Tag: Jeff Lemire

“Family Tree” And the End of the World: Spoiler-Free Review

In March 1997, the world started to end with a little girl named Meg, and the tree branch that sprouted from her back. 

Written by Jeff Lemire
Illustrated by Phil Hester
With Eric Gapstur and Ryan Cody

A Story About Family

If you’ve read Jeff Lemire’s comics, you know that family and childhood are big sources of inspiration for him. This excellent series debut from Image is no exception. obviously — I mean, it’s called Family Tree. 

The dynamics between single mom Loretta, her troubled teenager Josh, and her naive daughter Meg make Family Tree #1 equally entertaining and heartbreaking.

The first issue focuses on Loretta’s worldview and the daily humdrum of her life. Panels showing the inside of her humble home resemble early-2000s episodes of Malcolm and the Middle, a sitcom about a low-income family who are looked down upon by their neighbors. (For the Malcolm in the Middle fans out there, Loretta works at a grocery store, just like Louis. Conspiracy or coincidence?) 

Tone and Mood

Loretta narrates the story in a frank, introspective, tone that matches her no-bullshit personality and dry humor. As you flip through the pages, you see her triumph over the people who patronize her, which is, again, just like Louis from Malcolm in the Middle. It is immensely satisfying to see Loretta question her son’s bald principal “What would you know about a strong male presence?” when he implies that her parenting is the reason Josh got caught with weed in his backpack at school. Josh’s absent dad is just one of three big mysteries in Family Tree #1.

This is just one example of how the creators of Family Tree effortlessly foreshadow revelations about family history and the impending doom. Another example of this happens on panel when Loretta makes eye contact with a menacing man at the grocery who clearly isn’t there to buy ingredients for dinner. On the page, he overshadows three panels showing Loretta’s stern reaction to the uncomfortable situation.

Eerie and Economic Art

The dread is palpable on every page, between Loretta’s exasperated facial expressions of the increasingly severe “rash” progressing on her daughter’s arm. The character design and setting are 90s without being cloyingly nostalgic, lending some authenticity to the story. Dull greens, oranges, yellows, and purples reinforce the mood that something dark and sinister — but also strangely beautiful — is unfolding. White spaces within and between panels alleviate some of the emotional heaviness while also bringing important story elements into focus. 

When such an intriguing concept is backed by concise writing and genre-defying art, it deserves attention.

Rating 

8.7/10

Follow this family drama as it branches out into the mystery and action that Jeff Lemire and his collaborators planted in issue one.

Joker: Killer Smile Actually Does Joker Right [Review]

There hasn’t been a shortage of Joker-related content this year. But there’s been a shortage of good films and comics about him. With Jeff Lemire behind the keyboard, “Joker: Killer Smile” is actually worthy of conversation. 

I’ve been a fan of Lemire ever since I read A.D. After Death. (Not many people would agree with me on that one.) But to me, Jeff Lemire represents what comics is all about: the marriage of art and literature on the page, distributed to the masses for cheap. 

Joker: Killer Smile Is a Beautiful Comic About Beauty

“Joker: Killer Smile” does just that. It’s a beautiful comic about beauty. Literary and artistic, “Killer Smile” hones in on how the Joker sees himself as a performance artist. 

When you really think about it, though, the performance artists on display here are Jordie Bellaire (my favorite colorist) and Andrea Sorrentino (the line artist).

Andrea’s line work is substantial. It evokes noir with heavy shadows, extreme closeups, and uneasy camera angles that convey the paranoia of an Alfred Hitchcock movie. There’s no shortage of innovation in their collaboration. Cheekbones and shadows are evoked with color instead of crosshatching. The palette is washed out without being weak.

With plenty of room to breathe, the art carries the weight in this book. It helps that every word in the comic is meant to be there. It’s a relief to see a writer (especially a more experimental one) with the confidence and trust to let the art do the talking.

There are also some nods to Watchmen in “Joker: Killer Smile.” The therapist who brings his work home with him, to the disappointment of his wife. There’s an abundance of Rorschach imagery in the panels. There’s a story within the story, serving the same thematic purpose as “Tales of the Black Freighter” did back in 1986.

There’s Just One Downside to “Joker: Killer Smile”

Like nearly all Joker stories, the plot engine is extremely tired. The I’m A Therapist Who Will Fix Joker trope has been played out — just have your friend tell you about Harleen so you don’t have to spend money on it yourself. Still, this is a really successful interpretation of that premise that feels…different.

“Joker: Killer Smile” is a 9/10. This is a surreal comic that is actually digestible. (No unintelligible Azzarello escapades here.) Better yet, it’s like nothing you’ve ever seen before. Buy this book.