Andy Wicks is a middle-aged man who, when he undergoes hypnosis to stop smoking, finds himself back in high school in 1985. It’s a common fantasy, to wonder how things would go if you had the chance to do it all again. (One of my favorite examples is Never Been Kissed.) How much better, one thinks, high school would have been if I’d have had mature knowledge in the young body and circumstances.

Too Cool to Be Forgotten
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Well, not really. Andy goes from accidentally revealing the future of others (which helps no one) to getting himself in trouble by acting inappropriately for a teenager to actually trying to make a difference. Which makes less of a difference than you’d expect. The real meaning of his life turns out to be found elsewhere.

I was impressed with the strength of Robinson’s graphic language. Much of the book is told through typical rectangular panels. When he breaks this pattern, it really draws your attention to what he’s conveying (which is the point). Early on, we get a full-page look at his application to the hypnosis center, which gives the reader a lot of background information about the character in a condensed space. Even when the panels aren’t as unusual, the size and space controls the pacing, as when reactions and asides are put in smaller, page-ending boxes.

The tour-de-force, though, is the transition under hypnosis. A full-page consists of nothing but words, arranged in an outline of Andy’s face, literally getting inside (and around) his head. Then he awakens back in the high school library — another full-page panel but in this one, the words are mostly meaningless — and the point is the setting and characters and their old-fashioned hairstyles. Later, he shows Andy’s reactions to finding out what’s happened to him almost wordlessly, letting the body language carry the emotions. He’s also not afraid to use the currently out-of-fashion thought balloons, a necessity in showing us how Andy feels about his situation.

The lesson of the whole piece is how unexpected factors wind up shaping your life. What you think will be important isn’t; what seems like a throwaway choice may cause years of repercussions. It’s unpredictable, and only with hindsight does it all make sense. Robinson portrays these life lessons in an involving and well-designed way.

Robinson has been interviewed about his intentions and influences. The book is due out July 25. It can be ordered from Amazon at the link shown or your local comic book store with the code MAY08 4159. A complimentary preview copy for this review was provided by the publisher.

Halo and Sprocket: Natural Creatures
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In this volume, Katie tries to explain to her roommates why people want privacy in the bathroom, societal expectations about women’s body hair, and whether you should kill spiders. The group goes picnicking, where Sprocket tries being human for a while. Katie tries to explain why people cover their mouths when they sneeze, to which Sprocket responds, “If my body wants to get rid of stuff, I don’t think I should catch it.”

Sprocket is charmingly naive, so proud of himself when he figures out, for example, he can spin his head 360 degrees. Halo is aloof but approachable, unless you try to tell the angel that it got the answer wrong in a trivia game. They act as we consider normal… until they don’t, and the reminder is surprising.

This is truly a comic that anyone can enjoy. The humor comes naturally, and the character interactions have surprising depth. Halo and Sprocket don’t expect to be treated like humans, and often confusion results when Katie does so anyway. That’s where the funny comes from, and the insight about human nature. I always come away from this comic with a new perspective on life and what matters. Some of Sprocket’s questions, will stay with me for days, like “why aren’t there any mouse-flavored cat foods?” or (and this one makes no sense without the context, but I don’t want to spoil it for you) “Here’s a photo of a puppy. Do you want to eat it?”

I haven’t even mentioned the terrific art, with the characters feeling very realistic and expressive. It’s easy to read and flows smoothly. Callen uses the comic page to great effect with sounds and structure.

There’s an online interview with Kerry Callen. This book is due out July 25. It can be ordered from Amazon at the link shown or your local comic book store with the code MAY08 3549.

(An electronic preview copy was provided by the publisher.)

Little Vampire
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They’re as straightforward as their titles suggest, with charm that permeates situations any kid can relate to. In the first, the Little Vampire wants to go to school, so his ghost and monster friends make it possible. He’s sad because there aren’t any other kids around, only an odd-looking demon dog named Phantomato (because he’s red).

