Graphic Novels

Gr 7 Up—Dumas's swashbuckling adventure introduces readers to the Musketeers' feats of derring-do with this six-volume series. In volume one, d'Artagnan first encounters the trio of elite French fighters. The scene quickly advances 30 years into the future when only d'Artagnan remains a Musketeer. All four heroes find that their paths cross in one final adventure involving a plotted coup to replace Louis XIV with his twin brother. In volume three, the plot is discovered and Louis banishes his brother, ordering his face be covered with an iron mask forever. The king then commands d'Artagnan to arrest and execute Aramis and Porthos, who were the instigators of the scheme. Beginning in volume five, first Porthos, then Athos, and finally d'Artagnan meet their deaths. The story concludes with his poignant words, "Athos, Porthos, farewell till we meet again! Aramis, adieu for ever." Readers will be caught up in this romantic tale of action and adventure based on language from the original classic and containing a story synopsis at the beginning of each volume. As each man ages, his distinctive features and visually well-defined persona remain consistent throughout the saga. Use of a limited color palette gives this adaptation a classic feel.—Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY

Gr 5–8—This full-color adaptation makes Shakespeare's tragedy accessible for middle grade readers. Each spread is headlined with a descriptive phrase. Panels consist of brief snippets of original text in speech balloons, accompanied by a box summarizing the dialogue and action. Unfamiliar words are defined in footnotes. Color effectively signals changes in time of day, with warm sepia hues for daylight scenes and gray tones for night settings. Shading also becomes more subdued as the mood darkens. The artist's use of red is especially compelling. At the drama's onset, red only appears on Caesar's toga. However as the story progresses, readers see blood on the hands of the conspirators, then Mark Antony dramatically carrying Caesar's body. Red becomes increasingly pervasive in the battlefield scenes, with bright crimson flames licking the air and soldiers arrayed in red-plumed helmets and scarlet capes. At times this adaptation is difficult to read, as the text boxes are often a rephrasing of the dialogue balloons. Readers may feel as if the same information is presented twice in each panel. In addition to information on Shakespeare and his plays, back matter includes historical information on Julius Caesar, ancient Rome, and ancient writers.—Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY

Gr 4–8—Each of these slim volumes adapts George Lucas's film of the same name. Jedis Qui-Gon Jinn and Obi Wan Kenobi are on their way to Naboo to settle a trade dispute, but instead discover that Naboo is trying to capture the Queen. The artwork, done in vivid colors, does come alive, but the tellings fall short.—Esther Keller, I.S. 278, Marine Park, NY

Gr 4–8—Dark Horse originally made these single-issue comic-book adaptations of the 2002 film available in comic stores and on news racks, and then collected the four issues in trade paperback form that same year. Now Spotlight has licensed the material from Dark Horse, divided the trade collection—which is still in print—back into its component issues, and released them seven years later as hardbound library editions. The George Lucas film from which these comics sprang was the departure episode in the prequel trilogy, with a plot centering primarily on the romance between Princess Amidala and apprentice Jedi Anakin. The decision to reduce the role of child-friendly Jar-Jar Binks even further than Lucas himself did in the movie, and also to remove almost all of the humorous vignettes, makes the comic darker in tone than the film. This is further emphasized by heavily shadowed artwork, which sells the action effectively, but eliminates almost all of the vistas and worldbuilding that helped make the movie's effective spectacle. The comic relies overmuch on Gilroy's narrative captions, which is an unfortunate substitute for the film's visual storytelling.—Benjamin Russell, Belmont High School, NH

Gr 4–6—Sweet, sensitive Sasha leaves the forest and the ShadowClan after being betrayed by the cat clan's power-hungry leader, Tigerstar. Life without a clan for protection is difficult, though. Can she survive alone? The second volume in a graphic-novel adaptation of the popular series, this title should appeal to its fans, and the gripping plot may attract new ones. Though the cover claims that this is a "manga," the straightforward illustrations are drawn in a simple, realistic style. Purchase if the "Warriors" series is already popular.—Lisa Goldstein, Brooklyn Public Library, NY

