Teo Degas' Books & Decks

Descender 4 is what I expected the story to be when I read the first volume, but took a while to get to. It has paid off sticking to the story because, by now, we have enough context and know the characters well-enough to get fast action without us asking, what what what?!  This volume is indeed action-packed, very engaging and entertaining, with several cool twists, and even a sexy scene.

The overall tone of this volume, as the others, is a mix of very elegant whites, light blues, bright red, dark greys and purplish pink. Nguyen's style mesmerises because of his virtuoso use of watercolour and naked pencil to create futuristic images that have a very cinematic feeling. His rendering of close-ups of human faces is also wonderful. One of the things I liked the most in this volume were those pages in which three different vignettes show parallel action related to three different characters happening in the same page, very cool and cinematic.

The lettering is also great and helps bring to life and give a voice to different kind of characters, and creates a very distinctive ambient noise.

The Kindle rendering of the book is very good, with awesome quality details. The digital vignettes are glorious, with the texture of the paper quite noticeable; in a way it is like having the original vignettes in front of us, almost touchable.Double tapping individuates vignettes and allows readers to swipe between them effortlessly. However, the individuation of the vignettes is not enough at times to read the small letter and, so pinching out solves the problem. By the way, there seems to be a faulty vignette, with most of it missing, as it the image of that only vignette had not downloaded, which is very odd; a bug? 

Overall, this is the volume that got me hooked in the series.

I wasn't sure whether to buy this volume due to the many non-enthusiastic reviews I've seen around, but I'm glad I did. I found some of the events and characters in the previous two volumes a bit unpolished, not well profiled, superficial, a bit silly, but once I read this volume, they all make sense. This is a flashback in time for each of the main characters, in separate chapters, and also a multi-time flashback for each of them, so we get to see and know from where they are coming from. To me that's was the right thing to do to give the story soul and psychological depth. Even the annoying Driller the Killer makes sense once we read the chapter devoted to it in this book.  As a stand-alone volume might not be worth buying, but if you are reading  or intend to read the whole series, this is a must.

 I am always mesmerised by Nguyen masterly drawing and water-colouring. It is a total delight to see each of his vignettes, no matter what he's painting, faces, landscapes, outaspaces, details, anything.  I resented, though, some of the imagery, which was too familiar and associable with characters I've seen in the old Star Wars and Totall Recall movies.

I love the lettering used in this series. Very creative and audible, if that can be said.

The Kindle rendering of the book is excellent, with awesome quality details. Double tapping individuate vignettes and allows us to swipe between them effortlessly; however, some of them do not automatically seize to the preferable reading size when there are vignettes with small lettering, but pitching out each vignette solves the problem.
 
Overall, very enjoyable, and I loved the story between Effie and Andy.   Also, very short and a bit pricey. 

This book has been in my must read for a while, mostly because of the high ratings, as I had never read anything by Gaiman. Unfortunately, after this one, I won't be buying anything else by Gaiman.

 The best thing about this graphic novel is the concept behind it, the time-travel alternative historical setting, and the fact that a bunch of known and loved super-heroes are put there. However, I struggled (even forced myself) to finish the book, because I got bored quite often, and annoyed at the pretentiousness of the whole story, the uninspired writing, and lack of tempo. I expected the ending to make up for the previous shortcomings, but alas, it was totally anti-climatic. The story has little action and is mostly a bunch of characters plotting for 200 pages; if you like plotting stories, this is your book! Some of the historical settings are clichéd and full of trite depictions of nations, as well. Most importantly, I could not empathise or sympathise with any of the self-absorbed stilted characters, totally anti-heroes, except for the sweet girl Virginia and for Roojzan, just because he's hot :)). In fact, I would had exterminated the whole bunch if I had super-hero powers myself. Let's be fair. The story was not bad at all, it is just that it was not good either.

