Cassie doesn’t have much of an in-person social life. Her former best friend, Bennett, can’t stand her now, and she doesn’t fit in at school or at the church events her mom keeps pushing her to attend. Cassie’s friends are all online, where they bond over their passion for the show Riverview. The Riverview fandom loves Cassie’s fanfiction, which features an original character named Jessica. Jessica is a fun, cool, beautiful vampire girl who is good at everything and liked by everyone – a classic Mary Sue.
Jessica is fiction, obviously. Cassie created her. But one day, Bennett is picking on Cassie when who should jump to her defense but a very real Jessica, fangs and all.
How is this possible? Jessica explains that all Mary Sues exist in their own realm, Mary Sue World, and they go hopping through different versions of reality anytime someone writes them into a new story. For a character like Jessica, Cassie’s “real” reality is just one of many where she might make an appearance. And while she’s visiting, she wants to help Cassie channel some of the confident, positive energy that she wrote Jessica to have.
Unfortunately, there’s another Mary Sue in town, and she’s not nearly as nice as Jessica. Which maybe isn’t surprising, given who created her: Bennett. Now this dangerous newcomer is targeting both Cassie and Bennett. To beat her, they will have to work together, get some help from Mary Sue World, and embrace the weird and beautiful realm of Internet fandom.
This is a smart, zany book celebrating the creativity and connection of fan culture. In particular, it is a defense of the Mary Sue. This character archetype in fanfiction has long been maligned as cringey wish-fulfillment, a way for the writer to insert an impossibly cool and hypercompetent version of herself into the story. But as Jessica points out (and other writers have noted), plenty of canonical characters—especially male ones – are just as hypercompetent and cool, and yet few people dismiss Batman or James Bond as “Gary Stus” (the much-less-commonly-discussed male form of Mary Sue). And any character can be written well or badly, regardless of whether they fit the Mary Sue description.
The fandom love continues with a series of interviews sprinkled between the chapters, in which the book’s creators talk about their own history and engagement with fan culture. They rave about their favorite tropes and tags, their first OTPs, and more. Here, and in the book’s main text, we see the joy that online fandom brings and the way it connects people, some of whom might never meet in person. As a fun visual touch, the pages with these interviews are styled to look like old websites.
The art is dynamic and expressive, and brought to us by Lisa Sterle, the illustrator of the popular Modern Witch Tarot deck. The settings are full of lived-in detail, and the characters look natural in their movements and postures. The color palette has a base of realistic earth tones, but includes pops of vibrant, 80s-esque purples, pinks, and teals, especially once Jessica shows up. The colors also help to establish the different settings, whether it’s a sepia-toned flashback, the gray-blues of a Star Trek ship in Mary Sue World, or the electronic landscape of the Digital Sea.
As a love letter to fandom, this book will be best appreciated by readers who are already at least a little familiar with the tropes and terms. Hand it to creators of fanfic or fanart, cosplayers, and anyone else who takes their passion for a fandom and runs with it.
Mary Sue By Meghan Fitzmartin Art by Lisa Sterle BOOM! Box, 2026 ISBN: 9798892158855
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Bisexual,
Heartcore is a roller coaster of the ups and downs of falling in and out of love. Author Št?pánka Jislová examines her relationship with relationships. How do we form preferences? What do our preferences say about our personal character? How are we informed about our identities? How do our identities dictate our roles in society? And, more importantly, how do we rebel against those dictations?
I am very thoroughly impressed how Jislová manages to blend all these things together in a way that is coherent and relatable—this book is a memoir, it’s a comic, it’s a romcom, it’s a tragedy, and it’s also a bit of a character study/psychological evaluation. Follow Jislová through her “classic Eastern bloc postcommunist 1990s childhood” and learn about the things that made her her. English language magazines, the coming of the widely-available internet, the contradictions in societal expectations for girls and women, the emotional repression of boys and men, first and early relationships, and navigating the isolation she felt as a young person.
“With infatuation came mania, and with mania, obsession. And with obsession, frustration.”
Heartcore was one of New York Public Library’s Best New Comics for Adults of 2025, and I do want to emphasize this is a book for adults. A lot of adult subject matter is discussed – casual hookups, alcohol, drugs, assault, and the like. The book is not explicit nor graphic, but there is nudity and sexual themes throughout.
The artwork is a simplistic and smooth style – no rendering with a very limited palette. The reds stand out among the grays and gives importance and hierarchy to the items or people the comic wants to highlight. The text and narrative are very easy to read, despite how densely packed this comic is.
