DC Comics’ new Absolute Universe follows Marvel’s Ultimate Universe formula of the early 2000s in creating an ongoing parallel universe with drastically different interpretations of their characters. Unlike the pinnacle of gritty realism that was the original Ultimate Universe, this new Absolute Universe makes no attempt to emulate the real world. This new world asks the question, “What would the heroes of the DC Universe become in a world where the villains have already won?” Each title makes foundational changes to each and every character. Batman’s not rich; Wonder Woman is a witch and Superman didn’t arrive on Earth until his teens. This might be the biggest departure from the original characters since this new universe was created. Traditionally, J’onn J’onzz is a Green Martian from the planet Mars. He is a shapeshifter, telepath, and enjoyer of Chocos cookies. His civilian identity is a private investigator named John Jones. None of that is the case in this new title.
Written by Deniz Camp with art by Javier Rodriguez and lettering by Hassan Otsmane-Elhaou, Absolute Martian Manhunter follows F.B.I. agent John Jones as he goes back to work following being injured by an explosion while on duty. His body has healed but something has hitched a ride in his brain. An alien consciousness going by “the Martian” despite explicitly not being from Mars, has integrated its alien perception of reality with Jones’. John must now reconcile his everyday concerns and anxieties of being a husband and father with the human and alien threats exposed to him with help from “the Martian”.
This series swept at the 2026 Eisner Awards. It was nominated for eight awards and won four. The writer Deniz Camp won an Eisner for this title as well as his own comic creation published through Image Comics, Assorted Crisis Events. Deniz Camp has quickly risen to a household name among comics fans. Along with his success with Absolute Martian Manhunter and Assorted Crisis Events, Camp just wrapped up three celebrated volumes of The Ultimates for Marvel Comics and another original creation partnered with Image in the form of 20th Century Men.
All of this success is warranted. His writing range is never more apparent than in titles like Martian Manhunter. His writing combines a detective story with not-entirely-comprehensible extra-dimensional forces like a technicolor True Detective. The voice Camp and Otsmane-Elhaou give “the Martian” really highlights its other-worldly intelligence. The combination of the script and Otsman-Elhaou’s manipulation of the text give its voice a clear alien presence when presented with other characters’ speech bubbles or text boxes on the page next to it.
Javier Rodriguez’s art is a delight. He takes the opportunity of an alien perception of reality to explore the boundaries of visual storytelling on the page. He uses retro styling combined with more abstract designs. “The Martian” itself was actually designed as a model out of clay when Rodriguez was making concept art. This detail really separates “the Martian” ‘s character design from the Earthlings of this world.
Absolute Martian Manhunter Vol. 1 Martian Vision collects issues 1-6 of the limited series with Vol. 2 The Agency collecting the remaining six issues. For librarians looking to add something like this to their collection, my only reservation would be that now since the series is over, DC may publish the entire series in one binding rather than two. It may be helpful to wait if that is preferable for you or your audience. For prospective readers and catalogers, this title has the traditional content warnings for a superhero title: violence, blood, death, limited gore as well as domestic abuse, substance abuse and a mass shooting event. DC’s age rating is 15+ which seems appropriate.
Absolute Martian Manhunter Vol.1 Martian Vision Writer: Deniz Camp Artist: Javier Rodriguez Letterer: Hassan Otsmane-Elhaou DC Comics, 2025 ISBN: 9781799505211
Absolute Martian Manhunter Vol. 1 Martian Vision By Deniz Camp Art by Javier Rodriguez DC, 2025 ISBN: 9781799505211
Company Age Rating: 15+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Filipino-American, Spanish,
Are you afraid of the dark? For within the dark lurks a multitude of wonders hidden from the naked eye, yet a cautionary reminder prevails: “The night does not belong to us.” In another alluring graphic novel, Spanish illustrator and comics artist Laura Pérez guides readers on a journey into the depths of the night and everything that lies dormant—or awake—in the darkness.