Gr 8 Up—During the '70s and before becoming a comic-book great, Kirby took his style and sensibilities to the DC title Our Fighting Forces. Bound in hardcover, these collected stories feature The Losers, a four-man combat team (Captain Storm, Johnny Cloud, Gunner, and Sarge), sent on a variety of dangerous missions around the globe during World War II. While Kirby aficionados will appreciate the nostalgia, the action-packed plots complete with fists, bullets, or grenades flying will be the draw for newer readers. The artwork, containing images worthy of inspiring a Roy Lichtenstein painting, is structured in a traditional comic-book format, so pages of square panels abound. Though lacking slickness and gloss, and at times promoting either idealized or antiquated stereotypes, the emotional depths explored by some of the characters as well as the portrayal of war's cruelties are indicative of the masterful work Kirby would do throughout his career. As Neil Gaiman writes in his introduction, the stories are "filled with action and power and humour, and the unstoppable narrative drive of a tank." World War II buffs and ardent comic book fans will find much to love.—Joanna K. Fabicon, Los Angeles Public Library

Gr 8 Up—Tor, a caveman, is beaten and exiled from his village. Having no place to go and no supplies, he begins to wander. Soon he hears cries; when he follows them, he happens upon a small apelike boy who is tied to a rock. When he sees a crocodilelike creature coming for the child, he battles the monster and saves the boy. Tor and the boy are then set upon by a village of apelike creatures who explain through drawings that the child was a sacrifice to keep other monsters away. Tor is pitted in a fight against this "monster," only to find that he is simply an outcast because of his appearance. Tor then finds a mate, a bare-breasted woman who is also an outcast. In the remaining chapters, he battles prehistoric creatures to protect himself, the child he saved, and his mate, all the while learning that he is not alone in being misunderstood. A foreword by comic writer Roy Thomas tells the history of Tor. The artwork takes its inspiration from the pulp comics of its time. While the illustrations are often rough, this technique seems only to add to the tone and feel of the story.—Valerie Davis, Campbell County Public Library, Newport, KY

Gr 7 Up—Kubo has based her story on Kurosawa's film Seven Samurai and given it a steampunk-type update. In feudal Japan, the world is at war, with the samurai using high levels of technology, including robots, to fight. As the story begins, it is evident that the samurai are not winning and are not thought of very highly. Into this scenario enters Kirara, who is hoping to find a samurai who will stand up to the people who are attacking her village. She meets Kambei Shimada, and with his help they build the group of seven samurai. Among them are a young man who hopes to be a samurai, a cyborg head, and an engineer with a sword twice as big as any regular sword. This volume ends with the seven and Kirara heading to the village. The exceptional artwork, while black and white, is evocative of the film style of Kurosawa; the sharp lines and minimalist backgrounds allow readers to focus on exactly what is important. From decimated cities to bowls of rice, nothing is lost to readers' eyes. A must for most manga collections.—Valerie Davis, Campbell County Public Library, Newport, KY

Gr 4–6—This first installment in the series takes place in Boston, 1775, in the days leading up to the American Revolution, where two children aid the Rebel cause. Nick helps Paul Revere alert the Rebels of the British advance, Penny foils the attack on Bunker Hill, and both of them encounter Paul Revere, Samuel Adams, and George Washington. Endnotes sort the fictional events from facts, but readers unfamiliar with the history may be confused. The whimsical illustrations are drawn in shaky, cartoonish scrawls, printed in full color on glossy paper. One of the book's strengths lies in the inclusion of a strong female character, and the story often comments on the limited roles available to women at the time. The portrayal of the Tories and Rebels is not terribly nuanced, however. All of the Tories are bullish, unattractive louts, in contrast to the sensitive, handsome Rebels. This is an amusing piece of historical fiction with plenty of appeal to children, but it should be read by those with some background in history, or in conjunction with a more straightforward account.—Lisa Goldstein, Brooklyn Public Library, NY