A thoughtful and compelling read about the lines of sex and love and where those lines interconnect (or don’t). Be mindful of its placement in your collection if you add it – the clean, uncomplicated drawings might give off the idea that the story within is simple, but it absolutely is not and it is absolutely not for children.
Heartcore By Št?pánka Jislová Graphic Mundi, 2025 ISBN: 9781637790908
Company Age Rating: 16+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Czech, Bisexual,
Corinth is a 15-year-old goth aesthetic high schooler with a “bad boy” boyfriend and supportive parents. She likes to spend her free time cleaning up the beach. One day while collecting trash, she’s lured into the water by a hungry mermaid. Luckily, the mermaid (later named Skylla) saw something in Corinth that made them release her and develop a relationship. As Corinth and Skylla learn about each other, the reader learns more about Corinth’s relationship with her toxic boyfriend. His jealousy drives Corinth to spend more and more time with Skylla even as she doubts herself and her decisions. Skylla learns about human cultures, speech, sign language, and food. They also feel deeply about Corinth and works with the mermaid elders to trade their magic for legs to join Corinth on land, surprising her as a transfer student. But the price of the magic is more than Skylla is willing to pay, which leads to complications and a difficult choice for the couple to make together.
Iron Circus Comics is known for championing its LGBTQ+ creators and stories, and The Sea in You is no exception with a retelling of the little mermaid featuring a nonbinary mermaid and a plus size female lead. Neither of these attributes is a focus for the plot; however, I appreciated these details as it makes it stand out as a retelling with a diverse cast of characters. Another factor that makes this a standout retelling is the twist at the end and the inclusion of heavier emotional issues like toxic relationships and shame.
I absolutely loved the art in this book. The color palette of blues and blacks matches the darker tone of the story, and all the curvy lines fit the characters’ personalities. This is a great addition to any graphic novel collection that is accessible to teens and adults, especially if you’re looking for a title that portrays diverse characters. Some mature younger readers might also enjoy this retelling; however, the heavier emotional themes and discussions might draw attention from parents.
The Sea in You By Jessi Sheron Iron Circus, 2023 ISBN: 9781638991113
Publisher Age Rating: Grade 7-9 NFNT Age Recommendation: Adult (18+), Older Teen (16-18), Teen (13-16)
Creator Representation: Bisexual Character Representation: Pansexual, Nonbinary
There have been plenty of modern takes and graphic adaptations of classic tales, but this new conception of Stevenson’s story, Strange Case of Dr. Jekyll and Mr. Hyde, is an entirely new approach, mixing classic and historical metaphors, references, and settings with a modern sensibility, explosive colors, and sly humor.
The story begins one dark night in the slums of East London, as a young werewolf is chased by an angry mob and finally cornered by the police, all while a mysterious dark figure watches from the rooftops. Just when Jasper, the unfortunate victim of an interest in supernatural creatures and an ill-timed potion, is about to be lose everything, a shining coach appears and a glittering figure arrives to save the day – the young, handsome, urbane, charming Dr. Jekyll. He whisks Jasper away to his institution for rogue scientists where their research is valued and encouraged.
Naturally, all is not as wonderful as it seems on the surface. With the arrival of Frankenstein and her creature, who are being followed and attacked by Dr. Moreau, the cracks beneath the surface begin to show and the mysterious figure of Mr. Hyde starts to make his presence known. Dr. Jekyll is desperate to save his institution, his reputation, and his own life, but with angry creditors, hovering police, and the suspicions of those he thought were his friends, everything seems to be on a downward spiral. The story ends on a cliffhanger, with both Dr. Jekyll and his alter ego Mr. Hyde threatened by forces within and without.
Some readers may already be familiar with this work which was launched as a webcomic in 2015, but it’s been beautifully and smoothly reworked into a comprehensive whole for this new graphic novel. There is a little bit of a manga sensibility to the characters, with lots of sharp chins, big eyes, and exaggerated emotions. But the art style is also unique, blending Victorian style with fantasy creatures, showing wild-eyed alchemists with a variety of skin colors and Steampunk gear mixing gleaming potions, handling explosions with aplomb, and cheerfully zipping around the town dodging angry mobs, irate policemen, and the risky results of their own experiments.
