Megg and Mogg in Amsterdam (and Other Stories)
by Simon Hanselmann
Fantagraphics
2016, 164 pages, 6.6 x 9.1 x 0.8 inches

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The entire loveably dysfunctional freak family that stole our hearts in Megahex (and sold them on the black market for hookers and blow) are back in Megg and Mogg in Amsterdam (and Other Stories). Once again we enter the bizarre funhouse world of Megg the witch, her cat familiar/lover Mogg, and their coterie of hangers on: Owl, Werewolf Jones, Mike the Gnome, Booger (a boogey woman), Dracula, Jr., and others.

On the surface, little has changed. The revolving door of Megg and Mogg’s house still spins to let their drug-addled crew enter, hatch a series of ridiculous schemes, inhale all of the drugs and fast food, and then we get to watch as one nightmarish scenario after another plays out like a slow-motion train wreck. But there are deeper relationship themes that run through Megg and Mogg in Amsterdam. Over the course of the book, strips begin to introduce trouble in Megg and Mogg’s relationship, and Megg’s growing attraction to Booger. Werewolf Jones also is having trouble in his marriage and is fighting to retain custody of his two sons (while doing every boneheaded thing in the world to ensure that doesn’t happen). The title of the book refers to a trip that Megg and Mogg take to Amsterdam to try and patch up their failing relationship.

The level of depression and depravity that drives Megg and Mogg (even more intense here than in Megahex) might be too much for some, but there is also an undeniable heart that beats at the center of this work. There is obviously a lot of love and solidarity to be found within the complex relationships between these characters – in the midst of the binge drugging, the frequent release of bodily fluids, and the seeming complete lack of any motivation or ambition on anyone’s part. The gloss of Megg and Mogg is undeniably juvenile, but it all feels deftly counter-balanced by an intelligence and a weird shape of hope that always keeps me rooting for these cartoon human monstrosities. – Gareth Branwyn

THE COLLECTOR FOLLOWS AN 1880’S ROGUE AND DANDY AS HE TRAVELS IN SEARCH OF TREASURES

The Collector
by Sergio Toppi
Archaia
2014, 252 pages, 8.5 x 11 x 1 inches

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I was delighted to discover this terrific collection of comics by Italian artist Sergio Toppi. Although I’d never seen his work before, it instantly got my attention and seemed familiar. It combines a flat graphic art style, a swashbuckling sensibility and witty writing that I found irresistible.

Sergio Toppi (1932-2012) was an artist and illustrator from Italy, whose books have been published for decades in Europe but only recently translated and available in the U.S. through Archaia, a division of Boom Entertainment. The Collector won the Soleil D’Or prize for Best Series at the Soliès-Ville Festival. It’s easy to see why.

The book follows the exciting exploits of an 1880’s rogue and dandy, known as “The Collector,” as he travels the globe in search of treasures. Not a seeker of gold or jewels, he collects only artifacts with historical significance. This sets the stage for adventures featuring Hopi Indians in the American Southwest, camel-riding Ethiopians, Mongol tribesmen, warring Irish clans, Maori chieftains and more. Although the artwork is in black and white, it’s most highly folkloric and historically colorful. The separate wide-ranging episodes and characters are knitted back together into a satisfying finale.

Each page is laid out in dramatic fashion with bold layouts. Some pages have conventional multiple comic panels, while others feature free-wheeling compositions, along with other full-page designs, more fine line illustration than comic book. Toppi is a master of drawing the human figure and the characters are richly rendered in various cultures’ costumes and in far-flung settings. That, combined with his inventive crosshatching, splatters, scratches and bold use of solid blacks, reminds me of two of my favorites: Bernie Fuchs and Mike Mignola.

I enjoyed the cinematic approach of the staging and the clever use of scale. Tiny figures draw you into a wider landscape, then are immediately juxtaposed against a close-up portrait, all within one page’s layout. If you remember that scene from the film Lawrence of Arabia where a nearly infinitesimally tiny camel-riding Peter O’Toole is boldly placed into a Cinerama desertscape, you’ll know what I mean – wow! I’m looking forward to reading another translated Toppi book: Sharaz De: Tales from the Arabian Nights. – Bob Knetzger

Books That Belong On Paper first appeared on the web as Wink Books and was edited by Carla Sinclair. Sign up here to get the issues a week early in your inbox.