Crenshaw's Books & Decks

I was finishing this book when one of my brothers played one of the tricks mentioned in the book without he knowing that it would not work on me. He had bought an antique book written by a distant relative of ours, and he thought it expensive, because it is expensive in the part of the world where he lives and because his partner wouldn't be happy about him expending so much money on this sort of thing. When I asked him about the price he told me something relatively high but after talking for another five minutes or so he told me that the price he had mentioned before wasn't real, it was quite cheaper. He added that he had done so the second figure would appear lower than it is in this way. The contrast principle. It made me giggle.

Cialdini's "Influence" is a classic of Applied Psychology, Social Psychology, Behavioural Economics, and of Marketing and Business. It is, above all, a serious book of Psychology by a reputed psychologist. Originally published in the 1980s, this review is about the revised edition.  

This is a book about compliance and manipulation  in general. The book offers detailed answers to two main questions 1/ what are the factors that cause one person to say yes to another person? And 2/ which techniques most effectively use these factors to generate compliance?  Besides, there are many interesting, every-day sort of questions, that are posed and answered in the book. Just to mention a few:

• Why should the voting of a Jury member be secret while the Jury is discussing a case?
• Why does a commitment made in public or by writing have such a powerful effect on the person who makes it?
• Why do we need to shout help and ask for specifics when we really need help? 
• Why people commit more suicides after listening about suicides or disasters in the media?
• Which factors cause a person to like another person? 
• Why do some people associate themselves so closely to their sport team that if their team is consistently losing they feel as losers as well?
• Which tricks do car sellers play to trick us to buy something right here right now? 
• Why a TV commercial with a renowned actor playing a doctor selling pills has the same power as if he was a real doctor?

After studying all the tactics used by sales people, and the myriad techniques they use to manipulate, Cialdini came with six basic weapons of influence, each one governed by a psychological anchor or shortcut in human behaviour: 1/Consistency, 2/ reciprocation, 3/ social proof, 4/ authority, 5/ liking, and 6/ scarcity. Each of them is analysed in an individual chapter, where we are shown the psychological shortcut that produces automatic auto-pilot reactions that are used by manipulators, why these anchors sit comfortably in the human psyche from an Evolutionary Psychology and Sociology point of view, and in which precise ways they work, work better and can be enhanced or downplayed.  Examples from many lab tests, natural psychology tests, scientific bibliography and Cialdini's own personal life are used to explain these mechanisms with simplicity.

Cialdini wants normal people, no matter we are a seller or not, to understand how our psyche works, because the trickster can be tricked and our psyche works using mechanisms that can be exploited and manipulated easily against us by anybody, for good and for evil. This is not a book on how to use or manipulate people and isn't directed to marketers or sellers specifically. A good part of Cialdini's work was done by infiltrating training programs from sales people and Cialdini mostly address the majority of people who don't use compliance techniques. However, he doesn't hold a grudge, nor want us to, against "compliance practioners" as he calls them (sales operators, fund-raisers, charities street workers, recruiters, advertisers, real-estate and travel agents, among others) are just people using the knowledge of our psyche without lying or masquerading anything. When they do, Cialdini advices war:

 "I would urge forceful counterassault. There is an important qualification, however. Compliance professionals who play fairly by the rules of shortcut response are not to be considered the enemy; on the contrary, they are our allies in an efficient and adaptive process of exchange. The proper targets for counteraggression are only those individuals who falsify, counterfeit, or misrepresent the evidence that naturally cues our shortcut responses (...) The real treachery, and the thing we cannot tolerate, is any attempt to make their profit in a way that threatens the reliability of our shortcuts."

Sadly enough, the same sort of people and behaviours that Cialdini wanted us to counterassault are using the book as a 'Bible', so much so that "Influence" is, to this day, the number one business and marketing book out there. 

"Influence" is an useful book,  not only to be learn and be aware of the tricks that compliance professionals play on us, but also of the ways people use them in our private lives to get something from us even if it is just approval, lack of a reprimand, or just sex. Most importantly the section "How to say no" in each chapter tell us, exactly, what to do or how to recognise the manipulators, the psychological anchors discussed in the chapter, and how to respond and react so our decision is o-u-r decision.

