The killers are back and they’re bloodier than ever.
Exquisite Corpses Vol. 2 picks up right where the first volume left off—with the citizens of Oak Valley, Maine fighting for survival against a cabal of thirteen powerful families and the menagerie of violent murderers they have gathered to compete in a “game” that has already left a trail of bodies behind. From Image Comics and helmed by James Tynion IV and Michael Walsh, this new volume yet again offers up an incredibly talented roster of writers and artists for these next five issues of carnage and survival.
With Tynion as co-writer, each issue of the series maintains a consistent voice and tone, while the other writers—Che Grayson, Jordie Bellaire, Tyler Boss, Michael Walsh, and Pornsak Pichetshote—have the chance to shift focus among people on all sides of the conflict—townsfolk, killers, and the families behind it all. It’s a stacked roster of comics creatives, all coming together to tell a story that steps on the gas from page one. The pace in this volume is as quick as ever as the young people of Oak Valley gather for a party, unaware that they are creating a possible killing ground. The unhinged killers, each with their own vivid personalities and approaches to violence, crash onto and off of the page with the same chaos they have introduced to the quiet town, battling each other and anyone unlucky enough to get in their way. But the story continues to find its quieter moments as well. Not all the killers are bloodthirsty. The infighting of the rich families leisurely watching the night unfolds in layered questions of morality and power. And the town survivors must decide for themselves if they will hold onto hope or give into darker impulses as they struggle to save their loved ones.
For a story of nonstop action, Tynion and the others never forget that the humanity of the characters gives the rest meaning. The writers give the story space to breathe and allow vivid emotion amidst gripping pacing and an unfolding sequence of reversals and revelations. There are compelling personalities on all sides, and even as the bodies continue to fall, it’s hard to look away from the spectacle. Perhaps that is its own sort of commentary on the whole ordeal.
The art remains excellent throughout the volume. Claire Roe, Gavin Fullerton, and Adam Gorham join Michael Walsh deploying a relatively muted color palate across the grittier scenes, bringing realism to the visuals that helps ground the bold premise of the series. At the same time, the artists shift the major colors across characters and sequences, capturing mood and stylizing action to dramatic effect. There’s just something about a morally ambiguous woman in a fox mask flying across the page with a katana that captures the attention. The art is equally effective when two trained killers in masks are participating in a dance of death in a quiet graveyard—and when grief and horror settle in as the survivors realize the increasing cost of the nightmare that has settled over them. There’s a striking cinematic quality to the entire series, and with Walsh and Tynion both as co-creators, it’s an excellent example of artistic vision brought to life.
Fair warning to potential purchasers and readers, Exquisite Corpses earns its mature rating with graphic violence and injury and strong language throughout. The visuals never revel in the violence quite as much as the killers do, but the series never shies away from it either. Hands are removed, eyes come out, and character good and bad, young and old, are caught in the crossfire. For those who can stomach the violence and occasional sadism however, Exquisite Corpses sits comfortably in the evil rich people genre that has been popular these last few years—including films like Ready or Not and The Menu as well as comics such as Sarah Gailey’s Eat the Rich. Mix all that with a serial killer battle royale, and there’s plenty here for older readers to enjoy. Be sure to track down volume one first, but this is an action horror series well worth your time.
There’s still hours to go until dawn for the citizens of Oak Valley, and with the series still ongoing, I suspect the worst is yet to come. I, for one, will be back to see what happens.
Exquisite Corpses, Vol. 2 By James Tynion IV Art by Michael Walsh Image, 2026 ISBN: 9781534334687
Company Age Rating: M
NFNT Age Recommendation: Adult (18+) Creator Representation: Gay, Character Representation: Black, Queer,
A young boy navigating a near-future world that is both like ours, and also not. A story woven through with commentary on where we find ourselves today.
