One click and this new dimension opens. A panel is the threshold to a dimension of gutters and splash pages. A dimension made of ink and Kirby Krackles. A world where a madman writes of comics and graphic novels. You are about to enter No Flying No Tights.
News From The Fallout is a macabre delight. Any fans of the Twilight Zone or old school creature features looking for a fast paced adventure might find their fix with this mini-series. From the creators Chris Condon (Ultimate Wolverine) and Jeffrey Alan Love (The Thousand Demon Tree), News From The Fallout is a nonstop sprint of a story. This miniseries is set in 1960s Nevada and follows a private in the U.S. Army named Otis Fallows, after a nuclear bomb test goes horribly wrong.
Now, with no disrespect to Chris Condon and the script, this series is carried by Jeffrey Alan Love’s art work. It really is something to behold. It exists as some sort of combination of CRT TV static and shadowpuppetry mixed with pages of background lore. Love conveys just enough detail for your brain to fill in the rest of the horrific details. He’ll show the row of fangs in shadow and the reader can imagine what else it’s hiding. There’s a narrative focus on ash and he takes that opportunity to make every scene feel shrouded in ash as well as emulate the 50s and 60s television technology with a grayscale color palette. It really sets the mood for a Cold War era monster thriller, a haunted nuclear nightmare.
While Love’s artwork is probably the best selling point, Chris Condon’s script is no slouch. Given the limitations of a narrative in six issues, Condon makes every word count. He gives each of Love’s silhouetted characters a distinct voice, making up for the lack of clarity in Love’s chosen style. Along with tight and efficient characterization, Condon created a story propelled by its own moment. Each scene crashes into the next, usually with a great amount of violence. At the beginning and ending of every issue there is background information in the form of within-universe media like menus or redacted military orders. Condon uses these glimpses into the goings on in Atomic Alley to ground the story in some form of reality.
For any librarians looking to expand their adult graphic fiction or science fiction selection, this isn’t a terrible pick. This would be right at home in a read-alikes display with Ray Bradbury or Harlan Ellison. Image comics gives no listed age rating, but I would recommend this to mainly adults based on the horror and violent elements of the entire series.
News From the Fallout By Chris Condon Art by Jeffrey Alan Love Image Comics, 2026 ISBN: 9781534335745
This graphic novel adaptation of Ethel Carnie Holdsworth’s romance novel is about sisters, Hester and Rachel, who grew up in poverty and learned how to fight for justice. The original novel was released in 1925 and was based on Ethel’s own experiences in a mill, but was not well received at the time of release. Now Scarlett and Sophie Rickard have adapted the novel into a new format during a time when the world could use reminding that human rights and dignity are inherent, not earned.
The sisters work in a Lancashire textile factory where their mother and grandmother worked. Rachel is full of energy and willing to confront the men in her town telling her she’s worthless, but Hester has a fragility that doesn’t allow for that type of action. Instead, Hester chooses to take a marriage offer from a wealthy mill owner in order to try and better her situation in life while her sister becomes an activist.
Normally, I would not pick up a story like this one as my personal preference leans toward fantasy or escapism from reality. This historical account hits home on many levels of commentary that address the issues of the time but are relatable today to a modern audience. Although this is not a word-to-word adaptation, the creators made sure to include aspects of the original (e.g. accents and colloquialisms). Likewise, the illustrator took care to represent the time period through the clothing and architecture renditions. The color helps distinguish characters, mood, and poverty level by using darker, neutral tones to make everything dark and dirty and saving the brighter and lighter colors for the upper class and their frivolity.
This book is best suited for academic libraries with strong English literature programs or adult collections with patrons interested in historical (or romance) graphic novels. Although this book addresses prostitution, there is no on-page sex. Just a little kissing. Both a foreword and author’s note explain that the slavery indicated by the title is not referring to the horrific trans-Atlantic slavery that is most often acknowledged by history but instead refers to the powerlessness of women and laborers.
