In the regency era, a marriage of convenience between two people trapped by circumstance may lead either to happiness or the risk of total ruin.
First Second presents Ruined by Sarah Vaughn, Sarah Winifred Searle, and Niki Smith, a graphic Regency romance marketed for fans of Bridgerton. The story opens with the marriage of Catherine Benson and Andrew Davener. Catherine comes from a respectable family and her situation offers a large dowry to whichever man marries her. However, she is overshadowed by swirling rumors that claim she lost her virtue under scandalous circumstances. Andrew’s family has seen a string of deaths, forcing him into the unexpected role as head of a household on the brink of financial ruin. Knowing fully that each is the other’s last chance of redeeming their situations, their wedding is agreeably one of need, not passion.
Such an arrangement naturally comes with difficulty, even before the ghosts of Catherine’s and Andrew’s pasts begin to reappear. But as the couple begins to work together to rebuild the Davener estates and put their affairs in order, something new begins to grow between them. The sparks of love are undeniable, but also terrifying to two people who have found themselves adrift in turmoil they never expected to face. And if they dare to trust one another, it opens their comfortable arrangement up to the possibility of even more heartbreak.
For Ruined, the comparison to Netflix’s Bridgerton series is inevitable. Thankfully, the resemblance goes deeper than the simple trappings of the genre. The world of Ruined embraces a welcome level of diversity. Though the two leads appear to be white, characters of various ethnicities inhabit multiple levels of society throughout the story. Additionally, sub-plots involve side characters of other sexualities and neurodivergence, and all of these characters are integrated smoothly into Vaughn’s version of Regency England. As for the central story, marriage of convenience is a familiar trope, and Vaughn plays it out mostly as expected, though not without some touching moments scattered across Catherine and Andrew’s growing relationship. The writing could sometimes be honed a bit more to the razor sharpness that shines in regency romance stories, but fans of the genre will find plenty to enjoy here nonetheless.
Searle’s art presents a distinct illustrative style, drawing together elements of realism with a decidedly more animated appearance that will work well for some readers, while it will leave others wanting. There are times when the simplicity pays off. In other moments, the story seems to want a rich complexity that the art simply does not capture. However, from lush balls and gardens to moments of intimacy and awkwardness, Searle’s work undeniably portrays the layers and vulnerability of Catherine and Andrew as they are forced to face themselves before they can take a chance on true happiness.
First Second does not list an age rating for this title, but with multiple scenes of nudity and sexual content, Ruined would live most comfortably in the adult areas of any collection. In the end, the book does not rise to the same heights as the Bridgerton show and some similar titles, but it has an undeniable charm which should please readers looking for additional Regency-era romance stories—especially in graphic novel form where this genre of romance is not as common. It may not draw in new readers to the genre, but for any readership that is already onboard with regency romance and related tropes, Ruined is worth considering.
Ruined By Sarah Vaughn Art by Sarah Winifred Searle, Niki Smith Macmillan First Second, 2023 ISBN: 9781250769350
Publisher Age Rating: Series ISBNs and Order Related media:
The Prophet: A Graphic Novel Adaptation is A. David Lewis’s attempt to translate the groundbreaking work of Kahlil Gibran from 1923 to the graphic novel world of 2023. In the afterword, Lewis says, “In his lifetime, Gibran was known not only as a poet and writer but also as a visual artist and philosopher. From reading his biographies and his notes, I became convinced that a multimodal approach to The Prophet, one that incorporated both word and image, would be entirely in keeping with his legacy.” This is an extremely daunting prospect. For context, The Prophet has been translated into over 100 different languages, it is one of the most translated and best-selling books of all time. The original work is 26 prose poetry fables collected and revised over a number of years which didn’t become a hit overnight, but has slowly grown in popularity and been studied extensively. I know that this was assigned reading for friends in high school, but it was new to me at this reading.
