#graphic novel
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Skybound Launches Worlds Beyond Number: The Official Graphic Novel Kickstarter #comics #graphicnovel https://graphicpolicy.com/2026/06/16/skybound-launches-worlds-beyond-number-the-official-graphic-novel-kickstarter/ Skybound Launches Worlds Beyond Number: The Official Graphic Novel Kickstarter
Pride Reads 2026, Day 16: Opting Out This is such a good read! It’s a middle grades graphic novel that I found deeply relatable. Periods? Gross! All your classmates start dating??? Seems fake. Why is everything changing? Why can’t things stay the same? This story tackles these questions and experiences from the POV of Saachi. She’s got a loving family and a bestie, but is having trouble coping with the turbulent changes of puberty and middle school, especially when her best friend starts dating a boy. Saachi confides in her journal as she questions her gender, expressing a design of opting out of gender altogether. My favorite part is how open and supportive Saachi’s parents and little sister are. I also liked the way they incorporate their religion (Hinduism) and culture.
Archipelago preview. In the not-too-distant future, where climate change has ravaged the Earth, a young woman fights for her life, and her family, against pirates and political unrest, all while trying to hide her secret “special” ability. #comics #graphicnovel #kidlit https://graphicpolicy.com/2026/06/16/preview-archipelago/ Preview: Archipelago
79 & 80/100! 📚🧶 ⬆️ I picked this up yesterday as a little brain break from the heaviness of another read, and finished it before the end of the day. I loved Anne of Green Gables as a kid, and found this to be a really brilliant homage 💚 ⬇️ This is the read I needed a break from 😅 It was lovely, don’t get me wrong, but very intense and emotional in a whiplash-y sort of way. I can definitely see why it has become one of those infamous read-it-and-weep recommendations.
The second collected volume, published as “Book 2” , doesn’t so much expand the mythology created by Andreas as condense it. The second integral works by reflecting earlier motifs, multiplying them, and at the same time introducing new fractures into the structure of the world. I constantly had the feeling of dealing with a work that slips away from linear logic — and that sensation is even more intense here than in the first volume. Here too, Andreas remains faithful to his obsessions: time, transitions between worlds, the sense of instability in the foundations of a reality built from the image of what we see around us. All of this leads him, as an author, into more abstract territories — even more geometric, even more unsettling. And honestly, if someone asked me for a precise summary, an explanation of events, a dispelling of the many doubts, I’d rather change the subject, dodge the answer. Andreas never makes things easier — this has always been about opening doors and rushing into a kaleidoscope of astonishing, ambiguous images, meeting mysterious figures, participating in events of cosmic magnitude. Without instructions, without exposition. Book Two closes one of the most singular narratives in the history of European comics. Andreas, a total author, treats the medium as a laboratory of form and at the same time as a space for intimate mythology. You can see the maturity of a creator who, since the early 1980s, has been consistently building his own visual language — ascetic, precise, yet full of hidden fractures. I won’t deny it: I’m fully aware that mass enthusiasm is unlikely here. This is not a comic you casually recommend, especially not as an entry point into the medium. That would be the worst possible move — at least in the case of the second book. The first was somewhat clearer, more transparent, peculiar, but the reader could still latch onto certain events. In other words: you could find your bearings there, have some foothold, something solid. Here, in the second book, most of the content remains unclear even after reaching the finale, though always hauntingly beautiful. That’s why, in my view, it’s worth taking a break between the first and second volumes, savoring the medium through other demanding titles. Formally, it is still astonishingly precise. The panels fall into rhythms: sometimes short and nervous, sometimes monumental, stretched across an entire page. Andreas uses sharp contrasts of light and shadow. Color, though sparing, also functions as a dramatic accent — it appears where the narrative needs a jolt or a moment of quiet. Particularly striking are the moments when a color drawing is juxtaposed with a monochromatic panel on the same page. The four parts included in this volume are “Star Light,” “Capricorn,” “Descent,” and “Return.” Thematically, the second book deepens the obsessions known from earlier installments: time as a fractured structure, identity as a mask, space as a labyrinth. Rork — the white‑haired, almost ascetic figure — becomes a symbol of passage between worlds, but also between states of consciousness. In the background you can hear the avant‑garde, experimental comics, the ambitions of an illustrator and narrator (a page divided into 300 panels!). It is, in a sense, a creative manifesto — a reading experience as demanding as it is unwilling to offer easy sensations. It’s no exaggeration to say that this is a comic that refuses compromise, yet remains singular, separate, often disorienting. Crucial as the second book in the structure of the entire story, because it closes threads, brings back familiar faces, artifacts, known elements of dread (the stain!). A wholly extraordinary comic.