This Slavery By Ethel Carnie Holdsworth, Sophie Rickard Art by Scarlett Rickard SelfMadeHero, 2025 ISBN: 9781914224355
If Dracula himself had a drop of blood for every retelling and reimagining of his story as written by Bram Stoker, then he might never have to bite another neck to sustain himself. Since stories about Dracula (and about vampires that owe so much of their aesthetic to him) are so prevalent, doing one that’s wholly original is about as difficult to find as it is to find a vampire that loves the sun. Woodstake: Three Days of Peace, Music, and Blood Vol. 1 is writer Darin S. Cape’s and illustrator Felipe Kroll’s attempt to retell the Dracula mythos, setting it at a very famous music festival synonymous with the 60’s and the Summer of Love.
The story follows Jon Harper, an aspiring music journalist. Along with his girlfriend Nina and their buddy Artie, Jon attends Woodstock to interview Jimi Hendrix, an interview that could bring notoriety to Jon’s fledgling rock magazine. However, Dracula also awakens near that famous field in New York, and he is not spreading peace and love, but is spreading death and newly turned undead. Along with a suspiciously knowledgeable coroner, Jon and his crew might be the only ones who can stop Dracula from turning Woodstock into a wholesale slaughter.
Those familiar with Stoker’s original work might snicker as they see names from the original novel reused (Jon Harper for Jonathon Harker, for example) and Dracula fans reading this could easily turn it into a scavenger hunt as they look for references in Stoker’s novel, but those fans would miss the compelling story. Cape goes beyond simply retelling Stoker’s tale with a psychedelic 60’s paintjob; he tells a solid vampire story that captures the time in which it was spawned. This can be seen in the lingo used by the characters as well as the names of chapters that reference songs of that era. Through this work, Cape manages to show his love for both Dracula and the 60’s.
Illustrator Kroll’s highly detailed style of digital painting helps the book go beyond simply setting Dracula at Woodstock. Thanks to Kroll’s nearly photorealistic images, the faces of many characters have distinct features and shading that make them look more like Polaroids taken during the concert. Dracula also benefits from this aesthetic. Not only has he traded in the black cape for a denim jacket, but his lined and rugged features have him looking more like a music lover who hitchhiked from very far away and less like a Transylvanian count, which is an important aspect of the character many adaptations miss. Dracula, as the ultimate apex predator, blends thoroughly in with his prey, even taking up smoking weed, until he is ready to strike.
If you have patrons that love vampire stories, especially retellings that add a completely different vibe like Alex de Campi’s Dracula, Motherf**ker!, then this book should join the ranks of the other vampire-centric books in your adult graphic novel collection. Just note that, since this is volume 1 in a series, there may be more stories that will either build on this first volume or tarnish the entire story.
Woodstake: Three Days of Peace, Music and Blood By Darin S. Cape Art by Fellipe Kroll SHP Comics, 2026 ISBN: 9798992749915
NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
It is All Hallows’ Eve. It is a night of foreboding, even without a storm brewing. Some believe it is a night when the boundaries between life and death are thinner, and evil things walk abroad.
The date means little to highwayman Dick Turpin, and his partner in crime, Tom King. They already live a life where the boundaries between life and death are thin. And they think there’s no evil things about but them.
They may be wrong.
When an accident overturns the carriage that was their quarry, Tom is quick to enact a new scheme. He poses as a nobleman, with Dick as his manservant “Richard,” hoping to secure the nobles’ luggage and ride off with it untroubled.
However, the scheme goes overlong, as the two parties join to seek shelter and soon find a seemingly abandoned monastery. Alas, whether it is due to the night in question or whether their presence awoke it, some ghostly presence takes exception to the intruders. Soon the scoundrels are facing closing walls, stinking clouds and swarms of rats. To say nothing of the deadly touch of the specter clad in plague doctor’s garb…
Dick Turpin and the Vengeful Shade is an interesting blend of historic fiction and horror. Of course, there is no record of the infamous British thief ever fighting a ghost. Yet writer Steve Tanner pays as much attention to historical accuracy as he does craft in spinning a ripping yarn.
The story draws upon two main conflicts. The first is that between the Church of England and the Catholic Church. The second is Plague of 1563. History buffs will appreciate this attention to detail and how it plays into the ghost story to make it a little more grounded. Not that this matters much to Dick Turpin himself, who spends most of the story wishing he could shoot something. He’s also none too choosy about it being the ghost, Tom King (who takes a bit too much pleasure in playing the noble and bossing him around) or the various nobles and servants annoying him. This adds humor, which offsets the horror, along with a noble lady who speaks of the stories of Dick Turpin ravaging the women he encounters and then being a bit slow in agreeing with her husband in finding the prospect dreadful.