Street Noise Books brings us Hybred from Jamie Mustard and Francesca Filomena. Set in an alternate future, the book introduces us to Johnny James, 9 years old when the story begins. Mixed race, outcast, and living in a slum walled off beside the bright lights of Follyland, the rich and shining section of city just next door, Johnny splits his time between a home for boys and his fractured family, living life alongside gangs, despair, and a consistent stream of violence.
What Johnny learns from a young age is that those who give up, do not survive. And Johnny is determined to survive. Through years of childhood and into adulthood, Johnny crosses paths with a range of characters, all the while hiding the secret that he is even more different than those around him can know. As everyone claws their way toward survival, Johnny’s love of art may be his path toward safety, but only if he can endure the dangers laying in his way.
Written entirely in narration, Hybred doesn’t use paneling or text bubbles to deliver its relatively short narrative. Instead, the series of standalone, full-spread images and text blocks carry us through each moment of Johnny’s story. Written and with art direction from Mustard, this book tackles a lot—race, inequality, mental health, exploitation, and more—all grounded in an examination of the role that art can play in shaping society. It’s an ambitious and admirable undertaking to address so much in a singular story. Unfortunately, the scope of the themes ultimately harms both Johnny’s narrative and the broader ideas Hybred seeks to convey.
The story itself is never given room to breathe, unfolding in a series of vignettes that never quite find cohesion, while the dramatic conclusion of certain plot points happens largely in summary and off the page. Quiet storytelling and ambiguity can be immensely powerful. The challenge with Hybrid is the size of the gaps the reader is left to fill themselves. Similarly in theme, Mustard turns a lens on vitally important social issues, but in packing so many in with such passionate intensity, it becomes a struggle to walk away from the book with a greater understanding of any idea in particular. In trying to show us all the sights along the way, Johnny’s story struggles to reach a clear destination.
But this is not to downplay what the book does achieve. Not only does Mustard approach the writing with vision, but Filomena’s painted illustrations bring a wealth of character and visual style to the story. Reminiscent at times of Dave McKean’s art, Filomena’s hazy and stylized approach fills the book with life, blending rich colors with striking visual designs that showcase this strange-but-familiar world and the multitude of characters who inhabit it. Pages move from more cinematic presentations to portraits to paintings that demand focus on key elements of the story. Across the range of palates and scenes, Filomena’s style invites the reader to keep looking, following Johnny into this strange alternate world he is navigating.
Throughout Hybred, there are moments of drug use, violence, death, strong language, racism, human trafficking, and sexual themes. With only a couple exceptions, the book does not linger overly long on these moments—and with the early portion of the book framed through a child’s eyes, some of the darker plot points are clearer to the reader than they are to Johnny himself. Nevertheless, the often bleak combination makes the book best suited for adults alongside some older teens who know what they’re in for. In the end, I wish I liked Hybrid more than I did. It’s a respectfully ambitious undertaking from a writer who clearly has a lot to say, and I admire any piece of art that’s willing to aim big. Additionally, Filomena’s art deserves to be seen as it brings this complex tale to life. Hybred doesn’t achieve much of what it sets out to do, but I respect its vision even as I wish more of Johnny’s story had landed effectively along the way.
Hybred A Graphic Novel By Jamie Mustard Art by Francesca Filomena Street Noise Books, 2025 ISBN: 9781951491437
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,
Gruesome. Dramatic. Utterly wild. And just the beginning. I need more.
James Tynion IV is among the most exciting writers working in comics today. For Exquisite Corpses from Image Comics, he partners with Michael Walsh along with other artists and writers to deliver the first volume in a blood soaked battle royale conducted by the thirteen richest families in America who wield unchecked power from the shadows. To keep the peace between their factions, every five years these families select champions and unleash them within an unsuspecting small town on Halloween night. The last killer standing will claim a reward and another five years of unquestioned power for the family who sponsored them. The other killers will be dead. As for the town—well, it doesn’t look promising. This time, the killers have landed in Oak Valley.