Can a comic tell a story using only image, color, and the sequence of panels? The question is, of course, rhetorical - naturally it can; this is hardly the first or last such case. Yes, there are dialogues here, but in a very limited form. Before the first words appear, we witness the birth of a peculiar world. It is a realm into which the Gods toss - more as an experiment than anything else - their next toys. “Let’s see what comes of it,” they must be thinking, sitting safely (for now!) beyond the firmament. For the first beings in this world, everything is an unknown: they discover the rules and establish the laws. Reading the comic - or rather leaning over its images and atmosphere, since there is very little text - I felt a bit like during my first viewing of Stanley Kubrick’s 2001: A Space Odyssey . I’m tempted to compare Jesse Lonergan’s work further with Kubrick’s film. Both pieces present a similar, precise play of framing and composition; both treat the image as an experience. In Kubrick’s film, the first dialogues appear around the 25‑minute mark; in Lonergan’s case, they show up as early as page 13, but only as single words. Often, we won’t encounter a single phrase for dozens of pages. Most importantly - Kubrick and Lonergan both open with the birth of a civilization, but also with a kind of cosmic intervention. Moving forward, there is a similar consistency in how the early paths of the story are built. Even if the creators diverge at some point, the sense of shared touchpoints between Drome and Odyssey stayed with me until the end of the reading. Stylistically, Lonergan explores how far one can push the boundaries of legibility, how to tell a story with images alone, and how to build emotion through the very structure of the page. A key element is the attempt to tame the medium, subordinated - with its colorful illustrations - to the basic CMYK palette. This seems to be the guiding motif. CMYK is, of course, Cyan, Magenta, Yellow, and Key Color (black, used to give depth). The images are built from this palette, and the author, extracting the component letters from CMYK, uses them to title the chapters of Drome . And here lies fertile ground for those who enjoy interpreting emotions - after all, colors can (and do!) describe the emotional tone of each episode. Narratively, Drome is four parts about the rise, development, and fall of a world. But not only that - there are wars, love, brotherhood, betrayal, and earlier still, jealousy. The beings in Drome - but really, beings in general - may respect the Gods, yet secretly envy them. From this envy, conflicts arise: someone wants to be closer to power, someone else disagrees with decisions, another desires more for themselves. The natural order of things in any civilization. Drome is about that as well. Thematically, everything comes down to a story about the birth of civilization, but also about its inevitable fractures. The characters - demigods, humans, animals - are all figures on a board, though not devoid of emotion. They act like forces of nature, still learning their own limits. Lonergan builds emotion not through dialogue but through contrast, and as an artist he stands somewhere between monumentality and fragility, between violence and tenderness, between order and chaos. The way events are presented - the rhythm, the construction of pages through sequences of repeating panels - reminds me somewhat of the structures in Andreas’ Rork , which I read recently. It’s a chain of associations, of course, but Andreas also sometimes constructed the flow of events in a similar manner, guiding the eye through rows of geometric shapes. Drome is not, for me, a comic that tells a grand story, but I consider it a very good one because it does so in a way unlike anything else. It lingers in the memory as a monumental, over‑three‑hundred‑page founding myth about the repetitiveness of human impulses.
![itthatmeowed post: [Stars Fallen] Chapter V: page 136 Support this project and others on my Patreon. Read ahead, see it](https://64.media.tumblr.com/d1a15e489137ffcf1721c52de9fabbbc/8e09529aa3817c63-dc/s1280x1920/80224c0c2511485e90f878e5ccf3296ce87e6acb.png)
[Stars Fallen] Chapter V: page 136 Support this project and others on my Patreon. Read ahead, see it in high res + textless, inks: patreon.com/itthatmeowed Read-ahead support tier, high-res .png packs, and tip jar on ko-fi: https://ko-fi.com/itthatmeowed Read Stars Fallen on ComicFury: comicfury.com/read/starsfallen or on Webtoons: webtoons.com/en/canvas/stars-fallen/list?title_no=879414
“Enatai Beach” is a gripping, multi-layered novel that compiles all twelve chapters into one compelling edition. It chronicles the lives of Holly and Mike, two middle-aged individuals who find love and decide to build a future together. Their journey is marked by moments of romance, humor, and heartbreak. As they navigate the complexities of their relationship, they must also confront a hidden issue that threatens to unravel their union. This poignant story, inspired by true events, offers a rich tapestry of emotions and experiences, making it a captivating read from start to finish.
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