Like an opening to a film zooming in on an establishing shot, the scene begins at dusk and gradually dims into darkness where denizens of the night—bats, centipedes, and owls—awaken from their natural habitats while humans take shelter. Dancing flames of fire offer illuminating warmth in a cave carved on the side of a mountain.
From there, the bonfire from within shifts to an isolated light in a side window of a building, leading to the fire on a kitchen stove top. These scenes transition fluidly, transporting readers from one scenario to another in just a few panels. Full-page panels on a two-page spread depict a medium long shot of the night in the forest and throughout the city. A brief caption reads: “Since time immemorial, night has been a place we’ve tried to conquer and in a way we’ve succeeded.” Despite the change from one time period to another, the setting may have evolved technologically from a rural to an urban locale, but the cloak of night still envelopes the same space from one era into the next.
As the narrative unfolds, a solitary owl sporadically appears—a winged creature of the night that swoops through time and space, transcending the physical world. Subtle yet pervasive details coalesce into Pérez’s deceptively simple, silent world. Shades of black and dark teal accentuate the mood and time. A young girl donning a red hoodie ventures forth from an RV at night into the woods, echoing snatches of Little Red Riding Hood. Punctuating these scenes are a night owl that sweeps through the night air as well as a dead deer lying on a deserted road, for the night camouflages and shelters, furnishing a sanctuary while rendering secrets out of sight, melting everything away in its embrace like a black hole.
Pérez plays around with metaphysical themes of universal consciousness and telepathy, of people and places stretched across time and space, echoes of a distant, primordial past. The panels, minimalist at times, accrue more meaning upon successive viewings as though beckoning readers to delve deeper into the mysteries buried within. As a graphic novel, a visual poem, and a meditation on the sublime enchantment of the night, Nocturnos bears repeated readings and integrates well with thought-provoking titles in adult graphic novel collections, offering a pictorial Zen-like exploration that generates insight through repeated readings that will tease, tantalize, allure, and enchant.
Nocturnos By Laura Pérez Fantagraphics, 2025 ISBN: 9798875001260
Company Age Rating: Series ISBNs and Order Related media:
NFNT Age Recommendation: Adult (18+) Creator Representation: Spanish,
For a cat, private investigator John Blacksad seems to like hot water. How else do you explain his latest predicament?
Blacksad’s best friend, the muckraking reporter called Weekly, has been fingered for the murder of theatre director Iris Allen. The cops are also eying Weekly for the disappearance of the actress he’d been seeing. The only defense Weekly has is that he overheard the real killer being ordered to kill Iris Allen by real estate magnate Lewis Solomon.
Somehow, this all ties into the murder of Blacksad’s latest client, a union president who thought someone was out to get him. (It turned out he was right.) It also ties into the sudden reappearance of Alma, the woman who, once upon a time, almost became Mrs. John Blacksad. The trail connecting them all leads to Lewis Solomon and his latest construction project, but the lead detective with the NYPD is more determined to keep Blacksad off the case than he is to learn the truth. This leaves Blacksad with limited time and few resources to track down the real killer and clear Weekly’s name, as he also agonizes over the revelation that Alma got married and didn’t tell him.
I was enraptured when I was introduced to the Blacksad series with Blacksad: They All Fall Down, Part One. I sought out the rest of the series’ English translations, which took some doing as I discovered it in a lull between reprintings. It is ironic then that the publishing of this volume, the second half of the story that started it all for me, almost passed me by. I stumbled across it at my local comic shop during an end-of-the-year sale, trying to find a second book for a “buy 1, get 1 free deal.”
Like Blacksad himself, sometimes I just get lucky.
The only real flaw to Blacksad: They All Fall Down, Part Two is that you need to have read Part One to appreciate it. With that caveat, I went into this volume blind without having reread Part One, just to see how accessible it was to newcomers. To my surprise, the opening pages let you know all you need to know. It’s a small touch, but it is a pleasant one that speaks well of writer Juan Diaz Canales. However, I’m astonished this storyline wasn’t published in a single volume even if it did mean a delay in publishing a full Blacksad adventure in the United States. As in Part One, there is an excellent afterword by translators Diana Schutz and Brandon Kander regarding what few changes were made from the original text due to the ideas not translating literally into English.
