A new Oni Press title by Chynna Clugston? You know I'm there. This book boasts the same sort of energy and quiriness one comes to expect from the Amerimanga creator, but there's a much more haunting and serene tone to be found in part of the story. That really made me sit up and take notice of the book, but it also tends to conflict with the over-the-top characterization we find later in the issue. I'm definitely intrigued by the premise and entertained by the frenetic tenants of the rooming house, but I'm just not sure if the two belong in the same book. The art is similarly dichotomous, and I know I definitely preferred the slightly more polished and calm linework earlier in the issue.
A mysterious and magical child named Vanora suffers a traumatic loss, and it's clear that she's not exactly a typically human girl. She's taken in by kindly people who rescue her not only from violence but a tempest, but as she enters adulthood, she finds herself all alone. Her elderly guardians have passed away, and the lonely soul makes her way into the nearest town, Grangeton, dubbed "Strangetown" by the locals. Vanora finds room and board at a local pub, but she's befuddled by the strange personalities who suddenly serve as her neighbors and new family.
Clugston's art in the first half of the issue is much more focused and polished than we're used to seeing from her. The main character's nudity in the opening scene is initially a bit shocking and unsettling, but the visual is key in reinforcing that Vanora is a complete innocent. In terms of plot, the reader is meant to realize that the girl is actually a transformed animal pup, but it's the thematic and characterization-based elements that are more important. As the other pub tenants are introduced, the cleaner approach to the art fades a little, giving way to explosive entrance scenes. I really preferred the less frenzied approach to the art, which thankfully, dominates the book.
The one thing that kept this from being a stand-out book for me was the extreme approach to the other characters introduced in the middle of the issue. I realize that they're meant to be extroverts and loud to serve as contrasts to Vanora, but for the most part, they come off as obnoxious, rude and irksome. A bimbo on roller skates who thinks property damage is appropriate? A landlady who cares nothing of how others feel? Those were my reactions to the characters, and I realize that wasn't the writers' intent.
Fortunately, Vanora's mysterious past and her serene and shy nature manages to eclipse the other characters. I honestly want to learn more about how she came to make the transition from the natural world to the civilized one. There's a magic to the character that I hope isn't lost as the plot progresses. The earlier part of this book is something of a divergence from Clugston's usual subject matter, and that newness is what drew me into the story right away. I like that Vanora isn't treated like a fish out of water throughout her lifetime. Though withdrawn and confused, she's not clueless. She has matured and learned, and the hint of creativity and intelligence we see in her as she begins a new life once again makes her all the more intriguing as a protagonist. 7/10
