Daniel Elkin: It’s been nearly six months since we last talked Casanova: Acedia, and for a book that hinges on temporal distortion and incontinuous narrative this delay is either wrapped-up apt and meta in a post-ironic way, or it belies a misstep and sends me scratching for the nearest stained glass window at the back of the church where I had pinned my dreams of heaven.
But what is this all anyway if not the year of the scavenger and the season of the bitch, and we’ve got ourselves just another future song, lonely little kitsch. Everything is starting to come together now, here, in this story of this Casanova Quinn, as identities are coalesced or at least hinted at solidity. What is, is what should be, and there may be that some blood needs to be shed to make sure that happens.
Again and again and again.
But Diamond Dogs are poachers, right?
Bow-Wow, Woof Woof — Fraction and Moon are dropping the bombs in issue 3, and they work off each other so well that you get the sense that they are doing this thing with their eyes closed at this point. It’s naturally unnatural and they got this beast down to a magical science, wrecked up and paralyzed. You don’t even need to know what’s going on at all to understand everything that’s going down.
“Do you want to see a magic trick?”
Because there is a tight and quick game being played here and, while Fraction holds the outline in his back pocket, really it’s Moon who is sliding down the rope to the street below on this series. Every spatial and temporal anomaly is accounted for and they are all on full display in small gestures and those expressions on everybody’s face.
When I grow up I want to be as together as Casanova: Acedia #3.
It’s impressive, it’s fun, it’s grand scale, it’s tiny beats, it’s comics and it’s jamming satisfied.
Julia Walchuk: Well goodness. Daniel’s lyrical musings are making me feel all nostalgic because our review of Casanova: Acedia #2 was one of the first reviews I worked on for Comics Bulletin. Issue three of Casanova: Acedia has been a long time coming, but let me tell you, it was worth the wait.
Daniel could not be more right when he says that everything is starting to come together now. The first two issues were great, but in this third instalment the Casanova world is truly running amok and things are wonderfully insane. I just recently finished reading Casanova: Luxuria and having that context for this issue of Casanova was eye opening. Even when not knowing what was going on, I was entirely enthralled by Casanova, but now it’s even better. Each time I recognize characters and start to more deeply understand the storyline, I excitedly giggle and/or go, “Ohhh!!”
I think one of the most interesting things to me is how the art has progressed. The art in Luxuria was stunning, but Acedia is much more intriguing to me because it plays with colors in a way that Luxuria does not. Acedia has pages with only one or two colors, often blues and oranges, and these monochromatic sequences enhance the mystery and grandeur of the book.
It really is breathtaking.
Elkin: Absolutely. It rock and rolls with me. Nothing else would I rather it be. I’m in tears again.
Jason Sacks: And finally I join this song like a long-overdue chorus. Like a great band at the height of their powers, Fraction and Moon deliver a work of art that’s got a beat and a great through-line and all the sorts of details that make a perfect pop comic.
Seriously, Daniel and Julia, look at the craftsmanship that Moon brings to this work. He’s a virtuoso of great storytelling –just look at the lovely static image on page one with the image of the bomb falling and the plane receding into the background like a perfect tap tap tap of a drumstick opening the song. Then Moon delivers the bottom half of the page, with the bombs over the city and the camera pulling back — the song starts with a guitar roaring, falling into another wonderful rhythm with the middle tier of page two and the end of days and then BLAM everything falls apart and explodes all at the same time.
It’s a gorgeous sequence because it pulls the reader in with a massive drama. Enola gay and children saved and a wonderful pull back at the end of the sequence that massively adds to the drama of the moment — not to mention the non-representational and oh-so-powerful coloring (the purple horse on fire is an unforgettable image). Those four pages are a virtual clinic in smart storytelling and they’re just one small sequence in a longer issue, a longer story and a longer epic.
Elkin, Walchuck, this is a comic where everything is calibrated and tight at the same time it’s loose and improvised. It’s also damn near perfect.
Elkin: You got that right, Sacks! Especially that horse on fire. This ain’t last year’s capers, this is steel, this is steel, this is pulsars unreal.
Faction and Moon are tightening the screws on this Casanova saga series, each one getting stronger and stronger, building a better whirlpool. They call this one Acedia, but this ain’t no sloth at all as any torpor is getting woke the fuck up in what’s being unrolled here and we want more and we want it fast.
Just try to put me down and say I’m wrong.
It’s becoming more and more apparent that my new answer to that old question of “What’s your favorite comic” is slouching towards this whole Casanova jam.
It’s a Diamond Dog all right, and, as one of the old gods once intoned, “Boys, boys, it’s a sweet thing. Boys, boys, it’s a sweet thing, sweet thing.”