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Graphic Novel Review: Beasts of Burden: Animal Rites by Evan Dorkin, art by Jill Thomspon

Beasts of Burden: Animal Rites by Evan Dorkin, art by Jill Thompson

Dark Horse, 2018

ISBN-13: 9781506706368

Available: Hardback, paperback, Kindle ebook

Burden Hill is a peaceful suburb like any other, with well-kept yards, families, and their adoring and loyal pets…some of whom happen to be paranormal investigators. Witches, demonic frogs, werewolves, and zombie dogs are a few of the problems these brave investigators face in Beasts of Burden: Animal Rites.

The main characters in this are a group of dogs and one sassy cat. Wise dogs are summoned by the neighborhood dogs when they need guidance, something these brave souls are always ready to give. There is a black cat “familiar” looking to redeem herself in the eyes of the animals she once tried to kill. Humans have very little influence on the story, and when they are interjected into the story, it is heartbreaking and powerful simply because of the choices the animals in the story make willingly or are forced to make at the power of the supernatural.

Dorkin expertly weaves tales about loyalty, courage, acceptance, personal accountability, and a host of other very human emotions all bundled in these animal bodies. Each creature has a distinct personality. They even have their own religion, which the reader gets a glimpse of when the dogs hold a funeral service for dogs who were killed because of careless drivers. Adding Thompson’s beautiful artwork makes Dorkin’s story even stronger. It’s easy to take a few minutes to get lost in some of the fine details she includes in the panels, especially regarding the story of Hazel needing help finding her lost puppies.

Award-winning comics creators Evan Dorkin (Milk & Cheese) and Jill Thompson (Scary Godmother) first introduced the characters of Beasts of Burden in The Dark Horse Book of Hauntings. They both won Eisner awards for Best Short Story (Dorkin) and Best Painter (Thompson). Animal Rites collects the earliest stories and the four-issue comic series Beasts of Burden. This isn’t exactly a kid-friendly read, so if you have young readers of Scary Godmother, be aware that there is content that may be disturbing. This would be a good read for YA and above depending on how well they do with such. I will say that there were a few times I had to take a few minutes between stories because of how much this team is able to call up emotions so effectively using animals as the storytellers. It’s truly beautiful, terrifying, heartbreaking, and hopeful all in one book. Highly recommended.

 

Contains: blood, brief nudity, mention of animal abuse

 

Reviewed by Lizzy Walker

Posted on May 28, 2018 by , Reply

Graphic Novel Review: Archival Quality by Ivy Noelle Weir, art by Christina “Steenz” Stewart

Archival Quality by Ivy Noelle Weir, art by Christina “Steenz” Stewart

Oni Press, 2018

ISBN-13: 9781620104705

Available:  Paperback

 

After losing her job at the library due to her failing mental health, Celeste “Cel” Walden lands an archivist job at the Logan Museum, previously a sanitarium. The position, she finds out quickly, is a bit odd. She is required to live on site, keep strange hours, and work with a secretive supervisor, among other things. There are also mysterious noises that can be heard through the vast halls at night, making the environment creepier than it is during daylight hours. Cel also experiences losing time, strange and unsettling dreams, and fainting. She can’t afford to lose this job: how is she going to cope with the strange goings-on that are occurring around her? Who is the mysterious girl, Celine, haunting Cel’s dreams, and eventually, her waking hours?

Cel’s fear and apprehension of mental health treatment, and the stigma that is attached therein, resonated with me. Between losing her beloved library position as a result of her failing mental health and what she “sees” of Celine’s experiences in the sanitarium, Cel’s experiences provide a lens for viewing the history of mental health care, particularly for young women. I had my own negative experience with the mental health care system, so I understand fully Cel’s apprehension. I think Weir has captured that fear well in this book. While there is much good that mental health care can do for those who need it,  it’s difficult to trust it when you have had a potentially harmful experience. Compound that with the stigma placed on those who cope with mental health issues, and it is perfectly understandable why Cel’s reaction is appropriate to the character. Even as her boyfriend Kyle and others try to reassure her, she still struggles, sometimes to the point of falling into cyclical logic that tells her she is broken. For me, Cel was extremely relatable.

While Archival Quality isn’t strictly horror, it has the elements of a fantastic ghost story. It would be a great book for YA and adults alike. Since it is set in an archive, I think archivists and fellow librarians would be interested in this book just for the setting. Steenz provides fantastic artwork to Weir’s story. It’s simplistic and colorful, while not being overpowering. I particularly love the depiction of Cel’s supervisor Holly and her style. Steenz and Weir make a wonderful creative team, and I look forward to seeing what they do in the future. Recommended.

 

Stay tuned for an interview with the creators of Archival Quality!

 

Contains: references to mental health and outdated, harmful practices/”cures” previously used in mental health treatment.

 

Reviewed by Lizzy Walker

Posted on April 12, 2018 by , 1 comment

Graphic Novel Review: Hellboy in Hell, Library Edition by Mike Mignola, art by Mike Mignola

 

Hellboy in Hell, Library Edition by Mike Mignola, art by Mike Mignola

Dark Horse, 2017

ISBN-13: 978-1-50670-363-3

Available: Hardcover

 

Hellboy in Hell, Library Edition contains storylines originally collected in the trade paperbacks The Descent  and The Death Card, and takes place after The Storm and the Fury.  In the opening chapter, we witness Hellboy’s liberation from an abyss by Sir Edward Gray, followed by a battle with a demon he once defeated, and a Dickensian introduction to Hellboy’s journey through Hell. It is the perfect beginning to the end. We witness Hellboy’s travels: Pandemonium denying his birthright and throne; the creation of his immobile army by the Fisher of Souls (who tells him “there is only one object that can breathe life into that army—your own right hand” p. 49); the birth of Hellboy; uncomfortable family reunions; a battle for the unwanted throne; facing old enemies thought long gone; and, ultimately, fulfilling his destiny to destroy Pandemonium. Shakespeare and Dickens references are scattered throughout, which really helps solidify what is happening at certain points in the story.

Mignola’s art is superb, as usual. The atmosphere and feeling of each chapter, with shadows and oppressive environments, set the tone for the overall book, even when there are brightly rendered scenes such as in Chapter 7, “The Trials of Dr. Hoffman”.

Looking at other reviews for this book, it seems that the consensus is clear: it’s sad to see the end of such a remarkable character, but what a graceful ending it is. I could not think of a better send-off for Hellboy. It still feels too soon for his saga to be over, but there is so much more to the character revealed in this last tome. I can’t go beyond that, lest I spoil the book for potential readers.

Additionally, this volume contains “The Magician and the Snake,” by Katie Mignola (age 7) and Mike Mignola (“much, much older”) and “The Exorcist of Vorsk: A puppet story told in Hell” by Todd and Mike Mignola. The first story in particular is moving in its storytelling simplicity. Also included is Mignola’s sketchbook material. Highly recommended.

 

Reviewed by Lizzy Walker

Posted on April 8, 2018 by , Reply
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