the family / life she didn’t want. David’s father avoids his family like the plague via work or a punching bag in the basement because his perfect nuclear family is the product of a lie. Both boys are reserved and a bit twisted themselves because they are unallowed any forms of self expression. It’s a true-life 1950’s suburban nightmare. As the story rolls, David learns the truth about his family and how they feel about him with the help of a therapist, and decides to run away to pursue his voice, his dreams.

David Small 2 Photo Copyright – by David Small

Sketches

The art style in this book is both parts beautiful and disturbing. There are moments, such as the panel to the right, of great intricacy in detail. Faces are never lacking powerful expression (and if they are, it’s on purpose) The style comes across as a hybrid between sketch art and scribbles. The more horrifying the image, the more disturbing the feeling, the more the art style dives into chaotic scratches. 1950’s suburbia is depicted as drab and hopeless – the entire book is in a grayscale that makes it all seem like a memory at best, bad dream at worst. Small himself wrote and penciled the book, and the pages ooze with resentment toward a family that didn’t care.

The book doesn’t seem like an attempt to reconcile with bad memory. Small’s mother (as well as grandmother), and his older brother are all highly villainous characters, but are not without their motivations. David’s father is drab, practically a shade in the background. Expressionless and unfeeling. Small depicts his therapist as the White Rabbit from Alice in Wonderland, helping him find his way through the maddening rabbit hole that threatens to consume him.

Sketches is not a book for the squeamish or the feint hearted. It’s a powerful, almost unbelievable tale that stands as (whether intentional or not) a cautionary tale against the dangers of bottled emotions and unfulfilled dreams.

Somnia

(Disclaimer: all images in this post are the property of / creation of Bill Watterson. All hail.) 

If I had to think back to the origin of my fascination with comic books, it didn’t come from superheroes. It didn’t come from dark, gritty graphic novels, or from webcomics, or anything of that nature.

It came from a newspaper.

bill watterson

A year after November, 1985 a daily comic strip by a man named Bill Watterson was running in 250 newspapers nationwide. The strips often tackled the daily antics of Calvin, a mischievous, imaginative, and surprisingly philosophical six year old and his sarcastic, equally philosophical best friend / stuffed tiger Hobbes, Granted, I wasn’t even a thought in either of my parents’ lives at this point. I was only 2 when the strip’s syndication ended in 1995.

Calvin and Hobbes is often considered the holy grail of Sunday strips, the pinnacle of the funny pages, and is without a doubt one of the most enduring tales in the world of graphic novels. It’s one that I can still stay up late and flip through time and time again, no shortage of humor from the last time, not an ounce of boredom, and not a sliver of the wit lost. Watterson himself was actually one of the inspirations of Gavin Aung Than’s Zen Pencils comic I mentioned in my post from last week.

But why does this comic resound with so many people? Why has it endured the test of time? What makes it so special?

Calvin-and-Hobbes-Euphoria

Imagination is Everything

Did you read that strip above? That’s a six year old and his stuffed tiger. Those thoughts are astronomically complicated / sarcastic / hilarious to be coming from these characters. And that’s just it. The antics of Calvin and Hobbes almost always come back around with something more than a weak-ass feel-good moral. They discover real life lessons. They grow together as friends. They learn about hardship, girls, the world’s expectations, and the importance of the simple things. You’d be hard-pressed to flip through a C&H compilation and not find at least 2 dozen strips that relate to your life.

But the comic isn’t all heavy thinking and life pondering. A lot of it is goofing off: sledding, building (demented) snowmen, starting clubs, making forts, and torturing the babysitter are all included in this package. I’m sure you’ve all seen the bumper stickers and the shirts and that dorky shit with a demented Calvin-lookalike peeing on things or flipping the bird, but that shit’s all bootleg. Bill Watterson never, to this day, has sold merchandising, film, tv, or any type of rights for C&H.

In some panels, Calvin is Spaceman Spiff, getting into and out of trouble in far-off galaxies. In others, he’s Stupendous Man, saving the world from total annihilation. In others, he flips the role – he’s a Godzilla-sized six year old terrorizing the town! He’s a t-rex rampaging through modern-day museums. Calvin’s imagination takes us everywhere we could ever possibly hope to go. Give he and Hobbes a cardboard box, and hilarity is bound to ensue.

lolwat

Memory Lane

The funny thing is, I can’t remember why I first picked up a C&H book. My memory of it is hazy. I remember being at my public library when I was only in grade school. I had rode my bike across town to get there, and I think I was looking in the section to see if I could find some old Garfield or Peanuts books to see what the fuss was about. As I searched the shelves, I stumbled on something I was unfamiliar with. Calvin and Hobbes? Curious.

A few flips through the book, and I decided it was coming home with me. The panels I read were funny, but not in a lame Family Circus kind of way. The humor was smart, not dumbed down or cheap. I took it home, read it, and immediately went back to retrieve the other 3 or so that were there.