Gr 7–9—This first volume in a manga trilogy features characters from the novel Wicked Lovely (HarperTeen, 2007). Rika now maintains a solitary existence in a Mojave Desert cave. She spends her days painting the landscape, invisible to mortal Jayce. Then, she becomes visible to him when she moves beneath his body to break his fall. Mutual attraction fuels this flirtatious dance between faery and mortal. Complicating the plot are appearances by Summer King Keenan, Winter Girl Donia, and interested friends, both human and fey. In the style of manwha, the book reads left to right. Black-and-white illustrations depict the angular bodies, realistic faces, extraordinarily attractive boys, and slim girls not found in traditional manga. While it is possible to read this title without prior knowledge of Marr's faerie world, it is considerably easier for fans of this series to understand its characters, action, and flashbacks.—Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY

Gr 5 Up—B.ichi aka "B.one" aka "Bone" is what gives Shotaro special kyokotsu powers, but in order to keep them he must do one good deed a day. He needs the help of his other Dokeshi friends, humans with advanced brain power, who must do one bad deed a day, and Mana Migo, a human girl who likes martial arts and fortune-telling. Together they must find Emine aka "Baize" aka "Eminem," who is in the I.C. Prefecture. Yohei Nanami, a normal boy with mechanical skills, joins the group on their journey, which becomes complicated when Tool, a Japanese water imp who lives in a garbage dump, takes offense and goes crazy, and the Dokeshi hunt, a secret government plan to wipe out the Dokeshi, is underway. Fans of Japanese adventure manga will like B.ichi. The black-and-white illustrations are dynamic but can seem unrelated to the text. Still, manga fans should enjoy it.—Lisa Gieskes, CA Johnson Preparatory Academy, Columbia, SC

Gr 5 Up—The Keeper, an old duck, is the Dungeon Master who seeks to increase his fortune by marrying the wealthy cat Isis. He must convince her father of his financial worth and work to save his dungeon from being repossessed by Delacour, the rooster who tricks him through legal chicanery. To help him save the dungeon, the Keeper relies on Marvin, the vegetarian dragon, and Herbert, the duck warrior. To complicate matters, Herbert is in love with Isis and wants to elope with her. The group journeys to Craftiwich, a once-noble city, so that Herbert can reunite with his parents, the Duke and Duchess of Craftiwich, but things prove difficult when Herbert swallows the Mask of Death potion and Marvin raises an army to take over the ancient city. This is an outstanding Dungeons and Dragons parody that serves as a stand-alone story. Readers will be entertained, even those unaccustomed to comic fantasy fiction. These anthropomorphic characters are well drawn, and the snappy dialogue is craftily paired with Boulet's stunning imagery.—Lisa Gieskes, CA Johnson Preparatory Academy, Columbia, SC

Gr 3–8—These titles are essentially superhero comics in hardcover bindings, and they bring with them all of the hallmarks of the comic book genre: physics-defying action, pseudoscientific plot elements, and good-over-evil conclusions. While not exceptional, they also won't disappoint this character's fans. Iron Man is the creation of billionaire businessman Tony Stark, who invented the technology-laden suit of armor to escape capture. Now Stark (as alter ego Iron Man) is head of security for his company, Stark International. These four installments find "shellhead" fighting a variety of villains, from the mass of pure energy known as the "Living Laser," to the decidedly more human modern pirate Commander Kraken. The action takes place underwater, on land, and in outer space, allowing Stark to use a variety of specialized Iron Man suits. The relatively short length of each story forces the action to move quickly, holding the attention but occasionally rendering the conclusion abrupt. Penciled by three different artists, the crisp, colorful, and motion-filled artwork is appealing and befitting of the text. Suitable, but not essential graphic-novel collection fodder, this series will likely circulate well.—Travis Jonker, Dorr Elementary School, MI

