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Horde
After the death of her father, Ruby Ando tries to reconnect with her estranged and isolated mother, whose hoarder house is a nightmare labyrinth of secrets and dangers. All the love Ruby was never shown she sees her mother lavish on her treasures and trinkets, the possessions that possess her. But when Ruby desperately tries to free her mother, the house wages war, ensnar-ing both women within its maze. Brought to hideous and twisted life by a mother's love, the "Horde" is determined to purge Ruby from the collection—or see her join it forever.
72 pages, Hardcover
Published October 1, 2019
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Displaying 1 - 17 of 17 reviews
November 10, 2019
A very trippy book that will make you rethink hoarding.
January 28, 2023
El inicio sabe generar interés, pero luego todo se desmorona. A pesar de que no llega ni a las 100 páginas, hubo un punto en el que me costaba encontrar las ganas para seguir avanzando.
La protagonista es Ruby, una joven cuyo padre acaba de fallecer. Cuando era niña, sus padres se separaron a raíz de cierto acto grave por parte de su madre. Sin embargo, su padre nunca quiso que su madre sufriera y por eso se encargó de mantenerla. Ahora que él ha muerto, Ruby quiere seguir su labor y acercarse a su madre, pero volver al antiguo hogar familiar pondrá en riesgo su vida.
Las primeras páginas presentando a los personajes intrigan y son adictivas. Es más, dan a entender que estamos ante una historia con un buen toque siniestro y con la posible intervención de demonios o fantasmas malvados. Lamentablemente, cuando en teoría detona lo más importante es cuando se pierde todo el interés. No me quedó claro si estaba ante una obra que pretendía condenar de forma metafórica la acumulación de objetos (la madre de Ruby nunca tira nada) o si simplemente se intentaba usar eso como excusa para una trama en la que la autora acabó perdiendo el norte y solo mostró espíritus o entes chiflados cuyo origen y propósito era ligeramente difuso.
La madre de Ruby es el eje de la trama, pero está como dopada o viviendo en una alucinación constante de la que Ruby acaba siendo partícipe. No logré sumergirme en el ambiente presuntamente sobrenatural, hay lagunas respecto a ciertos hechos del pasado, Ruby es incoherente, los acontecimientos que se van dando parecen formar parte de un gran delirio, el final es brusco y cuesta entender el cambio repentino de un personaje... vamos, que es que apenas puedo destacar nada positivo.
No le doy la mínima puntuación porque las primeras páginas realmente me gustaron y porque el trabajo artístico es de calidad (lo que falla es el desarrollo a nivel argumental). Las ilustraciones están definidas, se hace un buen uso de los colores y determinadas viñetas desprenden elegancia.
La puntuación real sería un 2,5/5. Como es una obra corta, no os diría que no la leáis. En verdad, es de esas ocasiones en las que me pregunto si todo tenía un sentido que yo no supe interpretar.
La protagonista es Ruby, una joven cuyo padre acaba de fallecer. Cuando era niña, sus padres se separaron a raíz de cierto acto grave por parte de su madre. Sin embargo, su padre nunca quiso que su madre sufriera y por eso se encargó de mantenerla. Ahora que él ha muerto, Ruby quiere seguir su labor y acercarse a su madre, pero volver al antiguo hogar familiar pondrá en riesgo su vida.
Las primeras páginas presentando a los personajes intrigan y son adictivas. Es más, dan a entender que estamos ante una historia con un buen toque siniestro y con la posible intervención de demonios o fantasmas malvados. Lamentablemente, cuando en teoría detona lo más importante es cuando se pierde todo el interés. No me quedó claro si estaba ante una obra que pretendía condenar de forma metafórica la acumulación de objetos (la madre de Ruby nunca tira nada) o si simplemente se intentaba usar eso como excusa para una trama en la que la autora acabó perdiendo el norte y solo mostró espíritus o entes chiflados cuyo origen y propósito era ligeramente difuso.
La madre de Ruby es el eje de la trama, pero está como dopada o viviendo en una alucinación constante de la que Ruby acaba siendo partícipe. No logré sumergirme en el ambiente presuntamente sobrenatural, hay lagunas respecto a ciertos hechos del pasado, Ruby es incoherente, los acontecimientos que se van dando parecen formar parte de un gran delirio, el final es brusco y cuesta entender el cambio repentino de un personaje... vamos, que es que apenas puedo destacar nada positivo.