The story opens with an old man sitting on a bluff overlooking the sea. “Almustafa, the chosen and the beloved, who was a dawn unto his own day, had waited twelve years in the city of Orphalese… and he beheld his ship coming with the mist. His joy flew far over the sea. And he closed his eyes and prayed in the silences of his soul.” As he sees the ship approaching their island, he’s overcome with the chance to return home, but also feels deeply how leaving will affect him and others. He has the sailors wait and goes to bid the citizens goodbye, only to have them all ask him to speak on different themes. He’s asked to speak on love, marriage, children, giving, laws, freedom, pain, friendship, prayer, death and more. To all of these he gives long answers in a tone that is both reverential and contemplative.
Credit to artist Justin Rentería for what he accomplished in black and white here. It has been described as, “a 1920’s Ottoman-inspired style”. Lewis says, “Justin and I tried to maintain a semi-timeless feeling for the setting and its citizens: no technology, no jargon, no potential anachronisms. The culture is a mix of several civilizations, not the least of which is Gibran’s own Lebanon.” Rentería accomplishes this and helps deliver a familiar yet foreign world that feels like home for these strange characters. I feel like the art is the strength of this book trying to help paint the picture the words alone can’t.
I can certainly see this book finding a home in high school and college libraries as it tries to find an audience with people who may struggle with the original text. I would undoubtedly have been one of those people, I found this to be incredibly cumbersome and very slow to read. The original text has been described as “heady” and “cerebral,” which feels generous. At 100 years old, I think the accomplishment of the graphic novel is to provide clarity and context that doesn’t exist otherwise as this isn’t conversational or traditional narrative. Framing this story with illustrations and characters we can identify makes it a much more manageable book.
The Prophet: A Graphic Novel Adaptation By A. David Lewis Art by Justin Rentería Graphic Mundi, 2023 ISBN: 9781637790502
Publisher Age Rating: 16+ NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
The past two years sure haven’t been easy for Oscar! First, his beloved Papa was killed in a vicious winter blizzard near their farm in Minnesota and Oscar had to take over as the man in the family for his mama. It was just the two of them to run the farm, but Oscar promised his papa he’d take care of everything. Then his mama met Mr. Morrow, they got married and now they were on their way to Chicago! He might as well be going to the moon! Mr. Morrow seems like a kind man, but too much had been crammed into the last few weeks, and it was all he could do to keep from being sick. Such huge buildings! So many people! And what’s that smell? Mr. Morrow seems to know everyone, and everyone seems to know him. He says Oscar will love his new house, but he’s not sure. About anything.
They’ve no sooner arrived in Chicago than their bags are stolen, and Oscar tries to make it right by following the thieves! He doesn’t have much left from Papa, but it’s all in his suitcase, and those sharpies can’t have it! Little does Oscar know that one of the city’s biggest fires in history has just started. Will he find the thieves and their suitcases? Will he be able to find Mama and Mr. Morrow again, in a burning city that he doesn’t know? There’s plenty of suspense in this brightly illustrated story that teaches about the 1871 Great Chicago Fire. The pages are sharply and crisply drawn, and the frames are arranged in a straightforward predictable way. The pages aren’t text heavy either – the story flows right along, creating tension page after page. Kids will be able to put themselves into Oscar’s shoes and learn what it was like to be a young person in 1871, how a firefighter did his job then, and how transportation worked. (How Oscar doesn’t get run down by a horse in this book, I’ll never know.)
There is a small bit of violence on two pages when Oscar finally catches up to the gang and one tough shows a knife. Nothing explicit is shown in the rush of people to leave the burning areas of the city, but it’s implied. There are 8 pages of further information in the back of the book so kids can learn more about life in 1871 Chicago. The pages help put the events into historical context with sections like “How Chicago Grew”, “Fiery Dangers” and “What Caused the Fire?”. These pages are compassionately written, explaining difficult topics like prejudice and tragedy.
This is recommended for middle readers in grades 5-8 and should appeal to ages 7-12. One does not need to read other titles in the series to read this.