 The artwork was good, though: rich atmospheric colours and chiaroscuros, wonderful landscapes and great face close-ups; I especially loved the images used at the start of each chapter, which are among my favourite in the book. The lettering was classic overall, with a few different fonts used when Thor or the the Germans speak.

That was my experience with this book. If yours is different and you really enjoyed it, good for you!

7/10

Everything is Teeth is a memoir of childhood that narrates Evie's fearful obsession and fascination with sharks during her summer holidays in Australia.

Sweet and gory at equal doses, the story transported me to the fears and monsters of my own childhood. In a way, this memoir is also a horror story as Evie had a powerful imagination and a special liking for the gory details of shark attacks.

We see a bit of Evie's adulthood, life goes on, she gets older, her family does too. I found this part beautifully captured on paper, but also a bit hurried; I kept wondering, does she still go to Australia? Does she still have a fear or not? How did her fascination with sharks evolved?

Jose Sumner does a terrific job at conveying Evie's memoir with originality and versatility, using different techniques, styles and colour schemes. Most of the book is drawn in a very sweet mix of black, white and vanilla hues, but Evie's imagination and thoughts are drawn in black, grey and mauve, while the shark attacks are depicted with almost realism in full splendour and plenty of red.

This is an original lovely graphic memoir, and really enjoyed it. I think it is good for teens and adults, and children not so much, but perhaps under parental supervision.

I read this book in the hard copy version. It is quite large in size, very well bound, so one can open it in full without difficulty, and the paper is really thick and strong. A great edition.

I had many expectations about this book, mostly because of the ratings and praise received. I'm a usual reader of graphic novels, of those that aren't of super-heroes, so I approached this book with excitement. Unfortunately, my excitement was short-lived.

I love clean imagery, polished drawing, detailed clean scenes and and minimalist landscapes. I like creative lettering and vignetting.  I always  prefer graphic novels with limited amount of words because, when there are too many bubbles in the page, they become overwhelming; one of my joys when reading graphic books is delighting at the artwork, so if there are too many bubbles, my enjoyment decreases.  I love stories that are fun and entertaining, but always favour those that make feel, think or both, and those that have great characters. I love full-colour gorgeous colours, black-and-white, and sepias of a certain hue. 

If you read the above and browse the book you know by now that I was set for disappointment.

Feiffer's is certainly a great artist, and this work has many elements to praise: His ability to do amazing things with simple pen traces and basic watercolour is incredible. He portraits movement with easiness, captures the vibrancy of life in the streets with conviction, and reproduces the ambience of the Noir movies an the  1940s-1950s with accuracy.

Having said that, I had a great difficulty finishing the book. The sketchy jazzy convoluted drawings, the hyper-filled pages, the use of redundant text and bubbles, the overall hues and tones used create a noisy feeling that I did not find enjoyable. The graphic depiction of the characters is confusing, and not polished enough either; most women in the book look alike, who is who? I kept asking myself.

This would have not mattered if the story and the characters had been better. Unfortunately, none of them  is likeable; except for Elsie, they are all really bad people: selfish, angry, manipulative, deceiving, abusive, egocentric, liars,murderers, and so on. there is not enough humour to counterbalance the overall wickedness of the characters, and not enough background for us to understand their erratic behaviour. this is especially the case with the character of Annie because, in the last pages of the book, she comes with an explanation for her behaviour with her mother, the explanation and her sudden change of heart felt psychologically and narratively is not credible. Needless to say, some of these characters are quintessentially Noir, but the balance between hero-villain is missing. I watched tons of American Noir films in my youth, read classic Noir novels, and in them there was usually a sort of soulful human being; when there was none, some of the bad guys would show a bit of soul, or we would learn something that helped us to understand why they turned out to be that bad. This does not happen here. Elsie is a naive good-hearted character, but she is the only good person in the story.  

The Gigantic Beard that Was Evil is an awesome comic book. It has all those elements that make any comic to need of capitals because it has high standards regarding the quality of the Art and an unusual but poignant story. 

