Graphic novels have evolved into sophisticated, often dark tales exploring complex psychologies and critiquing entire social systems. When the author of The Handmaid’s Tale, itself a dark and sophisticated social critique, decides to write a graphic novel, one could expect more than this pulpy, pun-filled origin story.
Artist Johnnie Christmas adequately draws this superhero landscape of were-animals and shapeshifters in the uninspired style of decades of superhero comic books. The art matches the cheesy dialogue and paper-thin plot. Every character wears their role on their sleeve.
Strig Fleedus, hero and soon-to-be superhero, is hired to complete the formula for a gene-slicer elixir. But upon completion, he has an accident while chasing his indoor cat that’s escaped outdoors. An owl gets into the mix and we get a cat-owl-human superhero . . . who seems largely unfazed by his new role.
It becomes clear that nothing deeply psychological will be explored when the female love-interest and coworker of Strig calls him out the next day. Firstly, without prompting, she announces that she’s a half-cat who can transform at will. Then, she states “It was that super-slicer you’re working on. The secret project. You spilled some on yourself, right?” So much for it being a “secret project.” Nor for any sense of reveal or “coming out.”
The true purpose of this graphic novel lies outside of the plot and panels. Many of the pages contain statistics, PSA style, about domestic cats and the dangers awaiting them outdoors. It also cites stats about the impact domestic cats have on native birds in the Americas and British Isles. The odd juxtaposition of the PSA and comic fails to elevate the conversation within the panels.
The series is not recommended.
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