Tynion has already built a reputation for layered, unflinching horror. What helps set his work apart is the thematic depth and character development that emerges amidst the carnage and action and intriguing stories he continues to build. As quickly as the body count starts to rise at the hands of mercenaries and flashy murders alike—we also meet the inhabitants of Oak Valley. A young couple. A young boy and his mother. A gas station attendant. Two EMTs unaware of the horrors that await them in the night. Tynion and the other writers (including Walsh and the acclaimed Pornsak Pichetshote), build a tapestry of character on all sides—townsfolk, ruling families, and the killers themselves. Even among the families and the killers, the story doesn’t shape the characters with only broad strokes. We get glimpses into rivalries, old resentments, and heartfelt loyalty among the shadowy rulers. Among the killers themselves—some are out for blood alone, but others have more complex reasons for stepping onto the killing floor. No side is entirely villainous. No side is only sympathetic. Some of these folks are larger than life while others are just trying to get by. It is these few, the desperate and the hopeful, that take the story beyond an action set-piece and into something that is crafted with flair—but also perhaps more relevant to today than some of us might care to notice.
Walsh’s art also maintains a gritty feel across each issue, blending shadowed realism with flashes of vibrant color. Along with Marianna Ignazzi and Valentine De Landro, the creative team build a small town that feels lived in and real, tucked in some quiet corner of the northeast where—unfortunately for them—help will likely not be arriving in time. This stylized realism balances well with the neons and blood spatter that explode across the page, especially in the presence of the eccentric killers. The visuals create a world of real places and people, telling story through costumes and expressions as much as the written narrative. Visually, the book is a delight—and as the chaos begins to unfurl, this unsuspecting town is only just starting to take notice.
Exquisite Corpses earns a solid mature rating with somewhat graphic violence and some language. It’s a story aimed at adults, though not out of reach of older teens who can handle the content. My only notable complaint about the book is that, at 3 issues, it was over far too quickly. There’s plenty more story to come, and this volume would sit happily in any collection with a focus on horror and crime-thrillers. Fans of titles like The Hunger Games, Battle Royale, and Alice in Borderland as well as Tynion’s other horror titles are sure to find plenty to enjoy within these pages. I highly recommend this one for anyone willing to take a step into the dark, and I look forward to the next installment.
Exquisite Corpses Vol. 01 By James Tynion IV Art by Michael Walsh Image, 2025 ISBN: 9781534331044
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Canadian, Gay, Character Representation: Black, Gay,
Tabitha—Tabi to her friends—has always been enchanted by Sommerland. When she was little, the Sommerland movies made her believe in true love and happily-ever-afters. Then she visited the Sommerland theme park, where she had a beautiful moment with her favorite character, Princess Madeline. After that, Tabi became determined to get a job at the park. She wants to bring others the kind of joy that visit brought her. And ideally, she wants to do it as one of the actors portraying Princess Madeline.
So far, so good: Tabi gets into the Sommerland High School Summer Program. She may be starting in a pretty unglamorous position—slinging chips and cheese at a nacho stand—but auditions for new character actors are coming up. And in the meantime, she can bring joy to park guests right where she is.
Tabi’s love for Sommerland is undeniable. She is passionate about creating magical experiences for guests—and she’s good at it. Not every staff member at Sommerland has her enthusiasm, but she meets a cute boy named James who loves bringing joy as much as she does—and seems to like hanging out with Tabi, too. Now, if she can just ace her audition, everything will be perfect. This is Tabi’s chance to show her knowledge of, and love for, the Sommerland characters. No one knows Princess Madeline better than she does. Surely the judges will see that.
But character actors are expected to, when in costume, look as much as possible like their characters. And Princess Madeline is thin. All the Sommerland princesses are. Tabi is not. Is this the end of her childhood dream? Or is there another path to becoming a princess?