Stephen Collins has a great drawing technique that mixes naturalistic drawing, illustration an vector-like images with cartoonish characters. Everything is drawn with precise lines, very tidy even when the story gets messy, but the use of charcoal pencil gives it texture, softness, chiaroscuro and warmth. I absolutely loved the framing and compositing of the vignettes and lettering, and how the text spreads organically throughout the page and the vignettes in unconventional ways. 

What makes this book special to me, is that it has that little-something that elevates any graphic book from the cute and fun quality on to the excellent and timeless quality, and that's the story and the narrative. The book is well written, with a very concise and precise style, and takes readers into a humorous slightly Kafkaesque ride.  

The Gigantic Beard... is a wonderful brilliant fable about how Society and Culture react to change, differences and "the other". It shows how Society fears people who are different because, by being so, they question the values and ways of life on which the majority stands; so Society will react badly to any person who deviates from the standards regarding behaviour, sexual orientation, gender role, or religious beliefs.

At the same time, it shows how Society hates and fears any transformation that shakes its core and questions its foundations. Surprisingly enough, History proves time and time again that, once those changes occur and the interrupters provoke the change, Society will come to recognise how important their disruption was for Society to advance; yet, Society criticised, ostracised, mocked, persecuted and/or killed those very people who were the engines of social change. Just two examples. The impressionist painters of the 19the century and the cubists and abstracts painters of the early 20th century were heavily criticised, disregarded and their talent questioned,  but hey are the masters we all admire nowadays. The suffragists of the early 20th century were ridiculed, jailed and considered crazy for saying that women had a brain and were perfectly able and capable to decide and cast a vote on their own. 

Finally, the story also tells us that, at times, change begins with one person changing, the rest will eventually follow up. 

I read this book in the hard-copy edition, which is great. Very good quality thick grainy paper, well bound so one can openly comfortably without worry, and it's really durable.

I loved this book and the artwork. Original, enjoyable, thought-provoking and wonderful black-and-white Art.

This is a graphic adaptation of L'Engle's classic book, originally published in 1962. It tells the story of siblings Meg & Charles who, with their recently befriended Calvin, start an unintended time-travel adventure in search of the siblings long-time missing physicist father, Dr Murray.

If you grew up with this novel, you will certainly approach this graphic adaptation and the whole reading experience very differently from how I approached it, as I read this novel as an adult and have no childhood emotional attachment to it.

The first thing I noticed about this novel, unaware of the original publication date, was that the kids and society shown in the story don't know the Internet, don't have mobile phones, tablets or super-duper  gadgets, something that millennial kids might find odd. However, this novel is wonderfully imaginative, fun, and is embedded with values and lessons of which any pre-teen or early teen will benefit: 

> It is OK to be different, you have to accept yourself the way you are right now. 

> You should not care about what other people think of you, and don't give them power over your own inner voice to dictate your self-worth. 
> Having a family that is different from the norm is OK, as long as the family unit is filled with love and the right values.   

> You have to learn to accept your part of responsibility for your own actions.

> Part of growing up involves you loving your parents but also finding a voice that's distinct and separate from them.

> Sometimes you have to trust people who are more mature than you, and need to believe that they know better.
> When you grow up, risk-taking is unavoidable. 

> You have to learn to be an individual, still being part of a community without giving too much power to your individuality or the power of the community.
> There are things in life that cannot be explained, but are real.

The novel also captures things that are very important when  growing up and approaching adulthood: the power of mateship, the value of trust, the first love, the importance of having a father and/or authority figure in your life. One of the most interesting parts of the novel is the visit to Planet Camazotz, as it teaches young readers important lessons: the difference between individuality and selfishness, the difference between a society in which the individuals are equal and have the same rights, and a society in which everybody is demanded to be and behave the same without deviation from a standard imposed over them; there is also a nice reflection on what true happiness is.