No le doy la mínima puntuación porque las primeras páginas realmente me gustaron y porque el trabajo artístico es de calidad (lo que falla es el desarrollo a nivel argumental). Las ilustraciones están definidas, se hace un buen uso de los colores y determinadas viñetas desprenden elegancia.
La puntuación real sería un 2,5/5. Como es una obra corta, no os diría que no la leáis. En verdad, es de esas ocasiones en las que me pregunto si todo tenía un sentido que yo no supe interpretar.
October 23, 2019
HORDE (Aftershock Comics, October 2019) Marguerite Bennett,co-creator and writer. Leila Leiz, co-creator and artist. Guy Major, colorist. Marshall Dillon, letterer. Hardcover, 72 pages. ISBN # 978-1-949028-34-8.
Beyond the clever play on words of the title - - HORDE is one of those works that makes you pause to reflect on what you’ve just finished reading and stop to consider the importance and value of “things” (both tangible and intangible) in your life. Hold that thought. I’ll return to it at the end of this review.
HORDE is part of an initiative at Aftershock Comics to publish original graphic novels in the European format, oversized hardcovers printed on premium paper of heavier stock. It’s a beautiful format, and HORDE really benefits from this style of presentation.
The expressive art of Italian illustrator Leila Leiz is fully realized in the oversize panels, taking full advantage of her ability to covey emotions and moods through facial expressions and body language. There’s an innocence and warmth to the more sensitive moments, that when contrasted with the eerie elements of the more horrific scenes, grants them both more impact and punch. The color and shading choices of colorist Guy Major help convey both the underlying emotions as well as the severity of the threatening moments.
The back cover blurb and image lets readers know exactly what HORDE has in store: “All Ruby ever wanted was her mother’s love. Her mother’s house had other ideas.”
Following the unexplained death of her father, Ruby Ando visits her estranged mother in an effort to reconcile and start anew. What she encounters is a house full of souvenirs, trinkets, odd object and artifacts - - all personal treasures that her mother surrounds herself with in an effort to define her own importance. Her father was also a collector of strange art, which caused Ruby to often feel more like an object rather than a young daughter. However, a flashback to a horrifying incident with a broken vase indicated that his priority was the well-being of his family. When mother Mia’s preoccupation with accumulating things began to conflict with her family interactions, Ruby’s father took her and moved away.
When Ruby tries to free Mia from isolation and release her from the home, the home objects like a thing possessed as the collection of material things throughout the home take on supernatural properties and threaten them both. Mia’s obsession has brought them to life and both she and her daughter become possessions that the house is unwilling to relinquish. It refuses to give up its’ treasures and manipulates parts of the house to trap them within.
HORDE is a horror story of multiple levels that deals with things that disturb and cause dread, dismay and disgrace: isolation; feelings of low self-esteem and non-importance; obsessive possession; the pressures and fears of claustrophobia; mind-numbing inner parasites and internal demons; and the horror inherent in our modern reality of twisted value systems. Yet there’s an uplifting undercurrent of the importance of family and love that runs throughout the story.
While I haven’t read author Marguerite Bennett’s work for DC, Dynamite and other publishers (Bombshells, Red Sonja, etc) and can’t refer to it, I’m very familiar with the series she’s done for Aftershock (Insexts, Animosity). I’ve often suspected that she gets ideas from occurrences and observations in her personal life and injects these into her stories, twisting and morphing them into fantastic tales with underlying messages.
That was confirmed in an August 2019 interview with The Hollywood Reporter where Bennett was asked about HORDE: “Is there a personal closeness to this particular story for you as a writer?”
Her response was succinct: “There always is.”
Her comments on HORDE also clearly summarize the importance of this work and what makes it so powerful: “I think the great evils of the world have always begun with the treatment of people as things.”
Back to that thought at the beginning of this review: I
’ve been reading comics since the age of four and reflecting on HORDE made me feel a little guilty about my comics collecting hobby. While many of my earliest comics weren’t retained, I’d begun to save my comics from the late 1960’s and onward, requiring more and more of my occupied space to store them.