The book reads well, in simple English and is very entertaining and easy to understand.You will certainly get a few aha! moments as you can put into perspective what happened while booking a time with your hairdresser, your beauty salon, dealing with a charity worker that stops you in the street with a compliment, while a shop attendant shows you different stuff, dealing with a travel agent, dealing with your Real Estate agent, or while certain TV ads that do not make sense rationally but do make sense, totally, to your subconscious.

My favourite chapters in the books are those on Consistency and Direct Deference, purely because I was way more aware of reciprocation, liking, authority and scarcity; however, many of the specifics on how and why they work are still fascinating. I also love Cialdini's comparison between tribal practices and hell-week practices in University fraternities and the military, and the Readers's Report section at the end of each chapter, which includes letters from readers describing how some of the things mentioned in the book were applied to them.

There are too many people including quotes in their books, but the ones Cialdini uses at the beginning of each chapter are spot on, as they summarise each chapter to perfection.
  

SOME CRITIQUE
>>>  Cialdini is a bit reiterative at times, goes for pages unnecessarily, and although I loved most of the examples that Cialdini  mentions, there are too many and he could have cut a few without the book losing interest or quality.  
>>> Probably because the book was written in the 1980s, some stuff is really well-known nowadays and doesn't need of long explanations, or won't surprise anybody. I would say that people with a basic degree of education would not be saying what what what?! when reading about the bystander factor, the halo effect and the good cop-bad cop dynamics, or that our titles are something that can be used to trick people and that people who don't have them will attach to those to get a bit of the spark.  

>>> The book has not aged well with regards to a few points:
1/ Some contextual facts that were common in the 80s are are no longer in use, or even legal in some parts of the world, like door-to-door sales. We live in the world of the Internet, online stores, publicity everywhere we look at, constant spam and marketing on networking sites, and the use of our private meta-data by corporations to sell us things or know what we want to buy. I would have loved seeing an analysis on how the shortcuts presented in this book have morphed to adjust to the needs of the online world and market, if some of these shortcuts are now more prominent than others, and if new shortcuts have been added to the six mentioned here. 
2/ The bibliography used and referenced is still mostly from  the 70s and 80s, with a few additions from the 90s. It would have been great adding a modern bibliography in a "further reading" sort of chapter when the book was revised.  
3/ The use of some vocabulary is no longer OK. Referring to primitive cultures is no longer acceptable or accepted without discussion and calling animals infrahumans it is  an anthropocentric adjective that doesn't connect with the reality of the environment and the planet we live in. I would call a shark or alligator a suprahuman!
4/ Some social practices have changed dramatically in the last decades, even though Cialdini thought that they would not as they have a function in the human psyche. Well, it seems no longer. For example the hell-week practices in Universities, which were in decline in my University before I entered mine and banned when I was in. They might be alive in the American Fraternity Societies, but there is something called Open University that works quite well, is everywhere and expanding, and people don't need to be part of a group or enter any building that often. The world is quite different nowadays more than people in the 80s would have imagined.  

RENDERING FOR KINDLE
The book has a word index at the end, but it is not linked in the Kindle edition of the book. The author advises using the search tool to find them. Well, Kindle's search tool is not the most accurate sensitive sort of search tool. Kindle books should be sold cheaper if indexes or features that were in the hard-copies are not available in the electronic edition.

This is a great reading overall, informative, entertaining and useful for our daily life, to notice things to stop us from buying something we don't want to buy right now or  just not to act in a way that feels is not you but we are being pushed into and is not in our best interest. Entertaining and eye-opening this might be a bible for manipulators, but also a bible to counter-attack  those who want to bend our will for their own benefit. We should learn about how influence works because automated stereotyped behaviour works better now than in the 80s, as the pace of modern life is faster and more stressful, and we have less time and energy to pause and think for a second to ask ourselves what we really want. This being the case, we can be manipulated more easily today than 30 years ago.  