This is a science-fiction fantasy novel, so if I had read this in the 1960s, I would have been thrilled. However, this is year 2017 and it is a bit dated, to me. Science-fiction has had an amazing development and revolution since the book was written, mostly due to the proliferation of amazing original films, of our gaining knowledge about what is possible and impossible in Science, and because of the unbelievable world changes derived from the digital revolution. Modern readers have a more-scientific accurate idea of what time-travel implies, what makes possible life on other planets, and of other scientific facts that were unknown or poorly known at the time L'Engle wrote this book. Having said that, I found the concept of a five-dimensional Universe really brilliant. In the end, this is a fantasy novel, so let our imagination go wild and imagine the impossible.

I enjoyed the graphic adaptation of the book. I cannot comment on whether this is a good adaptation or not as I haven't read the original. The graphics are rendered in black, white and sky blue, which is a pity, because I thought this would have been a wonderful book to have it full colour, as the characters' facial expressions would have benefited and be more powerful, and some of the landscapes depicted would have been awesome  in colour. However, Larson has captured the spirit of the novel, the characters' personality, and the 1960s flare. I especially loved Larson's rendering of Aunt Beast, the in-between time-travel transitions, and the depiction of events happening in the narrative past.

Overall, this is a lovely book for children approaching adulthood, as it is  both fun and wise. As an adult reader, however, I found this graphic book OK, not too exciting and a bit outdated. If your experience is different, well, good on you :).
 

A feature film based on the novel will be released in 2018.
 

Miss Don't Touch Me is a four-part   full-colour noire graphic novel first published in France by Hubert and Kerascoet. The novel, is made of four chapters, the first two (The Virgin of the Bordello & Blood in the Hands) narrate a murder story, and the last two (Prince Charming & Until Death Do us Part) are a follow-up and development of the main character.

 Miss Don't Touch Me is set in Paris in the 1930s. The city is in turmoil because the wrongdoings of a serial killer called The Butcher of the Dances, who has a liking for young liberal women. Blanche, a prudish maid, lives with her sister Agatha in an old abandoned penthouse; Blanche witnesses a murder through a peep-hole in the wall and tells her sister that it is  the Butcher's work. Agatha is killed and Blanche tries to convince everybody that The Butcher was the murderer; however, her sister's death is considered a suicide and the investigation closed. Blanche loses her job. With no home to go, she does the unthinkable, she joins The Pompadour, a posh and reputed brothel, where the last victim worked, to try to investigate who the last girl was and to unveil the Butcher's identity. The second part of the story is devoted to Blanche's personal and work life, still working at The Pompadour, and her relationship with the charming, wealthy but elusive  Antoine.
Miss Don't Touch Me is, in a way, a very musical piece but with the music in mute. I see a clear relationship between  the story, settings,  tone and type of story and two theatrical musical genres that were very popular in the 1930s, the vaudeville  and the operetta or comic opera, especially Offenbach's works. Thus, the novel has a mix of burlesque, comic stage piece, social satire with a common link, in this case the character of Blanche. This could have been a terror novel and Blanche a depressed overly dramatic character, but the story is told in a light-hearted way, sprinkled with light humour, grotesque and erotic elements, still keeping a strong social satire.  

One of the downsides might be the different tone, mood and tempo in the two different parts of the novel,  as we go from the mystery and the murder to the exploration of Blanche's character. Personally, I liked both parts and I thought they made sense together and one comes to understand who Blanche really is and what she really wants in life. To be perfectly honest, this second story could have been presented at the beginning of the book with some modifications and the murder story presented afterwards and the story would have still made sense. 

The main downside to me is the ending. Truth be told, it has artistic and narrative integrity. Although I found it a bit vague and abrupt, and totally unfair, it makes sense taking into account the nature of the main characters and the era where they lived.   

Hubert and Kerascoët make a great artistic combo., They understand each other and create amazing colourful elaborated pieces of art that are very thought-provoking, stories pregnant with meaning, but presented in fun light-hearted entertaining way. 