Through an entertaining set of circumstances, Little Vampire makes a human friend, and the two pass notes, learn together, and play. Each twist is surprising but plausible… once you accept monster logic. There’s always another imaginative revelation on the next page, sometimes touching depth or even a message.

Joann Sfar’s environments are incredibly entertaining in the way he’s clearly thought about the many baroque details that enliven the setting. The lead characters are drawn simply, mainly circles, which keep them accessible. They look as though anyone could draw them, but few have Sfar’s deceptively invisible skill.

The second story tackles bullying. The answers aren’t the usual pathetic ones; instead, the kids fantasize about violence, as children do, for a permanent solution to the problem. The actual resolution is much more inspirational and weird, based on confidence-building and reached after consulting with a cat-rabbi who lives in a painting. Lots of monkeys are also involved.

The third story begins with dogs seeking sanctuary in the monsters’ haunted house. They’ve escaped from the secret lab of a bad guy who experiments on them. In trying to find them good homes, Little Vampire spends more time with Michael’s grandparents, who are nicely comforting.

Overall, the tales are simple but with bite underneath, which makes them wonderful to share among different generations. This book is recommended, especially for fans of Scary Godmother. For additional vampire stories by Sfar aimed at an older audience, check out Vampire Loves. Preview pages are available at the publisher’s website. (A complimentary copy for this review was provided by the publisher.)

Alice in Sunderland
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Talbot draws himself visiting the Empire in gorgeously detailed pen-and-ink, where he views himself on stage narrating a celebration of the 100th anniversary of the theatre, at which point the book explodes into a colorful collage of every kind of image and graphic. Bits of everything are woven into this phantasmagoria — quotations, the geography of the North East of England, the history of the region, art, culture, literature, most especially Alice in Wonderland. Talbot makes a case for the imaginative classic having many more ties to the region than is commonly acknowledged.

The pictures and text blend without the usual panel borders or page grids, creating an immersive experience for the readers as we wander through Talbot’s train of consciousness. Elsewhere, formal panel arrangements contain the most boundary-crossing material, when Talbot’s selves argue with each other or ghosts elaborate on legends. Then there are the dragons and the Jabberwock.

The book is incredibly wide-ranging, from prehistory to modern art to metaphysics. Some sections are more interesting than others, but each reader’s choices will differ as to which is which. Like the weather, if you don’t like one page, just wait a bit, and it’ll change. It’s a great book to dip into and sample various sections, or to return to at different times with different interests. Reading through all at once is not recommended, because there’s just too much to take in, including a justification of comics as a medium featuring guest-prophet Scott McCloud.

Nearly impossible to describe, it must be experienced.

Sample pages can be found at the official website. Steve Flanagan created an extensive review of the book in similar multimedia style, while Sean Kleefeld compliments Talbot’s storytelling in his review. Paul Gravett provides an overview of Talbot’s career and an interview with him.

12 Reasons Why I Love Her
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Their lack of communication continues into the next scene, where they’re shown to have very contrasting approaches to life. She’s creative and playful, to the point of annoyance, while he’s practical, sometimes even stodgy. If Evan would let her make her own choices, he’d wind up happier. To be fair, there may be reasons for him to be suspicious, since she plays with his expectations too much.

It’s around this point that I started thinking that the two of them would never work out, although I wanted them to. It takes two tries for them to have a successful first date, for instance, although the second is quite charmingly philosophical. Later we see how he can be thoughtless and judgmental, probably due to his inability to read other people’s reactions. He pushes too far because he doesn’t know how he’s coming off. And that’s why I say frustrating — they’re interesting people, I want them to be happy, but I don’t believe they’re happy together. Even though I want them to get what they think they want.

Joelle Jones makes her debut in stunning fashion. Her style impressively changes to match the mood of each piece. And that’s necessary, because Jamie Rich’s script relies on her art — he’s comfortable letting the images tell the story when needed. The reader gets to see the leads interact instead of being told what they’re thinking and feeling. That’s still obvious, though, through the well-drawn gestures and attitudes of the two. And they’re both cute. He’s got a Dean Cain-ish charm, with glasses and a great smile, while her punch of her gorgeous body is lightened by a sprinkling of freckles across her nose.

