Okay, I'm going to start off by saying that I got a little lost at times and wasn't always sure about what was going on. I'll try to describe the story as best I can, but I could be wrong about a few things.

Azar is a city located at the foot of a volcano. The people of Azar used to perform rituals to appease the goddess of the volcano, but that didn't stop the volcano from occasionally erupting and destroying everything. Eventually the Cult of the Goddess left Azar and established a new home for themselves, the Golden Capitol. It's now many, many years later, and there's a rebel group called the Third Wave that's convinced that the Cult of the Goddess is keeping the goddess captive, and they want to free her.

Keegan is the goddess's daughter. She tries to help the rebels, but something goes wrong, her mother ends up dead, and Keegan becomes the new goddess. At that point, she becomes determined to go back to Azar, the home of her ancestors. However, the Cult of the Goddess isn't her only enemy. An emissary from the water goddess is after her, and there's a prophecy that Keegan's return to Azar will mean its destruction.

This was an ARC my mom picked up for me at a conference. As far as I can tell, this volume collects the entire series. It doesn't appear to be a spinoff of anything, although it kind of felt like it was, and I can't find anything about any sort of continuation, even though the ending leaves room for more story.

I didn't like the artwork at all, but Tamra Bonvillain's coloring helped paper over some of its shortcomings and almost make it pretty, at times. There was some really nice use of cool vs. warm colors.

The story was intriguing enough, but confusing and a bit choppy. I had thought the Cult of the Goddess would be important in some way, but after the confined goddess was dealt with, they might as well have been written out of the story. It felt like they had been, after Adria rescued Griffin. Who, by the way, was not worth any amount of Keegan and Adria's time and energy. I don't know what either of them saw in him. He was a quick way for the author to establish a basis for Adria and Keegan's more human rivalry before their goddess rivalry added fuel to the fire.

I don't know that this was necessarily bad, but it definitely could have been better. The story and characters just left me cold.

(Original review posted on A Library Girl's Familiar Diversions.)

Margaret Atwood’s Angel Catbird series is a graphic novel saga about a man who becomes an owl/cat/human hybrid.  He discovers that he isn’t the only such creature in the world.  Okay, he’s the only cat/owl but there are other half animals – in particular half cats.  There also is a coming war with a man who wants rats and half rats to rule the world.

                Vol1 of the series sets up the scene and ends with the half cats on the run.  The group includes the lovely Kate as well as Count Cataula.  Volumes 2 and 3 detail the rest of the story, the series also is an attempt to educate readers on cats and the impact cats can have on native birds. 

                The series succeeds because it is get B movie flair.  It desires to be more than what it is, and everyone involved in the creation of it seems to have given a sense of fun.  Quite frankly, my favorite characters are the two female rats who do not like the plans of the man who would be king of rats.  Their asides are well make milk snort out of your nose.

                The creative team manages to weave in a variety of references, not only to horror movies, but also to current events, in particular pay attention to the mice.  Atwood also weaves in ancient mythological figures and references.  While the series does place a few of its female characters in skimpy costumes, the women are take charge and get work done.  They all have agency.  Even the wives, who are far more interesting than Dracula’s brides.

                Great send up of horror movies, to be honest.

                With cats.

This week, I was invited by NoiseTrade talk about six great graphic novel stories. You can see my picks and download excerpts from those stories right here! 

Cross-posted on Soapboxing

Sheltered is a perfectly lovely nasty piece of work, a "pre-apocalyptic tale" about all the horrible things people do in preparation for the end of it all. I enjoyed Sheltered immensely, but the first collection (which collects 1-5 of the ongoing comic) has an expectant, waiting quality about it, unfinished, almost unstarted. This dovetails beautifully into the themes of the comic: all of the potential of adolescence untapped and unstable, and how that adolescence slowly, choice by choice, resolves into dreary, irrevocable adulthood. Boo yah. 

Sheltered first introduces us to Victoria and her father David. They're newish members to the prepper community of Safe Haven, which lives somewhere in the hinterlands of Montana. Vic's not altogether happy with her new digs, hanging out with Hailey, another teen girl who has been in the community much longer. "At this point I'd kill for a mall," Vic says ruefully, sitting in a deer blind with a flask. "I hate malls. That's how desperate I am for any sense of normality." Her dad -- an engineer of some stripe -- talks shop with the other adults, obviously not quite with the whole prepper community ethos. There's a pretty wonderful conversation about pulling permits, which I admit might not resonate for other readers who do not have a contractor's license. 

After the slow pan of the first installment, rolling over the bunkers and principals, we get to it: blank-eyed teenage psycho Lucas somehow gets all the other kids to rise up and kill their parents. The supervolcano over Yellowstone is going to erupt soon, within days -- according to Lucas -- and the food won't last the three years necessary to survive the nuclear winter with all the adults alive. Hard times call for hard choices. Lucas's motivations aren't lingered on, nor are we given much in the ways of his persuasive arguments for doing this.

I thought about this narrative choice for a long while. It could easily be seen as cheating, rushing this hard to imagine brutality; bang, blood in the snow. But I thought it worked, in the end: this unexplained outbreak of violence in a community that has been preparing for a more explicable outbreak of violence. Plus, I dunno, I like the irony of a community preparing for the worst not being prepared for the very worst. Other than the newcomer Victoria, I get the impression that these kids have been raised with a shadow of doom their whole lives, the constant expectation of violence, and I can almost feel the relief when it arrives. Boom. Here's your apocalypse. 

Some of the mid sections are a little slack, with maybe not the best sense of place. Victoria and Hailey are bunkered down somewhere on the campus, Hailey injured, and I couldn't quite tell you where there building was in relationship to others. Lucas makes a lot of terrible choices, and tends to respond to even perceived threats to his leadership with violence and cruelty. It works. He's got the shiny blondness of a cult leader, but he's still a kid. He's marshaled his charisma to get the other kids to commit this unspeakable act, but he's not mature enough or wily enough to manage their grief and guilt. What if you were wrong? What then?

There's a great sequence where Lucas mansplains to another boy about how he should stop hanging out with a girl because we can't have any pregnancies and we all have to think about group morale etc etc. His mansplaination goes on waaaay too long, long enough for the other guy to be like, geesh, lay off already, mom, I was just talking. It's hard to pin Lucas's motivations here: maybe he believes what he's saying, but maybe he's also jealous and frustrated that he hasn't got any easy joking friendships. He's clearly cut himself into the loner leader role intentionally, but intentions at that age are mutable and jumpy. When he can't admit he's wrong -- and he really never can, given the stakes -- his only recourse is to double down. 

The end of the last installment ends with a truck pulling up, the tall figure of a man flicking his cigarette off into the snow. "Hey kid," he says to Lucas. "Your parents around?" Boy howdy, they are not. There's been a lot of scrabbling and missteps by Lucas up to this point, and it's going to be interesting to see where this situation goes. On some level, a new grown up threat is what Lucas needs, given that the younger kids -- like the foul-mouthed little shit Curt -- have been acting like kids without parents. (Or even acting like kids with parents, because impulse control is low, parents or not.) If he can cow them into submission with another threat, he might be able to keep this crapshow going long enough for the supervolcano to blow. That's the American way, after all.