The work doesn’t pretend to any historical accuracy, blending science fiction stories of the era with reality, including a more contemporary attitude towards those who discard gender norms, and giving Hyde especially a slangy, current style of speech. Jekyll is portrayed as a very proper young man with a large, hooked nose, sharp chin, and somewhat naive, innocent look. His “darker half” is a small man with a fluff of blonde hair, gleaming green eyes, and that same oddly naive, sensitive look, even when he’s cheerfully setting things on fire and out partying in the streets.
Cotugno follows up the story with a short story of Frankenstein’s Creature and some of the scientists visiting a coffeehouse and discussing the nature of prejudice and finding your place. This is followed by several thoughtful notes blending their creative and artistic process and their own approach to the story of Jekyll and Hyde as they feel it relates to their own journey exploring their identity as bisexual, queer, and biracial.
There’s nothing overtly inappropriate for middle grade readers in this first volume, but the concepts of good and evil, self-identity, and references to various classic works of literature as well as hints of darker adventures to come definitely move this into teen territory. Hand this to teens who are still into steampunk and fans of Nimona, Jeremy Whitley, and Neil Gaiman.
Glass Scientists Vol. 1 By S. H. Cotugno Penguin Random House Razorbill, 2023 ISBN: 9780593524442
NFNT Age Recommendation: Older Teen (16-18), Teen (13-16) Creator Representation: Japanese-American, Bisexual,
Love comes in all shapes and sizes, whether it’s between adventurous pirates, burgeoning demon hunters, smooth spies, or even your average couple trying to make it all work. Young Men in Love, edited by Joe Glass and Matt Miner, showcases all these relationships and more, containing twenty stories from queer creators devoted to exploring the romantic hurdles and queer joy of male/masculine couples. This graphic novel boasts a variety of genres: fantasy, sci-fi, paranormal romance, contemporary slice of life, etc., ensuring that each reader will be able to find at least a story or two to enjoy.
Typical of most anthologies, not every story is going to be as hard hitting as the next one. With an average length of four to eight pages, there are some that struggle to break beyond their concept, leaving the reader more with an idea rather than a fleshed out narrative. The majority of contributors, however, manage to pace their stories so that, though we may not spend much time with these characters, they still leave a great amount of impact. Despite the varying appeal of each story, there is an admirable amount of honesty, vulnerability, and love interwoven within them all. An immense sense of pride lives in these pages that comes from an unwavering self-acceptance and the ability to love openly without shame or fear. Moments of loneliness, depression, and doubt play roles in multiple stories, but they always come around to love in the end, whether it comes from a partner or within themselves.
Given the graphic novel’s notable range in terms of content and themes, there are several stories that display aspects of queerness that are rarely discussed in the community. Ned Barnett and Ian Bisbal’s “Another Name” deals with a trans man realizing his identity and coming out to his partner in what was once a heterosexual relationship, highlighting the fears and anxiety that may come with such a discovery. “Act of Grace,” written by Anthony Oliveira and illustrated by Nick Robles, follows a teen expressing religious guilt to his priest, afraid of how his feelings for a boy may conflict with his Catholic upbringing. Editor Joe Glass, along with Auguste Kanakis, throw in a moving inclusion in “Love Yourself,” which has a character experience the fetishization of plus sized men in the community and how validation and love for someone comes from appreciating and celebrating the whole of them rather than a singular aspect. These are all facets to the queer experience that I have seen firsthand, but seldom are they reflected in media tailored to those they are meant to represent. Seeing these conflicts approached and resolved with such depth and respect allows the reader a touch of hope and comfort, even if they may not entirely relate to it.
Intent on including as many voices and experiences as possible, Young Men in Love also gives a tremendous amount of diverse representation in terms of ethnicity and body type. It shies away from solely depicting the stereotypical skinny, white, gay man, as there are several stories with black, brown, and plus-sized protagonists. What’s so refreshing about these depictions is that, aside from “Another Name” and “Love Yourself,” none of the stories make the characters’ backgrounds the focal point of their conflict. They exist as people foremost, without their identities being a source of added trauma.
As there is a separate artist accompanying each installment, there is a vast variety in art styles, ranging from charmingly cartoonish to engagingly realistic. I will forever throw praise onto Nick Robles, who puts so much life into his textures and instills a healthy dose of emotion and drama into “Act of Grace” through his use of lighting and character expressions. There is something Leyendecker-esque about his style where he captures the male form exceptionally well, making it the perfect fit for this collection. I also really appreciated the yellow tinge given to the palette and borders of Paul Allor and Lane Lloyd’s “The Way Home,” producing a nostalgic effect reminiscent of those old comics that had probably been left in the basement for too long. Overall, there is a vibrant rainbow of color throughout the graphic novel, as the reader is treated to vibrant pastels to moody, atmospheric shadows. Each story, as a result, becomes visually distinct and memorable, even if its content may not have lived up to the one that preceded it. None of the art in this graphic novel disappoints, which brings a certain coherence to all the differing perspectives within.
