Avatar: The Last Airbender
The Promise Part 1
Buy at Powell’s

Gene Luen Yang made a comic clearly explaining why he had no interest in the Avatar: The Last Airbender live-action movie. A lot of people like to bring up that the cartoon was created by a couple of white men, but the Asian influence is clearly respectful and thoughtful. Yang understood those things about the series and that’s why he loved it (and that’s why most of us loved it, actually).

So it was delightful news when it was announced that Yang would be writing the Avatar: The Last Airbender comic book series that will bridge the gap from the end of the animated series and the upcoming The Legend of Korra (not upcoming fast enough, but that’s another issue). It seemed like he’d do right by Avatar.

And it should be to no one’s surprise that he did.

Yang, along with artist duo Gurihiru, Avatar: The Last Airbender – The Promise Part 1 (2012, Dark Horse), has created a pitch-perfect comic that is a wonderful extension of the animated series.

No, if you haven’t watched the series (and why haven’t you?), you’re going to be pretty lost, despite a quick catch up in the first few pages. Despite the defeat of Fire Lord Ozai by Aang and Zuko taking his place, there are still many issues to sort through in the four kingdoms. Among them are the Fire Nation colonies in the Earth Kingdom. After the “Harmony Restoration Movement” is announced, the action picks up a year later. And obviously, not everything is going as well as planned. Zuko and Aang have to face their old conflicts as well as growing up.

Most of the action here focuses on Zuko, which is fair (Avatar: The Last Airbender was as much about his journey as it was Aang’s, after all) but the other characters aren’t neglected. Sokka tosses out a few good lines as he expresses his horror over the fact his sister, Katara, and Aang are now a couple. Toph has started a school for metalbenders, which I’m guessing we’ll see more of in the next book.

Gurihiru does a masterful job of capturing the look of the series while still giving it their own style. I love how subtly the characters have aged — they still look like themselves, but everyone’s taller and Aang’s a bit more muscular, Katara a little curvier and Zuko’s face is slightly more angular. Likewise, Yang writes these characters as older and more mature without sacrificing the personalities we’ve come to know. It’s a wise transition as these character approach adulthood and will continue to face more adult decisions.

The action scenes are beautifully-paced and definitely capture the feel of animation on the static page. There’s still humor throughout, even as the story begins to take a darker turn. (It’s still appropriate for the ages that Avatar: The Last Airbender was appropriate for, however, so no worries there.)

Unlike many other comic continuations or adaptations of TV shows, Avatar: The Last Airbender – The Promise Part 1 is completely satisfying. Gene Luen Yang’s and Gurihiru’s love for the original shows through. I’m already eagerly awaiting part 2.

Advance review copy provided through NetGalley.

YEAH!
Buy at Powell’s

Everything about YEAH! (2011, Fantagraphics) is pretty ridiculous.

For most people, Peter Bagge and Gilbert Hernandez aren’t the first two creators that come to mind when considering who’d make great comics for preteen/young teen girls. But this actually happened. And from a mainstream publisher (DC Comics/Vertigo) no less. Then it disappeared into history until it was republished earlier this year.

And you should be glad it was. Like I said, it is ridiculous — for its mere existence — and for the story.

YEAH! is a rock band composed of three young women — spacey guitarist Krazy, sweet hippie drummer Honey and the tough and glamorous Woo-Woo. You want to read this already, I’m sure. But wait — YEAH!, despite being from New Jersey is the biggest band in outer space (it’s just too bad no one on earth has ever heard of them). The women’s ineptly manipulative manager Crusty often gets them into trouble by not revealing the whole truth and they face musical rivals (The Snobs, Miss Hellraiser) and slimy record executives.

This is a delightful amount of fun. Bagge’s writing has the right mix of breathlessness and sarcasm and the silliness he tosses out is playfully weird. The strong lines and retro cartoony fell of Hernandez’s art gives this book a perfect look. But do I really need to tell you Gilbert Hernandez is great? I find the way he draws aliens to be a particular joy.

Now, I know that it’s quite possible that this book doesn’t align as closely with your interests as it does mine (really, “girls in rock bands,” “comics” and “space” is nearly the entire list of stuff I like) so it’s a little hard for me to imagine who wouldn’t like it.

But yes, you’ll like YEAH!.