The artwork is of similar craft and quality. Roland Bird, best known for his work on Legion of Super-Heroes, is in fine form here. He proves equally adept at drawing animals, period costumes and supernatural strangeness. He is well-backed by the color art of Brett Burbridge, which adds an evocative and somber aura to the finished artwork.
As with their recent reprint of Dick Turpin and the Crimson Plague, Time Bomb Comics does not offer a rating for Dick Turpin and the Vengeful Shade. However, despite a lack of nudity or any sexual content beyond references to ravaging, I’d still suggest this one be kept in the adult collection. While the horror elements and bloodshed might be acceptable for most teenagers, I feel the historical elements and slow-boiling story will appeal more to adult audiences.
Dick Turpin and the Vengeful Shade By Steve Tanner Art by Roland Bird Time Bomb, 2020 ISBN: 9781916465343
Once upon a time in ye olde 2013, in the very blue state of Illinois, Chicago Public School (CPS) officials banned the use of Marjane Satrapi’s graphic novel Persepolis in the entire district. 13 years later this feels disgustingly common, a story we’ve learned to tune out, but at the time it shocked the local community and the response was immediate. High school students led a protest, teachers and librarians were up in arms, free speech advocates were taking notice, and it was picked up by news outlets. But information coming from the school district was confusing and inconsistent and Freedom of Information Act (FOIA) requests produced little information or clarity.
Roughly two years later, library graduate student Jarret Dapier, remembering his frustration with the ban and lack of answers, decided to dig deeper for a thesis paper. He interviewed former and current students, teachers, librarians, administrators, and journalists. With little hope of success he sent in his own FOIA request to CPS and was surprised with 42 pages of emails and all the answers he could ask for about the ban and who in the school district was responsible.
Wake Now in the Fire is Dapier’s debut graphic novel and a mingling of those true events with mostly fictional characters based on the students and teachers he interviewed. He follows several high school students (and a few teachers) as they discover the ban and take action. His diverse characters have varied and realistic lives, dealing with all the ups and downs of being a teenager. They struggle with homework, strict parents, and awkward crushes, but also grief, uncertainty, and mental health issues. I really loved that Dapier gave his student characters space to speak and share and develop their, sometimes messy, thoughts in and outside the classroom.
AJ Dungo illustrates Dapier’s narrative with a distinctive and fun graphical style. His clean lines and grayscale color palette are more than able to handle the relatively large cast of characters and complex situations. One detail that I really enjoyed was the use of red only when the book Persepolis is in view in a panel. It’s a nice pop of color that highlights the book’s presence in the lives of the characters.
It feels easy these days to get crushed emotionally by the routine threat of book bans, and I worried a graphic novel focused on it would really bring me down, but Wake Now in the Fire is largely positive. The students are fired up to stand up for their rights to read. The parents, teachers, and librarians are largely supportive. There is visible power in a community that rises against censorship. In his afterword, Dapier draws attention to how things have changed since 2013 with regards to the massive increases in book bans, growing control over marginalized bodies, and the escalating danger of armed government agents. Those comments snapped me back to reality after bathing in some good old fashioned hope during the narrative, but it’s important that our current reality is acknowledged.
The publisher rates this story for ages 14+, which are the ages of the main student characters. There aren’t too many things that would make this difficult for readers under 14, but some issues to be aware of are brief off-screen violence, depictions of mental health struggles in kids and adults, and alcoholism in one of the parents. That parent experiences an on-screen health emergency that his daughter has to respond to in an intense scene. The most stressful parts of the students’ lives are handled well and with grace. This book is a vital addition to a teen, or even an adult collection because it merges history and fiction to tell a compelling story with that crucial element of hope that is so desperately needed right now.