The artwork of Juanjo Guarnido is as impressive as ever. Everything looks amazing, from the designs of the various animal people populating this alternate New York City to the beautiful backgrounds. The final sequence is particularly notable, with a sense of motion that is projected so well you would almost swear the drawings are moving on the page.
Dark Horse Comics rates this volume as appropriate for readers 16 and up. I believe that to be a fair assessment. There is less sexual content than in Part One, though there is a bit more casual profanity and violence, particularly as the climax builds and Blacksad closes in on the real killer. I also think the general tone will go over better with older teens and adults, who can appreciate the slow pacing of the mystery. Fans of Film Noir will love it, however, and I think the whole Blacksad series should be a staple of any adult graphic novel collection.
Blacksad: They All Fall Down, Part Two By Juan Díaz Canales Art by Juanjo Guarnido Dark Horse, 2024 ISBN: 9781506743981
Company Age Rating: 16+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Spanish, Character Representation: African-American,
When the lights go out at night, what lurks in the hidden corners of our bedrooms? Is something itching to crawl out from underneath our beds? Might there really be a Bogeyman tucked away deep inside the closet, ready to spring out the moment we fall asleep? While these imaginary childhood fears may rattle young minds, Laura Peréz (Totem) presents a supernatural and mystifying series of strange encounters for adults in Ocultos that resonate with sinister overtones.
Mysterious incidents materialize through a string of bizarre occurrences in this non-linear, disparate collection of supernatural phenomena. The opening scene begins at a book shop with a conversation revolving around the mystique and ritualistic symbology behind masks and their function in transforming one’s inner identity and connecting to other spiritual planes. From there, a panoply of recurring narrative snippets laced with nuances of the supernatural and the macabre unveils: An old lady living alone notices objects shifting around in her house—a figurine here, a swinging door there. An unseen presence seems to be watching a man when he writes or sleeps—is something lurking amidst the privacy of his home? A group of boys spots a cluster of red dots flitting across the night sky. Are extraterrestrial entities monitoring the earth?
These varied uncanny snapshots intrigue as much as they confound, teasing at the elusive sightings hovering at the edge of our peripheral vision. In compelling, cinematic style, each panel highlights subtle yet haunting imagery that tantalizes our curiosity. While some panel sequences touch on themes of supernatural phenomena and magical realism, others are stripped of dialogue, focusing instead on gothic-like facial expressions in Edward Gorey style. Deep midnight blues blend with inky blackness to amplify particular scenes with a shadowy noir-like ambience. Somber gray and black shades in others feature a couple vacationing in a desolate town, mimicking a surrealistic sensation straight out of a Twilight Zone episode. Perhaps most stunning are the voyeuristic zooming shots that prey upon unsuspecting characters engaged in routine tasks like sleeping, writing, and dishwashing, for at their core lies the mundaneness of everyday life where the ordinary meets the sublime.
Traversing the delicate lines between reality and the supernatural while navigating the realms of belief and the inexplicable, Ocultos explores the thin veil separating the ordinary from the profound, inviting readers to penetrate the superficialities and tawdry experiences of everyday existence. While not tailored to all readers of graphic novel fiction, Peréz’s work nonetheless challenges and baffles the mind with her haunting artwork and intriguing storytelling style. Like a rare literary gem that accrues deeper meaning and tangential explorations through repeated readings, her work emerges as an outstandingly obscure find for adult graphic novel collections.
Ocultus By Laura Peréz Fantagraphics, 2024 ISBN: 9781683969990
Publisher Age Rating: Series ISBNs and Order Related media:
NFNT Age Recommendation: Adult (18+) Creator Representation: Spanish,
The story begins with an introduction to the main characters; Chiri, an exuberant girl with pink hair and a yellow hoodie, who is Deaf, and uses hearing aides, lip-reads, and speaks sign language. Her best friend Dai, is a shy boy with navy blue hair and brown skin, is a reluctant follower in her adventures (and enthusiastic eater of her cookies). Both live in the boring, gray Little Valley, in an orphanage, where nothing happens besides bullying. Trying to escape from an especially vicious group, the two go into the Haunted Forest and enter a cave in the midst of the Old Ruins.