A barrier was broken through when 15 years ago I sold many of the most valuable comics in my collection in order to help finance a travel opportunity for my son. Once I got over the heartbreak of departing with those treasures, I considered the rest of my collection. Neither one of my sons wanted to inherit these books after my eventual passing. So, I decided to keep selling, trading and sometimes donating in order to help fuel my continuing comics-reading obsession. There are only a few books that I won’t part with, those that I consider classics and plan to read multiple times. It’s worked out fairly well, but I still have what most would consider an excessive amount of comics.
While visiting the Aftershock Comics booth at Baltimore Comic Con this past weekend, I purchased the Convention Exclusive copy of HORDE. I definitely wanted to read it but I thought it would increase in value in a few years and reward my investment. No longer.
This book is one of those I consider to be “Keepers”. I’m going to hang onto HORDE and share it with friends and acquaintances as an perfect example of the heights to which graphic novels are capable and the power of this art form combing images with text.
Beyond the clever play on words of the title - - HORDE is one of those works that makes you pause to reflect on what you’ve just finished reading and stop to consider the importance and value of “things” (both tangible and intangible) in your life. Hold that thought. I’ll return to it at the end of this review.
HORDE is part of an initiative at Aftershock Comics to publish original graphic novels in the European format, oversized hardcovers printed on premium paper of heavier stock. It’s a beautiful format, and HORDE really benefits from this style of presentation.
The expressive art of Italian illustrator Leila Leiz is fully realized in the oversize panels, taking full advantage of her ability to covey emotions and moods through facial expressions and body language. There’s an innocence and warmth to the more sensitive moments, that when contrasted with the eerie elements of the more horrific scenes, grants them both more impact and punch. The color and shading choices of colorist Guy Major help convey both the underlying emotions as well as the severity of the threatening moments.
The back cover blurb and image lets readers know exactly what HORDE has in store: “All Ruby ever wanted was her mother’s love. Her mother’s house had other ideas.”
Following the unexplained death of her father, Ruby Ando visits her estranged mother in an effort to reconcile and start anew. What she encounters is a house full of souvenirs, trinkets, odd object and artifacts - - all personal treasures that her mother surrounds herself with in an effort to define her own importance. Her father was also a collector of strange art, which caused Ruby to often feel more like an object rather than a young daughter. However, a flashback to a horrifying incident with a broken vase indicated that his priority was the well-being of his family. When mother Mia’s preoccupation with accumulating things began to conflict with her family interactions, Ruby’s father took her and moved away.
When Ruby tries to free Mia from isolation and release her from the home, the home objects like a thing possessed as the collection of material things throughout the home take on supernatural properties and threaten them both. Mia’s obsession has brought them to life and both she and her daughter become possessions that the house is unwilling to relinquish. It refuses to give up its’ treasures and manipulates parts of the house to trap them within.
HORDE is a horror story of multiple levels that deals with things that disturb and cause dread, dismay and disgrace: isolation; feelings of low self-esteem and non-importance; obsessive possession; the pressures and fears of claustrophobia; mind-numbing inner parasites and internal demons; and the horror inherent in our modern reality of twisted value systems. Yet there’s an uplifting undercurrent of the importance of family and love that runs throughout the story.
While I haven’t read author Marguerite Bennett’s work for DC, Dynamite and other publishers (Bombshells, Red Sonja, etc) and can’t refer to it, I’m very familiar with the series she’s done for Aftershock (Insexts, Animosity). I’ve often suspected that she gets ideas from occurrences and observations in her personal life and injects these into her stories, twisting and morphing them into fantastic tales with underlying messages.
That was confirmed in an August 2019 interview with The Hollywood Reporter where Bennett was asked about HORDE: “Is there a personal closeness to this particular story for you as a writer?”
Her response was succinct: “There always is.”
Her comments on HORDE also clearly summarize the importance of this work and what makes it so powerful: “I think the great evils of the world have always begun with the treatment of people as things.”
Back to that thought at the beginning of this review: I
’ve been reading comics since the age of four and reflecting on HORDE made me feel a little guilty about my comics collecting hobby. While many of my earliest comics weren’t retained, I’d begun to save my comics from the late 1960’s and onward, requiring more and more of my occupied space to store them.