Julio's Day is actually a book about Julio's (family) Life. A charming BW time travel from the coming out of nothingness of Julio Reyes in 1900 to his passing into nothingness in the year 2000. Although set in America's South, most of the characters are Mexican or from Mexican origin and culture. This is a charming trip for the reader, with so many things happening in the life of Julio's family. There is love and hatred, dark secrets, innocence, innocence lost, gay repressed sex and explicit sex, treason, murder, madness, hilarious bizarre moments, joy and sadness. The only chronological anchors are the references to the wars that spanned the 20th century, changes in clothing and some social references that are easily associated with specific decades. There is also a visual anchoring in the depiction of the town's progressive industrialisation.

I know that the author and the book have been defined as within the Magic Realism genre. To me, there is little or nothing of Magic Realism in this book. I think MR is used too often to describe works that have some oddity about them and people cannot categorise. In this book there are episodes of mental alienation, trippy, but that is it. To me, this book connects more with Latin-American family-saga telenovelas than with anything else.  Hernández does a great job at infusing this family saga with enough charm, realism, and lack of 'Manichaeism' to get the story away of extreme non-believable characters. The story feels organic, alive, as it was real.  The characters feel also real. In fact, I have known people who were like those in this book. On the other hand the characters are just schetched because there are many and the period covered isis very  long.

One of the main elements of Mexican culture (and Hispanic/Spanish) culture is how death is understood, perceived and faced. This is especially valid for Mexicans in the period Hernández describes. However, it connects with stories and attitudes that were common in rural areas during my childhood even though I am not Mexican. There is a familiarity with death, a presence of death and of the dead in life, because death is part of life, not in a creepy morbid horror way, you show r-e-s-p-e-c-t- to death because it is another passage rite. That awareness of death also keeps people more grounded in life and there is less fear, less avoidance. This is perfectly captured in this book. I love the presence of the hill with the tombstone crosses, and how some of the death of the characters is depicted. 

This is a male dominated story with strong female characters performing traditional roles. This is how it was in rural areas in many parts of the world decades ago, and I think Hernández captures this with veracity. In this case, Renata summarises well the role that some women played, and the sort of life that those women had in that historical context. Just one example. Renata is strong and caring, but she often says "women need of no reasons", which sounds a bit like women are irrational. In that context, though, women used to say this sort of thing because they had proof of their reasons, or inner knowing, or they just knew, but didn't want to speak about it. Araceli's character is perhaps the most interesting in the whole book. I would have  loved that Hernández developed a bit more her character; she appears as a nun-ish good samaritan, but there much more juice about her that was not explored.

I found the male characters interesting and varied enough to make the story entertaining. Julio's character seems, in comparison, a secondary one  not the main one. He is always there, a sweet gentle man, mostly in the background. This has a narrative purpose, of course. There are very few scenes in which we seem him happy, and they always revolve around a person. We see him feeling, alive, in just one scene close to the end of the book. I cried at the end, out of sadness for the character, and because I know men like him in real life: people who live life without the courage of being true to who they are, lead a pleasant empty life that does not satisfy them inside, aim to the unattainable probably because it is a fantasy that  doesn't require of them doing something to create their life experience.  Living is not just existing. In that regard, Julio's Dayim shows just that. Julio has an existence of 100 years but he really lived for one day. A microperiod of real life between two big empty holes of nothingness separated by 100 years.  I liked the quote by Samuel Becket that Evenson's chose for his brief introduction: "one day we were born, one day we shall die, the same day, the same second, is that not enough for you?". Life is like a fleeting moment is another way of putting it.   

I have a mix of feelings about Hernández's visual style. I love his shadow silhouetted landscapes, and his long distance scenes, theyare superb: beautifully composed, lyric, and with enough pathos to be another character in the story. I love some of the facial expressions in children, and some shocking scenes with the WW1-veteran neighbour. Although I enjoyed the vignettes, I found some of the pages and vignettes too crowded and the depiction of some characters too "chunky".  

This is not a book for children.

HTBH is an anthology of comic strips and stories published by Davis in different publications, drawn both in colour and black and white.  