I Survived the Great Chicago Fire (I Survived Graphic Novel #7) By Lauren Tarshis Art by Cassie Anderson Scholastic GRAPHIX, 2023 ISBN: 9781338825152
Ephemera, a beautifully written and illustrated graphic memoir by Briana Loewinsohn, opens with the dedication “For my mum and other things not built to last,” a perfect encapsulation of her story. Loewinsohn’s childhood was filled with plants in the place of family. She sought out connection and nourishment in the absence of a mother lost in her own struggles with mental health. It is filled with emotion, vulnerability, and rejuvenation among plants.
The story isn’t linear, rather, it is an almost poetic exploration of Loewinsohn’s childhood through the lens of her adult memories, processing the trauma from her childhood in a way that also embraces the small moments of love and beauty among plants from a mother who had little to offer. The book is split into 3 chapters, “Dirt,” “Water,” and “Light,” the ingredients for gardeners to properly nourish plants. Each chapter opens with a two page spread with the title embraced by plants thriving under the respective ingredients. It then alternates between scenes from Loewinsohn’s childhood among trees and plants with her as an adult, attempting to nurture the plants of her childhood back to health, rejuvenating the garden with knowledge she learned from her mother as a child.
Plants, flowers, and people need nourishment. Some survive in difficult conditions, and some struggle in conditions in which others thrive. The mother wilts, but Loewinsohn survives. Her mother, like many plants, is ephemeral, meant to be cherished, but not for long. It is a book of love and mourning. Of life, beauty and loss.
The pages where Loewinsohn as an adult gardens, remembering her childhood are illustrated in warm brown tones. The plants are dry and in need of nourishment, in contrast to the thriving spring like plants of her childhood. However, those childhood pages are illustrated in cold greenish blue tones. Much of her childhood in the book was alone with plants, vines and flowers filling the space left empty by a mother who wasn’t able to give her the nourishment she needed. But even if they appeared on the surface to be thriving, the cold lack of nourishment for the plants and Loewinsohn as a child, has led to pain and trauma that she attempts to explore and understand as an adult. However, with warmth and nourishment, the plants and Loewinsohn can begin to heal.
After reading a digital galley of Ephemera, I immediately pre ordered a print copy for my personal collection. I usually lean into the convenience of ebooks and audiobooks, but I desperately wanted to hold this book. It is beautiful. The publisher, Fantagraphics does the illustrations and story justice in its printing. The book is a work of art that will be cherished by many. It might not stand out on the shelves, but once held, its beauty is obvious. Ephemera is highly recommended. Adults are the intended audience, but this book may do well in high schools where memoirs or literary graphic novels are well-read.
Ephemera: A Memoir By Briana Loewinsohn Fantagraphics, 2023 ISBN: 9781683966906
NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
Set in a steampunk world reminiscent of a fairy tale, Dreams Factory tells the story of Indira, a young girl working in the mines to help support her father and little brother. Unfortunately, she has fallen ill, so her brother Eliott tries to take her place, but is too short to be allowed to work. The mine’s owner, Ms. Sachs, overhears that Eliott can’t work and offers him a different job in her factory making mechanical insect toys. When Indira learns that Eliott and other village children have gone missing, she looks all over town for him. When someone finally tells Indira that her brother went with Ms. Sachs, Indira tries to confront this highly respected woman and finds herself arrested for assault. After escaping the police, Indira follows a mechanical insect into the factory and finds the missing children, who have lost their memories. It seems that the factory feeds on children’s memories in order to power the mechanical insects being produced.
The illustrations in this graphic novel are magnificent. The artist and colorists brought the world and characters to life so well that few words were needed to flesh them out. Many panels are devoid of speech bubbles, so the illustrations can appear in their entirety without interruption. I do wish there had been a little more description or explanation of how the mystical elements of the factory work exactly, or its origin. The climax gets very confusing, so something to help slow things down would help readers to better understand both what is happening and the characters’ motivations. Perhaps it makes more sense in the original French, but the English translation could have been longer to address these issues.