The Best American
Comics 2011
Buy at Powell’s

I think I’m finally sold on The Best American Comics as a series.

I’ve always understood that these books aren’t necessarily for me, but for that friend who keeps expressing interest in comics but balks when I try to hand her a graphic novel (this is a metaphorical friend for me — you, however, may have one). This friend is well suited to an anthology — if there’s something she doesn’t like, well, it’s over pretty quickly.

But I think within the past couple of years, series editor Jessica Abel and Matt Madden have figured out the voice they want these books to have. I do think guest editor Neil Gaiman did a good job with last year’s collection, but looking back, there was some of a sense of “Look at all these hip and cool indie creators!” about it. He made fun and thoughtful choices and I would’ve gladly given it to a friend newly interested in comics. I just didn’t need to own it myself.

In Alison Bechdel‘s hands, The Best American Comics 2011 (2011, Houghton Mifflin Harcourt), on the other hand, is a book I would absolutely own (as well as, of course, give it to my friend interested in comics).

I love Bechdel already, but she absolutely won me over in her introduction to this collection where she pointed out how few women these collections have contained (and calls herself out for not doing that great of a job on that part — there’s a chart and everything) and also points out she didn’t manage to include any black creators in this collection. I admire her willingness to show the shortcoming in terms of diversity of this volume.

I admire the diversity of selections Bechdel has picked. Yes, of course creators like Chris Ware and Jaime Hernandez show up here, but so do Kate Beaton and Gabrielle Bell, who both deserve to be included just as much. There were even some creators I wasn’t familiar with, such as Kevin Mutch and Angie Wang. As many comics that have passed through my life in the past year, it’s a thrill to see something new.

I also love Bechdel’s willingness to embrace and showcase the weirder side of indie comics, from Michael DeForge‘s grotesquely colorful “Queen” to the excerpt from Dash Shaw‘s Body World. Surprisingly though, the book never feels alienating or like there’s an attempt to be shocking. There’s definitely some dark subject matter and imagery, like Gabby Schulz (Ken Dahl)’s “New Year’s, 2004″ and Julia Gfrörer‘s “Fear of Fire” but those stories are balanced with lighter ones, like Joey Allison Sayers‘ “Pet Cat” and Jillian Tamaki‘s “Domestic Men of Mystery.”

As all collections go, not everything here is going to appeal to everyone, but I think that’s partially by design. Still, Bechdel has selected comics that are both accessible and representative of where independent comics are now.

The Best American Comics 2011 is beautifully and thoughtfully compiled collection of comics. Forget about that friend you usually buy these collections for. Buy this one for yourself. (But then maybe let said friend borrow it when you’re done.)

Advance reading copy provided through NetGalley.

Despite having little familiarity with the story, it felt very easy to pick up the plot. Kibuishi doesn’t spend much time explaining things, but the characters and motivations are instantly clear through the strength of his storytelling. It’s perfectly fine being thrown right into the action — the story moves so quickly there’s not much time to be lost.

Kibuishi’s simple, strong lines for his characters give them a distinctive and clear charm. He draws their emotions plainly on their faces and communicates as much through composition and wordless panels as he does through dialogue. There’s a real sense of movement in these pages, and his experiences as an animator definitely give this book a cinematic quality. Large, scene-setting shots of cities or landscapes are given weight, as are close-ups on our lead characters. Color adds to the effect — strong blues provide watery shadows as our lead Emily makes her escape from peril and warm gold tones fill the outside spaces of Cielis.

While it’s a story about a world in peril with many international conspiracies, it’s also clearly a story about a girl discovering who she is. I love the strength of Emily’s relationship with her family and her bravery despite the odds she faces and the doubt she has about what she’s doing. Although I’ve only seen her in action in this book, I admire her progress and I think I’ll enjoy where she’ll end up.

The sci-fi-meets-fantasy setting is beautiful and evokes everything from Star Wars to various role-playing games. There are space ships but there’s also elves. The everything-goes aesthetic gives Kibuishi plenty of room to play — characters are everyone from the fox-faced Leon to a couple of robots (one of which looks a lot like a toy rabbit). It always feels fresh and fun and nothing feels out of place. Rather, the openness of this world gives the book its strength. The complexity and completeness of Kibuishi’s world makes it feel lived-in and familiar.