A barrier was broken through when 15 years ago I sold many of the most valuable comics in my collection in order to help finance a travel opportunity for my son. Once I got over the heartbreak of departing with those treasures, I considered the rest of my collection. Neither one of my sons wanted to inherit these books after my eventual passing. So, I decided to keep selling, trading and sometimes donating in order to help fuel my continuing comics-reading obsession. There are only a few books that I won’t part with, those that I consider classics and plan to read multiple times. It’s worked out fairly well, but I still have what most would consider an excessive amount of comics.
While visiting the Aftershock Comics booth at Baltimore Comic Con this past weekend, I purchased the Convention Exclusive copy of HORDE. I definitely wanted to read it but I thought it would increase in value in a few years and reward my investment. No longer.
This book is one of those I consider to be “Keepers”. I’m going to hang onto HORDE and share it with friends and acquaintances as an perfect example of the heights to which graphic novels are capable and the power of this art form combing images with text.
July 22, 2020
This has a very creepy beginning, and I'm glad that most of the book is not focused on that one event, but on the way people treat their belongings, and others, as a whole. The art is fantastic, and the paneling is unique on each spread. Sometimes they span the two pages; other times they are pure vertical; and at other times, they are presented in an organized chaos, properly mirroring the events in the story.
Ruby's father dies when she's 31, and she hasn't seen her mother Mia since the woman was kicked out when Ruby was 10. But her father had continued supporting her, with the stipulation in his will that she leave his house and only take a certain amount of the belongings. Because Mia is a horder, though not a messy nor a disgusting one. She just...keeps things.
Physical things with almost no story.
Memories.
People.
I hate that she blames Ruby for everything, including "destroying" her body. I think I hate it more because some of my friend's mothers are a bit like that.
There are some very interesting words about halfway through that show that we all horde memories, we all hold onto the past. But there is a difference between the normalcy of being able to let things go and loving something so much you hold it hostage in your mind. These types of horders imprison the memories to become part of the person's soul and, in turn, are prisoners as well.
The eerie fantastical twist with hints of truth made me really enjoy this graphic novel.
Ruby's father dies when she's 31, and she hasn't seen her mother Mia since the woman was kicked out when Ruby was 10. But her father had continued supporting her, with the stipulation in his will that she leave his house and only take a certain amount of the belongings. Because Mia is a horder, though not a messy nor a disgusting one. She just...keeps things.
Physical things with almost no story.
Memories.
People.
I hate that she blames Ruby for everything, including "destroying" her body. I think I hate it more because some of my friend's mothers are a bit like that.
There are some very interesting words about halfway through that show that we all horde memories, we all hold onto the past. But there is a difference between the normalcy of being able to let things go and loving something so much you hold it hostage in your mind. These types of horders imprison the memories to become part of the person's soul and, in turn, are prisoners as well.
The eerie fantastical twist with hints of truth made me really enjoy this graphic novel.
March 10, 2025
Lo que otras personas esperen de nosotros no debería dictar nuestra vida bajo ningún concepto.
Horde! Es un cómics de terror que habla sobre las enfermedades mentales, las personas que acumulan cosas y el folclore japonés.
El amor no es posesión, hay que aprender a soltar para avanzar.
Horde! Es un cómics de terror que habla sobre las enfermedades mentales, las personas que acumulan cosas y el folclore japonés.
El amor no es posesión, hay que aprender a soltar para avanzar.
July 1, 2021
What do we do with the things the dead left behind?
A trippy, creeping tale of hoarding, obsessive memory, and desire, unfortunately bogged down by too much explanation, paired with too little worldbuilding (if you can call it that; it's a house, after all) and action.
Unfortunately, the supposed emotional arcs that both Ruby and her mother go on to further explore and come to terms with the toxicity of their relationship are relatively stilted and uneven in equilibrium and pacing, and the ominous nature of the house and belongings was left to the side in favor of a deep dive into the psyche. It would have been nice to have the two of them hand in hand, had this been longer.
That being said, the art style (and the cat) were wonderful.