In an Oz-like transformation, they enter a colorful land with plentiful food—and a plethora of missing posters. Chiri is enthusiastic about exploring, Dai is not so sure, especially after they meet some of the strange inhabitants of what turns out to be the land of Puddin’ and learn about the Shadow King who has been seen recently. While visiting Breakfast Town, in search of waffles of course, they run into a group of adventurers who discover that Chiri has powerful magic.
A wild series of strange adventures follow as the two friends try to decide their next steps—stay in the land of Puddin’ and face the dangerous Shadow King or try to return to Little Valley which is relatively safe. Will Chiri pursue her magic training and can Dai overcome his fears or will the two go their separate ways? Can the Shadow King be defeated or will he expand his rule of terror into the another realm?
Many of the comics produced by Flying Eye have a similar flavor and while Sanchez’ art is unique, there are certain details like small tufts of hair, spots and flushes of color across cheeks and noses, oddly large or small heads, and a limited range of clashing colors that will remind readers of other creators like Joe Todd-Stanton, Sam Bosma, Seaerra Miller, and Tim Fraser. The brief scenes in Little Valley are tinged in shades of gray and lavender, the few spots of color in Chiri and Dai’s jackets showing as dull red and orange.
Once the two have passed through the portal, their jackets sharpen into bright colors and the landscape blooms with contrasting pinks, oranges, and reds against shades of blue and purple. The people they meet have exaggerated features, lumpy noses, large bobble heads, scarlet skin, and deeply lined faces and the creatures vary from lumpy heaps of fur to amorphous, shape-shifting movements. Everywhere are stones, broken statues, and artifacts carved with the mysterious runes of the title.
A brief note at the beginning explains that the sign language shown is a mix of British Sign Language (BSL) and the author’s imagination, with the advice of consultants (credited at the end of the book). Both Chiri and Dai use sign language to communication, which is translated into colored boxes, and they also encounter people who use “wizard speech” which is similar to sign language.
Readers who like quirky fantasies, including Lightfall by Tim Probert (who blurbs the book) will enjoy exploring the mysterious world of Rune. Notable for its inclusion of a Deaf character in a fantasy world, this is a strong addition to most graphic novel collections. The book definitely ends on a cliffhanger however, so libraries with a limited budget will probably want to wait for sequels to be available before purchasing, otherwise readers are likely to lose interest before sequels are released.
Rune: The tale of a Thousand Faces By Carlos Sanchez Flying Eye Books, 2024 ISBN: 9781838741211
NFNT Age Recommendation: Middle Grade (7-11) Creator Representation: Spanish, Character Representation: Deafness,
Although it uses the term “child-free” late in the book and sparingly, Irene Olmo’s I Don’t Want to be a Mom captures the zeitgeist of the child-free movement throughout the volume. As younger generations question cultural norms and seek their own life paths, the question of whether to have kids arises for many people. Women experience tremendous pressure about motherhood with cultural conditioning that begins for them as children. Once expected without question, now having kids is viewed as a choice.
Born and raised with her sisters in Spain, Olmo remembers playing with dolls as a child, pretending to care for them as though they were her babies and mimicking pregnancy with pillows stuffed under her shirt. At that time, it was not a question of if she would one day have children, but how many she would have. In high school, a friend’s pregnancy and a class debate about abortion prompt further thought. In college, Olmo meets a pregnant student who ends up dropping out and abandoning her dream of becoming an airline pilot. After graduation and now with a boyfriend, her friends, family, and even acquaintances ask Olmo when she’ll have kids, at times harassing her about it. She reflects and ultimately decides that she does not want to be a mom. Rather than taking a judgemental or proscriptive tone, Olmo simply details her own experiences and celebrates that she can choose not to have children just as others can choose to have them.