For fans of uplifting romantic stories with happy endings or layered depictions of queer experiences, Young Men in Love will hit that emotional, sappy spot in spades. As a romance comic, the content is fairly clean, with nothing going further than the occasional cuddle or kiss. The featured protagonists range from being young teens to full adults, so it may appeal most to readers fourteen and up. Librarians and educators looking to obtain graphic novels with positive and varied queer representation from queer creators should consider purchasing this title.
Young Men in Love Vol. By Joe Glass, Matt Miner A Wave Blue World, 2022 ISBN: 9781949518207
Publisher Age Rating: 13+ NFNT Age Recommendation: Adult (18+), Older Teen (16-18), Teen (13-16) Creator Representation: Black, Brazilian, British, Canadian, Greek, Latinx, Malaysian, Mexican-American, Bisexual, Gay, Queer, Nonbinary, Trans Character Representation: Black, British, East Asian, Latinx, Gay, Queer, Nonbinary, Trans, Catholic
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,
Gender Queer: A Memoir begins with an arresting image. As a student, Maia Kobabe, who uses e/em/eir pronouns, taped over two pages of eir sketchbook with blank pieces of paper. The pages concealed an autobiographical comic about gender created for a school assignment, a topic that filled Kobabe with discomfort. In the opening of Gender Queer, we’re shown the censored pages—then, with an immensely satisfying “RIPPP!”, Kobabe tears away the paper, revealing the title page of Gender Queer itself.
Gender Queer is the self-portrait of a queer artist developing the confidence to tell eir story, in eir own words and on eir own terms. Narrating Kobabe’s gender journey from early childhood to the present,this graphic memoir chronicles eir efforts to build a life that affirms every piece of eir identity. There isn’t a single pivotal coming-out scene; instead, Kobabe embarks on a slow, continuous project of self-expression and self-knowledge, with results as precise and dazzling as the constellations that decorate the cover of this deluxe edition.
Maia Kobabe’s story begins with a California childhood spent catching snakes, making art, and feeling completely out of step with eir peers. A series of early crushes helps Maia to realize e’s bisexual, but this doesn’t explain the deeper discomfort e feels with eir body and assigned gender. Confused and discouraged, Maia catches hold of a pair of lifelines—coming to books as a late reader, and joining a Queer Straight Alliance at eir high school. Discovering stories that reflect eir own experiences, e begins to feel less alone.
Entering adulthood, Maia finds a word—genderqueer—that reflects the complexity of eir experiences. Just as important, e continues to collect touchstones that affirm eir sense of self instead of eroding it. There’s the first time e listens to David Bowie; the male figure skating costume that fills em with gender euphoria; the queer fan fiction that sparks eir sense of the erotic, yet ultimately makes em realize that e prefers reading about romance to experiencing it firsthand. Kobabe’s sophisticated artwork explodes to life in these moments, expressive full-color panels featuring inventive imagery such as Maia’s gender leafing out like a young seedling, or Bowie’s music as a full-body, cosmic experience (complete with rocketship).
Yet as Maia pieces together identity labels—nonbinary, mostly asexual, queer—and builds a network of supportive friends and family, the obstacles grow. Maia knows that as long as e minimizes eir gender, eir relationships and sense of self will suffer. But loved ones offer pushback when e tries to explain nonbinary identities; Pap smears are a source of trauma that medical professionals rarely take seriously; and everyday interactions come with a cost: Maia must stand up for emself, over and over, just to feel comfortable in eir own skin. This is the Maia who censored eir own sketchbook, and at the close of the memoir, this self-effacement is still palpable. Now a working artist, e hesitates over whether to share eir pronouns with students. “I think I’m carrying more fear than I need,” e realizes.