Hubert, is a master at creating characters. They are complex, utterly charming and interesting, but also deceiving and full of flaws;  they  surprise the reader every time. In that regard, all the characters in Miss Don't Touch Me aren't what they seem to be at first sight, not even Blanche. Moreover, there is a clear digging into the individuality of each character, and the secondary characters are not presented as story-fillers or accessories, they are fully-constructed individuals who have a purpose in the narration. 
Hubert is also the colourist of the book. He has a great knowledge of lighting and how colour work and use them with naturalistic but cinematic precision. His trademark is flamboyant intense vibrant colouring and toned up pastels. So the novel doesn't have a specific or overall dominating hue, but the requirements of the narration dictate the colour. He does similarly in his graphic novel Beauty. 

The lettering by Ortho (an American lettering studio that also did the lettering for Beauty) is classic. This is a graphic novel that is as verbal as it is graphic, so there is quite a of text, but it is cosily located in rectangular balloons and economic captions lines. The lettering is appropriate and not invasive, but not specially expressive either, except for some of the balloons turned into spiky ones when the characters are shouting. And there are very few kapows as the drawing is particularly expressive.

Overall, Miss Don't Touch Me is a great entertaining and satiric novel that goes beyond the murder mystery and digs into social conventions and double morals  in  society and shows how the hunger for life plays a role in the survival of people who have had  to endure much in life but never present themselves as victims.

 

WARNING
The novel has explicit sex scenes, nudity and graphic violence. Not for children! Although by looking at the book's cover you might have guessed so :).

NOTES
> First published in French between 2007-2009.

> First published in English in 2008 and all the volumes collected in 2014.

Plot from the Editor
 "When the repulsively ugly Coddie unintentionally saves a fairy from a spell, she does not understand the poisonous nature of the wish granted her by the fairy. The village folk no longer see her as repulsive and stinking of fish—they now perceive her as magnetically beautiful—which does not help her in her village. A young local lord saves her, but it soon becomes apparent that Coddie’s destiny may be far greater than anyone ever imagined."

Recipe for a Hubert Kerascoet graphic casserole for grown-ups

BASIC INGREDIENTS

>>> A piece of new Old-style fable.
>>> A small piece of a modern strong moral lesson.
>>> A children-books graphic style verjus. 
>>> A bunch of spices. Please include the following:
~~ A pinch of strong coloured darkness.
~~ A tablespoon of sex.
~~ A teaspoon of nudity
~~ A handful of war and fights.
~~ Outrageously good but smoky heroes.
~~ Outrageously bad but funny disgusting villains.
~~ A sachet of naivety.
~~ A sachet of human stupidity.
~~ A sachet of wisdom.
 ~~ A pinch of good common sense.
>>> Cooking oils
~~ A tablespoon of love-yourself oil.
~~ A tablespoon of personal-epiphany  oil.
>>> Full-colour colouring.
>>> Seasoning to your liking:
~~ Clear lettering.
~~ Flamboyant vignettes.

MARINADE

Put your fable to marinate in a container, together with the moral lesson and verjus. Stir through. Add now half a litre of adventure, half of litre of children-book graphics and the bunch of spices. Stir the fable trough, and let it stay overnight so the flavours get through.

PREPARATION

Take the marinated fable out of the fridge in the morning, put everything in an earthy casserole, add the two types of oil and the colouring. Now is the time to add, raw, the different sorts of  beautiful stuff. The recipe recommends those from the brand Food for Thought:
}~Mind what you wish for.
}~Beauty is in the eye of the beholder.
}~Beauty ideals vary from culture to culture. 
}~Beauty is in the inside.
}~Kingdoms were lost because of a woman's beauty.
}~Unless you don't see yourself beautiful you won't believe you are. 
}~ Beauty is not what you wear is what you are.
}~Beauty halo, also called halo effect.
}~ What you see in the mirror and what other people see are different things.
}~Only brutes put beauty at the top of women's qualities.