Wake Now in the Fire: A Story of Censorship, Action, Love, and Hope By Jarrett Dapier Art by AJ Dungo Ten Speed Press, 2026 ISBN: 9780593838044
Company Age Rating: 14+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18), Teen (13-16)
From studying under J.R.R. Tolkien in university to fighting the rise of fascism in the 20th century to serving as a powerful creative force behind the most famous works published by George Orwell—23rd Street Books dives into the life of Eileen O’Shaughnessy in Mrs. Orwell, written by journalist, author, and filmmaker Andrea Chalupa with art by Brahm Revel.
Mrs. Orwell opens with our introduction Eileen O’Shaughnessy (later Eileen Blair), studying at university under the esteemed Professor Tolkien, partying at night, and chafing against the strict social standards which hold women back in the name of propriety. At a party, she crosses paths with a writer named Eric Blair, who publishes under the name George Orwell.
With shared interests in art and politics, the two find a deeply passionate connection, somewhat to the dismay of Eileen’s brother with whom she lives. From marriage to traveling conflict zones in Europe in search of political movements and armed resistance to the rise of fascism and the brewing storm of what would become World War II, Eileen and her husband find themselves tested as they fight for both their ideals and their lives.
A talented writer on her own, Eileen throws herself fiercely behind supporting her husband’s work, serving as editor, typist, and muse for numerous of his publications, especially influencing his most famous titles, Animal Farm and 1984. With a world in violent chaos and a marriage fraught with turmoil and infidelity, this graphic novel shines a light on two incredibly influential writers—only one of whom remains widely known today.
As discussed in the note at the end of the book, Mrs. Orwell serves as a work of historical fiction that nevertheless draws heavily from recorded fact. It even includes a reading guide for anyone wanting to dive deeper into Eileen’s life. While never shying away from the complexities and failings of either Eileen or Eric, the main focus remains on recognizing and celebrating Eileen’s work and the vital role that art and resistance play in the face of violence. The characters are layered, revealing facets of themselves through engaging and entertaining dialogue, while Chalupa carries us through a great span of time including major historical events on the world stage. It’s a great deal of content to cover in a book of this sort, and if Mrs. Orwell has any flaw, it’s that there’s not quite enough time to unpack some of the history, particularly in the book’s later portion.
Nevertheless, in tackling themes of fascism, war, censorship, art, and media—there’s a wealth of material here that remains all too relevant today. But in addition to uncovering lesser known biography and vital discussions about the nature of creation and resistance, the book is also simply fun to read. Entertaining and often funny, it succeeds on a narrative level as much as a historical one. It’s a feat to balance all these elements, and Chalupa has written a striking story about two passionate, flawed, messy, creative, and highly influential people which brings them to vibrant life within these pages.
And speaking of vibrant pages, Revel’s shifting palate of art is a delight from start to finish. Colors and tones shift across the story, as do the layouts and structures of each page. With a careful eye for pacing and visual storytelling, Revel keeps the art grounded without being afraid to weave in flashes of stylization and dramatic representations of emotions alongside the more focused, powerful moments the book has to offer. Heightening both humor and heartache, Revel’s visuals are a vital aspect of the book’s appeal. The grit feels real, as does the threat of war and death. At the same time, we get soft romantic interludes, mixed realities where fiction intrudes on the present, and appropriate weight given to the heavier themes the book holds in store.
23rd Street Books lists this title for adult readers. There are smatterings of violence, sexuality, and language throughout, but the book never lingers on the more mature elements or presents them in graphic detail. At the same time, with a strong historical focus alongside a range of complex topics and themes, it’s likely the book will appeal most to older readers and those already familiar with Orwell’s work. It could also be a good companion read for older students studying Orwell’s life and writing. Overall, Mrs. Orwell is an excellent read in its own right, while also bringing to life a figure often lost in the obscurity of history. A woman who refused to accept the bounds society placed on her, a fighter who dreamed of a better world, a writer who left her mark for generations to come—more people should know the name Eileen O’Shaughnessy, and this graphic novel is an excellent step in ensuring that her life and accomplishments are not forgotten.
Mrs. Orwell By Andrea Chalupa Art by Brahm Revel 23rd Street Books, 2026 ISBN: 9781250877857
Company Age Rating: Adult
NFNT Age Recommendation: Adult (18+), Older Teen (16-18)
There are many tall tales about the highwayman Dick Turpin. The actual history, as is usually the case, is somewhat more muddled. Such is the way of legends.