If Gender Queer is an act of bravery, it’s also a funny, sophisticated, deeply relatable coming-of-age story about charting your way alongside books and best friends into adulthood. Accessible but never didactic, Kobabe’s deft storytelling and polished, appealing artwork excels at communicating with a broad readership. For a queer and trans audience that has rarely encountered nonfiction centering nonbinary experiences, Kobabe’s memoir delivers affirmation, while for readers who are new to learning about queer identities, it educates and invites empathy. Gender Queer is also smart about the way it presents sexual material; this book doesn’t shy from frank discussions of sexuality, masturbation, and sexual health, but the content is contextualized in a way that is sensitive to the needs of younger readers, and Kobabe takes care to avoid explicit sexual depictions of underage characters.
The 2022 deluxe edition collects process pieces and select issues of the original Genderqueer comic strips, providing a snapshot of Kobabe’s creative process. An introduction by She-Ra and the Princesses of Power creator ND Stevenson reflects on the impact of Gender Queer since its initial publication in 2019. Stevenson writes about the book’s significance to himself and queer loved ones, as well as, briefly, those who have sought to remove it from public schools and libraries in “a last, desperate attempt to hammer an infinitely complex world into a small, unthreatening shape.”
Maia Kobabe’s introspective, joyful memoir is an important contribution to comics literature. It is highly recommended for any library collection serving adult and older teen readers.
Gender Queer: A Memoir, Deluxe Edition By Maia Kobabe Oni Press, 2022 ISBN: 9781637150726
Publisher Age Rating: 18+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Asexual, Bisexual, Queer, Genderqueer, Nonbinary
Shaken from the accidental death of her sister Maura, the grief-stricken Doctor Frances Ai vows to bring her back to life with all the scientific and magical power at her disposal. And it works. . . supposedly. The being that rises from the slab has no memory of Maura’s life, nor does she share any of her interests or quirks. This is someone entirely new, though Frances is willing to do anything to bring her sister fully back, even if that means taking the new being apart and trying again.
Fearing her own unmaking, the creation, who deems herself M, attempts to slip into Maura’s old life, aided by Maura’s spirit still wandering among the house’s mirrors, visible only to M. However, that life comes with Frances’ high expectations, ones that M has no interest in pursuing as she discovers her own passions and desires. Once masquerading as Maura starts taking its toll, M must decide who she wants to be, her own person or the pale shadow of someone else. Talia Dutton’s Frankenstein-inspired debut, M is for Monster, expertly navigates through the topics of grief, self-discovery, and the importance of self-expression, as M strives to become the most comfortable and authentic version of herself.
M’s journey with forging her identity, Frances’s struggle with her grief and guilt, and Maura’s frustration of having to live vicariously through M give the story a resonating and relatable weight. Each character receives just enough focus for their arcs to develop and conclude satisfyingly, while also having their own moments to shine and make their mark on readers. M, with her hiccups of having to adjust to life in general, Frances’s overexuberance towards science, and Maura’s wit and dry attitude all add a lighter side to the story, allowing it to breathe in its more relaxed moments. Personally, I found myself invested the most in M’s progression, which naturally lends itself to a queer allegory. While not explicitly queer herself, M goes through many experiences that one does when first discovering that part of themselves: the uncomfortable nature of having to put on a persona to conform to others’ expectations, of trying to distance oneself from a past version of themselves, and finding oneself growing beyond the vision other people have of them. In the end, it becomes a lesson in allowing one to be themselves for their own benefit, something M tries to come to terms with over the course of the comic.
Along with this allegory, there is some LGBTQ+ representation in the form of Frances’s partner, Gin, who goes by they/them pronouns, and their neighbors who are in a sapphic relationship, all of which are normalized.
With a calm, cool palette of white and teal, the comic exudes a sense of thoughtfulness and reflection that distinguishes it from the more horror-based aspects of its story. It reminded me somewhat of Bloom, a comic that, while completely different in terms of plot, utilizes a similar coloring motif to enhance the mood and atmosphere of each panel. In Dutton’s work it serves as an emotional hook for the reader, pairing well with the paneling that becomes an additional storytelling device. There are multiple instances in which the layout of a scene provides subtle indications of developing character dynamics or adds subtext to the overall plot and character motivations. A spread that particularly stands out is a page of Frances and M conversing, with Maura appearing in a bubble to the side, slowing inching closer and closer with each panel as a result of her speaking through M, until she is completely between them with M uncomfortably pushed to the side as Maura’s influence becomes more prevalent. In a scene with no dialogue, it speaks volumes to M’s plight, perfectly summarizing the overall conflict of the story.
M is for Monster will no doubt please readers who enjoy engaging, emotional stories with an evocative art style and a smidge of the grotesque. Due to its more mature handling of these themes, this title is most suitable for audiences 14 and up. Librarians and educators who have a high circulation of character-driven and low sci-fi titles and aim to include more representative and diverse materials should consider purchasing this title.