Olmo’s art drew me in just as much as the topic of her book did. She uses a middle range of jewel tones—teal, gold, pink, red—and always portrays herself wearing red. The cartoony people are doll-like with their large, telling eyes and bulbous heads. Although the style is not realistic, Olmo depicts a variety of facial expressions that make the characters’ emotions immediately apparent. She uses visual metaphor to great effect. The best example of this is when she depicts her isolation as being a visitor to a hostile alien planet. Olmo is inside a bubble on the planet’s surface while the cavemen-like inhabitants threaten her with clubs and spears (p. 95). Her bubble floats up and away and connects with the other bubbles of like-minded women, literally expanding her world (p. 97).
This book will appeal to adult readers who enjoy graphic memoir and/or are interested in the topic of being child-free. Aspiring cartoonists will also benefit. The book does not discuss LGBTQIA+ points of view, but queer people who have felt pressure around procreation will likely still relate. For all the books about pregnancy and parenthood, I Don’t Want to be a Mom offers another perspective.
I Don’t Want to be a Mom By Irene Olmo Graphic Mundi, 2023 ISBN: 9781637790595
Publisher Age Rating: 16+ NFNT Age Recommendation: Adult (18+)
Creator Representation: Spanish Character Representation: Spanish
A massive blizzard, a missing plane, a group huddled together to weather the storm—and the thing that has begun hunting them.
From Boom! Studios and the creative team of Jeremy Haun and Jason Hurley with Jesús Hervás and Lea Caballero comes The Approach, a horror story about surviving the unimaginable when there is nowhere to run. The story opens with Mac, Abi, and the rest of the employees at a rural airport on the verge of shutting down in the face of an onslaught of winter weather. Things are difficult enough when they receive a diverted passenger plane looking for shelter, but the trouble truly begins when a second, smaller plane crashes on site, leaving no survivors.
Only, that is not entirely true. The smaller plane has been missing for 27 years, and one of the bodies pulled from the wreckage soon disappears. Cut off from help and struggling against weather that only promises to get worse, Mac, Abi, and the others soon realize that something on the plane was not human. As it begins to hunt and begins to grow into something truly terrifying, it will take all that the survivors have to escape. While tensions are already high, someone may know more than they let on about the creature, and no amount of heroism guarantees that everyone will make it out alive.
Haun and Hurley have established themselves in horror comics at this point, so it’s no surprise that The Approach aims to deliver some flawed characters facing something truly horrific on the path to survival. Comparisons to movies like Alien and The Thing are inevitable in this sort of sci-fi horror narrative. Though The Approach offers plenty of familiar plot beats and set pieces, it isn’t just a copy-paste of other similar stories. Haun and Hurley set up the key character relationships early on. Some are friendly, others less-so. Mac struggles with pills and a history he’d rather forget. Others are desperate to leave their rural landscape behind in search of better opportunities. None are equipped for the monster headed their way, and the writing delivers some tender moments even after the violence starts. Overall, however, The Approach opts to focus on creature horror and survival over some of its deeper themes and subplots. The result is a story that doesn’t offer a huge amount to latch onto emotionally and also doesn’t do anything wildly unexpected within the genre its embracing.
That being said, Haun and Hurley are a pair of writers willing to aim big, and with Hervás and Caballero providing the art for this story, readers looking for a healthy dose of monster horror will not be disappointed. The barren landscape buried in snow is evident from the opening panels, as are the harsh lines and grim tone that suffuse the book. As events escalate, the artists showcase a diverse cast through dramatic moments of terror and silence while also embracing the visceral violence and horror of a monster that refuses to be contained. It’s a naturally cinematic story, and the creators don’t miss their opportunities to deliver dramatic panels and shocking moments as the fight for survival only goes from bad to worse.
Boom! doesn’t list a specific age rating for this title, but with scattered language, partial nudity, and graphic creature violence, it’s aimed solidly at adult readers with some crossover to older teens who can handle the gore. All of this considered, The Approach is not a required purchase, but if your readership craves more horror options or is a fan of past work from members of this creative team, this book is worth considering. It’s not about to redefine the genre, but if readers want to settle in to a tense story featuring a hideous creature and plenty of horror action and suspense, The Approach has plenty to offer.