Although there is a small pacing problem with the plot, I still recommend this book be added to public libraries or collections that focus on splendid illustrations. Because there are heavier topics of child labor, some body horror (limbs replaced with mechanical versions), and on-page death, this story is more suited to teenagers.
Dreams Factory By Jerome Hamon Art by Suheb Zako Magnetic Press, 2022 ISBN: 9781951719524
Publisher Age Rating: 14 and up NFNT Age Recommendation: Teen (13-16)
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
There are many conspiracy theories surrounding the assassination of John F. Kennedy. One of which is the possibility that Lee Harvey Oswald’s body has been switched before his burial. Investigations in the 1980s have concluded that it is indeed him but, if the theory was correct, how would it happen and why? Written by Chirstopher Cantwell, illustrated by Luca Casalanguida, and colored by Giada Marchisio, Regarding the Matter of Oswald’s Body delves into a fictionalized version of the theory and the ones involved in its creation.
In the year 1981, Lee Harvey Oswald’s body was exhumed and sent to Parkland hospital to be investigated. Flashback to 1963, four outcasts are chosen by a shadowy figure for a job. There is wannabe cowboy and bank robber Shep, guitar player and car thief Buck, civil rights activist Rose, and failed FBI candidate Wainwright. With the promise of a cash reward and a better life, the group takes the job. It’s simple: kidnap a lowlife who looks exactly like Lee Harvey Oswald. When the job is done, however, the truth behind their work slowly leaks through. With their lives on the line and their country in mourning, everyone considers abandoning their work but that is indeed easier said than done.
There is no shortage of fictionalized accounts of JFK conspiracy theories but what is different about Regarding the Matter of Oswald’s Body is the creators’ choice to focus on Oswald himself. Sure you hear about the assassination within the comic and witness Jack Ruby’s attack, but other than that, it is all about Oswald and how far up this assassination plan goes. Cantwell’s writing gives each character their own personality. They are not just a group of similar minded outcasts. The story itself is filled with little mysteries and plot twists that keep the readers guessing. The jumps between 1981 and 1963 keeps the readers interested in the story, allowing them to question whether or not it is Oswald in the grave and not another government coverup Casalanguida’s artwork from panel to panel allows action scenes to flow nicely, with each character moving from one end to the next. Detailed line work on each character and the setting provide readers a look into the early 1960s. Marchisio’s colors provide brighten views of open landscapes and dark scenes in secret hideouts. The creative trio work well together, bringing life to a story about deceit and government cover ups. Lastly, readers are treated to maps, texts, and newspaper clippings surrounding the event and essay samples that discuss ideas behind identity and body doubles.
Regarding the Matter of Oswald’s Body is a good choice for any public library’s graphic novel collection, especially those who cater towards patrons who read American history and government conspiracy. With great storytelling and detailed artwork, patrons will be intrigued with what this graphic novel has to offer.
Regarding the Matter of Oswald’s Body By Christopher Cantwell Art by Luca Casalanguida and Giada Marchisio BOOM! Studios, 2022 ISBN: 9781684158454
Private Detective John Blacksad considers it a good day when he can get home with peace of mind and his knuckles intact. Sadly, days like that are all too rare, particularly when Blacksad is more frequently employed as hired muscle than for his keen insight. Such is the case when Blacksad is hired by a union president with no confidence in the police to hunt the hitman he’s sure is after him. His paranoia proves well founded and Blacksad soon finds himself embroiled in a mystery that will take him from the depths of New York City’s underworld to the lofty heights enjoyed by real estate magnate Lewis Solomon.
Coincidentally, I had the Blacksad series recommended to me as a Film Noir fan just before I had a chance to preview Blacksad: They All Fall Down—Part One. Somehow, it had flown under my radar, despite the Blacksad books being critically acclaimed and published in translated editions in 39 countries. This is largely because the original English translation went out of print before Dark Horse comics picked up the American license. Throw in the complication that the series was originally written for the French comic market by two Spanish creators and it is small wonder Blacksad is still relatively obscure in the United States outside of a few niche fandoms.