Gr 2–4—In a town where everyone and everything (including poodles) is made of noodles, Noodoll is a Renaissance man. His singing and athletic abilities have made him a pop icon and the object of Ricehead's envy. Ricehead, whose town and kin are made of rice, throws a party where he kidnaps and hides the famed Noodoll, then poses as the superstar. His lack of any talent ruins the hero's reputation, until his dog, Noobuddy, reveals the trick. Noodoll then helps Ricehead find his own fame. The hectic art runs from silly (chocolate ricecream) to droll (Noodoll's costume choices for the gala range from Wonder Woman to Charlie Chaplin). Rhymed text is often waylaid by thought bubbles, such as a panda pondering, "How do you get rid of black eye circle?" A spare story, but perhaps a fun flight of fancy for reluctant readers.—Gay Lynn Van Vleck, Henrico County Library, Glen Allen, VA

Gr 10 Up—Two eventually interlocking stories are told here. In one, John is thinking of leaving his rock-star girlfriend and running away to New York. Writer Jess has the same sort of wanderlust in her lesbian relationship. Both tales feature a lack of communication, loneliness, and longing that lead to relationship problems. As the similarities crop up, different paths and meanings to the stories appear. Asker's artwork is comparable in style and execution to that of some other indie cartoonists, such as Daniel Clowes and Adrian Tomine. The writing here, however, is more spare and nonlinear. At book's end, there are a few possible and engaging interpretations, with the final panels in keeping with the emotions of all that has come before.—Jamie Watson, Harford County Public Library, MD

Gr 10 Up—This outstanding, innovative collection, featuring an array of newer artists, offers engaging topics for serious graphic novel enthusiasts. From baling hay and life in the New York subway to a history of the postcard and the race-based 1921 Tulsa Massacre, readers will gain new insights into some forgotten moments. The graphic styles include pen silhouettes, pen-and-ink drawings, scratchboards, and other well-executed illustrations. History buffs will appreciate this accessible collection of varied art forms and areas of investigative interest depicted in the essays.—Gregory Lum, Jesuit High School, Portland, OR

Gr 10 Up—Known best for his prowess in illustration, Cannon has written a fun and exciting modern-day pirate tale. Army Shanks, a rugged sailor, is infatuated with locating Far Arden, a mythical haven in the Arctic, complete with lush fruit trees and flowers, waterfalls, and exotic women. His quest to find this elusive paradise is filled with twists and turns, trials and tribulations as he meets an odd assortment of seemingly unrelated characters, including an ex-lover, two college students, undercover "environmental cops," an orphan, a corrupt circus warden with his captive "man beast," and a ruthless professor who will stop at nothing to discover Far Arden. Cleverly weaving together his extraordinary cast of characters through past histories and present events, the author neatly ties everything up in a satisfying ending. The images in each panel skillfully match the tone of the story and beautifully support the characterization of individuals and events as they unfold. Cannon has proved himself to be a riveting storyteller with this fast-paced adventure that features polar-bear fights, kidnapping, conspiracy, misinterpretations, and double-crosses.—Lara McAllister, Halifax Public Libraries, Nova Scotia

Gr 10 Up—Detective O'Connor manages to look seductive and tragic while snacking in parking lots and blindly following the trail of New Orleans's most gruesome murderer. She and her partner, the slightly lackluster Michael Maddison, have discovered corpse after corpse throughout the city, each missing limbs or organs. Meanwhile, life seems easy for Victor Helios, scientist and technology mogul who lives in the lap of Southern luxury with an army of servants and a spouse to rival the most astonishing of Stepford wives. Strangely though, his company, Helios Biovision, housed in the crumbling Hands of Mercy Hospital, features bricked windows, security cameras, steel doors, and a staff that never sees the light of day. Based on the novel by Kevin J. Anderson and Dean Koontz, this graphic novel is one of the more compelling in the recent trend of "classic" adaptations. The story, though familiar, is packed with a satisfying blend of sinister twists and modern supporting characters. Booth's art has enough intensity and detailed creepiness to make any reader squirm. The eyes of the characters convey a sense of doom and inhumanness that adeptly mirror the philosophical darkness of the plotline. Blending questions of the human condition, justice, and revenge with a healthy smattering of gore, this first volume is sure to be snatched up by teens.—Shannon Peterson, Kitsap Regional Library, WA