Clearly, I’m going to go read the other three parts and eagerly await the fifth. I need to know what happened before, yes, but I absolutely need to know what happens next.

So here’s the fun part.

Scholastic Inc. is offering five copies of Amulet Book Four: The Last Council (prize is valued is $10.99 per book) for me to give away. I am going to make this easy. You can watch the book’s trailer below (which is awesome and will make wish they would make a beautiful animated big-screen version of these books), read the synopsis and tell me why you want to read this book in the comments. Or just leave a fairly relevant comment. (Please leave a valid email address so I can contact you.) On Sunday evening (Sept. 25, 9 p.m. EDT), I will pick five winners at random (if more than five people comment) and let you know.

Come on, it’s a chance at a free book! What do you have to lose?

Kazu Kibuishi’s thrilling, NEW YORK TIMES bestselling series continues!

Emily and her friends think they’ll find the help they need in Cielis, but something isn’t right. Streets that were once busy are deserted, and the townspeople who are left live in fear. Emily is soon escorted to the Academy, where she’s expected to compete for a spot on the Guardian Coucil, a group of the most powerful Stonekeepers. But as the number of competitors gets smaller and smaller, an awful secret is slowly uncovered – a secret that, if left buried, means the certain destruction of everything Emily fights for.

Speaking of Sunday, Kazu Kibuishi will be at the National Book Festival on the National Mall. He’ll be speaking at 1:55 p.m. and signing books from 4 to 5 p.m. I will be there, at the very least, for his talk. There’s also some other interesting comics/graphic novel-related programming on Sunday that I will likely stick around for.

Review copy provided by Scholastic.

(I do think there are more comics — including the ones my boyfriend will let me borrow — that will be forthcoming, but this will likely be the last SPX-related post.)

Ghost Rabbit – Dakota McFadzean
It’s a bad idea to read this comic when you’re both physically and emotionally exhausted. Don’t get me wrong — Dakota McFadzean’s meditation on life and death told through a cartoon rabbit and a little girl is both beautiful and heartfelt, but it will sneak up on you. And if you’re like me, you’ll finish the comic and burst into tears. McFadzean’s art has an intimacy and expansiveness — he makes the moments of this comic feel personal and insignificant and that lends a poignancy to the quiet story he’s telling here. More than anything else I picked up at SPX, I was surprised and effected by this comic. I’m happy to read what else McFadzean does, but I think he’s already figured it out. (Even if he did make me cry.)

Space Office #2 – John Green
Why would you dislike this? This is your life. Fine, you’re not in an office in space, but this is still your life.

John Green’s take on office life is both preposterous and utterly accurate. Yes, you don’t work with robots, but maybe you might as well. His drawings have a playful, animated quality that’s easy to relate to. Our hapless hero Xander just wants to do his job but has to deal with offended aliens and surly staple bots. This comic will make your job seem not so bad after all. Or at least it will make you laugh.

Luke Holds Off – A Love & Sex Story – Jeremy Nguyen
Jeremy Nguyen’s sensitive tale of a high schooler deciding to wait to have sex with his girlfriend may seem to fall into the typical introspective “real-life” comics at first glance, but there’s definitely something meaningful and evocative about it. Nguyen’s art is bold, simple and lovely. His characters look and behave like real people and he does a masterful job of communicating the intimate conflicts of living. I admire his ambition with this comic more than I like it, though — I know where he was trying to go comparing Luke’s desire to hold of sleeping with his girlfriend with his father’s infidelity, but I don’t know if it quite works. Overall, though, it’s a thoughtful story about a moment of growing up and I can’t find much fault with it. Nguyen has a winning style and a distinctive voice. Even if this comic isn’t exactly what I wanted, I know others will be.

Pope Hats #2 – Ethan Rilly
I have not read Pope Hats #1, but I didn’t feel lost reading this. Franny is likeable and easy to relate to — a young woman who doesn’t know if she really wants to be on the career path she’s on — and Ethan Rilly renders her with sensitivity and grace. I loved following her and I absolutely wanted to know more about her. The other stories feel a little less effective, though. While Rilly’s art shines clearly, the extended monologue of “Gould Speaks” come across a little rambling and while I liked seeing Franny as a child, it’s a story that feels a little added in.