Tabi is exuberant, kind, and hard-working. After failing her first audition because she didn’t realize dancing would be required, she practices dance steps constantly to be ready for the next audition. She holds onto her dream even as it becomes clear that only a certain type of girl – with a certain type of body – has ever been cast as a Sommerland princess. Well-intentioned and determined, Tabi is easy to like and to root for. She even manages to win over her jaded, skeptical roommate, who ends up helping Tabi and James with an audacious plan.
Sommerland is clearly a Disney analog: it’s both a movie studio and a massively popular theme park sometimes described as “the most magical place on Earth.” It even has its own versions of Disneyland quirks, like hidden kitties (for the Sommerland mascot, Kitty Wise) instead of Hidden Mickeys (images of Mickey Mouse hidden around Disneyland). These details help the park feel lived-in and real, and will be fun Easter eggs for Disneyland fans.
The art is colorful and vibrant, full of whimsical theme park landscapes, fantastical costumes, and a wide variety of uniforms and outfits. The characters are just on the realistic side of cartoony, with expressive faces and postures. There is clear contrast between the bright, magical world of the Sommerland park and the more utilitarian world behind the scenes: employee dorms, costume and uniform storage, actor auditions, and so on. Still, even when Tabi is just in her dorm watching videos, the art is lively and fun.
This is a charming romp with a goodhearted, sympathetic heroine and a fun and interesting setting. Hand it to Disney fans and anyone looking for a sweet, summery romance.
We Could Be Magic By Marissa Meyer Art by Joelle Murray Feiwel and Friends, 2025 ISBN: 9781250379399
Company Age Rating: 12-18
NFNT Age Recommendation: Older Teen (16-18), Teen (13-16), Tween (10-13)
Character Representation: African-American, Black,
The world of Blade Runner has always favored Japanese aesthetics. This is not uncommon in the cyberpunk fiction of the 1980s, which was born of a belief that Japan would come to dominate the world of technology. The irony is that, for all that influence, Blade Runner is intensely focused on American interests. The original movie was set entirely in Los Angeles and the spinoffs which followed remained largely set in southern California. This makes Blade Runner: Tokyo Nexus notable as the first work in the franchise to be set outside of the United States or deep space.
Our story is set in 2015, four years before the events of the first Blade Runner movie. The action centers around former soldiers, Mead and Stix. After leaving the service, they came to Tokyo and established a detective agency. However, there’s a lot in their past they don’t want uncovered. For one thing, Stix is a Replicant; one of the class of artificially created human that are technically illegal on Earth. However, they both went AWOL after deciding they didn’t want to die on a suicide mission and stole some classified information as they made their escape.
The sins of their past catch up with the duo, as their latest case forces them to butt heads with the Yakuza. There is also the complication of an American Blade Runner arriving in Tokyo, hunting a rogue Replicant that has started killing to cover their tracks. The Blade Runner is convinced Stix is her man, but even that hunt may be covering up something bigger. Something tied into the Tyrell Corporation and a group of rogue scientists seeking to create their own Replicants outside of the Tyrell machine.
Writer Kianna Shore does a fantastic job of capturing the aura of the Blade Runner setting while presenting this world’s take on Tokyo. There are plots within plots and multiple intrigues, as Mead tries to investigate a murder while throwing the Blade Runner off the scent of the one friend she has. At the same time, it becomes apparent that Stix has his own secrets, even if he isn’t the killer in question. All the characters are engaging, and the secret heavy story is sure to keep readers guessing until the end.
The artwork of Mariano Taibo is equally engaging. Despite the Noir aesthetic of the story, the artwork is unusually bright and airy. This creates an immediate visual contrast with the dark alleys and neon glow that dominated the Los Angeles of the Blade Runner film. What is more, we see the sun. This might not seem like a huge point, but it’s a rather amazing revelation given the original movie depicted a city shrouded in perpetual rain and gloom even in the light of day. And yet, despite this disparate distinction, this is still undoubtedly a Blade Runner story, with high octane action and intense combat sequences.
