Nostalgia

by his stage name, Nostalgia) was once a revolutionary musician, but after not making any new music for years, he’s become completely detached from both his creative life and his former insurrectionist ties: “I can’t get arrested these days,” he says to someone currently fighting against the system. “And I’m not looking to.” When Nathan appears, claiming to be his son, Craig is skeptical but open to forming a bond with the younger man. The story flashes back to Craig’s earlier life—his parents, his rise to fame, and subsequent withdrawal from the world—while, in the present, Nathan’s involvement with a shadowy rebel organization is revealed. Unlike a lot of other dystopian fiction, this story’s setting and its technology is fleshed out just enough to be intriguing without feeling excessive\u003B the futuristic way that music is created is especially engrossing. There’s a twist just before the end that some readers may see coming, but Hoffman (perhaps better known by his stage name, Babydaddy, of the glam\u002Drock band Scissor Sisters) still manages to make it compelling. Žeželj’s art style is more abstract than one typically encounters in comics—reminiscent of flyers from punk shows, but more richly colored. It’s an appealingly bold stylistic choice, but it causes a few problems at times, as characters’ faces are sometimes too abstract to recognize. The story itself is moody and introspective, ruminating on such ideas as what it means to be famous, how to use that fame, and what a celebrity owes to the world\u003B however, it avoids feeling self\u002Dabsorbed. Truly, the biggest downside is that the story ends just as it seems to be getting started."