Unlike the more internationally famous Robin Hood, we know for certain there was a Dick Turpin. He was born in 1706 and died by hanging in 1739. What he did in between and whom he associated with is somewhat more debatable. It is agreed, however, that he spent the last few years of his life as a horse thief and highwayman, after several years as a house-robber, poacher, and smuggler.
Dick Turpin and the Crimson Plague is more concerned with romantic fiction than solid fact. Nevertheless, this updated and expanded edition of the original 2011 graphic novel concludes with a decent overview of the real history. This is noteworthy, given how the stories contained within this volume are as unlikely as the account of Turpin riding 200 miles in a single night.
The main story, The Crimson Plague, finds Dick Turpin and his fellow thief, Tom King, enjoying their ill-gotten gains in London. After watching another unfortunate’s execution, the two decide to have some fun at the local brothel. However, it becomes apparent that there is a dark secret within the bawdy house’s basement. Soon, the two thieves become monster-slayers, fighting to save London from a vampire invasion!
The new edition of Dick Turpin and the Crimson Plague colorizes what was originally a black-and-white comic. The color art by Gavin Ross is decent enough. However, there are many pages I think might have hit harder in monochrome. Indeed, there are some pages where the colors seem to obscure the original inks of Graeme Howard’s artwork.
This new edition also contains an original short comic. Subtitled “The Crawling Terror,” this tale finds Dick Turpin and Ton King making camp in a cave. Unfortunately, the depths of the cave contain monsters that seem more appropriate to a Conan comic than a Dick Turpin story. Still, the artwork for this chapter by Roland Bird and Brett Burbridge is stronger than the main event.
All in all, I found Dick Turpin and the Crimson Plague to be an amusing read. I enjoy a good story of supernatural horror and stories about reluctant heroes. This is both. I also enjoyed the history provided at the end, which adds some context to what came before.
Time Bomb Comics does not offer a rating for Dick Turpin and the Crimson Plague. I would suggest that any librarian interested in this place it in the adult collection. First, because there is considerable bloodshed and Steven Tanner’s scripts do not skimp on adult language and sexual content. The only nudity in the book is a corset that slips to reveal one sex worker’s nipples at one point.
Another note for librarians: the only place I believe this new edition hardcover is available is the Time Bomb Comics website. The edition currently listed on Amazon and GoodReads under the provided ISBN is for the 2011 original.
Dick Turpin and the Crimson Plague By Steve Tanner Art by Roland Bird Time Bomb Comics, 2025 ISBN: 9780956182241
Shining a light on a lesser know story from the Civil War era, Legion M Entertainment and Stranger Comics bring together a talented creative team including creatives from Disney, Marvel, and DC, for Defiant, this first volume chronicling the life of Robert Smalls.
Born to an enslaved mother in the American South, Smalls dreamed of freedom. Beginning with his childhood, Defiant follows Smalls as he grows through education, love, and eventually into working as a sailor when war breaks out against the North. It is in this war that Smalls sees an opportunity at freedom, to steal the Confederate transport ship he worked on and escape to Union-controlled territory with some of his fellow crew and their families.
It was this escape that made Smalls famous, but his life’s work did not stop there. He continued as an influential figure throughout the war and beyond, including time serving in Congress. There are many today who do not know the details of Smalls and his life, and in the supplementary material that accompanies this graphic novel, the creators, as well as Smalls’s great great grandson, reflect on the power of legacy and the necessity of telling stories like this in order to remember the past and inform the future.
Defiant opens with a framing narrative depicting Smalls later in life as he takes his grandson fishing. It is here, as they wait for the fish to bite, that he begins to recount his story. Each section of the book captures key moments of Smalls’s youth and adulthood. It’s a significant length of time to cover, but the creators pace the story well, showcasing the experiences that formed Smalls’s character and the sense of defiance that would later drive him to risk everything in pursuit of freedom. The story is told with fondness and dramatic flair, but it doesn’t lose sight of the Smalls’s humanity or the horrors of US slavery at the time.