M is for Monster By Talia Dutton Abrams, 2022 ISBN: 9781419762208
Publisher Age Rating: ages 13-17
NFNT Age Recommendation: Adult (18+), Older Teen (16-18), Teen (13-16) Creator Representation: Chinese-American, Bisexual Character Representation: Assumed Asian, Lesbian, Queer, Nonbinary
The Woman in the Woods and other North American Stories marks the fifth volume in the series of cautionary fables and fairy tales. The eight tales in this volume are from Indigenous nations, told and illustrated by Indigenous artists, and highlighting tales from Odawa, Chickasaw, Métis/Cree, Métis, Ojibwe, Tania, Navajo, and S’Kallam societies. The editors asked each of the authors to ask for permission from the Elders and/or nations to retell and rework the stories for inclusion in this anthology as they recognized and respected the protocol inherent in the gathering of the stories from the people. Unfortunately, there are no source notes included in the collection, making it of less value to educators, librarians, and storytellers than I had hoped. True, the intended audience is middle school readers, not scholars, but the authenticity of each of the tales should be paramount for them as well. I do appreciate the fact that each of the tribal affiliations has been identified for the tales.
While the tales are rendered in black and white with various hues of grey, the cover itself jumps with colour. Ironically, the story alluded to on the cover is not included in the collection. Editor and cover artist Alina Pete remarked that she had hoped to include the creation story of Sky Woman and Turtle Island, but she could not find anyone that had permission to tell this story. Sky Woman fell to the water-covered world and fell on the back of Turtle. One by one, the animals dive into the water to try and find land until Muskrat is successful in bringing back soil. Sky woman spreads the soil on Turtle’s back to create the world as we know it. She shows Sky Woman dancing for joy and two constellations on the back cover featuring two of the characters from the tales within the covers.
Most of the illustrations in the book itself have simple backgrounds, focusing on the characters of each tale. The different styles of illustrations make each of the stories individual in a collection continuous from tale to tale without any commentary. Most of the illustrations are rendered realistically, although one or two stories have manga-like characteristics and vary between historical and contemporary settings. They also vary in length.
The anthology begins with the Odawa creation story, “As it was told to Me,” retold and illustrated by Elijah Forbes, which demonstrates that the world needs the balance of good and bad to exist. It is followed by a trickster rabbit story about the cost of vanity from the Chickasaw people. “Chokfi” is written by Jordaan Arledge and illustrated by Mekala Nava. The next two stories are located closer to this reviewer. “White Horse Plains,” from the Métis settlement St. Francois Xavier, relates the tale of the dangers of greed and conflict. It is written and illustrated by Rhael McGregor. The second Métis tale is possibly the most familiar character in the collection for me. Written by Maija Ambrose Plamondon and illustrated by Milo Applejohn, “The Rougarou” tells the story of a werewolf like monster and a young boy who befriends the Rougarou. I must admit that while I am familiar with many Rougarou tales, this is the first time I have encountered this one. Alice RL’s Ojibwe tale of “Agonjin in the Water” relates a tale of another story of friendship between a human and a mythical creature: the mythical, Mishipeshu the Great Water Guardian of the lakes and rivers.
The Taino story that follows gave its title to the anthology. It is written and illustrated by Mercedes Acosta and also focuses on the relationship between a woman and a spirit of a young girl who sees the mysterious “Woman in the Woods.” The penultimate tale, “Into the Darkness,” is a Navaho shapeshifter tale about a character so frightful that no one dares to speak its name. It is written by Izzy Roberts and illustrated by Aubrie Warner. The final tale, written by Jeffrey Veregge and illustrated by Alina Pete, is a romantic tale from the S’Kallam people. The Moon in “By the Light of the Moon” falls in love with Octopus Woman, the Queen of the Salish Sea in Puget Sound. The bright light of the Moon makes it possible for the Moon to watch her dance and to send her kisses. The power of the kisses has a surprising repercussion.
The stories are followed by two pages of concise biographies of the creators including their tribal affiliations and, in most cases, their sexual orientations.
Recommended for middle school and public library collections. Because the book is part of the cautionary fables and fairy tales series, most of the stories have strong lessons imparted in the story line, but they are not dogmatic and do allow the power of the storytelling to shine through. I just wish there were adequate source notes—did I say that already?