The first real show-offy moment (although I don’t think that was the intent, it’s just shockingly good and could be used as a presentation piece) is chapter four, where Gwen gets a monologue. Each page is a moody closeup in keeping with the feel of the season she’s describing, backed with a grey wash. Evan gets a corresponding chapter later on, done in high-contrast, mostly black pages. His section also starts off being about her, the way he sees her.

That’s the odd thing about the book — we get more of an impression of how he thinks, with her motivations remaining opaque. That’s a common quality of romance comics written by men. They understand the male and create complex motivations for that side of the relationship, but the woman retains some mystery. Here, that’s even the case although more characters talk about her and her history than about him. But then, that’s also part of her background, that she doesn’t know certain things about herself. Or maybe I’m reading more into it than intended, because I’ve known people like him but not so much like her.

With careful attention, the chapter pieces can be reassembled into time-based order, but I do wish I knew how the author views them winding up, eventually. That lingering question is part of what makes the book so fascinating.

A preview is available at the publisher’s website. The two creators have been interviewed online more than once. The writer and artist both have websites. For another example of Rich’s take on romance, see Love the Way You Love.

Age of Bronze: Betrayal
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Careful attention to detail is rewarded; for example, the two major sons of Priam, King of Troy, are Hektor and Paris. They closely resemble each other, as brothers should, except that Paris has wavier hair (and often a stupid grin on his face, but that’s his lack of worthwhile character). The volume is bookended by a glossary and pronunciation guide and genealogical charts of the various royal families, as well as a bibliography. The charts come in handy, since many of the characters persist in referring to each other as “son of so-and-so” instead of by name or title. It’s all about heritage and bloodline for these royal leaders, and if they can claim kinship with a god, all the better.

As the story begins, the Acheans are sailing towards Troy. Each side is lining up allies as they prepare for the coming war, although they’re going to take a stab at peace first. Whether or not you’re familiar with the history or its details, this is a gripping story of the inevitability of certain events once human nature gets involved. The politics and factions are fascinating, especially when they involve people who otherwise just want to be happy. No one may be able to relate to a spurned king seeking back his fabled beauty of a wife, but many are familiar with broken homes where one spouse has moved on to a new partner and family while the spurned rejectee can’t get over being dumped. (Essay question: would no-fault divorce laws have prevented the Trojan War? Probably not, since either way, Paris is still a self-important jerk who thinks with a part of his anatomy lower than his brain and stabs his enemies in the back.)

Shanower’s art is gorgeous in its line and detail, in the fine tradition of many great draftsmen. There were parts when the faces of the war leaders reminded me of the work of John Severin, capturing every worry line, while his women at times of emotion evoked Kurt Shaffenberger’s immortal Lois Lane (although without the 70s hairstyles) in the slick fine lines used. The images bring the historical figures to life, with Priam’s fatigue at trying to protect his country’s reputation while being dragged into an unnecessary war he refuses to back away from clearly visible. The book’s full of foolhardy youngsters who welcome the glory of battle, starry-eyed elder brothers who think their love can inspire others to agree to peace (not realizing that too many egos have already moved too far beyond that), the too-clever-by-half adviser who plays others for the fun of the game while undercutting his own best interests… human faces put on mythical events.

Shanower’s battle scenes are particularly telling, as it’s chaos and confusion and all too often, accidental death. Someone slips and stabs someone else by mistake, or someone’s killed out of petty emotion, ruining careful strategy hatched with clearer heads. War’s only enjoyed by the young, and only because they’re too stupid to realize that dreams of glory ultimately mean nothing. Petty egos change the history of the world. And we get to see it play out with great artistic skill.

Find out more at the official website.

In the season five “Smile Time” episode of Angel, the title character found himself turned into, in Spike’s words, “a wee little puppet man.” That show was a fan-favorite episode with plenty of humor as well as thrills. In this collection, the “Smile Time” puppets and their evil plans for children’s television have relocated to Japan, and Lorne talks Spike into investigating them.