But really, as soon as Pope Hats is complete and collected, I am going to be lining up to buy it. My complaints are little ones.

This time, though, I do want to highlight some of the awesome women who exhibited their comics at SPX. I always seek comics by women and I don’t think Small Press Expo made much of a secret of how much we support women making comics. I think it was determined that 40 percent of our exhibitors were female — we have a list! While I totally understand that a good number of female creators just want to be seen as creators (and that’s something I absolutely get), I also don’t want their contributions to get lost or overlooked.

Vezere Valley Venture! – Megan Baehr

This travelogue chronicles Megan Baehr’s trip to France to view cave paintings as she does research for her upcoming graphic novel, The Lore Keeper. Like most travelogue comics, there’s not really a specific plot but just movement from one event to the next. Baehr’s artwork is crisp and clear and her enthusiasm for her subject matter is infectious. I’d already been interested in The Lore Keeper‘s progression, but this definitely pushed me into the realm of excitement.

Bug Boys #1-2 – Laura Knetzger

These are cute. While I think Laura Knetzger still has some growing to do as both and artist and a storyteller, I admire her playfully inventive stories about a pair of beetles and their world. I definitely think the concept is there and I came to enjoy her cartoony, surreal art as I saw more of it. She’s someone I’m going to be watching, definitely.

Frog & Owl: Regret Is for the Weak – Molly Lawless

Molly Lawless did not have her baby during Small Press Expo (although there was a period of time on Sunday she was away from her table and I was trying to start the rumor she had gone into labor. It didn’t work). That’s too bad because I’d told her that if she did have her baby at SPX, her baby would get in free for life. (It’s just as well — I probably didn’t have the authority to offer such a thing, anyway.)

Frog & Owl collects Lawless’ webcomic of the same name. It’s ridiculous, weird, incisive and hilarious. There’s no coherent storyline that connect the comics — instead, it’s just quips and random observations. The oddity and the strange formality of Lawless’ art may not be for everyone (although I don’t know who you people would be), but this is definitely the best comic you’re not reading. You should feel lucky that it’s not too late to start.

What’s the Word?: True Tales of a Woman on the Go – Cathy Leamy

I will always buy comics by Cathy Leamy every time I see her. Always.

What’s the Word? is a series of vignettes all based around single words — everything from “vacay” to “multitudes.” Leamy’s spirit and sense of adventure shines through and the expressive way she draws herself and others communicates simple, every day moments beautifully. Her comics are always a good time and this was no exception.

The Bad-Ass Habit – Laura Terry

I honestly think in any other year, Laura Terry’s gorgeous and inventive “Morning Song” would’ve easily won the Ignatz Award for Outstanding Mini-Comic. I don’t have any issue about Box Brown’s win there — it was a strong list of nominees, after all — but Terry’s comic was one of those instances where it was like “Yes, this is why I’m reading comics.”

The Bad-Ass Habit … well, yes, this is why I’m reading comics, too. It’s a nun fighting werewolves! What’s wrong with you if you don’t like that?

Terry’s art is refined and powerful and this comic feels delightfully too short and the action speaks of a greater promise. I want to know more about this werewolf-fighting nun! Why is she fighting werewolves? I want to see her fight more werewolves! I’ve spent the past couple of days recommending this to everyone (and they’ve all said “That sounds awesome.”)

Yakitori – Andrea Tsurumi

I enjoyed Andrea Tsurumi’s Terka 1 that I picked up last year (and I guess, sadly, I didn’t realize there was more of it out this year …) so I was interested to see what else she’s done. She’s a young artist with a fairly clear vision, and I like weird horror that she creates. Yakitori evokes Japanese yokai fairly obviously and menacingly, and I love her well-detailed, open pages. I’m absolutely going to keep going back for her comics.

Menstruation Station: Menarche Aboard – Jen Vaughn

Jen Vaughn is one of those people who is incredibly good for comics. I am absolutely serious. You need to pay attention to this woman.

These stories deal with the various aspects of a woman’s period — from the metaphorical (“It feels like a circus down there!”) to the disappointingly practical. It’s probably uncomfortable subject matter for some (in other words, men) but all too easy to relate to for the rest of us (in other words, women). Vaughn’s art has a lovely precision that’s not too formal and retains a sense of fun. She moves between reality and weirder realms with an understated ease.