Calvin and Hobbes books were the only books I ever did the quintessential “flashlight-under-the-covers” routine for. I would stay up and read them until my eyes got droopy. I remember the immense disappointment I felt when I had ran through all the library had to offer me. Fast forward some decade-and-a-half or so years, and I’m in college, on a date at a bookstore with a certain T.Hust (you’re all jealous), and while looking through a section of adolescent lit, what do my eyes fall on?

The “kid in a candy store” didn’t have shit on me. If I had bought that book any faster, it would have caught fire. Going back and reading through it again, I know my nostalgia lens hasn’t compromised my feelings about this comic strip. If anything, my age and experience have allowed me to better understand jokes that would otherwise soar over my head.

calvin-hobbes1Whether you’re a fan of comics or not, I know for a fact when sifting through a newspaper in a waiting room, you jump to the comics section. As of late, there might not even be one in your local paper. They’ve gotten smaller and smaller with the passage of time.

If you haven’t ever experienced the antics of Calvin and Hobbes, please do. All at once the scholar, the artist, the child, and the adult in me light up when I read C&H. To me, something that powerful, something that has that effect on a person, is something everyone should experience at least once.

Pulchra memoria

So, I do my best to make a weekly blog post that sort of “reviews” my latest find in the world of graphic novels. In a true example of applied learning, I got to thinking about alternative means that graphic novels (or comics) are published. Marvel offers a subscription service titled “Marvel Unlimited” that lets one read nearly their entire catalog for only $10 a month. My Kindle is loaded with comic books.

Recently, the most funded Kickstarter campaign of all time was headed partially by the artist at The Oatmeal, which got me to thinking about how web comics and art as a medium on the Internet seems to be growing exponentially. This week, ashamedly, I didn’t make the time to pick up a new graphic novel.

But I did catch up on some of my favorite web comics.

92419582_ba92b71876_o Photo CC-by Roadsidepictures, tangentially relevant, and absurd

Why Web Comics?

I know a lot of people who aren’t familiar with web comics as a medium, or don’t take them very seriously. Granted, the freedom of the Internet means that anyone can get on and share extremely poor work, but self-publishing is a genuine vessel for success. I’ve done it, and I’ve worked with dozens of others who have as well.

The fact that the Internet is free range tends to make most people write independent artists, authors, and musicians as instant hacks. You haven’t heard of them before, they haven’t achieved commercial success – so why bother? This is an incredibly narrow scope. The Internet is a tool to be used for good or evil, all it takes is a little digging to find the good.

As I stated above, web comic artists are on the rise. Many of my favorites that I follow have several novelized versions of their strips out for purchase – which makes it a graphic novel. There are no shortage of tones, themes, or subject matters to be found even in web comics. Want funny? Dark? Nerdy? No problem. Many of these mediums are single-shot, updating weekly with strips that may have no continuity between one another. Others are long, sprawling plot lines, or at the very least have gags / plot points that show up time and time again.

Do I still have your attention? If so, I’m going to use the rest of this post to share with you some of my favorite web comics that I follow weekly. I’ll do my best to get some variety in here, a lot of the ones I follow are video game-related because I am a nerd.

11085522084_4a153845f0_b Photo CC-by Drew Brockington, found on Flickr – Internet art!

Four of my Favorites

Penny Arcade – (Warning: Vulgar Language / Humor) Written by Jerry Holkins and illustrated by Mike Krahulik.

As far as web comics go, Penny Arcade may be the most successful in jumping to real-world business. Largely video game, technology, and tabletop gaming themed, Penny Arcade follows (mostly) the exploits of Gabe and Tycho as they offer humorous, often cynical or critical looks at the gaming industry. There are frequently breaks in the humor in favor of Medieval or Sci-Fi one-shot pieces where Holkins flexes his diverse set of muscles. Penny Arcade began as a webcomic and has branched out into the Penny Arcade Expo: a yearly convention where the biggest comic book and game developers gather to show off the year’s hottest releases. PA also started a charity called Child’s Play, dedicated to raising money to provide games and entertainment to children who are stuck in hospitals. PA is an example of comics being taken seriously as a medium through longevity and ambition.

Zen Pencils  – Illustrated by Gavin Aung Tan

Zen Pencils is a strip done by a former graphic designer who was unsatisfied with his job. Tan’s approach is unlike many others: he takes inspirational quotes or poems and puts them in a comic strip form. Literary buffs will appreciate tan’s knowledge of poetry, but he covers all ends of the spectrum with quotes from the likes of Teddy Roosevelt, Henry Rollins (former Black Flag frontman), Bill Watterson (creator of Calvin and Hobbes), the Dalai Llama, and much more. Readers need not worry about following a plot or vulgarity for vulgarity’s sake. Tan’s work is inspirational, heartwarming, eye-opening, and motivational. Plus he has his own collection of recurring characters. Pretty good stuff.