Spike: Shadow Puppets
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Writer Brian Lynch clearly knows the characters and the canon. He captures the blend of bravado and near self-parody that is so attractive about Spike. He also wrote the previous Spike collection, Asylum, and two characters from that story return here. He uses plenty of in-jokes and pop culture allusions, which are helpfully explained in notes at the back of the book (just in case you didn’t recognize the Kermit reference when Lorne gets puppetized). Lynch is willing to make his own additions to the mythos, and he has a good sense of what’s needed to balance the existing cast. His newest creation is Tok, a super-cool girl ninja with a crush on Spike who fits in easily and well with the others.

The writer also concentrates on snappy dialogue with plenty of wisecracks. These folks are supposed to be old friends and comrades in death-defying battles, so it makes sense they’ll know each others’ weaknesses. Plus, on the page, too many fights are boring to read about; it’s different when watching an hour-long show, which allows for more action. The ratio here is just right, with the fights being ways to reach a goal instead of filling space. Artist Franco Urru draws recognizable characters without too much photo reference or the resulting stiffness, and he keeps them on-model regardless of what they’re doing or what state they’re in. He’s capable of illustrating both action and investigation, too.

There’s something adorable about scary vampires acting as heroes to atone for their wicked pasts becoming cute puppets. Even when they vamp out, they’re still puppet-people, which I find hilarious. I don’t want to spoil the many surprises and funny snipes at other characters, but let’s say that, like many of the IDW books in this series, plenty of well-known guest stars appear, and a lot of felt would be involved if this was put on-screen.

There’s an internet-using dragon, the “world’s unsexiest cat fight” (true!), an oddly appropriate twist on a very overused Godfather reference… There’s even a theme, exploring the question of whether Spike really wants what he says he does, to be his own man, a loner hero. If you know and love the characters, this is guaranteed to put a smile on your face. It left me chortling with glee.

Brian Lynch was interviewed about the story.

Chiggers
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Also available in hardcover

The girls are all growing up at different rates, and Abby’s feeling left out because she’s not worried about whether boys are looking at her or giggling over rock band singers. (Yet older girls enjoy talking with her because she hasn’t yet discovered artifice and pretension.) All of the moments are realistic, with believable dialogue and an ear for how teens sound and feel. The girls’ behavior ranges from tentative outreach to dirty tricks, capturing a wide range of interactions.

Larson’s smoothly flowing style has been compared to “visual poetry”, and that lyrical feel continues here. Very few items (besides the panel borders and the bunk beds) are drawn with straight lines; everything’s wavy, which gives the book a natural feel suitable to the story setting, especially in scenes set outdoors. Her rain storms are palpable.

Larson makes the most of the comic medium by including symbolic panels — girls gossiping together are shown growing thorny vines out of their mouths, for example, or itchy scratching fills a panel to show how annoying the sound is to the listener. It’s beautiful visual thinking that reaches the reader emotionally.

There are a couple of fun extras included naturally in the story: how to play a card game and how to make a friendship bracelet. (You knot colored thread to make a braided band, which you tie around your wrist. You never take it off, until it falls off, and then you get to make a wish. I remember doing this in school, so I was thrilled to be reminded of the details.) Chiggers combines the best of Larson’s previous books — from Gray Horses, discovering friendship in a new place, and from Salamander Dream, growing up in a natural setting.

A complimentary copy for this review was provided by the publisher. The book is due out in June. The artist has been interviewed online.

Little Nothings
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There’s a whole sequence about going on vacation to a tropical island. Instead of being jealous of him, though, it’s a comedy, as his paranoia about disease carried by mosquito prevents him from enjoying himself. The running gag becomes visual, with the puffs of insect repellent he applies for protection summing up his conflicting attitudes towards the locale.