Cautionary Fables & Fairy Tales, vol. 5: The Woman in the Woods and Other North American Stories Edited by Kate Ashwin, Kel McDonald, Alina Pete Iron Circus, 2022 ISBN: 9781945820977
Publisher Age Rating: 10-12 Series ISBNs and Order
NFNT Age Recommendation: Middle Grade (7-11) Creator Representation: Cree, Metis, Navajo, Bisexual, Queer, Genderqueer, Nonbinary, Trans, Two Spirit Character Representation: Cree, First Nations or Indigenous, Metis, Navajo
In her new home of Piedmont, Becca yearns for what every high schooler desires: a place to fit in and a squad to call her own. Much to her surprise, the most popular clique in school immediately accepts her into their fold, bonding over shopping trips, gossip, and… bloodlust? On a full moon’s night, Arianna, Amanda, and Marley reveal their secret: they are werewolves, preying on skeevy boys who target unsuspecting girls at parties, and they want her to join the pack. Filled with a need for acceptance, Becca embraces the transformation, feeling a kind of strength she never had before. But with this power comes a dangerous hunger that rattles her to her core and tests her morals. Tensions only flare higher as longstanding rules are broken, authority in the pack is questioned, and one wrong kill threatens to expose them all. In this fast-paced, strikingly illustrated graphic novel, Squad perfectly balances its elements of drama and horror, though unfortunately does not live up to the full potential of its story.
Personal tidbit about me, I love werewolves, they’re my favorite monster, star in my favorite horror films, and can be abundantly diverse in terms of storytelling and design. I also love the girl gang trope found in films like Heathers and The Craft, which this comic utilizes perfectly, as I found so many parallels between this comic and the latter film. Naturally, I was excited to dive into a story about a pack of female werewolves taking a bite out of the patriarchy in a way only werewolves can, but was ultimately disappointed once I reached the final page.
Most of my issues with this comic comes from its story and how certain elements do not receive any development that would have made it more memorable. The themes of Squad, such as finding community, reclaiming agency and control from potential aggressors, and challenging oppression towards women are all there, but become muddled due to its fast pace and short page length. Standing at around two hundred pages, this does not give Squad the time it deserves to properly flesh out its message, characters, or lore and, as a result, its impact is compromised significantly. Though the comic strives to highlight female empowerment, the internalized misogyny shown by the main characters, exhibited through fatphobic remarks and moments of victim blaming, is seldom addressed or even combated. There are also several microaggressions committed against Becca, who is Asian, that receive the same treatment, which is odd considering they mainly come from her eventual love interest. Seeing this, I was waiting to see how the climax would handle these moments, if they were to serve some purpose for a more nuanced message about feminism or the effects of, as Ms. Norbury so eloquently put it in Mean Girls, “girl on girl crime.” Unfortunately, those scenes just sit within the story, unanswered for.
Some of the characters and their dynamics almost exist as afterthoughts, appearing through the uneven character development of our main cast, or the tacked-on romantic relationship between Becca and Marley that begins nearly fifty pages before the end of the comic. While it is always wonderful to see more LGBTQ+ representation in young adult graphic novels, it still needs to be quality representation that has enough time and focus devoted to make it truly resonating. What is truly disappointing about Squad is that its lacking elements could have worked, if only given a little more time to breathe, develop, and not feel so constrained by its own page length.
The saving grace of the comic would definitely be Lisa Sterle’s illustrations, which evoke an engaging atmosphere that revels in the story’s horror aspects. In the more suburban scenes, the colors are flatter, more evenly toned to match the domestic setting, but, in moments of high emotion or violence, Sterle incorporates a startling scarlet red, making these scenes stand out in a perfectly visceral way. The character designs are memorable, giving off a more modern Archie Comics vibe while having their own identity. Sterle deciding to give the squad’s wolf forms a leaner, more emaciated look is a good touch, tying in nicely with their insatiable appetites, though having them all mostly be different shades of brown makes it difficult to tell who is who at times.
Fans of series like Riverdale, Teen Wolf, and The Chilling Adventures of Sabrina will appreciate the dramatic and horror elements of the story, and for teen readers there is the additional appeal of connecting with a high school setting and the social issues brought up in the story. As Squad has multiple instances of gore and violence, along with one moment of near sexual assault, I would agree with the publisher-given age rating of 14 and up. While I would not recommend this comic as a must have for a collection, it may interest librarians and educators looking to include titles that share the appeal of the previously mentioned series or have a high circulation of female-centered, character-driven stories.