Balancing cinematic sensibilities with a desire to share a true segment of history, the writing effectively moves between interludes with the older Smalls and the larger narrative chunks leading up to his dramatic escape. The dialogue is straightforward and occasionally on the nose, but the book does an excellent job identifying important details to convey and moving the story along, while also bringing the reader into Small’s life along with the lives of those around him. It’s a story told with concern for historical truth, but also with acknowledgement that some liberties were taken and some factual gaps filled in to bring the story to life.
With these same cinematic sensibilities, the artistic team uses bold coloring and some dynamic layouts that quickly grab the reader’s attention. There’s a general sense of realism to the visual sequences, but the art takes some compelling creative liberties at times which help to elevate the themes and content of the story. There is one pivotal moment early in the book where Smalls, as a child, witnesses the violence and cruelty committed against the Black people around him. With use of light and shadow as well as distortions of faces that once seemed less threatening, the artists bring us into the experience of the moment and the realization of the evil inherent to the institution of slavery. Here and elsewhere, the art reckons with the realities of the time without the need to linger over pain and suffering. As the book progresses into the dramatic escape that Smalls is most known for, the visuals continue to bring the reader into the action, with effective choices in framing and dramatic moments that heighten both the tension and the heroism of what Smalls and the other achieved.
Stranger Comics lists Defiant as suitable for all ages. There are a range of areas in the content to be mindful of—violence and death in war and toward enslaved people, occasional slurs, briefly implied nudity, and some sequences of tension and threat which at times include children. However, none of these are presented for shock value or in graphic detail; even the creators state that their intention is not to linger over the violence and other horrors of the time. What detail we do see in the pages is relatively brief, maintaining focus on Smalls as a central figure and celebrating what he achieved without glossing over the reality that helped shape him.
As such, it’s a suitable read for older kids and upward, not only for the book’s sense of adventure, but also for the rich and important history it seeks to convey. In the afterword, writer Rob Edwards reflects on the importance of telling stories and why he sees such value in remembering the life of Robert Smalls. There is value, not only in the history recorded here, but in the discussions offered by Edwards and the others in this book who reflect on what it can mean for us today, to remember the bravery and steadfastness of those who have come before. In this way, Defiance is a perfect read for the current moment, and a great addition to shelves in schools, libraries, and home collections, especially with a movie also in production.
Defiant The Story of Robert Smalls By Rob Edwards Art by Sean Damien Hill Legion M and Stranger Comics, 2025 ISBN: 9781939834379
NFNT Age Recommendation: Teen (13-16) Creator Representation: Black, Character Representation: Black,
Amélie is a 16th century Dutch noblewoman fascinated by science and nature, but forced into an unhappy marriage by her impoverished parents. Her new husband, Hans, is dashingly handsome, loves animals, and is pleasant and outgoing in public. But in private, he belittles her and subjects her to sexual violence and humiliation. Her only respite occurs when Hans takes a business trip to Portugal, leaving her to freely study what fascinates her more than anything: flight.
Thinking of flight as both a glimmer of hope for escape and as a way to be closer to God, she studies the bones of birds, pours through books in her husband’s library, and crafts model flying contraptions. She ponders the way maple seeds spin in the air and is relieved to not hear a word from her husband for many months.
Things get complicated when Hans finally returns, accompanied by a beautiful young slave woman from an unknown place. He claims he saved her from a terrible fate and moves her into the house as his mistress. Amélie is both humiliated and fascinated by this woman, given the name Sahara by Hans after he acquired her. Hans is loving and tender with Sahara in stark contrast to his behavior with Amélie. She is quiet and cheerful, despite a deeply traumatic past, but tension develops between the two women. As they both adapt to life stashed away together in Hans’ house, they start to experience compassion and support for one another. They explore Amélie’s love of flight and begin work on a contraption that will change everything.
I am a complete sucker for historical dramas. I love a sumptuous setting, detailed costumes, and an exploration of life in a time that seems both unknown and absolutely familiar. Raging Clouds by South Korean author and illustrator Yudori ticks all those boxes for me. When I think of the art style, the first word that comes to mind is “exquisite”. I was absolutely captivated by every panel. There is so much attention to detail, particularly in the clothing. Yudori has a mastery over drawing the folds of fabric that really brings life to the art. There is detail everywhere, from the clothes, to furniture, to individual strands of hair. There are some historical inaccuracies here and there, but I can see due diligence was done to be true to the time period.