May 4, 2024
Aftershock saca buenos cómics que saben utilizar a la perfección los clichés del terror (por lo general tirando a gótico o lovecraftiano) para explorar los demonios que todos sufrimos en esta sociedad compleja, las variadas heridas psicológicas que, desde el trauma, conforman nuestra identidad. Además, sus autoras y protagonistas brillan por su eficacia en aprehender la compleja arquitectura de las almas actuales y el eterno motivo literario de quién somos.
"Horde" es un bello y aterrador ensayo sobre los recuerdos, los anhelos y el amor como materia de posesión. Sobre la necesidad de amar sin consumir, sin poseer, sin dañar. Desgraciadamente, en muchas ocasiones no tenemos la capacidad necesaria para ello por nuestros propios traumas, convertimos al otro (pareja, prole, familia, amigos, etc.) en algo semejante a un objeto en nuestra mente que intentamos amoldar a nuestras carencias e ideas preconcebidas: en una extensión de nuestro yo porque resulta muy complejo (realmente es imposible, salvo ejerciendo la empatía) salir de nuestro ego y la caja cerrada de nuestra mente. Somos esclavos de los sentidos y estamos solos en nuestro interior.
Con un dibujo correcto y unos conceptos bastante originales, con ecos a "Rebeca", "Alicia en el país de las maravillas" y "Dentro del laberinto", nos conduce por la necesidad de reafirmar de forma sana quienes somos y nos invita a vivir la vida hacia delante sin que los vistazos al pasado nos conviertan en una estatua de sal, en un condenado dentro de una prisión autoforjada de incienso y memoria: es nuestra existencia y es nuestro deber vivir el tiempo que se nos otorga de una forma que nos haga felices, frente a las aspiraciones de los otros, que quizá no sepan, porque no es sencillo, rellenar su propios huecos sanamente.
Un cuento que también subraya, desde otra óptica, que el hecho de que nos amen de verdad (con respeto y ternura, sin buscar transformarnos), también nos ayuda a amarnos a nosotros mismos, algo necesario para romper las barreras y tirar "por la calle de enmedio" hacia nuestra felicidad y poder terminar con ese cliché tan de novela gótica que es salir del incendio de nuestra vieja mansión asfixiante que se consume hasta los cimientos.
Una delicia muy bien editada que ofrece más de una lectura sin pestañear y superior a muchos productos actuales, sin necesidad de extenderse y añadir páginas. Estupendo.
"Horde" es un bello y aterrador ensayo sobre los recuerdos, los anhelos y el amor como materia de posesión. Sobre la necesidad de amar sin consumir, sin poseer, sin dañar. Desgraciadamente, en muchas ocasiones no tenemos la capacidad necesaria para ello por nuestros propios traumas, convertimos al otro (pareja, prole, familia, amigos, etc.) en algo semejante a un objeto en nuestra mente que intentamos amoldar a nuestras carencias e ideas preconcebidas: en una extensión de nuestro yo porque resulta muy complejo (realmente es imposible, salvo ejerciendo la empatía) salir de nuestro ego y la caja cerrada de nuestra mente. Somos esclavos de los sentidos y estamos solos en nuestro interior.
Con un dibujo correcto y unos conceptos bastante originales, con ecos a "Rebeca", "Alicia en el país de las maravillas" y "Dentro del laberinto", nos conduce por la necesidad de reafirmar de forma sana quienes somos y nos invita a vivir la vida hacia delante sin que los vistazos al pasado nos conviertan en una estatua de sal, en un condenado dentro de una prisión autoforjada de incienso y memoria: es nuestra existencia y es nuestro deber vivir el tiempo que se nos otorga de una forma que nos haga felices, frente a las aspiraciones de los otros, que quizá no sepan, porque no es sencillo, rellenar su propios huecos sanamente.
Un cuento que también subraya, desde otra óptica, que el hecho de que nos amen de verdad (con respeto y ternura, sin buscar transformarnos), también nos ayuda a amarnos a nosotros mismos, algo necesario para romper las barreras y tirar "por la calle de enmedio" hacia nuestra felicidad y poder terminar con ese cliché tan de novela gótica que es salir del incendio de nuestra vieja mansión asfixiante que se consume hasta los cimientos.
