KENNEL BLOCK BLUES review
(Reviewed by Melody Werner)
Kennel Block Blues is a 4 issue 2016 comic written by Ryan Ferrier (D4VE) and illustrated by Daniel Bayliss (Translucid). Published by BOOM! Studios, it follows a mutt by the name of Oliver who is thrown into a kennel and must break out. Due to his sheltered upbringing, he finds a coping mechanism in imagining that the world around him is an old school cartoon--which inevitably makes for some morbid moments. I read this on the free (and legal) comics streaming app (this link for y'all cud-sucking iOS users), Graphite, right after blazing through Also Known As (which I'm reviewing next) on there--KBB sprung out to me as interesting for a number of reasons; 1) I recall it getting quite a bit of critical buzz circa 2016 but I believe that I wasn't nearly as into alternative comics as I am now so I skipped it, and 2) because the art style is... how to put this... it is wow. So after chugging through its 4 issue run in a bit, I have found myself feeling compelled to write something about it, ASAP.
I was, heretofore, not much of a peruser of Bayliss's art. I knew OF him, due to my omnipresent urge to suss out talented artists who aren't mainstream. So what a first impression. From the very first page, Bayliss tells us all, "You are in good hands." His versatility shines as the comic frequently, yet deftly shifts between the more Felix, the Cat animated style and the still cartoonish but more detailed, grimy, brutal style without ever missing a beat. Even more impressive is the ability to mix and match parts of these two styles in the same pages or even panels, without things ever feeling like one of them is out of place with the other. Then there's the panel layouts, which provide some very intuitive and thoughtful visual storytelling.
But Kennel Block Blues, as you can tell by these screenshots, would be nothing were it not for its wonderful colorist, Adam Metcalfe. This guy jam-packs so much verve into the story it always seems fitting to burst. But still knows just when to pull things back to make a somber panel or page really hit. The creative team of KBB was firing on all cylinders, it seems, given how Colin Bell drops some masterful lettering for the book. Polished, readable, enhances the atmosphere of the book--this is what proper good lettering ought to be. Oh, and if you care about that sort of thing, the covers are dynamite too. On every facet, Kennel Block Blues excels visually.
At first when I started reading this beyond the few sample pages on comiXology and whatnot, I had a fear that the book would wind up being nothing but a curio for those who are fond of non-traditional aesthetics in comicdom. I am outspoken in my dislike of D4VE, so there were some qualms I had going in of "Will this be something like that again for me? Just another comic that ain't my bag?" Thankfully, the first issue quickly sets the scene for what we can expect throughout--especially with its banger of a cliffhanger. From then on, what plays out is an expertly crafted entry into the library of prison break stories. The best comparison tonally (not to say either is remotely similar otherwise) I can think of is Kaijumax. It basically drew out similar emotions as Zander Cannon's gem for me, albeit in more compact forms; the kind of dread felt for likeable characters who look like they'll probably die or get destroyed in some other way. Ferrier's dialogue is snappy, adding to the emotional roller coaster's sense of pace as you never have to wade through swamps of text. As can be the case with real roller coasters, though, emotional roller coasters like this can suffer from a few bumpy moments--and KBB does, in my book. Some bits feel a little undercooked, especially towards the end. One particular character has this sort of rickshawing between two very different mindsets, without much in the way of material development to make it any less jarring.
Kennel Block Blues could most clearly have its message being one of animal cruelty, given how it's a kennel breakout story, y'know. But it seemed to me that there was also a very evident message regarding the prison industrial complex and how barbarically we still treat human beings in much of the modern world at this very moment. Something that may push your buttons is how it could be seen as handling mental health poorly. I'm no expert, so I won't speak to that angle--just a warning in case you need it.
Kennel Block Blues is an exceptional little read you oughta check out. I appreciate how self-contained it is; no excess, just 4 issues of snazzy art and punchy story. One of the best prison breakout books I've enjoyed; definitely up there with Kaijumax and Black Bolt. And if you're just testing the waters with Graphite, then this would be the shallows. Kennel Block Blues gets a 9.5/10 from me.
Must-read
Summary:
KBB would be worth reading just for its art, which is sensational and one of a kind--but its writing almost matches the art blow for blow, quality-wise.