It should be mentioned that the world of Blacksad is populated by anthropomorphic animals, but this is no children’s story. Like Art Spiegelman’s Maus, different species of animals are utilized as metaphors for racial and social strife, with John Blacksad himself facing suspicion both because of his mixed-race status as a tuxedo cat and his being a predator among prey animals. The effect is like a gritty version of Zootopia, aimed firmly at adults.
The English translation of Juan Diaz Canales’ script by Diana Schutz and Brandon Kander is excellent. The pater of a 1950s detective story is replicated perfectly, despite the original French text being translated literally. Thankfully, an afterword explains some of the linguistic oddities and literary allusions, such as Blacksad’s reference to the folly in sending a fox police officer to the henhouse, when the police break-up a Shakespeare in the Park production. (Henhouse is a slang term for the cheap seats in France.)
Thankfully, the artwork of Juanjo Guarnido transcends language. Beyond the sheer variety of colorful creatures he has created to populate this world, Guarnido is a master of expressive faces. The emotions of each character is clear, despite the delightfully alien nature of their features. Guarnido is also a master at working little details into every panel.
This volume is recommended for readers 18 and older. Having not read the earlier volumes of Blacksad, I can’t vouch for the series as a whole, but that seems a bit high for this particular chapter. There is bloodshed and murder, but nothing in excess for an Older Teen series. There is also some sexual content, with a perverted peeping tom spying on one of his neighbors and slapping a woman on the bottom, but no nudity. I would still advise keeping this series in the adult collection, however, given that the sensibilities and historical context of this series are more likely to appeal to older audiences.
Blacksad: They All Fall Down Part 1 By Juan Díaz Canales Art by Juanjo Guarnido Dark Horse, 2022 ISBN: 9781506730578
Publisher Age Rating: 18+
NFNT Age Recommendation: Adult (18+) Creator Representation: Spanish, Character Representation: African-American,
Days of Sand, written and illustrated by Aimée de Jongh, is a beautifully illustrated graphic novel about a devastating time from US history. During the Great Depression, the Farm Security Administration (FSA) hired photographers to chronicle the devastation of the Dust Bowl. This book follows John Clark, a fictional photographer, who moves from New York City to Oklahoma for a month. The story explores the complexity of capturing something so large in such a small medium. What kinds of truths can be captured in images that are cropped and often staged? What truths are left out when viewed through the perspective of still images?
De Jongh front loads with exposition including the causes of the Dust Bowl, the historical context of the Great Depression, and the economic and social consequences of the dust storms. The exposition is at times a bit forced, but not tedious, and helped to give context to the story.
While Clark is a fictional photographer, the job was real. The FSA hired photographers, such as Dorthea Lange and Arthur Rothstein, to travel throughout the United States to document the devastation and extreme poverty of those living through the Great Depression. In Days of Sand, the FSA office strongly suggests that Clark may find success in exposing truths through his images through some staging and manipulation. “It goes beyond the subject to reveal a deeper truth.” Clark arrives in the panhandle of Oklahoma and immediately begins to manufacture scenes to match a list of requested images. The people of the town are rightly hesitant to trust him. It isn’t until he is able to see the people of the town as humans rather than an assignment that he is able to truly understand their predicament and take photos with more truth and honesty. There were heartwarming moments and moments that made my heart drop.
This was a devastating time in US history, and much of what we know is in large part because of the work of these photographers. However, the act of taking photos is not free from bias. Photography (as with any art form) is unable to capture whole truths. Some photos meant to be documentary in nature are staged, but more so, the choices made by the photographer (where to crop, the angle, and the lighting) affect the message and meaning derived from the image.