There is a lot of nudity in this work, but I really appreciate Yudori’s nuanced depictions. At times nudity is used to explore the beauty and desirability of the female form, while other times it’s employed to express dehumanization and subjugation, essentially the two extremes of being a woman under patriarchy. This is a deeply feminist work, and Yudori is not shy about showing the pain and trauma of being a woman under oppression.
The cover art and some errotic tension in the story might lure you into thinking this becomes a sultry queer romance, but as the author explains in an Instagram post, this is a story of failed attempts. As much as I love a queer romance, I also love a story of two women surviving through different aspects of patriarchy, seeing each other, and finding ways to lift each other up as the system tries to knock them down. It feels authentic and I want to see more stories featuring this kind of non-romantic love and compassion.
There are a lot of potential content warnings that librarians and readers might want to know about, some of which have already been mentioned, such as nudity and sexual violence, which includes rape and dubious consent. Several sexual acts are illustrated pretty clearly. There is also physical violence ranging from hitting to murder, although nothing very bloody is shown directly on the page. Amélie also experiences a lot of body image issues, which comes in the form of negative comments from others and negative self-talk.
As you might expect with a period piece, particularly one featuring people of color in Europe, there is casual and overt racism littered throughout the story and there are some historical terms for groups of people that are outdated by today’s standards. Sahara is a non-native speaker and her way of expressing herself could be interpreted as stereotyped. However, according to the author in another Instagram post, the inspiration for how Sahara speaks comes from her own experience as a non-native English speaker when she moved to the United States from Korea as a teenager.
There is also some animal harm at various points. A cat is the subject of a violent game among men and several dead animals are shown. There are no animal deaths, but as someone very sensitive to animal harm, the realism of the animals was slightly unsettling for me. It was balanced somewhat by an adorable pet cat doing very annoying (but still adorable) cat things, so the realism goes both ways.
While there are many challenging issues depicted in Raging Clouds, nothing feels out of place or unwarranted. This is definitely one for the adult collection, although some older teens might connect with it as well. I think it’s a beautiful and honest work exploring the lives of women in the past that is incredibly relatable to women of the present.
Raging Clouds By Yudori Fantagraphics, 2025 ISBN: 9798875001062
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: South Korean, Character Representation: Dutch,
It is the last days of the Roman Republic. The armies expanding into Gaul face increasing resistance from the Helvetii and Germanic tribes. The future of Rome itself is in question.
All of this is meaningless to Coax. He is Gallic, yet knows nothing of his tribe, for his parents were enslaved by Romans before he was born and died in the revolt led by Spartacus. He was content to be a slave himself, until an act of sacrilege destroyed his family. He freed himself and became a pirate, bleeding Rome as much as he could. And yet, while his thirst for the blood of Roman soldiers is great, he still ransoms one young officer who convinces Coax he is worth more alive than dead. Surprisingly, he proves to be right, and soon has the ransom Coax set.
Years later, Coax is in bondage again, captured and sentenced to slavery for his crimes. He seems sure to die in the arena as a gladiator, but for the intervention of a Roman officer. To his surprise, it is the officer he ransomed years before—a man named Gaius Julius Caesar. He offers Coax a choice – serve as his spy in those places where a Gaul can pass that a Roman cannot. In exchange, Caesar offers Coax his aid in finding those responsible for killing his daughter and driving his wife to end her life.
It is a devil’s bargain, though the two fighting men get along well enough despite their different stations. However, Coax is not under any delusions that he is anything but a weapon to Caesar. And though he does not realize it, his actions in the service of his savior may yet bring about the downfall of Rome.
I went into Caesar’s Spy with enthusiasm. Not out of any love for Roman history, but because of the pedigree of the creative team. I was familiar with Max Von Fafner’s work on various Conan the Barbarian books and loved what I had seen. I was less familiar with French writer Jean-Pierre Pecau, though I did enjoy his steampunk Sherlock Holmes story Moriarty: Clockwork Empire. Both are in fine form in Caesar’s Spy.