I’m reminded of the work of Eddie Campbell, in the subject matter, the loose page construction without panel borders, and the lightweight but beautifully expressive linework. Trondheim’s figures, although looking like animals, are marvelously realistic in their attitudes and behaviors. The watercolors give everything a soft, comfortable feeling, like catching up with an old friend, swapping stories about how life is going.

There’s a bite to some of his incidents, though, as when he thinks of death when getting new pets, or the prevalence of memories from high school. That’s lightened by his moments of joy. A favorite strip is a wordless one in which Trondheim picks up a light saber toy and sneaks some time with it. His simple smile in the last panel, punctuated by a label that reads “age 41″, captures escapist fun.

Some of the events are historical, as when he wins a festival Grand Prize. His emotions are mixed, with pride, avoidance, indecision, tweaking the media, disappointment, and finding happiness in little things. Often, the last panel of his pages end on his face, providing space for reflection on what we’ve seen and thought.

He’s funny without appearing to work hard at it, which illustrates his skill and experience. It’s all very enjoyable without pressure, the kind of quiet work that doesn’t trumpet its genius, although displaying it nonetheless. A masterwork by a huge talent that’s still approachable by anyone.

A complimentary copy for this review was provided by the publisher, who has made preview pages available. David Welsh, Greg McElhatton, and Rob Clough also have written good reviews of the book.

The Wind in the Willows
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Papercutz has chosen this adaptation by Michel Plessix (originally published in English in 1997) to relaunch the long-running Classics Illustrated name-brand. This is part of the Deluxe line, which means it’s available in both hardback and softcover, and the stories are longer.

The tales here are episodic, as the animals have adventures or take trips. As the book opens, Mole is fed up with his spring cleaning, so he decides to skip it. He bumps into Water Rat, and the two of them go boating and have a picnic on the river. It’s a charming portrait of a bygone age, where animals talk without incessant wisecracks and the most modern technology available is the newly introduced motorcar, a particular craze of Toad’s.

The scenery is, as I mentioned, very attractive, accompanied by poetic narration. The only element that rang false to me is the design of Rat, who looks like a Disney rabbit. He doesn’t really match the quiet Mole, which glasses perched on the end of his long pointy nose, or Lord Toad, who reminds me of Beatrix Potter’s Jeremy Fisher. Still, I got over it quick enough, seduced by the portraits of the changing seasons and the comfort of a simple meal with friends.

There’s lots of humor, too, as the bumbling, full of himself Toad winds up in prison, which leads to squatters almost taking over his baronial home. That’s the key behind most of these stories, a love of home and hearth made comfortable for friendly hospitality. The book, if read with the same care with which it was created, will create an appreciation of nature and a relaxed feel that’s quite refreshing.

(A complimentary copy for this review was provided by the publisher.)

Hellboy: The Troll Witch and Others
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The appeal of these stories are twofold, both due to author Mike Mignola: his distinctive artistic vision, and his love of creepy and odd folklore from around the world. The latter leads to freshness and creativity in Hellboy’s foes and fights. In the first story, originally published in a Wizard promo, Hellboy encounters a kind of Malaysian vampiress with a detachable head. (This is explained in the author’s note, one of which accompanies each story, a very valuable addition.)

Other stories included here previously appeared in the “Dark Horse Book of” anthologies — Monsters, the Dead, Witchcraft, and Hauntings. Hellboy fights a Hydra (accompanied by a mysterious little girl charmingly inspired by Mignola’s daughter), a vampire gambler, a haunted house, all the usual odd kinds of threats.

It’s not all about the fighting, though. In a change of pace, the title story features Hellboy listening to an old woman’s tales, inspired by Norwegian folklore. It nods at the way different versions of stories have different purposes and at alternate ways of solving problems other than punching. There’s also an experiment, a story where the dialogue of “The Ghoul” is made up of quotes from poetry.

As for the art, well, if you’ve ever seen Mignola’s craggy, blocky figures, you’ll recognize it. He specializes in dark, murky, ancient, menacing, suggesting years of secret plots and disturbing creatures awoken. Hellboy’s design, with that giant, rocky fist and an air of timeless weariness, perfectly encapsulates it.