How to be Happy sounds like the title of a motivational or self-help book but. as the author herself reveals in the foreword, this book is not a book on how to be happy. The cover certainly helps to convey the same idea.  Despite the stories being quite different in style an tone, the book has a few main themes. Most of the stories are very introspective, and revolve about people looking inside to get their suppressed emotions out, people struggling to feel, numbed people, depressed people, over-emotional people. One of the stories in the book provides us with what I think would have been a great title for the book: "No tears, no sorry. No sorry no joy". Also "Let the sorry out. Let the joy in". Those titles are way closer to what the stories in this anthology are  about. I think giving the book a title closer to what the vignettes are about would have been more honest, even if less marketable-savy.


Davis is an amazing versatile visual artist. The collection of strips in the book showcases her talent. Her images go from the very simple linear and sketchy, to the very painterly and detailed paintings, from the classic naturalistic drawings to the vectorial compositions, from the ezine-like comic strips to the surreal, from the slice of life to science fiction. Some of her stories transport us to Sendak-ish magic worlds that one would like to explore in long books. She is good with black and white, and even better when she uses colours and  sepias. Her colours are glorious.    

From a narrative point of view, Davis is able to create stories that focus on the inner world of her characters: their feelings, emotions and thoughts, their approach to life, the way they 'see' and 'feel' the world. Her narrative is concise, precise and poignant, introspective, but also expressive and full of humour. Some of the texts in the book are brilliant despite their brevity. I especially like the "Darling, I've realised I don't love you", "I used to be so unhappy" and the statue of the best self, but there are a few brilliant mini-texts in this book, some of them really philosophical and to ponder way after you finish the book.

I hated the story of the skinning of a fox, revolting to me, and the comic strips of the trip from Georgia to Los Angeles  and Mr Strong are  OK. 

This book was included in several lists of best graphic books of the 2015 I've come across. I think the inclusion is well deserved as this book showcases Davis' brilliance as both visual artist and story teller. Among other distinctions, the book has received: NPR's and Publishers Weekly's Best Books of 2014; Shortlist, Slate's 2014 Cartoonist Studio Prize for Best Print Comic of the Year and 2015 Ignatz Award Winner: Outstanding Anthology or Collection.

I found the price for the Kindle/Comixology edition a bit too much, because this digital edition does not require of the use of paper, ink or manufacture. Besides, these stories were previously published pieces not new for the book. Finally, I have to pay for the downloading of the bulky file to my Internet provider. I love that artists make a living out of their talent, but digital books like this should be sold at a fairer price.    

Wicked Chicken Queen is an example of how 25 pages of simple imagery and very mindful text can create an epic story that will resonate with many people, and keep readers in wonder afterwards. You might need to re-read the book several times to get it. And the book offers a few readings or interpretations, something I always love.

I love Alden visual style made of sinuous lines that move elegantly, in a continuum, converging, diverging and intersecting in a whimsical dance, creating a rich and colourful world and characters out of simple-not-so-simple black and white drawings. There is grace, fluidity, and freshness in Alden's Universe, as if the book was  for children. His book touches, though, on subjects that aren't childish or simple. There are also hints of humour in the book, and a sprinkle of provocation. If you take the time to look at the drawings properly, you will find delightful mini-scenes.

What will captivate you will not only be the art in this tale, but the overall story. I have read a few reviews saying that the story didn't need of text, well, I think it quite differently. I would have loved this a silent book, that is for sure, but in this case the text just takes it to the next level, and allows the reader to explore a world of treasures that are hidden right in front of their nose.

This is a little-grand modern fable for the young and the old that will leave you  in awe, in ohhhhh I would say, even though you might get the ohhhhh, as I did, minutes after I had finished the book.

Waterwise, might be presented as a surreal and apocalyptic story by the editorial house, but that is misleading.The only thing I consider a bit surreal is the cover of the book, and not even that.