While it is tempting to call Coax a Conan substitute based on Max Von Fafner’s designs, Coax is a radically different character. He lacks Conan’s crude chivalry, though he does have a code of honor. He gives respect to those who respect him, even if they are Roman. He also takes offense at Caesar going against Coax’s word that a group of Helvetii refugees would be given safe passage. Not enough to stand against Caesar, who he honors as his commander. But enough to free the Helvetii princess Sanian, who is presented to him as a slave.
This goes on to form one of the main conflicts of the novel, with Sanian organizing her own campaign against Rome and Caesar. The irony is that she and Coax might have been allies, had it not been for Coax’s promise to Caesar and, later, Sanian’s rebellion killing one of the few men Coax calls friend. This is but one example of the emotional complexity of Jean-Pierre Pecau’s scripting. The story is also well-researched regarding Roman history during The First Triumvirate.
In terms of art, Caesar’s Spy is equally fantastic. As I said earlier, I’m a big fan of Max Von Fafner. His artwork is beautifully detailed and visceral, yet subtly streamlined. The action scenes are intense and the period costuming generally well depicted. The sole exception to this is some of the women’s clothing seems more like specialty lingerie than the sort of thing an Egytpian noblewoman would wear in her private chambers. In fairness, Von Fafner does not shy away from showing fit young men in equally revealing outfits.
On that note, Titan Comics rated Caesar’s Spy as 15+. Generally, I would agree with that assessment, but I would still classify this one as a graphic novel for adults. There is ample sexual content, brief nudity, and copious violence, though nothing I would classify as pornographic. The sexual acts are not depicted on the page, though we do see the characters naked before and after the acts. And yet, I would classify this as a work for adults because most teenagers are unlikely to appreciate the complex relationships and emotional depth of the characters.
Caesar’s Spy By Jean-Pierre Pecau Art by Max Von Fafner Titan, 2025 ISBN: 9781787746978
Company Age Rating: 15+
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: French, Serbian,
One click and this new dimension opens. A panel is the threshold to a dimension of gutters and splash pages. A dimension made of ink and Kirby Krackles. A world where a madman writes of comics and graphic novels. You are about to enter No Flying No Tights.
This graphic novel adaptation of Ethel Carnie Holdsworth’s romance novel is about sisters, Hester and Rachel, who grew up in poverty and learned how to fight for justice. The original novel was released in 1925 and was based on Ethel’s own experiences in a mill, but was not well received at the time of release. Now Scarlett and Sophie Rickard have adapted the novel into a new format during a time when the world could use reminding that human rights and dignity are inherent, not earned. 
If Dracula himself had a drop of blood for every retelling and reimagining of his story as written by Bram Stoker, then he might never have to bite another neck to sustain himself. Since stories about Dracula (and about vampires that owe so much of their aesthetic to him) are so prevalent, doing one that’s wholly original is about as difficult to find as it is to find a vampire that loves the sun. Woodstake: Three Days of Peace, Music, and Blood Vol. 1 is writer Darin S. Cape’s and illustrator Felipe Kroll’s attempt to retell the Dracula mythos, setting it at a very famous music festival synonymous with the 60’s and the Summer of Love.
Satrapi’s graphic novel Persepolis in the entire district. 13 years later this feels disgustingly common, a story we’ve learned to tune out, but at the time it shocked the local community and the response was immediate. High school students led a protest, teachers and librarians were up in arms, free speech advocates were taking notice, and it was picked up by news outlets. But information coming from the school district was confusing and inconsistent and Freedom of Information Act (FOIA) requests produced little information or clarity.
force behind the most famous works published by George Orwell—23rd Street Books dives into the life of Eileen O’Shaughnessy in Mrs. Orwell, written by journalist, author, and filmmaker Andrea Chalupa with art by Brahm Revel.
Such is the way of legends.
creative team including creatives from Disney, Marvel, and DC, for Defiant, this first volume chronicling the life of Robert Smalls.
impoverished parents. Her new husband, Hans, is dashingly handsome, loves animals, and is pleasant and outgoing in public. But in private, he belittles her and subjects her to sexual violence and humiliation. Her only respite occurs when Hans takes a business trip to Portugal, leaving her to freely study what fascinates her more than anything: flight.
tribes. The future of Rome itself is in question.