Poorly Drawn Lines(Warning: Vulgar Language) Written & Illustrated by Reza Farazmand

I don’t have many words that can really explain Poorly Drawn Lines. The art style is often simplistic (but not childish), and the jokes are always off-the-wall. Fans of random, absurd humor will be right at home with Poorly Drawn Lines. Jokes are sometimes pointed / critical of society, but more than often are eyebrow-raisers with little underlying meaning. I can’t really describe this. I’ll just show you:

whole-world

Cyanide and Happiness(Warning: Vulgar Language, Humor, and Graphic Content) Written & Illustrated by Kris Wilson, Rob DenBleyker, Dave McElfatrick, and others

Cyanide and Happiness is a webcomic classic. Almost everyone you know has shared a comic of C&N. Initially a project for fun by one person, C&H has expanded to several artists updating weekly strips with often crass, and explicit humor. The art style remains simplistic, but jokes are often pointed, offensive, and highly critical of most components of society. Fans of dirty (yet smart) humor will be right at home with S&H.

There’s no shortage of subject matter to be found in web comics. There’s also no shortage of writing and artistry talent to be found. At the very least, you now know what it is I do when I’m supposed to be being productive.

ars longa vita brevis

Shaun Tan is an illustrator that did something that, while maybe not 100% original, I had genuinely never seen before. He released a graphic novel that told the story of a father immigrating to a new land to get a foothold for his family. Did I mention this novel, “The Arrival,” had no words or dialogue?

Copyright – Shaun Tan, also, did I mention this is one of my favorites?

Lost and Found

So, naturally, when I’m handed a collection of 3 of Tan’s other tales that had yet to be released in the U.S. until the time of this publication, I’m going to be on board. Inside “Lost and Found” are “The Red Tree,” “The Lost Thing,” and “The Rabbits,” the first two written and illustrated by Tan, the last illustrated by Tan and written by John Marsden.

All three tales tackle a few common themes, albeit through very different mediums. Social / societal apathy or complacency seems to be a big one, with “The Red Tree” tackling depression, “Lost and Found” taking place in a post-Industrial suburbian ‘dystopia’, and “The Rabbits” dealing with the conquering of Native peoples (in this instance, Australian Aboriginal tribes) by white settlers. Depression grips and keeps you from society, caught in a headlock of loneliness. The Lost Thing in “The Lost Thing” has no home to go to – it is perpetually lost, and no one around seems to notice nor care. In “The Rabbits,” well, we all know how the tale ended for Native American tribes here in the United States.

The stories themselves are short and quick-to-read, but the amount of thematic material packed in them makes them dense beyond expectation. With a little girl as his mascot, Tan tackles his own issues with depression in “The Red Tree” and attempts to make them palpable for those without depression to better understand. The ending of “The Lost Thing” is bittersweet, with the problem finding a resolution, but the narrator ultimately just becoming another cog in the Industrial complex. The ending of “The Rabbits” is left open to interpretation, but it isn’t hard to see the results of the still-open ending.

depressionCopyright – Shaun Tan

The Artwork

Shaun Tan is by far one of my favorite illustrators when it comes to graphic novels. Bar none, his pension for detail, different hues / tones with color, and ability to blend cartoony style with post-industrial dystopian settings is mind-bending. My only wish is that he would illustrate for horror comics. He would be a natural at it.

In “The Red Tree,” Tan uses grandiose settings and weather patterns to illustrate the feelings of depression The image to the right is one of many of them. Certain work doesn’t really need words to accompany it, it speaks totally for itself. In a clever turnaround (that I didn’t notice until I read about it later), each of the panels features a small red leaf – the symbol of hope in an otherwise daunting, scary, and sometimes empty existence.

The characters in “The Lost Thing” range from deliberately vapid, unremarkable, and flat, to cartoony and a bit odd. The protagonist and said Lost Thing in particular have a lot of personality (the red, tentacley thing in this picture is the Lost Thing) to differentiate them from the world that surrounds them: mass-produced, gray, extremely square / rectangular, and apathetic. As the tale continues, more Lost Things show up that all have extremely unique, kind of strange appearances: bright colors and tentacles are a good signifier of something lost. BUT I’ll go ahead and pull out the overused Tolkien bit of “Not all those who wander are lost…” You have to read it to get it. The ending bums me out, as the narrator falls into the background of apathy and the inevitable work-sleep-work cycle.

Out of the three tales, the artwork in “The Rabbits” to me holds the most weight. The Indigenous tribes are usually characterized by brighter colors, softer edges, and wide open space. The Rabbits, on the other hand, are extremely angular, often characterized by stark, desolate colors, and lonely frames.

The Verdict

Read it. Read it read it read it read it. I love Shaun Tan’s work from top to bottom, each of these tales is bite-sized but dense enough to not leave you wanting more. You can, and will re-read each of them to pick up on things you missed. Apparently, there’s a short animated film about “The Red Tree,” so my next plan is to go check that out. If it’s done even remotely in the art style of the graphic novel, I’ll be fanboying out so hard.

I’ve got no zinger to finish with, sooooo

Solus