De Jongh writes a detailed afterward with a well-articulated discussion of the work of the FSA photographers and the effect they had on public perceptions. In the end, the book makes the argument that these photographers may have done more harm than good. Staged photography casts doubt on authenticity, and many photographers acted more as spectators than members of the community. Can you have empathy or truly understand a community from the outside? Is art an effective way to share truths? De Jongh argues, “no,” despite using the comic art form to make said argument.
I think it is also important to note that there is a missed opportunity for a diverse perspective. Days of Sand is about a white male fictional photographer. In real life, the FSA hired many white men, but it also hired women, such as Dorthea Lange, and people of color, such as Gordon Parks. Marginalized perspectives are an important part of history, and a perspective from a woman or person of color would have added important layers to and depth to the realities of the day.
Days of Sand is far from perfect, however, the illustration style is beautiful and many of the images are exquisite. There are also a number of tender moments with human connection that do, in many ways, redeem the book. The book is illustrated in a mixture of highly detailed comic illustrations and realistic illustrated reproductions of real and fictional photography from the FSA photographers. The realism reflects the haunting nature of documenting such tragedies.
In the end, I found the book interesting and will include it in my high school graphic novel collection. There are other (arguably better written) comic descriptions of the Great Depression, but the story of the FSA photographers is an important and interesting story to tell. I found the book to be thought-provoking and will recommend it to teen and adult readers who like historical fiction and philosophical discussions about the nature of capturing truths.
Days of Sand By Aimée de Jongh SelfMadeHero, 2022 ISBN: 9781914224041
NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
Superpowers, as depicted in fiction, are often a double-edged sword—there’s the freedom of flying like Superman or having enough strength to move the car that’s taking up your parking spot, but there’s also the inherent fear of others that comes with having abilities different from mainstream humanity. Add in the volatile component of racism and the superpower narrative can become quite explosive, as it does in Dark Blood, written by LaToya Morgan and illustrated by Walt Barna.
The book focuses on Avery Aldridge, a former Tuskegee airman living in 1950’s Alabama. He’s a veteran who fought in the war with the hope of making it back home to his family, but home means he and his family must endure the racism of the Deep South. While processing the trauma of war and the racism at home, he discovers that he can somehow move things with his mind. Many people, especially those who see Avery as less than them, will also be afraid of that power.
The superhero origin story is a popular trope and Morgan’s story offers an interesting take. There are multiple plotlines that run through this story, from Avery being trapped behind enemy lines to him being the victim of a racial attack that ultimately leads to him being on the run. The narrative jumps around a bit, but these stories are as vital to Avery’s superhero origin as a bite from a radioactive spider. Everything from the PTSD to how he is treated by the white people in his life all go into who he is and how he decides to use his gifts.
And when he starts using his powers in earnest, they are quite awe-inspiring, thanks to Barna’s use of dynamic POV angles that give a punch to the scenes of Avery fighting in the war as well as those showing him unleashing his powers. Where Barna really shines, though, is how he makes Avery’s telekinetic powers truly terrifying. Avery’s power builds from being able to lift small objects to stopping bullets, but it’s the characters’ body language, as illustrated by Barna, that really sells the power Avery has. From Avery’s tension-filled face as he uses his powers to people’s terrified reactions to them, readers can practically feel them thrumming off the page.
Some people dismiss superhero comics as straight-up revenge fantasies, as people gaining power to get back at those who slighted them. But the kinds of slights that Avery and his family must deal with go beyond what Peter Parker endured at high school or Clark Kent endured at the Daily Planet. More than just a story full of dynamic angles and fluttering capes, this tale is more of a character study of a man who suddenly gains great power and must decide how to use it. This book is sure to be a hit with superhero fans because of its many displays of awesome superpowers, but its social commentary is also an important message of how hard it is for the marginalized and disenfranchised to rise up, with or without phenomenal psychic powers.
Dark Blood, vol. 1 By LaToya Morgan Art by Walt Barna Abrams, 2022 ISBN: 9781684157112
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: African-American Character Representation: African-American