Gr 10 Up—Adapted from the Oscar-nominated animated film of the same name, this is a stunning investigation into one soldier's real-life experience during Israel's 1982 war in Lebanon. In 2006, Folman met up with a friend from his military service days, who told him of the recurring nightmares he had based on their experiences. Folman admitted to not remembering anything from the conflict and started a quest to find out what really happened to him during those traumatic days. He traveled across Europe interviewing former comrades, a reporter who covered the war, and his own psychologist to piece together at least some of the events that he lived through. As the story develops, both Folman and readers relive the terrors of the Sabra and Shatila Massacre, a tragedy that ended in the slaughter of more than 800 unarmed civilians by the Lebanese Christian Militia while Israeli forces let it happen. While Folman tackles many of the same wartime themes of violence and tragedy as Joe Sacco's Palestine (Fantagraphics, 2001), the additional explorations of memory and dream make the experience more personal. Polonsky's art reuses still images from the film. His clever eye for detail and creative sense for layout make the images explode on the page. Thought-provoking and emotionally powerful, this is a fabulous story for mature readers interested in wartime narratives told in a fresh, innovative style.—Matthew L. Moffett, Pohick Regional Library, Burke, VA

Gr 10 Up—Lefèvre was a photographer who attached himself to a 1986 Doctors Without Borders (MSF) expedition into Afghanistan during its war with the USSR. Almost 20 years later, he worked with artist Guibert to create this stunning narrative of that trip. Lefèvre shot well over 100 rolls of film in Pakistan and Afghanistan as he crossed the border in a donkey convoy, watched the medical staff diagnose and treat young and old wounded in the war or sickened by disease, and headed back into Pakistan escorted only by a variety of guides, not all of whom had his interests uppermost in their minds. Guibert worked with Lefèvre to create the story that links these photographic images, most of which are black and white, with panels beautifully colored by Lemercier. The latter describe relationships among the travelers and with the local people, Lefèvre's political awakening, and assorted physical and emotional hazards, especially on his return trip without an MSF escort. This tour de force is essential reading for students interested in international relations, journalism, memoir, and the practice of medicine in Third World circumstances. Lefèvre's initial lack of political sophistication will resonate with thoughtful teens.—Francisca Goldsmith, Halifax Public Libraries, Nova Scotia

Gr 10 Up—This is the first title in a manga series that will highlight thematic selections from the more than 100 Oishinbo volumes published since the 1980s in Japan. The premise is that rival newspapers (an almost charmingly outdated notion these days) are competing to create "The Ultimate Menu," a meal that will embody "the pinnacle of Japanese cuisine." Tension sizzles as the volatile and oft-misunderstood Yamaoka is pitted against his famous bulldozer of a father, Kaibara. Each "course" in this menu features an in-depth exploration of an aspect of Japanese culture and cuisine, from the intricacies of chopstick making and use to the importance of holistic cooking to the integrity of a dish. The artwork is static, with simplistic characterization and expression that does little to add depth to the story. Fluidity between panels is slightly lacking, too. Color recipes and detailed notes on the text are included. All said, clearly the author has a passion for Japanese cooking, and his enthusiasm is contagious. A pinch of Rebel Without a Cause served with a generous spoonful of Iron Chef, this book will be snapped up by the ever-growing ranks of Japanophiles, as well as foodies.—Shannon Peterson, Kitsap Regional Library, WA