Waterwise is the visual narration of the unplanned meeting of two childhood friends, Jimbo and Emily, in their native town. Jimbo is visiting after breaking up with his girlfriend in a crossroads sort of situation in her personal life. Emily is leaving town next day to start a new life and a new job. He is an artist, she is a computer analyst. They couldn't be more different, but they have a strong connection despite not having seen each other since High School. Waterwise is the story of the night these two friends spend together, remembering their childhood, and talking about the past, the present and the future, who they were and what they have become. 

There is no structured plot or ending. The ending left me gasping for closure but some answers can be found in the first pages of the book. The story is more intriguing the more you linger on it.

Waterwise is a book in black and white, with just the cover and the last vignette in colour. I like Orff's chunky drawings and cubist-ish images and the way he depicts water, underwater, and the night. Orff's interiors are enveloping and surround the characters in ways that can be overwhelming and even menacing, but they are also cosy spaces for reflection, places of shared secrets and intimacy, as if the rooms were listening. On the contrary the outdoor images, the night, the water are expansive and joyful areas, they are fluid, they are the ones that show the past and the present lived to the fullest. I love the use of water and fish as a metaphor of life, life is like water in movement, never stopping, never stagnant, always flowing towards the infinite.

Descender is a galactic quest to find the child humanoid robot Tim-21, first; to decode his programming, second;  to use that coding to battle The Harvesters, a race of giant robots with the same coding as Tim, which attacked the planet where the United Galactic Council (UGC) has its see and threaten the whole confederation, third. This is also the quest of Tim-21 to find his former human brother. His quest is the only one that focuses on humanity, love and connecting, not on destruction, battling and use of any means to get what you want.

The main characters in this volume are: the uber-cool mega-cute android child Tim-21, his smiley-talker robot pet Bandit, Doctor Quon (the scruffy shave-needed father of modern cybernetics), Captain Telsa (a grumpy tight-panted carrot-headed healed well-connected young "commandress"), the rough-looking dieting-needed loyal pilot, and the good-hearted simpleton-conscious robot Driller the Killer.

Dustin Nguyen's artwork is stunning, really mesmerising regarding composition, framing, use of colour for narrative purposes, light and shadow work, watercolour and pencil technique, attention to the detail, and mood. His portraits are amazing. Besides, his images are very cinematic and stylish, and, let me tell you, some of the kido's clothing is just fabulous -- The work of the amazing painter he is. Having said this, I was a bit disappointed because some of the landscapes and the imagery of the characters reminded me of others already seen in  science-fiction movies. Nguyen talent as painter is undeniable, so I think the script might have limited him.  
   

Jeff Lemire is the author of one of my fav graphic novels but he is not drawing anything here, he is just the writer. The Universe of Descender is not especially original, with plenty of narrative elements and characters pastiched and amalgamated from well-known science-fiction TV shows and movies: Red Sand+Mass Effect, AI, Star Wars, Prometheus, I, Robot, Terminator, and Asimov's three laws. The script does not reinvent science fiction for sure, but it has cohesion, reads well and is entertaining enough. The story starts to get really interesting at the end of the first volume, when things that seemed lineal are not that lineal after all. Most of the characters, even the "good ones" are not likeable, they seem full of suppressed anger, full of secrets, untrustworthy. In that regard, they serve as a podium to enhance the character of Tim-21, who is innocent and likeable, more human than real humans in his approach to humanity. He dreams a-la-Asimov, not of electric sheep, but of electric rebellious robots inciting him to rebel against humans. I, robot. Tim dreams are painted in pink-ish tones, whatever that might mean :P


One of the things I loved in the book is the typography (funny because Descender is a word related to the world of typography), as different sort of fonts are used depending on who or what is speaking: humans, robots, computer system, inter-phone, plus the ambience and noise sounds. I thought the use of typography enhances the reading and made it clearer and more engaging.
I found two major spelling mistakes in the book. They don't make any favour to the authors, nor to the editor if there was any. Can you spot them?
> "Acadamy "instead of Academy.
> "You're father?" instead of "Your father?"

These could be easily fixed in the digital edition.

Although I greatly enjoyed the reading and will probably purchase the next volume, the book does not thrill me, probably because despite the awesome artwork and entertaining story, the book, overall, feels a bit déjà-vue. Let's hope that the main surprises pop up in the coming chapters and volume.