It was also enlightening to see Mignola’s world drawn by other artists. “The Vampire of Prague”, new to this collection, is illustrated by P. Craig Russell. It has more of the delicacy associated with his style, although Hellboy is still appropriately lumpy. The second half of the book reprints “Makoma”, an African creation folktale drawn by Richard Corben that’s impressive in its scope. It’s structured as a typical quest story, in which Hellboy defeats ever-more-powerful enemies (who then become a kind of portable chorus-in-a-bag) until he reaches his reward at the end of the world.

Overall, it’s a terrific sampler with a range of stories demonstrating Mignola’s interests and creative sparks.

The Clarence Principle
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The reader knows that what he’s looking for is self-awareness. He doesn’t admit to himself what he’s done as he rises from the bathtub, instead thinking, “The water… appears to have a pinkish hue to it.” He looks to others for guidance, although he’s able to help them with their problems. (He just can’t help himself.) And by the end of the book, he’ll have come to terms with the broken relationship that incited him to suicide in the first place, as things take a grim turn. Although we’re told “they all lived happily ever after”, it’s hard to reconcile that with the ghastly final vision of his “heaven”.

However, writer Fehed Said tackles all this with a light touch, keeping it from being too cloying or morbid. It feels like a fable, like a journey where something unusual is down every path or through the distant door. The art, by Shari Chankhamma, is cute, even when showing such sights as severed arms sewn back on. It keeps the emphasis on the ideas instead of the gruesome, and the youthful look of her characters lightens events as well. The book could be a particularly somber puppet show, or perhaps in keeping with the original Grimm’s fairy tales, where death was a way of life.

The best scene in the book is the one that inspires the cover, of a stitched-up, winged heart flying out of reach. Clarence finds himself on stage in a theater with a girl who gives him two choices: execute the script dropped to him, or join the unseen audience. Clarence tries to follow the lines, but he finds himself acting on his own, which frees her heart unexpectedly. He recaptures and repairs it. And only by going off-script to true, impulsive emotion, is the audience motivated to respond. It’s obvious symbolism, especially with mention of “The Writer”, but affecting nonetheless.

The Clarence Principle is a thought-provoking book, more suggestive than distinct, with many creative visual images that rewards the reader who brings their own interpretation to it. Through it all runs the theme of erasure, or as Clarence learns, “The dead can die when they are forgotten. When something is forgotten, it’s like it never existed.”

A complimentary copy for this review was provided by the writer. Find out more at the creators’ website. A preview is available at the publisher’s website. The writer has been interviewed online. If you’re interested in stories about post-suicide worlds, you might also try Pizzeria Kamikaze.

Vampire Loves
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Although the use of monsters gives the whole thing a fantastic air, just about anyone will be able to relate to the lives and loves of this group of characters. They’re typical young adults, doing the wrong thing even though they know it’s wrong, because their emotions don’t bend to logic or smarts. They rarely say what they mean or mean exactly what they say, making them frustrating but realistic. And wonderful to read about.

Sfar’s wiggly linework is perfectly suited to drawing these creatures. When Ferdinand flies dejectedly home, you can almost see the resignation and unhappiness trailing behind him in the air. The personalities are involving — they seem like people you could know, three-dimensional, with complex motivations and impulses.

Ferdinand’s picked up by a teenager, who takes him clubbing, but he feels like an old fogey. When they return to her house, he meets her older sister, who has much more in common with him, creating a predicament. All of the characters are at various times unlikable, but they’re very watchable, creating the desire to find out what happens to them. My favorite was Tree-Man, an easygoing chunk of a guy who tries to cheer up Lani but gets frustrated with her when she moves in. He reminded me of the fratboy type who likes women but doesn’t understand them or have the patience to deal with a real one, finding them “complicated” and “exhausting”. That’s a pretty good summary of all relationships, whether human or non-.