The Approach By Jeremy Haun, Jason Hurley Art by Jesús Hervás, Lea Caballero BOOM! Studios, 2023 ISBN: 9781684159086
Publisher Age Rating: 17+ NFNT Age Recommendation: Adult (18+)
A request that can’t be ignored. Three semi-estranged friends on a road trip after years apart. Though they don’t understand the reasons that brought them back together, all three know that this trip may be a turning point in all their lives—and that’s before things get weird.
Polly, Moho, and Piter, along with their friend Héctor, once bonded over their love of music and their dreams of where life might one day take them. Years later, those dreams have not come to pass and their time together has turned into memories tinged with bitterness—until a final request from Héctor draws them together to carry their friend’s remains to an X he marked on a map where each hopes to find some sort of resolution.
It sounds like a simple road trip, right? It should have been, but add in an ex-circus monkey and two mercenary brothers in cowboy hats, one of whom carries a banjo. The journey takes them away from an angry cowboy, through a ship graveyard, and into the sights of a stranger whose livelihood may be less than legal. At first, it seemed that the greatest struggle would be getting along with one another, but as each situation spirals more out of control, finding what lies at Héctor’s X may be the least of their difficulties.
From IDW and Top Shelf Productions, Ashes is the debut English-language graphic novel from acclaimed Spanish cartoonist Álvaro Ortiz. Blending dark comedy and drama with touches of absurdity, the book weaves the characters’ pasts and presents together with glimpses of broader history in a thoughtful whole that considers the way human stories play out across the years. Bold and unique, the result is a fun road-trip adventure with action and surprises that ultimately reveals itself to be a simple but moving examination of grief, growing up, and finding your own way in a world that doesn’t always go quite the way you want it to.
Ortiz’s illustrations are stylized and cartoonish, but with a seriousness to the characters that works well in capturing the blended tones of the writing. Though it occasionally takes a touch of effort to separate flashback from the present story, the art largely succeeds in bringing together the pieces of the story as it unfolds. Capturing subtle moments of humor as well as the grander moments of stillness, the art is distinctive, fun to look at, and connected tightly to the story Ortiz builds here.
IDW does not list a rating for this title. Throughout the story, there are instances of strong language, violence, nudity, and drug content—among other things—and though the visual style does lessen the impact of the content, it remains a title best suited for older readers. In the end, Ashes is a quirky book with some truly touching moments. Not every scene lands perfectly, and a brief appearance from a strongly queer-coded villain feels somewhat cheap, but overall it’s well worth the investment for readers looking for something a little different, comics in translation, or stories with some dramatic themes that still manage to have fun along the way. Additionally, fans of Kyle Starks work such as the Six Sidekicks of Trigger Keaton will likely appreciate both the artistic style and storytelling present here. It’s a bit of a chaotic graphic novel, but that’s clearly intentional, and Ortiz ultimately does bring it all back home again with touching sincerity.
Ashes is a wacky road trip with heart and it’s worth tagging along with these characters as they discover what lies at the X on the map that brought them back together.
Ashes By Álvaro Ortiz Top Shelf, 2023 ISBN: 9781603095174
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Spanish Character Representation: Spanish
In Season of the Bruja, Aaron Durán depicts the conflict of surviving cultural practices vs. rampant colonialism, while also delivering a touching story of grief and self-discovery.
Being the last bruja, Althalia carries a tremendous weight on her shoulders. Immense powers dwell inside her, and she needs to ensure that the history and ways of her ancestors live on. Her beloved abuela teaches Althalia all she can about her growing magical skills and the traditions of their people, but, after a chance encounter with a fanatic priest, the young bruja’s world is thrown into chaos. Facing a centuries-old and deadly prejudice, Althalia must fully realize her role as a bruja before everything she has worked hard to protect becomes lost to time forever.