I read this book it on Comixology and the digital copy is fantastic.It makes you appreciate all the details that I would need a magnifying glass to see on paper.

Stunning artwork, entertaining story, at a great price. 

Deep Dark Fears is an imaginary catalogue of human fears, worries and nightmares.

Deep Dark Fears is another Tumblr's web comic strip  turned into book. Krause started drawing his own fears and then readers began contributing theirs. So, what sort of fears can you find here? Adult's fears. Children's fears. Ghost fears. Doppelganger fears. Aliens fears. Death fears. Toilet fears. Cute fears. Gory fears. Religious fears. Church fears. If you have any sort of irrational worry or fear it might be here.

The book is interesting not only because of the irrationality and interest of the fears described per se, but also from a psychological point of view as it becomes a sort of visual catalogue of the "horrors" of the subconscious.

I love Krause's mastery at creating a story in four or six vignettes, his wonderful sense of colour and mood, his landscapes and chiaroscuro, his black and white and his watercolours. The colour and style change from one fear to another to suit the story.  The book is visually varied, aesthetically pleasing, and very entertaining. I love the winks to the reader in some of the pages, with tiny-winy characters and objects drawn at the bottom end of some pages.

Krause is good enough to acknowledge all the contributors of the dreams at the end of the book.I would rather have them mentioned at the end of each fear. On the other hand, many of the contributors are anonymous, so that is just my preference, and nothing really important.

I super loved the book, I wanted more. More fears. More varied. Why not more? Business? 

The book is In most lists of best graphic books of the 2015. I do love the book but I am not sure I would include it in one. Yet, you don't need to buy it. You need to go to Krause's Deep Dark Fears Tumblr of the same name. According to him, 50 of the fears are unpublished, and the others are favourite ones in tumblr. Well, there are many more unpublished stories in the web than published in the book. Put it that way. If you, like me, read graphic books on digital format, the website is way better than any Kindle format for reading comic strips. Having said that, the rendering of the images and the colouring looks way better in Kindle. 

This is one of those books that would be worth having in paper. And I would say that makes a perfect coffee table book for hypters and comic lovers.  

Beaton is a Canadian cartoonist, actually, a historian turned cartoonist that makes cartoons on historical episodes, historical people, old books and a range of other subjects. This book is a collection of comic strips on different subjects chosen from the strips she regularly publishes in her website Hark! A Vagrant.

Beaton is irreverent, witty and sarcastic. Beaton has an interest in history in general, in the 19th Century in particular, and in recreating old book covers to give them a modern twist.  Beaton uses deadpan humour. Beaton is able to see incongruence and present it an appealing ways. Beaton likes the "whats up dude" approach to stuff. Beaton is funny!

Some of her strips will make you laugh out loud. Others aren't laughable, but they are still a funny reading or just witty overall. I found many others not funny at all. Certainly, different strips will appeal to different people.

Her humour is somewhat elitist. I don't think a person without a good level of education and a good level of knowledge on history, literature, music or the 19th century will able to enjoy some of her strips. On the other hand, some of her deadpan sentences, some impossible dialogues, and irreverence make an entertaining reading overall

I especially like her recreation of old cover books, and the comics related to strong women, femme fatale and feminists. I found them hilarious.
There is a freshness and spontaneity about Beaton's comic strips both in her drawing style, conception and realisation that I love. It feels as if they had been thought and produced in a microsecond, but I am not sure that is the case. It doesn't really matter, they are still great.

I came across this book while browsing several lists of best graphic books of the year 2015, where it was consistently included.  I am not sure if I would include this collection of comic strips among the best graphic books of the year, but it is still a great collection of funny cartoons.

If you don't want to spend your money, just to to her site, as mentioned above, or to her tumblr site. I actually think her website is better to browse her work than any Kindle book.