Later on, after Ferdinand meets a Japanese girl after hours in the Louvre, Tree-Man gets a powerful monologue about how confusing it can be whether or not to call someone and when. There’s also a cruise with an adventure featuring characters from Sfar’s Professor’s Daughter and an even odder sequence where Ferdinand is co-opted into working with detectives to solve a series of park murders. Sfar is certainly imaginative, taking his characters further than a mere description can indicate.

A preview is available at the publisher’s website. (A complimentary copy for this review was provided by the publisher.)

A People’s History of American Empire
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Thus, I was stunned to discover that I couldn’t force myself past the second chapter. It’s much too hectoring and didactic, even to those already inclined to be interested in reading a “greatest hits of America’s sins”. The only group I can see welcoming this book would be students who think that the comic format is much preferable to reading prose history texts.

It’s not even good comics — there are too many talking heads and photocopied photos, as one runs the risk of with a project like this. It takes skill with the medium to keep journalism-style comics interesting, and while I don’t know, based on the non-specific credits, exactly who did what, none of them seem to have it. The credited names are Howard Zinn, writer of A People’s History of the United States, on which this is based; cartoonist Mike Konopacki; and university lecturer and author Paul Buhle.

The prologue is all about how angry America’s response to 9-11 made a cartoon character I think is supposed to be Zinn. That rant on the futility of “violence met with violence in an unending cycle of stupidity” continues for several pages before the chapters, each covering terrible times in American history, start up. It made my head hurt with its sledgehammer sermons on murder and racism and class warfare.

I don’t like using the term “cartoonish” as a pejorative, but that’s what this is, in the worst sense. If I didn’t know better, I’d suspect that this was created by the right-wing goon squad as a satire of the kind of “liberal anti-American brainwashing” they fear in schools. Tom Spurgeon felt similarly. (A complimentary advance copy for this review was provided by the publisher.)

I read this when it came out, several months ago, and I didn’t have much to say about it. It continues the story from Book 1 in expected fashion.

Hannah, the previous queen bee, isn’t coping well with Penny usurping her place as Miss Popularity, so she’s scheming and manipulating. The boys identified as pyrites (the false gold of the title), who are now without girlfriends, are beginning to get suspicious. Keeping up with her ever-growing girl support club is taking a toll on Penny’s other responsibilities, like schoolwork and her own burgeoning relationship with a needy boy.

In short, everything gets more complicated in the expected ways. It’s a typical “part two of three”, adding more twists to kill time until we can start getting resolutions.

This volume shifts the focus to Hannah, a choice I didn’t care for. She’s a much more predictable character, without the depth of Penny. She’s a teen model, with pushy absent parents, and she puts too much importance on how many people like her. We’ve seen this type in just about every teen-focused piece of entertainment, and the portrayal here adds nothing new.

So why write this up? I’m talking about it now because the author asked me to. Apparently the book hasn’t gotten much publicity or coverage, and with another year or so until the conclusion appears, she was concerned about it being forgotten. The best I can say is that if you enjoyed the first book, you’ll find this a richer version of the same. It’s not compelling enough to urge people to jump on now, but I will be sticking around for the conclusion.

Please note that I’m looking here only at those series I cared enough to buy. I welcome additional input on the subject, especially if someone has a complete listing of Tokyopop books considered Original English Language manga (OEL, or manga-styled works created by non-Japanese in English).
Read the rest, including a review of Dramacon 3

Read on to see reviews of Antiques: The Comic Strip, Ninety Candles, and Tough Love: High School Confidential.

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Get a Life properly introduces Mr. Jean to English-speaking audiences. Lengthy stories featuring the character, written and drawn by Philippe Dupuy and Charles Berberian (who both do each), have previously appeared in Drawn & Quarterly anthologies, but this book collects the earlier work where a younger man struggles with his life decisions.

Jean is a novelist living in Paris. He’s gone to the museum because a friend is supposed to meet a woman there, but the friend ducks out on him. Jean goes ahead into the exhibit, where he meets an old girlfriend, now in a new relationship and pregnant, which causes him to remember what had been, contrasted with the different now.

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