This is not something I’m blaming on PACC itself at all. While Philadelphia is only (supposedly) three hours away, we went without much preparation and most things seemed to be against us (car worries, weather, traffic). It took us much longer to get there than we thought it was going to and we didn’t really plan too much about what else to do while we were there. (And most of the people I was there to see? Yeah, I’ll be seeing them again next week at Baltimore Comic Con. So yes, silly.)

But I’m glad I went. PACC is a wonderfully run small show and I was impressed with the level and diversity of talent that was packed into such a small space. Part of me would love to see it grow — obviously, there is a good deal of interest in comics in the Philadelphia area — but the other part of me wants it to stay exactly as it is. We need small press shows like this — where almost anyone with access to a photocopier and a stapler is welcome. Shows like this remind me of what a vital, living medium comics is. And that’s pretty great.

Almost without meaning to, I only bought minicomics made by women. Maybe that speaks to my own personal tastes more than anything else, but I also think it says that there were plenty of awesome female creators exhibiting there. It was a small space, sure, but even within that small space, I got to pick and choose.

So comics!

The Fox and the Grapes – Carey Pietsch
An adorable and liberal retelling of the Aesop fable, this is fun and playful. Yes, I love talking animals, but I love the humor that Pietsch brings to this tale. Her art is cartoony and cute, but it’s elevated by her intuitive sense of movement and progression. I loved this.

Garakuta (aka Happy Sappy Fun Time #2) – Erina Davidson
The most I could find out about Davidson is that she is/was a student at Rhode Island School of Design. And part of me is like “Of course she is.” I mean no disrespect there, though — this is fun. There is a sort of freedom to the energy of it, and it’s definitely very open. Parts of it are vulgar, but it doesn’t seem like it’s meant to be shocking. Davidson has a good sense of design — her images are bold and youthful. I think she may have some growing to do in terms of subject matter, but I’m more than happy to see where she goes next.

How to Be Lolita – Jojo
The website listed in the back of this comic (www.funkyjewels.com) just goes to an expired domain/squatter page, so I don’t have any more info on Jojo. That makes me sad since this is cute and fun. She can certainly draw the details of fashion and while I think there’s a slight mocking tone (because Lolita fashion is ridiculous), there’s also a genuine appreciation for it.

Penny-Farthing – Mandy Dunn
This is a neat wordless comic, mostly about a penny-farthing bicycle and a hot air balloon. But really, what it’s “about” is irrelevant — it’s about the progression of the images and the contrast of the colors (orange and blue). I always love discovering comics like this — ones that do something unexpected and a bit different.

Virtual Date – Jen Tong
Tong’s tale of meeting people online is beautiful, heartfelt and surreal. The tumbling progression of the layouts of her pages are amazing and the sensitivity she shows her characters is impressive in the short amount of time we get to know them. She’s already a star in my mind — and she deserves to be in yours.

Holly Holly Hobby Hobby #2 – Anni Altshuler and Leah Mackin
This falls into the weird area between “zine” and “comic.” It has many of the qualities of both — but mostly, it’s composed of abstract images that aren’t exactly sequential. I love the experimental nature of this, though — mini minicomics are inserted into the pages — and there’s a definite admirable artistry to it.

No Talent Hack! The Mini-Comic – Cyn Why
I go to shows like PACC for creators like Cyn Why. Granted, I usually don’t know when I’m going that I’m going for creators like her, but they make it worth it. She had such a delightful enthusiasm for comics that is was impossible not to be charmed — not to mention she was drawing Jean-Luc Picard in glitter pens in every comic purchased (complete with a cute come-on — at the point I bought mine, she said she had to start recycling them, but I got “You’ll be Number One in my heart”). But I’m supposed to talk about her comics, right? The first half of this is about the hazards of karaoke, and range from bad song choices with too-long guitar solos to the trouble of forgetting verses to songs. The second half is her and her husband planning how awesome they’ll be when they hit their 30th anniversary (maybe robots but no plasma cannons). Why’s art has an adorable manga-inspired quality to it that’s open and delightful. After reading this and meeting her, I absolutely want to get more of her stuff.

The Never-Ending War and Jailbreak!: Adam Dembicki
I will never say anything bad about comics made by a child.