This is a short silent allegorical graphic novel that touches on the subject of being different, feeling different, wanting to be different and not fitting within the group that is suppose the group you belong You were born with a gender but since your childhood felt that you are the opposite gender. You were born with a specific sexual orientation that is not "straight". You were born within a religious group that you struggle to fit in. You were born within a family of high-end professionals who wanted you to be like them, but you feel that you are a different sort of person. You were born in a family of lefties but you are very conservative. The examples could multiply to the infinite. Fox Bunny Funny depicts all of them masterly. In a way, this is a modern Aesop-sort-of fable, the lack of moral preaching is actually the moral of the story.

I love the cute drawing, which goes from the merely cute children cartoon style, to the not so childish childlike gory, to the tripy and almost psychedelic images at the end of the book. I love the overall humour of the book, and the imagination displayed in the conception of the world of rabbits, the world of foxes, and the mixed world. I found very inventive the shot guns that the foxes use, the church of the rabbits, the somewhat "depraved" and "subverted" mixed world at the end. There are many graphic elements that I considered inventive and humorous, which  put a smile in my face. 

The book is silent. However, the action and the expressiveness of the characters speak loudly. Being able to speak to everybody without words is just something difficult to achieve. On the other hand, there is much more to silent books than the specific explicit message drawn by the author. Silent stories allow the individualisation of the reading, to make the story just yours, to adapt it to what you want the story to be and what what the story tells you, specifically. They are Universal, but also less of a monolith.

I found that the transition from the childhood part story to the adult part was too abrupt. I would have loved some transitional elements and I think the book needed a few more pages at the end and also in between.The book is still good without them.

This is one of those books that can be read by pre-teens under supervision, as it tackles important issues about identity and fitting in Society in a very light and easy way, and it could give way to great discussions in the classroom or at home. The book might be disturbing for very small kids unless they are showing an important identity issue already.

A great graphic book.

Andy Hartzell is  an American interactive graphic designer and cartoonist.  

This was the first graphic books by Canadian renowned cartoonist Bryan Lee O'Malley, the author of the Scott Pilgrim series, who wrote it when he was 24 years of age. 

I have many expectations about this short novel. Firstly, the ratings are over the top on Amazon and Goodreads, and, secondly, I love Scott Pilgrim. Unfortunately, this books falls a bit short, even though there are glimpses of the best O'Malley.

Drawn in a lovely black and white with doll-ish characters, Lost at Sea tells the story of the unplanned road trip, and the musings of Raleigh, a gloomy girl who finds herself in the middle of nowhere in a car with a girl and two guys she barely knows. She is the daughter of divorced parents, not very talkative, and she doesn't feel much either. She thinks that she lost her soul somewhere, and that a cat took it. In fact she sees cats everywhere, even when she sleeps. 

The book is good at capturing how some teens transition into adulthood: how they talk, how they behave, which sort of worries and angst they have, how even the smallest thing is analysed microscopically in their head in search for meaning, to find a connection with the world out there, to fit, to belong. The romantic part also shows the infatuation teens go through, where everything feels so profound and deep, but that is never the case when one looks back. Fortunately for the reader, the book has a sense of humour, which makes the bunch of narrative and character clichés a bit more palatable.

We all have seen and/or read a bunch of coming-of-age movies, books and comics. For any new story to work, it has to go where others have not, to be genuine and authentic but also original and innovative.. Unfortunately, this is not the case of Lost at Sea. In fact, I felt that the novel ended when it had started to get interesting, and the vacuous pseudo-philosophical approach was forgotten and the unknown, the world of  wonder and the unreal appeared: the constant presence of cats, the photos found in the wall of the hotel, are wonderful exploratory narrative element that are just sketched and never developed. Thanks gosh, Scott Pilgrim came out to appease our hunger for something new in the world of teen comics, and came out with a gong. One has also to understand that this is the work of a very young artist, trying to find his voice, so in that regard, reading this book one comes to appreciate how a mediocre first novel can help an artist to clear his vision to produce something as good as Scott Pilgrim. 

I think this might be a very lovely book if you are 13-16 and you haven't read much literature. If you have, well, you might find it a bit irritating.  

I read the book in an electronic edition for Comixology. The rendering is fabulous and uses Comixology versatility at its best. A truly wonderful reading experience.