Durán, over the course of the comic, presents readers with an intriguing, yet somewhat cryptic world. At many points, it feels as if one would need a basic understanding of Mexican folklore going in, as certain creatures, concepts, and figures go unnamed and unexplained, which may confuse some readers as to their significance in the story and to the characters. It is not enough to bring down the story as a whole, but may lead one to backtrack their reading several times to make sure they did not miss anything. I especially felt the shakiness of this world going into the third act, with characters moving from place to place so quickly, mythologies intertwining, and new, mysterious adversaries cropping up in the last thirty pages with little to no explanation. I didn’t even realize where much of the climax was taking place until I had finished and was reflecting on what I had read.
Overall, the world Durán has created is not an unrealized one, but one that could have used some more definition. At several points, it feels more like the second volume of a series rather than the first as the story expects the reader to take several plot threads at face value. From the very first page, readers are thrust immediately into action as we see Althalia taking on a possessed child with her friends Dana and Chuey, a werecoyote and chupacabra, respectively. The dynamics of their relationships have already been fully developed, which makes the scene almost feel like an intrusion rather than an introduction. The reader may struggle to engage with the conflict as these characters are still strangers to them, and the reason as to why these specific characters are here is a mystery. While the rash Althalia, passionate Dana and kind, paternal Chuey become endearing characters as the story goes on, the beginning paints a disorienting view of them.
All issues aside, Season of the Bruja is essential reading when it comes to its message of the importance of preserving traditional customs and the destructive impact of colonialism. Durán does not shy away from depicting the historical and enduring prejudices of the Christian church against Indigenous practices, making Althalia and her abuela’s commitment to the survival of their heritage all the more empowering and inspiring. Though Althalia struggles to find her place in her identity, her pride and dedication to those who came before her ultimately shine through. This is a comic that celebrates its culture and the love for it is shown on every page.
Sara Soler’s illustrations only add to the magic of Durán’s story, with eye-catching, lively colors and atmospheric lighting. The designs of the supernatural characters are a real treat, especially the otherworldly palettes of Althalia and abuela’s alebrijes, as well as the sinister, imposing forms of multiple demons. Full page spreads accompany significant moments in the story, each one beautiful and impactful as Althalia’s emotions start to run high and her magic takes center stage. Unfortunately, there are several moments in which it is difficult to track the action of the main characters, whether due to the lack of a panel showing transitions between movements or a hasty layout. Characters will suddenly appear in different places than shown before without explanation or have an interaction off panel that could have contextualized the scene better. In its calmer moments, the flow is more natural and easier to grasp, though there is still the odd messy transition here and there. Still, it is a style that matches the heart and soul of Althalia’s journey, giving it a standout look that is familiar and resonating.
The world may need some settling into, but Season of the Bruja remains a graphic novel with a captivating, strong identity, and heartfelt representation of Mexican culture. Those looking for a supernatural, emotional story with a heavy mythical and familial aspects will find an engaging read here. Due to its heavier themes underlaid with a lighter tone, this title may resonate the most with teens and adults. Librarians and educators in search of materials that give meaningful representation as well as cover rarely explored topics in graphic novels, such as systemic cultural erasure and preservation of Indigenous history, should consider purchasing this title.
Season of the Bruja, Vol. 1 By Aaron Durán Art by Sara Soler Oni Press, 2023 ISBN: 9781549308161
Publisher Age Rating: grade 7-9
NFNT Age Recommendation: Adult (18+), Older Teen (16-18), Teen (13-16) Creator Representation: Latinx, Spanish, Bisexual Character Representation: Latinx, First Nations or Indigenous,
A fictionalized story of Edita “Dita” Adlerova, The Librarian of Auschwitz follows the daily life and motivations of Dita as she lives through World War II as a Jew and eventually is forced to move to Auschwitz with her family. Upon arrival, they are forced to strip for disinfection and given tattoos. But they are not subjected to the same horrible existence as the other camps. In the Family Camp, BIIB, Dita can see her family every day, wear her own clothes, and keep her hair. She also meets a man named Fredy, who works to keep the camp orderly and stands up to the Germans and the Kapos to get the prisoners various privileges.