Squad By Maggie Tokuda-Hall Art by Lisa Sterle Harper Collins Harper Alley, 2021 ISBN: 9780062943149
Publisher Age Rating: 14+
NFNT Age Recommendation: Older Teen (16-18), Teen (13-16) Creator Representation: Japanese-American, Bisexual, Jewish Character Representation: Black, Japanese-American, Lesbian
Cassie doesn’t have much of an in-person social life. Her former best friend, Bennett, can’t stand her now, and she doesn’t fit in at school or at the church events her mom keeps pushing her to attend. Cassie’s friends are all online, where they bond over their passion for the show Riverview. The Riverview fandom loves Cassie’s fanfiction, which features an original character named Jessica. Jessica is a fun, cool, beautiful vampire girl who is good at everything and liked by everyone – a classic Mary Sue.
relationships. How do we form preferences? What do our preferences say about our personal character? How are we informed about our identities? How do our identities dictate our roles in society? And, more importantly, how do we rebel against those dictations?
Corinth is a 15-year-old goth aesthetic high schooler with a “bad boy” boyfriend and supportive parents. She likes to spend her free time cleaning up the beach. One day while collecting trash, she’s lured into the water by a hungry mermaid. Luckily, the mermaid (later named Skylla) saw something in Corinth that made them release her and develop a relationship. As Corinth and Skylla learn about each other, the reader learns more about Corinth’s relationship with her toxic boyfriend. His jealousy drives Corinth to spend more and more time with Skylla even as she doubts herself and her decisions. Skylla learns about human cultures, speech, sign language, and food. They also feel deeply about Corinth and works with the mermaid elders to trade their magic for legs to join Corinth on land, surprising her as a transfer student. But the price of the magic is more than Skylla is willing to pay, which leads to complications and a difficult choice for the couple to make together.
Love comes in all shapes and sizes, whether it’s between adventurous pirates, burgeoning demon hunters, smooth spies, or even your average couple trying to make it all work. Young Men in Love, edited by Joe Glass and Matt Miner, showcases all these relationships and more, containing twenty stories from queer creators devoted to exploring the romantic hurdles and queer joy of male/masculine couples. This graphic novel boasts a variety of genres: fantasy, sci-fi, paranormal romance, contemporary slice of life, etc., ensuring that each reader will be able to find at least a story or two to enjoy.
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.
Gender Queer: A Memoir 
Shaken from the accidental death of her sister Maura, the grief-stricken Doctor Frances Ai vows to bring her back to life with all the scientific and magical power at her disposal. And it works. . . supposedly. The being that rises from the slab has no memory of Maura’s life, nor does she share any of her interests or quirks. This is someone entirely new, though Frances is willing to do anything to bring her sister fully back, even if that means taking the new being apart and trying again.
The Woman in the Woods and other North American Stories marks the fifth volume in the series of cautionary fables and fairy tales. The eight tales in this volume are from Indigenous nations, told and illustrated by Indigenous artists, and highlighting tales from Odawa, Chickasaw, Métis/Cree, Métis, Ojibwe, Tania, Navajo, and S’Kallam societies. The editors asked each of the authors to ask for permission from the Elders and/or nations to retell and rework the stories for inclusion in this anthology as they recognized and respected the protocol inherent in the gathering of the stories from the people. Unfortunately, there are no source notes included in the collection, making it of less value to educators, librarians, and storytellers than I had hoped. True, the intended audience is middle school readers, not scholars, but the authenticity of each of the tales should be paramount for them as well. I do appreciate the fact that each of the tribal affiliations has been identified for the tales.
In her new home of Piedmont, Becca yearns for what every high schooler desires: a place to fit in and a squad to call her own. Much to her surprise, the most popular clique in school immediately accepts her into their fold, bonding over shopping trips, gossip, and… bloodlust? On a full moon’s night, Arianna, Amanda, and Marley reveal their secret: they are werewolves, preying on skeevy boys who target unsuspecting girls at parties, and they want her to join the pack. Filled with a need for acceptance, Becca embraces the transformation, feeling a kind of strength she never had before. But with this power comes a dangerous hunger that rattles her to her core and tests her morals. Tensions only flare higher as longstanding rules are broken, authority in the pack is questioned, and one wrong kill threatens to expose them all. In this fast-paced, strikingly illustrated graphic novel, Squad perfectly balances its elements of drama and horror, though unfortunately does not live up to the full potential of its story.