Titan Comics rates this first volume as appropriate for readers 15 and up. I believe that to be an appropriate rating. There is considerable violence and bloodshed. There is even a scene showing a dead Replicant being dissected. However, there is nothing here that would be considered excessive for an audience of older teenagers. There is no suggestion of sex and one nude Replicant with undistinguished anatomy in a body bag.
Blade Runner: Tokyo Nexus Die In Peace By Kianna Shore Art by Mariano Taibo Titan, 2025 ISBN: 9781787738492
Company Age Rating: 15+ Related media: Movie to Comic
NFNT Age Recommendation: Adult (18+), Older Teen (16-18) Creator Representation: Korean-American, Character Representation: Black, Japanese,
The heartwarming queer romance Navigating with You by Jeremy Whitley and Cassio Ribeiro is one of my favorite graphic novels that I read this year. Meet Neesha Sparks, an outspoken yet guarded teenager from Queens. Florida surfer girl Gabby discovers how to win Neesha over with persistence, an upbeat attitude, and vulnerability. Both girls are new to their high school in Durham, North Carolina. They quickly connect over a manga series that they each read but never finished and form a book club to re-read and, this time, complete the series. The problem is that Super Navigator Nozomi is out of print and ordering a set of the books online is quite expensive. Gabby proposes a competition to find the seven books of the series and Neesha accepts.
Navigating with You has phenomenal representation that plays out naturally in the story and art. Neesha has spastic diplegia cerebral palsy, so she uses assistive devices such as leg braces. She confronts ableism and discrimination, such as when vehemently explains to her new principal that just because she is disabled, it does not mean he should re-assign her from Advanced Placement classes to Special Education classes. Neesha is Black. She has dark skin and wears her hair in braids. We see Neesha stumble and fall, and we see her sew fabulous costumes, drive Gabby around, and visit the farmers market. She typically wears long skirts or pants that conceal her leg braces. Gabby is half Puerto Rican and half Mexican. Her mom died and she lives in an apartment with her dad and two brothers. Gabby is bisexual and has a toxic long-distance boyfriend who does not validate her sexual orientation. She suffers from Post-Traumatic Stress Disorder which triggers flashbacks and panic attacks related to her mom’s death. Ribeiro deftly illustrates one of Gabby’s flashbacks by alternating between each girl’s viewpoints, so we see Gabby’s memories unfold as Neesha observes and tends to her girlfriend.
Pages from Super Navigator Nozomi intersperse the main story, so the reader can enjoy the manga alongside Neesha and Gabby. As the manga sections are in traditional black and white with a cartoony style, and the rest of the story is in rich earth and jewel tones, it is easy to distinguish between the two.
This unpaged volume contains wonderful characterization with a sweet romance. Whitley unspools each teen’s backstory as they become better acquainted with one another. By the end, the protagonists feel real and their romance feels hopeful. Language, content, and themes are appropriate for tweens and up. Be sure to acquire and recommend Navigating with You!
Navigating With You By Jeremy Whitley Art by Cassio Ribeiro Mad Cave Studios, 2024 ISBN: 9781952303609
NFNT Age Recommendation: Teen (13-16), Tween (10-13)
Character Representation: Black, Mexican, Puerto Rican, Bisexual, Gay, Cerebral Palsy, Post-Traumatic Stress Disorder
Set in a stunningly depicted 1931 Harlem, writer/artist Mikaël’s third entry in his “New York Triptych” dives headfirst into the harmful ways racism intersects with capitalism, while still delivering an intense crime drama. Harlem follows Stéphanie St. Clair (also known as Queenie), a Caribbean, French-speaking crime boss who runs a highly profitable and highly illegal street lottery that provides a source of hope for desperate Harlemites as much as it drains their pockets. Complicating her situation is rival gangster Dutch Schultz and a corrupt police force that is in league with the white mafia. Queenie does everything to support her struggling community while staying one step ahead of the law, but as you might expect, that’s far easier said than done.