Dita’s first job is being the replacement stage prompter in the children’s block, but after the performance, Dita is no longer needed until Fredy approaches her with a dangerous request: to become the camp’s librarian. In charge of the small number of books that are forbidden within the camp and carried with them a death sentence. Dita took her job very seriously and cared for the books and made sure people had access to them. She even starts setting up meetings with living books (people who tell stories from memory or share their own experiences). Before the end of the war, Dita experiences the loss of her parents, hunger, illness, and hard manual labor in addition to the constant threat of death. Fortunately, she was able to make a friend, Margit, who she reconnected with once the war had ended.
Included in the end material is a note from the adapter, who explains what types of changes were made for the graphic novel adaptation as well as a brief historical dossier about the novel’s creation and biographical information about some of the key characters.
I haven’t read the original novel this adaptation was based on; however, I did find the story easy to follow. The illustrations keep a good balance between showing stark truths and maintaining suitability for younger readers. To that end, there are some panels that show naked bodies, but nothing gory or sexual is on page. Mengele’s experiments are spoken of in order to showcase the terror felt by the prisoners but never explained in detail or in illustration. I liked the way the artist used muted neutral colors throughout the story. It set the tone and brought the reality of this part of our history into stark light.
This adaptation could be shared with readers as young as third grade and would appeal to readers through sixth grade. It would make an excellent addition to any public or school library in the historical fiction section.
The Librarian of Auschwitz: The Graphic Novel By Antonio Iturbe, Salva Rubio Art by Loreto Aroca Hollendonner Godwin Books, 2023 ISBN: 9781250842985
Publisher Age Rating: 8-12
NFNT Age Recommendation: Tween (10-13) Creator Representation: Spanish, Character Representation: Jewish
Not a Martian, Not a man. Absolutely insane.
naked eye, yet a cautionary reminder prevails: “The night does not belong to us.” In another alluring graphic novel, Spanish illustrator and comics artist Laura Pérez guides readers on a journey into the depths of the night and everything that lies dormant—or awake—in the darkness.
from underneath our beds? Might there really be a Bogeyman tucked away deep inside the closet, ready to spring out the moment we fall asleep? While these imaginary childhood fears may rattle young minds, Laura Peréz (Totem) presents a supernatural and mystifying series of strange encounters for adults in Ocultos that resonate with sinister overtones.
Deaf, and uses hearing aides, lip-reads, and speaks sign language. Her best friend Dai, is a shy boy with navy blue hair and brown skin, is a reluctant follower in her adventures (and enthusiastic eater of her cookies). Both live in the boring, gray Little Valley, in an orphanage, where nothing happens besides bullying. Trying to escape from an especially vicious group, the two go into the Haunted Forest and enter a cave in the midst of the Old Ruins.
Although it uses the term “child-free” late in the book and sparingly, Irene Olmo’s I Don’t Want to be a Mom captures the zeitgeist of the child-free movement throughout the volume. As younger generations question cultural norms and seek their own life paths, the question of whether to have kids arises for many people. Women experience tremendous pressure about motherhood with cultural conditioning that begins for them as children. Once expected without question, now having kids is viewed as a choice.
A massive blizzard, a missing plane, a group huddled together to weather the storm—and the thing that has begun hunting them.
A request that can’t be ignored. Three semi-estranged friends on a road trip after years apart. Though they don’t understand the reasons that brought them back together, all three know that this trip may be a turning point in all their lives—and that’s before things get weird.
In Season of the Bruja, Aaron Durán depicts the conflict of surviving cultural practices vs. rampant colonialism, while also delivering a touching story of grief and self-discovery.
lives through World War II as a Jew and eventually is forced to move to Auschwitz with her family. Upon arrival, they are forced to strip for disinfection and given tattoos. But they are not subjected to the same horrible existence as the other camps. In the Family Camp, BIIB, Dita can see her family every day, wear her own clothes, and keep her hair. She also meets a man named Fredy, who works to keep the camp orderly and stands up to the Germans and the Kapos to get the prisoners various privileges.