While Adam obviously has a good guide in his dad, he has a clear sense of storytelling. The subject matter falls in typical boy interests — wars with aliens and cops & robbers — but Adam seems to have a mature sense of justice. He’s also becoming a wonderful artist. The aliens in The Never-Ending War are creative and scary. These are great.

(Plus, at this weekend’s DC Zine Fest, Adam handled the whole thing with the disinterest of a veteran. I think this kid has a future in comics just because of that.)

The Worst Kind of People Giant-Size #2: James Cuartero
If the title doesn’t tip you off, this collection of one-page comics is fairly vulgar and cruel. There is a purposefully distasteful vibe about it that turned me off at first, but the more I read it, the more I understood what it was going for. I think the comics got stronger as they went along — “My Baby Predator Daddy” and “#Winning” were two of my favorites. Cuartero’s dynamic faces convey the every-day moments of cruelty and disappointment well. I don’t know how much of this I need to read but I was ultimately impressed.

Spaz! #4 and From the Wikipedia List of Unusual Deaths: The Collyer Brothers: Emi Gennis
Gennis continues to develop as a cartoonist and while her often vulgar tales aren’t going to be for everyone, they do reflect a confident and playful perspective. Her “Emi’s Guide to Being a Teenager! Tip #37: How to Sneak Out of the House” is wonderful. The scenario she presents is overly complicated but almost seems plausible and the way she draws the big innocent eyes on herself is incredibly funny.

Gennis often inserts “unusual deaths” stories into her minicomics, but The Collyer Brothers is a standalone one. About two brothers who lived in Harlem at the first part of the 20th century, it’s both cruel and depressing. The comic is a wonderful showcase for Gennis’ artistic range, though, as she draws period costumes and building and a wide range of faces. Her Spaz! comics are fun but I like seeing what else she’s able to do.

Dodo Comis #1: Grant Thomas
Thomas’ narratives are more abstract than most comics (in fact, he was featured in Abstract Comics) but there is a definite lyrical beauty to his work. “Where Do Ideas Come From?” is a wonderful marriage of words and art — each makes the other stronger — and “The Duel” and “The Chase” take images from manga and strip the characters out, leaving only motion lines behind. These may be a little obtuse for some, but I admire his ability to expand on the art from of comics and what it can do.

Grow Up!: A Homage to Psuedo-Adulthood: Sara Baier
Feeling adrift in your 20s is nothing new — and a countless number of comics have been made about this subject. I often think there’s nothing else left to be said on this subject.

Baier proved me wrong. Through a series of vignettes, she meditates on what it means to be an adult. It’s often funny — the images of what she wanted to be when she grew up includes everything from “Gwen Stefani” to “A Mutant” — but it’s also sweetly poignant, as when her dad tells her there’s nothing wrong with the fact her heart tells he to do crazy things.

Her simple faces carry panels that are often dialogue- or text-heavy and I love her presentation of various icons of growing up — a diploma, or packing up to move away because you don’t know what else to do.

This is apparently Baier’s first completed comic. That seems crazy to me because it’s beautifully accomplished. I will love to see what she does next.

Review copies provided by Gennis and Thomas.

Ivy
Buy at Powell’s

I’ve been rewatching My So-Called Life on Netflix streaming.

When that show first aired, I was just the right age for it (a freshman in high school to Angela Chase’s sophomore) but now, I see very different things in it. I love the beautifully troubled Rayanne more than I used to — I think she probably became someone amazing — and whereas the teenage me found Jordan to be mysterious and intriguing, I now see how ridiculously unworthy of Angela he is. Also, poor Brian Krakow.

Now, while talking about My So-Called Life is plenty of fun (as is the ’90s fashion. Let’s bring some of that back!), I think really, stories about teenagers are really just a matter of perspective.

I liked a good deal of Sarah Oleksyk‘s Ivy (Oni Press, 2011) but I also think I see it in a different way than I would have if I was Ivy’s age.

Ivy is an artistic senior looking to escape her life in small-town Maine. She lives with her hard-working single mother and has fallen in with the other misfits at her high school if she really doesn’t like them. After meeting a trouble boy at an art school fair, Ivy tries to take her life into her own hands, with mixed results.