Let the whole casserole simmer slowly for a few hours and until Beauty is ready. Before retiring from the stove, increase the heat for five minutes  more.

Season. 

Voilà, the Hubert Kerascoet casserole for grown-ups is ready. What a tasty gorgeously presented plate of food for thought! 

Enjoy!

TYPO IN THE SAUCE!
"Beauty, you will be my Queen, and nothing can SEPERATE us."

THE PLOT
Elijah is a highly-reputed veteran officer of the Philosophical Police in the galactic Union. His job is solving conflicts by focusing on discovering  the core problem to bring conflict to a halt. Life in the Union is egalitarian. People don't have to die unless they want, when and how they want.  Their bodies can be  cloned and merged at will, each clone or echo will share common memories and create new ones. When a merging occurs, only the primary  body survives and all the memories are merged into one, but the oldest ones are destroyed in the process. The Union has appointed Elijah as mediator in the conflict between the Ganedans and the Alephs, two civilisations that are on the brink of war for something that happened centuries ago. At the same time, Elijah's personal life is leading him to question whether he wants to live beyond his current body's life span and what matters to him most in life. 

THE STORY AND MAIN THEMES
I love abstract books, philosophical quests, science fiction and stories that explore new territories in the world of graphic novels. Last Days of an Immortal does so perfectly. The novel really gets under your skin, in a  very subtle but pervasive way, perhaps not the first time you read it, perhaps the second; that was my case. The world depicted and the story are intriguing, thought-provoking and pose readers awesome existential questions. The story, most importantly, has a heart, a gaseous-like sentimentality that is not dramatic or overly out there. I found the concept of echoing really ingenious, like an organic positive split-personality disorder. I loved some of the humour in the novel, like when Elijah sleeps with one of his echoes. He and his self. 

Vehlman's Last Days of an Immortal is an almost-happy Utopia. A world that is multi-racial and multi-ethnic. An egalitarian society where gender differences are non-existent, where men and women pair with people of both sexes, because the body doesn't matter. An age when women are strong, intelligent and feminine in different ways and formats. A time where age and death do not matter per se. A world where the way you look or what you wear is not relevant; you can dress or go naked, as you wish. A space where people from different cultures live together even though they not always understand each other. A society in which conflict is managed in a way that people don't hurt each other on purpose. In short, a society where judgement is minimal and conflict is analysed and tackled through philosophical reasoning. 

To me, the most interesting questions are always those embedded in the story, those never said but whispered, those hidden in the story itself for the reader to discover and reveal. Some of the ones that came to me are the following:

~*~ What does Philosophy serve for in our world? Is Philosophy an empty babble?   Philosophy is presented as something practical, usable, a successful tool to 'get' the world and the other, a door to approaching alterity. Philosophers aren't verbose people, are very sensitive tuned people who solve real problems and conflicts. That is utterly cool to me. I love the way the story shows that Philosophy is not empty rhetoric but a way of approaching reality and other sentient beings.There is an episode in the novel that shows this perfectly. Elijah is confronted by a guy in the spaceport by an annoying guy that tells him what philosophers do this and that, mocks the way they talk, but Elijah replies to him:

"You're confusing rhetoric and philosophy" (pp. 101). 

~*~  What is the key to interpersonal communication? Is it possible to really understand the other, the "alien"?

 To be perfectly frank, humanoid and non-humanoid races are equally hard to understand. -- What do affect us, however, are the expectations we bring to the encounter. -- Part of us imagines contact will go more smoothly with aliens who look like us. In the end, our disappointed expectations are to blame for making it seem more difficult. (p. 6) 

~*~ Can we trust our eyes without questioning ourselves about what we have just seen?

The story stays, be aware that what you see is not a perceptive projection. You cannot fully trust your senses or your reasoning without using meta-consciousness or double questioning yourself. 

