By John Beechem
Sam Kieth, the writer and illustrator best known for his Imagecomic book series “The Maxx,” is releasing a newmini-series for Oni Press, “Ojo.” Oni Press is anindependent comic book company that has had recent success incourting big name talent, most notably with Greg Rucka for hiscritically acclaimed series “Queen and Country.” NowSam Kieth will have his turn to bring his talent to the independentpublisher.
Although it is rare for a comic book writer to win the love of bothmainstream and underground comic fans, Kieth has succeeded in doingso. When Image comics first began publishing in 1992, it was oftenthought of as a renegade company. Todd McFarlane, creator of”Spawn,” the comic book figure most often associatedwith Image, left Marvel in the early ‘90s with Erik Larsenand Rob Liefeld. Sam Kieth began working for Image soon after andthe first issue of “The Maxx” was released in March of1993. Image’s high profile in the world of comic books at thetime led to a greater interest in the book.
In this way, it attracted many readers who may not have beeninclined otherwise to read a comic considered by most to bedownright strange and by some to be staggeringly brilliant. Themessuch as the relationship of the subconscious to a person’sperception of reality, codependency and its implications, and thesubjective nature of evil were all introduced. Add to that asuccessful single-season MTV animated series (one half ofMTV’s “The Oddities”), and as a result, a verywide audience was exposed to a veritable underground comic.Therefore, “Ojo” as a comic is in essence what”The Maxx” seemed to be: an unabashedly undergroundwork.
“Ojo” is written by Sam Kieth and illustrated by Kiethand Alex Pardee. To those familiar with Kieth’s work, the artin Ojo seems very much his. Children are drawn with cute, roundfaces, figures are relaxed and realistic, and paneling is extremelyflexible. The book is in black and white, like almost all Oni Pressbooks, but Kieth’s use of shading creates a very clear, crisppicture of the story.
The story is told as a first person narrative by the protagonist, alittle girl named Annie. She creates a journal through pictures andwords, often breaking the fourth wall, and this helps the readerdevelop a great sympathy for the character.
Annie’s mother died during childbirth so she lives with herolder sister and grandfather. Her father’s absenceisn’t addressed in the first issue. The child,understandably, has a great emotional stake in death and grief, so,when her first pets die in various accidents, she becomesdiscouraged. It is then that she discovers a small, hurt, vaguelyoctopus-like critter in her own room and decides to help it. Thisis “Ojo,” although it remains unnamed throughout thefirst issue.
“Ojo” is an emotionally rich portrait of a little girldealing with loss. Annie is appealing, and speaks with a verylifelike dialogue that creates a good rapport for the reader. Kiethsuspends our disbelief by keeping Annie’s childish speech,even as he deals with issues unlikely for a child to recognize.
“Ojo”‘s only shortcoming is that, in manyrespects, it seems derivative of Kieth’s previous work. Annieis analogous to Julie Winters of “The Maxx” who, whilean adult in the main narrative, was also featured as a child in anumber of stories. Both children have a close relationship with aninjured animal they find. Annie’s caretaker hopes to achievehigher artistic achievements in music just as Julie’s fatherhopes to be a painter. And both compromise: Annie’sgrandfather takes a mediocre job in advertising and Julie’sfather is a frustrated architect.
Still, for a first issue, “Ojo” does quite well andanybody, regardless of their familiarity with Kieth’s work,will be doing themselves a favor by picking it up.