Gr 10 Up—This award-winning series makes its first appearance in English. Kumeta utilizes satire and dark humor to bring to life Zetsubou, whose name, when written horizontally, means "despair." He is a high school teacher intent on killing himself. Each of his attempts is thwarted by Kafuka, the most optimistic girl in the world. Each of the saves, however, nearly kills Zetsubou, and he shouts, "I could have died," leading Kafuka to believe that he truly wants to live. Zetsubou is assigned to investigate odd situations with his students, which include a girl who refuses to leave her house and another who appears to be getting abused at home (but turns out to be fighting animals in her spare time). Kafuka accompanies him and tries to find the positive in every situation. Over-the-top characters, including a student returning from study abroad, whose sole role is stated to be showing her panties, and subtle satire make this title best suited to older high school students, who are most likely to understand some of the humor. The story is told in a student-by-student/case-by-case basis, but the suicide attempts and other continuing subplots do work their way through the individual chapters. The artwork is simple with few details and leaves something to be desired, but it does its job in this quick read. Sayonara is a suitable purchase for libraries with generous graphic novel budgets.—Sarah Krygier, Fairfield Civic Center Library, CA

Gr 10 Up—The cruelties, indignities, rebellion, and lack of self-confidence that form the high school experiences of many teens are well captured in this follow-up to Escape from "Special" (Fantagraphics, 2007), the author's middle school memoir. At 15 and 16, Melissa's biggest downfall was that she couldn't control her honesty or soften her expressions of it, leading to messy situations in the classroom, with her friends and family, and, most important, her peace of mind. She uses her given name of Melissa Gross for her high school persona, and readers get to see her earliest efforts to sell her comics and also an explanation—filled with teenage righteousness—for her nom de plume. Imagery here is fraught with some nearly nightmarish (and succinctly credible from an adolescent perspective) exaggerations of tongues, acne, and even a turd. The artwork is done mostly in muted grays; blue and yellow highlight eyes or hair, and an occasional object also receives soft coloration. This is a spot-on portrait of one girl's struggle for intellectual and emotional honesty, touching on her best friend's anorexia and realizing the humanity of those around her—classmates, her mother—whom she had earlier dismissed as stock characters in the drama of her own life. More symbolic than Ariel Schrag's high school memoirs, this one will touch teens who themselves have just succeeded in negotiating the mess of learning to be a mature social being.—Francisca Goldsmith, Halifax Public Libraries, Nova Scotia

Gr 10 Up—This is a monster story meant to chill readers; with a dozen new illustrations, the chill arrives faster. The horrible creature of the title is a Pharaohlike figure that draws the darkest impulses and urges from any creation and drains it of all sanity and life. Nyarlathotep releases monsters from within himself as well as those from without and pretty much destroys the narrator with a slow but insistent madness. Readers unfamiliar with Lovecraft's writing will have an easier time deciphering this nightmare through the graphic images, which give jarring color to the dreadful events. This is a powerful, fearful tale that will speak to sophisticated readers and to teens already drawn to Lovecraft, Poe, Stephen King, and their ilk.—Will Marston, Berkeley Public Library, CA

Gr 10 Up—As she reached middle age, newly single and with a teenage daughter, Tyler decided to explore her father's long-unspoken experiences as a GI during World War II. Unlike Alan Cope in Emmanuel Guibert's Alan's War (Roaring Brook, 2008), Tyler found herself dragging recollections from him and realized that she was forcing him to face traumas he had never shared with his family. As she sets down the record here, she also recounts the father she grew up with, how his wartime experiences may have molded him into the parent she knew, and her current life. Both visually and narratively, Tyler keeps all these threads nicely wound into an account that carries readers along and shows how various pasts inform the present, how vulnerable parents can be, and how wartime can create minefields later in life. Her gently colored artwork is expressive and goes far to bring eras of the past to life through dress, hairstyles, and dance moves. Budding artists will appreciate Tyler's design elements, including palette choices and the use of her parents' scrapbooks as source materials. Beyond attracting teens interested in their grandparents' lives in young adulthood, the story here will touch those who are just realizing that the older people they think they know have their own burdens and secrets.—Francisca Goldsmith, Halifax Public Libraries, Nova Scotia