THE AQUANAUT

A crew of intrepid marine creatures rig up an antique diving suit to explore space, the final frontier—otherwise known as San Diego.

The plot may be a messy tangle, but the art in this graphic tale is something special. Several years after the research vessel Miette went down in a storm, taking Paul Revoy’s brother, Michel, with it, the marine biologist and his orphaned niece, Sophia, are amazed when Michel’s deep-sea diving suit walks out of the ocean—piloted by a hermit crab named Sodapop for its recycled shell, with help from octopuses Antonio and Carlos and sea turtle Jobim. Ensuing events, which include a science fair, tricking a greedy theme park investor, and pulling off a rescue of captive animals ranging from baby sea turtles to a full-size orca and a colossal squid, come off as marginally linked set pieces. Still, in hilarious views of the suit disguised in human clothing amid oblivious bystanders, in panels depicting frantic scrambles and haunting deep-water scenes, and most of all in images of people and only slightly anthropomorphized marine species caught in moments of wonder, grief, sadness, comical astonishment, or fierce determination, Santat’s vividly expressive visuals are, even more than usual, riveting. The Revoys have tan skin and dark hair; human figures in background scenes are racially diverse.

A crab, a sea turtle, and a pair of cephalopods boldly go where no denizens of the deep have gone before.