Blacksad : Amarillo. Juan Diaz Canales (Writer), Juanjo Guardino (Art) Neal Adams & Katie LaBarbera (Translation) Dark Horse Comics (2014)

John Blacksad finds himself on the road across 1950s America, cruising in a golden Cadillac Eldorado west from New Orleans, while taking a much needed rest from the deadly dramas that dog his feline tail-or so he thinks. Before long Blacksad’s hard luck catches up with him, landing him smack in the middle of another murdr and the pursuit of a down-and-out Beat generation writer whose own luck might just have run out.

Beautiful art and engaging writing combine to deliver an entertaining story of a road trip across a mythical, noir, 1950’s America. John Blacksad gets an chance to drive a golden Cadillac Eldorado from New Orleans to Amarillo and hopes for an easy trip. It starts to go wrong when the car is stolen and there is a murder.  As Blacksad pursues the car and is in turn pursued by vengeful FBI agents, a despairing writer finds that his life is slipping further out of control as he tries to deal with falling in love with a woman in trouble and a agent wanting the manuscript he has finished but cannot release. The story threads tie up very nicely to a satisfying conclusion that captures the tone of the book very nicely.

Juan Diaz Canales has taken all the classic elements of the noir genre, and chosen to focus on the most neglected one, the wounded romance between lovers that is doomed by circumstances arising before they meet. This gives the book a less grim tone than it would otherwise deserve as the cast of desperate people swirl around each other all looking for something. One of the astonishing parts of the book is the way that Juan Diaz Canales conjures up an America that never was that still seems true and recognisable. He captures the look and feel from the mythology of post-war America, the Beat generation and the dislocated lives of those locked out of the American Dream.  The anthropomorphic cast fit perfectly into the America that never was, they are never caricatures, and they are vivid and alive, never representing anyone but themselves. There is a big heart beating in the story, it is scarred and bruised but never cold or mean spirited.

The astounding art by Juanjo Guardino is a sensual, luxurious pleasure for the reader, it invites slow reading to soak up the detail and revel in the craft. It is deeply purposeful, the details are never extra, they are there to draw out and support the story and cast. It is wonderfully balanced between so powerful that it could simply crush the story and being severely practical, delivering the context and cast so that the story in clear and explicit. Any panel is a joy in itself, combined they serve sequential storytelling with strict care and pacing to serve the overall purposes of the book. Any artist who is drawing an anthropomorphic cast has a tricky problem, tying not to betray the essential aspects of both human and animal. Juanjo Guardino cast look natural and fit into their shapes with confident ease.The translation by  Katie LaBarbera and Neal Adams is invisible, the dialogue is easy and flowing, the cast speak in distinctive voices that never jar. A glorious comic experience.

Blacksad. Juan Diaz Canales (Writer), Juanjo Guarnido (Art), Anthya Flores, Patricia Rivera (Translation). Dark Horse Books (2010)

Outstanding collection of stories about a brilliantly re-imagined pulp version of 1950's America. John Blacksad, a private investigator, becomes involved with the death of a former lover, a nasty outbreak of white supremacist activity and with the tangled politics of nuclear paranoia and anti-communism. The stories are sharp and crisp, the action is hard and furious, the reveals are brilliantly staged. The atmosphere is noir, nearly everyone is on the make or trying to be, wealth, power and greed drive the plots. The cast are superb, a collection of losers trying to be winners and winners trying to prevent anyone else from winning, a sprinkling of those trying to do the right thing, even if they are no longer sure what it is.
Initially the most striking thing about the stories is that the cast are all human shaped animals, this only serves to emphasise the humanity of the cast. They are not animals pretending to be humans, they are humans parading their animal possibilities.
The astonishing art by Juanjo Guarnido creates a large and expressive cast, rarely has body language been so eloquent, the facial expressions are a joy. The panels are full of details that serve to add depth to the story, they create a entirely convincing context for the actions of the cast.
The trappings of the pulp stories and the noir films are so easy to imitate that they verge on the meaningless, Juan Diaz Canales has captured the bruised romance that underlies the originals. The struggle not to be overwhelmed by the nihilism that florishs with overrunning greed is central, to believe that there is a point to trying to do the right thing. There is a savage price to be paid for this and it is extracted in full in these stories. Everyone is compromised in some way, how they respond to it is at the heart of their actions.
These are stories with a real heartbeat, they draw in the reader and make the reader care abbout the cast. The mysterious spark of creativity is buring brightly in this wonderful book, a triumph.