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Un classique de la terreur, maintenant en format graphique ! Robert Neville est le seul survivant d'un virus qui a isolé la planète et convertit l'humanité en vampires. Son existence ―dépressive et crépusculaire― se réduit à combattre ces êtres sanguinaires et essayer de survivre, avec les morts et avec son passé. Neville leur tient tête depuis trois ans. Il vit dans une maison barricadée, fortifiée contre les attaques nocturnes, ne sort que pendant la journée pour partir à la recherche de produits de première nécessité, puis se retire chez lui à la tombée de la nuit pour survivre. Neville rêve souvent de la mort de sa femme et de sa fille. Il se réveille ainsi, chaque matin, dans un climat d'horreur, étouffé par la solitude et les remords. Sergio Hernández et Toni Caballero, réinventent le classique de la terreur de Richard Matherson avec un style pop plein de couleurs et d'éclectisme.
Tiré d'un classique de la littérature haïda, ce roman graphique spectaculaire tout couleur nous raconte l'histoire tragique d'un chef autochtone si aveuglé par la revanche qu'il conduit sa communauté vers la guerre et la destruction. Red est le fier chef d'un petit village dans une des îles de la côte nord-ouest de la Colombie-Britannique. Sa soeur qui a été enlevée jadis par des pilleurs est localisée récemment dans un village environnant. Red s'engage à la sauver et à prendre sa revanche sur ses ravisseurs. Le livre comprend 108 pages illustrées et peintes à la main. Il est un métissage adroit entre l'imaginaire haïda et le manga japonais. Cet impressionnant roman d'action graphique sonne l'alarme sur les effets dévastateurs de la rage et de la vengeance.
Ce récit autobiographique décrit une dispute virulente entre l’auteur préadolescent et son petit frère, Guillaume. Razmoh raconte comment, excédé par les incessantes provocations infantiles de Guillaume, il en vient à le frapper. Sans filtre, cette chronique explore le ressentiment propre aux relations fraternelles, capable de mener à un comportement violent. Marqué par cet épisode, Razmoh tente ici de restituer des émotions confuses, où immaturité et brutalité s’entremêlent. Dans ce récit, tout semble passer à travers le filtre comique du dessin. Le style outrancier, ainsi que l’usage de couleurs franches, participent à créer un univers volontiers caricatural. En déformant les visages, en exagérant les mouvements, les expressions, en bruitant tout de manière peu naturelle, l’auteur met en scène un véritable théâtre grotesque, qui donne corps aux émotions exacerbées de l’enfance : ennui, injustice, jalousie, jubilation et violence. La fin du récit prend une ampleur presque épique, soulignée par l’évocation de la célèbre valse de Strauss, associée à l’ouverture de « 2001, L’Odyssée de l’espace », qui vient clore en fanfare cette chronique intime. Un CoCo Comics qui devrait évoquer des souvenirs personnels à bien des lecteurs.
