An imaginative fantasia that celebrates music’s power to connect—and to demolish supervillains.
The fate of the cosmos hinges on a pop song in Quinn’s labyrinthine graphic novel.
The story begins in a Seattle besieged by anti-globalization protesters in 1999, where teen runaway Melody Parker meets Echo, an androgynous, glam vision in spiky blond hair, white pinstripe jumpsuit with red-orange accessories, and blue lipstick and nail polish. Echo explains that Melody is actually an eons-old, reincarnating demiurge destined to settle a celestial war by restoring the primordial music of the universe. Sensing that Echo and her space-suited minions are bent on destruction, Melody leaps off a radio tower, sprouts cicada wings, flies to Los Angeles, and meets record-shop owner Ada Latimer, whose long-lost father, Leon, a bassist in the band The Opticks, plays a murky role in the Melody-Echo conflict. Fleeing Echo, Melody and Ada travel to 1936 New Orleans, where the narrative follows a noirish subplot about a love affair between a photographer and a married woman. Melody and Ada then chug off on a magical train called Glory, which is steered by songs. Ada takes a turn as a punk-rock chanteuse while Melody confronts George Parker, a tweedy record producer who claims to have created her as an immortal weapon against the abyss. Melody and Ada reunite and find the dementia-stricken Leon on his deathbed—but so does Echo, now a 1,000-foot-tall colossus; she vows “to kill the infernal fridge buzz of existence” unless Ada can divine from Leon the song that will defeat her. Quinn’s kaleidoscopic narrative verges on incoherence, but the characters—especially the brassy Echo—are magnetic, and the dialogue is ardent and lyrical in its odes to the creative spirit. (“The only way to achieve transcendence is to risk madness.”) Chisholm’s artwork nicely balances throbbing color, psychedelic ambiance and off-kilter perspectives with kitchen-sink realism in quieter scenes depicting Ada’s childhood. The result is a compelling blend of tuneful mysticism and eye-popping visuals.
An imaginative fantasia that celebrates music’s power to connect—and to demolish supervillains.Pub Date: July 15, 2025
ISBN: 9781545817896
Page Count: 152
Publisher: Mad Cave Studios
Review Posted Online: July 1, 2025
Kirkus Reviews Issue: Aug. 15, 2025
Review Program: Kirkus Indie
Using modern language, McDonald spins the well-known tale of the two young, unrequited lovers. Set against Nagar’s at-times...
A bland, uninspired graphic adaptation of the Bard’s renowned love story.
Using modern language, McDonald spins the well-known tale of the two young, unrequited lovers. Set against Nagar’s at-times oddly psychedelic-tinged backgrounds of cool blues and purples, the mood is strange, and the overall ambiance of the story markedly absent. Appealing to what could only be a high-interest/low–reading level audience, McDonald falls short of the mark. He explains a scene in an open-air tavern with a footnote—“a place where people gather to drink”—but he declines to offer definitions for more difficult words, such as “dirges.” While the adaptation does follow the foundation of the play, the contemporary language offers nothing; cringeworthy lines include Benvolio saying to Romeo at the party where he first meets Juliet, “Let’s go. It’s best to leave now, while the party’s in full swing.” Nagar’s faces swirl between dishwater and grotesque, adding another layer of lost passion in a story that should boil with romantic intensity. Each page number is enclosed in a little red heart; while the object of this little nuance is obvious, it’s also unpleasantly saccharine. Notes after the story include such edifying tidbits about Taylor Swift and “ ‘Wow’ dialogs from the play” (which culls out the famous quotes).Pub Date: May 10, 2011
ISBN: 978-93-80028-58-3
Page Count: 80
Publisher: Campfire
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: April 15, 2011
Immensely enjoyable.
The debut graphic novel from Mohamed presents a modern Egypt full of magical realism where wishes have been industrialized and heavily regulated.
The story opens with a televised public service announcement from the General Committee of Wish Supervision and Licensing about the dangers of “third-class wishes”—wishes that come in soda cans and tend to backfire on wishers who aren’t specific enough (like a wish to lose weight resulting in limbs falling from the wisher’s body). Thus begins a brilliant play among magic, the mundane, and bureaucracy that centers around a newsstand kiosk where a devout Muslim is trying to unload the three “first-class wishes” (contained in elegant glass bottles and properly licensed by the government) that have come into his possession, since he believes his religion forbids him to use them. As he gradually unloads the first-class wishes on a poor, regretful widow (who then runs afoul of authorities determined to manipulate her out of her valuable commodity) and a university student who seeks a possibly magical solution to their mental health crisis (but struggles with whether a wish to always be happy might have unintended consequences), interstitials give infographic histories of wishes, showing how the Western wish-industrial complex has exploited the countries where wishes are mined (largely in the Middle East). The book is exceptionally imaginative while also being wonderfully grounded in touching human relationships, existential quandaries, and familiar geopolitical and socio-economic dynamics. Mohamed’s art balances perfectly between cartoon and realism, powerfully conveying emotions, and her strong, clean lines gorgeously depict everything from an anguished face to an ornate bottle. Charts and graphs nicely break up the reading experience while also concisely building this larger world of everyday wishes. Mohamed has a great sense of humor, which comes out in footnotes and casual asides throughout.
Immensely enjoyable.Pub Date: Jan. 10, 2023
ISBN: 978-1-524-74841-8
Page Count: 528
Publisher: Pantheon
Review Posted Online: Oct. 26, 2022
Kirkus Reviews Issue: Nov. 15, 2022
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