Kennel Block Blues is a 4 issue 2016 comic written by Ryan Ferrier (D4VE) and illustrated by Daniel Bayliss (Translucid). Published by BOOM! Studios, it follows a mutt by the name of Oliver who is thrown into a kennel and must break out. Due to his sheltered upbringing, he finds a coping mechanism in imagining that the world around him is an old school cartoon--which inevitably makes for some morbid moments. I read this on the free (and legal) comics streaming app (this link for y'all cud-sucking iOS users), Graphite, right after blazing through Also Known As (which I'm reviewing next) on there--KBB sprung out to me as interesting for a number of reasons; 1) I recall it getting quite a bit of critical buzz circa 2016 but I believe that I wasn't nearly as into alternative comics as I am now so I skipped it, and 2) because the art style is... how to put this... it is wow. So after chugging through its 4 issue run in a bit, I have found myself feeling compelled to write something about it, ASAP.
I was, heretofore, not much of a peruser of Bayliss's art. I knew OF him, due to my omnipresent urge to suss out talented artists who aren't mainstream. So what a first impression. From the very first page, Bayliss tells us all, "You are in good hands." His versatility shines as the comic frequently, yet deftly shifts between the more Felix, the Cat animated style and the still cartoonish but more detailed, grimy, brutal style without ever missing a beat. Even more impressive is the ability to mix and match parts of these two styles in the same pages or even panels, without things ever feeling like one of them is out of place with the other. Then there's the panel layouts, which provide some very intuitive and thoughtful visual storytelling.
But Kennel Block Blues, as you can tell by these screenshots, would be nothing were it not for its wonderful colorist, Adam Metcalfe. This guy jam-packs so much verve into the story it always seems fitting to burst. But still knows just when to pull things back to make a somber panel or page really hit. The creative team of KBB was firing on all cylinders, it seems, given how Colin Bell drops some masterful lettering for the book. Polished, readable, enhances the atmosphere of the book--this is what proper good lettering ought to be. Oh, and if you care about that sort of thing, the covers are dynamite too. On every facet, Kennel Block Blues excels visually.
At first when I started reading this beyond the few sample pages on comiXology and whatnot, I had a fear that the book would wind up being nothing but a curio for those who are fond of non-traditional aesthetics in comicdom. I am outspoken in my dislike of D4VE, so there were some qualms I had going in of "Will this be something like that again for me? Just another comic that ain't my bag?" Thankfully, the first issue quickly sets the scene for what we can expect throughout--especially with its banger of a cliffhanger. From then on, what plays out is an expertly crafted entry into the library of prison break stories. The best comparison tonally (not to say either is remotely similar otherwise) I can think of is Kaijumax. It basically drew out similar emotions as Zander Cannon's gem for me, albeit in more compact forms; the kind of dread felt for likeable characters who look like they'll probably die or get destroyed in some other way. Ferrier's dialogue is snappy, adding to the emotional roller coaster's sense of pace as you never have to wade through swamps of text. As can be the case with real roller coasters, though, emotional roller coasters like this can suffer from a few bumpy moments--and KBB does, in my book. Some bits feel a little undercooked, especially towards the end. One particular character has this sort of rickshawing between two very different mindsets, without much in the way of material development to make it any less jarring.
Kennel Block Blues could most clearly have its message being one of animal cruelty, given how it's a kennel breakout story, y'know. But it seemed to me that there was also a very evident message regarding the prison industrial complex and how barbarically we still treat human beings in much of the modern world at this very moment. Something that may push your buttons is how it could be seen as handling mental health poorly. I'm no expert, so I won't speak to that angle--just a warning in case you need it.
Kennel Block Blues is an exceptional little read you oughta check out. I appreciate how self-contained it is; no excess, just 4 issues of snazzy art and punchy story. One of the best prison breakout books I've enjoyed; definitely up there with Kaijumax and Black Bolt. And if you're just testing the waters with Graphite, then this would be the shallows. Kennel Block Blues gets a 9.5/10 from me.
Must-read
Summary:
KBB would be worth reading just for its art, which is sensational and one of a kind--but its writing almost matches the art blow for blow, quality-wise.
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