supermonster #12

by austin english

Comic Book Discussed in this Article:

Supermonster #12
By Kevin Huizenga
$3.00
PO Box Griffith, IN 46319

Kevin Huizenga's Supermonster #12 is the best mini comic I have ever read. I cannot say it is the best mini comic ever, because I have not been reading mini comics since their inception, nor is such a statement helpful in any way. If this is not the best mini comic ever, it comes very close, and if nothing else, deserves great attention in this "banner year for comics," which is technically over. I predict that the next banner year for comics will be lead by Huizenga and John Porcellino at the helm, in place of Clowes and Ware.

Supermonster #11 was also reviewed on this site, and in that review, I said something along the lines of "Huizenga is obviously a very talented cartoonist, but his tendency toward shorter, less thought-out stories takes away from the power of his cartooning." While I doubt Huizenga took my criticisms seriously, Supermonster #12 shows that same very talented cartoonist (although more so now), telling some knockout stories. They are still experimental, and they still have an airy quality to them, but this time they work. They work monumentally.

The first story in the book is called "March 6, 1999" and shows the most overt Porcellino influence. It's drawn very simply, with about one illustration per page, with large amounts of diary-like text. Huizenga writes effortlessly in this piece, but it's not clear whether it's autobiographical or not. It doesn't matter. Not much dialogue is used, but Huizenga has a keen eye for reactions and mannerisms that he uses well in this story, as well as an effective "listing" technique: "Home. Watch some of "Coconuts" with Mom. Read some Hgr. Then leave and come back, and we go to Borders bookstore."

The very story is of some emotional magnitude, but is not exploited as such. Not sentimental, not too sad, but certainty not overly optimistic. It's handled just as the event probably happened: in a calm, yet bittersweet fashion.

"Gertrude" is similar, in writing style and drawing, but shows Huizenga to be an even better writer. When reading a comics story, it is easy to forget all the thought that goes into the actual writing of a narrative. Especially easy to forget about that process when enjoying the work of someone with Huizenga's talent. In "Gertrude" the timing, art, writing, page design, everything, is flawless.

But Huizenga has shown us nothing yet. He pulls out all the stops (I assume perhaps he can do even more) for an epic wordless yarn called "The Wild Kingdom." It must be seen to be believed. Huizenga follows around Glenn Ganges, a normal fellow, who simply drives around his neighborhood. But every page is drawn with such energy, every action scrutinized, that the story takes on a swift persona. The animals in "The Wild Kingdom" are always present, and are drawn in far more detail then Ganges, making their presence seem extra important. It's a hard story to write about, because it's not clear what Huizenga is trying to do here. Whatever it is, it works. His lines on paper are some of my favorite things to look at now.

Supermonster is a fascinating little book. It's my favorite, and I can't imagine anyone in his or her right mind who wouldn't fall in love with it right away.

Copyright © 2001 Austin English. All Rights Reserved.