Queenie, a fictionalized version of historical figure Stephanie St. Clair, becomes increasingly fascinating and nuanced over the course of the story because Mikaël isn’t afraid to look beyond stereotypes and portray her as a surprisingly sympathetic figure. Although she is embroiled in the world of crime, her charitable acts and history of providing financial opportunities to poor, disenfranchised African Americans highlights the institutional inequality that she and her associates must deal with every day. Notably, she creates jobs and gives loans to those excluded from the white-dominated economy, and in the process demonstrates that sometimes, seemingly shady activities come about out of necessity. As a self-made immigrant woman of color, Queenie is as much a model for the American Dream as she is a powerful racketeer, and to be honest, it’s hard not to root for her.
Although Queenie’s journey is at the center of Harlem, some of the most impactful moments come when Mikaël offers wordless panels depicting New York, allowing the reader to truly linger in the setting. Mikaël’s New York is not glorified, though. It’s rainy, grimy, and lived-in. This certainly brings to mind the works of Will Eisner (especially A Contract with God and New York: Life in the Big City), in which the city is its own character and just as important as the people in the story. While many of these images lack accompanying text, their intricacy forces the reader to slow down and really take in all the little details. These contrast with the brighter, more expressionistic depictions of dancing and live music that are sprinkled throughout.
Mikaël is very deliberate in his color choices, filling his panels with drab browns and grays, making the splashes of color during joyful moments or dreamlike flashback scenes even more resonant. This seems to reflect a consciousness of the fact that while brilliant, uplifting achievements were occurring as the result of the Harlem Renaissance, it’s important not to gloss over the suffering that was happening concurrently.
While Harlem is technically part of a loose trilogy that also includes the graphic novels Giant and Bootblack, it can be easily enjoyed on its own (but if you like Harlem, definitely go back and read the other two). It is suggested for mature readers, which seems appropriate for its rather intense depictions of sex and hard drug use, although the violence is not particularly over-the-top. Overall, Harlem is an engaging mix of historical fiction, crime drama, celebration of Black accomplishment, and astute critique of how racism impacts the lives of actual human beings in ways both overt and subtle. Fans of beautifully detailed cityscapes, discussions about the complexities of race and capitalism in America, or comics that have a 1930s crime/noir vibe (like Sandman Mystery Theatre or The Good Asian) will find plenty to like about Harlem.
Author and artist James Spooner shares his story of discovering the punk scene as a Black teenager during the late 1980s in The High Desert: Black. Punk. Nowhere.
Spooner moved to a majority White area in California with his White mom (his dad was a Black bodybuilder who lived in Brooklyn) during his high school years. While trying to find where he fit in, skateboarding videos introduced him to punk music, “…the first time I found music that matched my emotions,” (24). The music led him to new friends, a new style and expression, and lent him a veneer of toughness to hide his deeper emotions behind. As the story progresses, James is exposed to the drug scene, white supremacy and Nazi skinheads. He also learns about the Black influence on punk music, intersectionality, and radical political activism.
During a crucial visit to his dad in Brooklyn during winter break, Spooner meets socially involved punks and discovers new bands through them. More importantly, he begins to understand that punk isn’t just about nonconformity and disdain towards authority. Punk is about questioning and disrupting potentially harmful norms, using one’s voice, and collaborating with others to seek social justice and foster inclusivity. “If punk rock was teaching me anything, it’s that us kids have power,” (344). This lesson was vital for the politically and socially focused adult Spooner would become.
The book first caught my eye because of the bold, expressive art. The grayscale illustrations with rich splashes of opaque black are dynamic and character-driven. Lyrics from songs by Black Flag, Minor Threat, Wasted Youth, and other bands populate the pages, with footnotes that include the song and band names. Flipping through and seeing the punk outfits, haircuts, and depictions of teenage life during that time period intrigued me enough to take on the 300+ page memoir. This is a graphic novel with art that tells the story as much as the text does.