 "You just don't ask yourself the same questions when you see things and when you hear about them, is all. You take in things differently." (p. 46) "We think the same things, to varying degrees. We suffer from the same worry -- And this has formed a knot in our minds. It keeps us from making any progress on the case" (p. 130)

~*~ Can we judge other cultures without knowing their basic codes and how they approach reality? 

I thought the way Elija's planet works is just awesome to understand how people should approach refugees and immigrants when they are from other cultures and have  different languages and social and interpersonal codes. Also, which level of understanding we hope from there, and which problems may arise out of just simply cultural misunderstanding. The whole episode with G'Ohi shows just that.

"We knew their way of life was filed by a kind of ritual theatre, but I didn't realise the degree of subtlety available. -- Everything's a game for them. Everything is theatre, down to the last detail. -- At various key moments in their life cycles , Ganedans are randomly issued librettos describing the character they must play: job, social status, sexuality, language, etc. --Upon arriving, I myself received an offworlder's libretto indicating the limits of what I could say or do." (p. 47)

The story is a ode to being understanding, to getting to know the others by getting to understand their cultures, their codes, their feelings and the motives behind their behaviour, and to solve any conflict by getting to understand if there is a conflict at all.

The story is a swan chant to the body as receptacle of the soul not as an empty vessel that can be discarded; in that regard, the sex scenes aren't there for the sake of provoking; there is a direct connection between Elijah's feelings and his lovemaking in his old body instead of using a younger more attractive one.

The story is a love song to the value of close friendship and love itself, which is what matters the most in the end. If we erase those memories we cherish, those that made us better people and gave us inner joy, are we really alive?

"You will only lose a few of your oldest memories. Isn't that the fate of all immortals, in the end-to forget our past?"  (p. 32)

My main criticism to the novel is what I experienced the first time I read it -- it is a bit cold, it feels a bit cerebral and not emotional enough. So it is not everybody's cup of tea. However, there is heart in the novel, is just that Elijah's feelings and sensitivity aren't overly verbalised or dramatic, just hinted and developed throughout the story in a very subtle but distinct way.  

THE ARTWORK

De Bonneval's artwork in the book is very elegant and minimalist, with very open spaces and landscapes, and minimal human figures, and drawn in in a very soft black and white, which becomes even softer when depicting the vanishing of an echo or when narrating episodes of the past. There are some beautifully creative and elaborate countryside landscapes, some of them naturalist and others creative. Some extra fleur is added when depicting the Ganedians and the Alephs, human gatherings and the transportation hub.

The drawing  style and imagery reminded me of some futuristic comics of the 1970s and 1980s mostly because the human figure seems to be surrounded by vast open spaces in which humans look diminute beings.

Regarding the design, some decorative arts and architecture of the 1960s-1970s came to mind: Le Corbusier and Frank Lloyd Wright's organic architecture and the glassy interiors of the former, Miró's mobile sculptures, the avant-garde opera costumes designed for The Ballets Russes by several famous artists in the early 20th century, and several interior designs, especially chairs, very typical of the 1960s-1970s interior design.

Overall the drawing has inner coherence and, although it feels familiar, it doesn't remind me of anything that is not this novel. The drawing feels expansive at times, when Nature and the landscape dominates, but it is quite constricted and minimal others, usually in one-to-one conversations, merely because the text is as important as the artwork and there is a space constriction in some vignettes.

I love the lettering used in the book because it is not futuristic, it is a handwritten-alike, personal and human writing that contrasts with the very cold lab-ish interiors and ways of living in Elijah's world. 

RENDERING FOR KINDLE

I was wondering why this ebook was so big  in size, the novel being quite short and in BW. Well, that was until used the ebook and I realised that double tapping allows readers to individuate vertical vignettes to full-screen size, which is awesome. Besides, browsing page by page is great, as the sizing of each page allows readers to pinch in an out as much as you want without losing quality of image. My only complaint is that it is not possible to add a note.

WARNING

There is full explicit sex scenes in the book, so not a book for children.