This is the first volume of a projected 2600-page opus by young cartoonist Adam Hines, set in an alternate world where animals can talk. Other than that, the world is much like ours in that we humans still raise and slaughter animals for food, and keep them as pets; as a result it is by turns heartbreaking and horrifying. The first volume introduces many characters and themes, but it primarily revolves around Pompeii, a Barbary macaque that is the leader of an animal terrorist group; and Jack Hammond, a human FBI agent who pursues Pompeii after the bombing of a California college library. Pompeii and his hench-ape spend a chunk of time hiding in the home of a wealthy family, leading to a particularly haunting passage where Pompeii reads the diary of the mother who lived there.
The ambition, complexity, and artistry of this book cannot be understated. It frequently reminded me of another great series about man’s relationship with nature; The Puma Blues by Stephen Murphy and Michael Zulli. The art reminded me of the tragically aborted Alan Moore/Bill Sinkiewicz series Big Numbers, by Hines’ use of collage, graphite, ink and mixed media. He employs mathematical principles to design panel and page layouts, reflecting the natural world that he depicts. Long silent passages of the camera drifting over darkened wheat fields or forests give way to human streets and buildings rendered in line art. Like Chris Ware, Hines employs a variety of visual devices and metaphors to compartmentalize the narrative, without losing the tension that runs throughout.
In short, Adam Hines and his book are the real deal. I read most of Duncan the Wonder Dog last night, and found difficult to put down and difficult to sleep afterward. It’s not for the faint of heart; great books or art never are.
You can read Duncan the Wonder Dog online here.