Oleksyk’s art is approachable and open — Ivy’s short hair gives her a punky edge while her nondescript facial features make her someone who doesn’t stand out. You went to high school with dozens of girls like this. Maybe you were one. Ivy’s friends, while a bit more distinctive, still look like people I knew (or at least knew people who were like them). It makes the story feel intimate and personal as well as universal.

Still, the dramatic turn — Ivy runs away with Josh after being suspended for school — feels a little false. It’s not that I don’t believe teenagers do this, but nothing in Ivy’s character really seemed like it was something she would do. The adults feel pretty one-dimensional. Ivy’s math teacher has it out for her for no real reason I can discern, and Ivy’s mother’s anger toward her feels misplaced. I can understand that Ivy’s mother wants a better life for her daughter, certainly, but I think she’s presented as being overly harsh toward her daughter.

But like I said, it’s maybe a matter of perspective. Oleksyk’s sympathies are with Ivy through and through, so of course the adults are going to be against her. Of course it’s a reasonable thing that Ivy would run away and that Josh would turn on her once they slept together. It’s a teenager’s world — everything is mostly black and white. People are good or bad and there’s not much in between.

The gray washes and Oleksyk’s strong lines do give Ivy the appropriate mood and her ability to express emotion both through quiet images and exaggerated drawings is admirable. She also composes beautiful pages, with borders closing in her characters or isolating them in open spaces. I have no complaints about her abilities as a comic artist.

I will love to see what Sarah Oleksyk does next. I just hope she leaves Ivy behind.

Avatar: The Last Airbender
The Lost Adventures
Buy at Powells.com

I have written about Avatar: The Last Airbender before. As an animated series, it was epic in scope with a well-developed mythology and beautiful animation that appealed as equally to adults as it did to children. I think it’s something that will last the test of time (but let’s just continue to ignore that movie version — in my world, it doesn’t exist).

Some of Avatar: The Last Airbender has appeared in comic form before — from last year’s Zuko’s Story prequel by Dave Roman and Alison Wilgus with art by Nina Matsumoto to the adaptation of the movie, as well as a few titles from the late Tokyopop. The crossover makes sense — it’s a series that captured the imagination of plenty of creators (and with planned meetups at Comic-Con, it obviously continues to do so).

That’s a lot of introduction to get to Avatar: The Last Airbender – The Lost Adventures (Dark Horse Comics, 2011), but I think it’s necessary background. Originally scattered in the pages of Nickelodeon magazine, it’s a wonderful thing to have all these comics in one place.

All the comics take place within the timeline of the series and do assume knowledge of characters and events. These comics aren’t meant to be an introduction to the world of Avatar: The Last Airbender but a compliment to it.

Still, the comics don’t get too bogged down in continuity. Understanding who these characters are and what’s come before is necessary, but for the most part, the individual stories are playful and comedic. It may be going a bit far to say they’re all gag-based, but most of them do have a punchline. Still, there’s the series trademark thoughtfulness and poignancy in many of these comics — Avatar: The Last Airbender presented a world of complications and so even when things were fun, there was always something at stake.

The book features a diverse group of artists and writers, from those who I was familiar with (Roman, Wilgus, Brian Ralph, Gurihiru) to those who were unknown to me (Rawles Lumumba, Johane Matte) as well as many people who worked on the series itself, from the creators to storyboard artists and episode writers. Everyone here was obviously passionate about Avatar: The Last Airbender and the consistency of the art and writing is amazing.

I realize I haven’t talked that much about the individual stories here, but this doesn’t feel like a traditional anthology where the stories feel separate from each other. The cohesiveness of this book is part of what makes it great. However, I did love Wilgus’s and Gurihiru’s “Boys’ Day Out” where Katara and Toph dress up as boys to be allowed into a restaurant, manage to get into some fights, and ultimately decide being a boy isn’t much fun. Ralph’s “Fruitstand Freestyle,” a wordless tale that follows Momo, is probably the most unusual for the volume (it’s more Ralph than it is Avatar: The Last Airbender) but I love that it’s here. All of this, though, it a tremendous amount of fun. I have no complaints.

So really: Do you like Avatar: The Last Airbender? (If you don’t, why not?) Do you like comics? (If not, why are you here?) If the answer is “yes” to both of those, why don’t you have this already?

(Digital review copy provided by NetGalley.)