“Notes for a War Story,” a first person narrative by Gipi, is set in a nebulous country where villages exist one day and disappear the next. Three young men band together to survive on the margins of the country, doing petty crime. But it’s an odd man out story. The boys have only vague notions of what the war is about. The frictions within their trio mirror those in the country at large. The brutality and violence inherent in the state where social law suddenly fails is drawn close up. What is politically correct is what gets you through a day and a night, a falling spiral that soon shortens days and nights to hours then minutes in a manipulated clock, and peace is an expedient agreement easily broken. The drawings, green, often olive drab wash panels, convey bleak settings and desperate tones. The dialog is quick, the story clear, the narrator Giuliano’s reflective notes the distinctive difference between an existential hope and a despairing nihilism. But what gives Guiliano this capacity to reflect the others lack remains ambiguous, while lawlessness explains only part of the free-for-all atmosphere that characterizes war. Each faction quickly establishes and evolves its own laws to satisfy its needs and wants. When values and desires change, one finds oneself outside the law. Rules, both formal and informal, are created and broken in every part of society: the family, church, village, corporation, military, language and literature. Published by First Second in 2004, and translated to English from Italian in 2007 by Spectrum. Afterward by Alexis Siegel, 2006. A 125 page, sturdy paperback with fold in cover flaps. Here is a 2008 Interview with Gipi at Words without Borders.
Rutu Modan’s “Exit Wounds” (Drawn & Quarterly, 2007) takes place in Israel. There’s been a bombing, and there is a missing person. The themes are familiar and familial. A son is estranged from his father, angry. A kind of detective story evolves, with hints of noir, as Koby engages to find out what’s happened to his father in the aftermath of the bombing. Along the way, Koby discovers love, another theme, mostly unrequited, unresolved, while the characters confront the antagonist of ambiguous relationships. “Exit Wounds” is a comic book told in four chapters of color panel drawings. The details of the drawings act like descriptive prose in a conventional novel. The drawings are realistic but also suggestive. The sequence where Koby and Numi go body surfing is a good example of the lovely and patient interludes that give the novel its grace and gifts. Interview with Rutu Modan at BBC 4, and another at Words without Borders.