This book is great for adult readers, but you don’t have to have any special interest in memoir, punk music, or activism to enjoy it. The universal themes of The High Desert and the wonderful art should appeal to any adult graphic novel enthusiast.
The High Desert: Black. Punk. Nowhere. By James Spooner Harper Collins, 2022 ISBN: 9780358659112
NFNT Age Recommendation: Adult (18+)
Creator Representation: Black Character Representation: Black
The story of a kid trying to figure out a new life and school after their family moves far away is a classic story in children’s literature and Jonathan Todd’s Timid shows why young readers still need these kinds of stories.
Cecil’s family is moving from Florida to a Massachusetts town near Boston. There’s no palm trees in New England and his sister Leah will be away at college, but at least their new house has space for him to have his own art studio and his family already has a church to go to (with a cute girl who Cecil sees at services every week).
School is its own separate challenge. Cecil struggles with his shyness and finds it hard to come out of his shell. His fellow students start to notice his drawing skills and he slowly finds his place… or so he thinks. He loves sharing his artwork with his classmates but it sure seems like he’s being taken advantage of. When someone takes his work and uses part of it in a not very nice portrayal of the principal, Cecil finds his voice and learns there’s no perfect way to be anything, you just have to be yourself.
Cecil’s identity as a demure, artistic Black boy is the strongest aspect of Timid and one that guides the graphic novel’s story. He doesn’t feel like he fits in with the Black kids at his school. He doesn’t want to be seen as trying to be white by hanging out with just the white kids either. The book doesn’t shy away from the reality of being Black in a majority white school and the microaggressions Cecil deals with. When he starts at the new school, someone asks him if he’s there as part of the program that buses kids in from Boston proper and later in the book, a white student touches his hair while teasing him about it. There’s points where Cecil overanalyzes his every move in an attempt to not fall into unwanted stereotypes and how this being on guard affects him.
Cecil’s story in Timid is based on Todd’s own life and his storytelling is very earnest. While it’s not an actual memoir, you can feel that it’s been very influenced by personal experiences Todd himself faced. Younger readers will appreciate that the story is told in a very straightforward, relatable way. Almost all of the problems Cecil comes up against are solved fairly quickly and easily but without shorting the emotions surrounding them. They happen, there’s a resolution, and life keeps going, even if the problems are still lingering in the background at times.
Todd’s art style is very comic-inspired, with even a tinge of newspaper comics style to it. The bold lines throughout really make the panels jump off the page. It’s refreshing to see a middle grade graphic novel with a different art style than the ones that dominate the shelves. Readers interested in creating their own comics will likely appreciate Todd sharing his own childhood artwork that mirrors the comic that Cecil draws to enter the neighborhood comic shop’s content.
Timid will appeal to a variety of readers: those who enjoy the fish out of water story, those who can’t get enough of graphic novel memoirs, and those looking for stories to inspire their own confidence, as well as the teachers and librarians who recommend them. It would be best enjoyed by younger middle grade readers, especially those looking for stories about inspiring artists, the desire to fit in while still remaining yourself, and conquering their own shyness.
Timid By Jonathan Todd Scholastic GRAPHIX, 2024 ISBN: 9781338305708
Publisher Age Rating: 8-12
NFNT Age Recommendation: Middle Grade (7-11), Tween (10-13) Creator Representation: Black, Character Representation: Black, Protestant ,
The killers are back and they’re bloodier than ever.
find ourselves today.
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Author and artist James Spooner shares his story of discovering the punk scene as a Black teenager during the late 1980s in The High Desert: Black. Punk. Nowhere.
literature and Jonathan Todd’s Timid shows why young readers still need these kinds of stories.