Una delicia muy bien editada que ofrece más de una lectura sin pestañear y superior a muchos productos actuales, sin necesidad de extenderse y añadir páginas. Estupendo.
February 7, 2021
(Zero spoiler review)
Well that wasn't what I was expecting. You would think the title would have been something of a giveaway, although that's what you get when you are buying a number of horror comics, and your brain goes on autopilot. So, once I got a handle on what this story was actually about, did I enjoy it? Well... kind of, I guess? Had this fairly exquisite art accompanied a more dyed in the wool horror tale, I think I would have likely enjoyed it more. There was definitely an emotional theme running throughout the book that didn't really wash with me. I likely wasn't the target audience for a work like this (if such a thing even exists) and isn't a kneejerk response to fair criticism coming from an unwanted source. The characters weren't overly fleshed out, which admittedly can be a challenge in a shorter book, that was the authors choice to make. If your story can't be told in 60 pages, then increase your page count. That is nobodies fault but the writer. The page count can't be a crux for accepting lesser storytelling.
There was a decent story somewhere amidst these pages, I just never found myself falling for its darkish fairy tale charm. Again, the art is stellar, and I really wish there was a better narrative to accompany such excellent pictures, but we can't always get what we want. This book is short, original and inoffensive, although the main protagonists lesbian bi-racial relationship seemed irrelevant, although you could clearly tell the author couldn't bare not to include it (because reasons). Still, many will find a meaningful tale within these pages. But I, sadly, will not be one of them. 2.5/5
OmniBen.
Well that wasn't what I was expecting. You would think the title would have been something of a giveaway, although that's what you get when you are buying a number of horror comics, and your brain goes on autopilot. So, once I got a handle on what this story was actually about, did I enjoy it? Well... kind of, I guess? Had this fairly exquisite art accompanied a more dyed in the wool horror tale, I think I would have likely enjoyed it more. There was definitely an emotional theme running throughout the book that didn't really wash with me. I likely wasn't the target audience for a work like this (if such a thing even exists) and isn't a kneejerk response to fair criticism coming from an unwanted source. The characters weren't overly fleshed out, which admittedly can be a challenge in a shorter book, that was the authors choice to make. If your story can't be told in 60 pages, then increase your page count. That is nobodies fault but the writer. The page count can't be a crux for accepting lesser storytelling.
There was a decent story somewhere amidst these pages, I just never found myself falling for its darkish fairy tale charm. Again, the art is stellar, and I really wish there was a better narrative to accompany such excellent pictures, but we can't always get what we want. This book is short, original and inoffensive, although the main protagonists lesbian bi-racial relationship seemed irrelevant, although you could clearly tell the author couldn't bare not to include it (because reasons). Still, many will find a meaningful tale within these pages. But I, sadly, will not be one of them. 2.5/5
OmniBen.
December 3, 2020
Creepy and trippy! 😊 I loved the cat!
April 11, 2022
Acaparar cosas es una enfermedad mental, el famoso síndrome de Diógenes. Aquí lo tratan de una forma interesante, con un poco de Dentro del Laberinto y los mitos de Cthulhu. Ligero pero chulo.
September 25, 2024
La idea era principal era buena, pero la historia quedó a deber, le faltó más alma.
January 3, 2025
La historia no me ha gustado especialmente, pero el dibujo me ha encantado.
March 4, 2020
It ended a bit soon for me, but only because the fantasy world created by a mother's obsession with her things, to the detriment of her relationship with her daughter, is so fascinating.
June 23, 2023
Tras la muerte de su padre, Ruby intenta recuperar el contacto con su madre,quien vive aislada en una casa abarrotada de trastos, un peligroso laberinto pesadillesco de secretos. La madre de Ruby siempre se mostró fría con ella, pero ahora rebosa amor por sus cachivaches, sus tesoros, sus posesiones que la poseen. Pero cuando Ruby, movida por la desesperación,intenta liberar a su madre, la casa se rebela y las atrapa a las dos en su maraña. La Horda, un ente horrendo y perverso que ha cobrado vida alimentada por el amor de su madre, quiere deshacerse de Ruby... o sumarla a la colección para siempre.
.
Relaciones familiares, una madre aparentemente lejana, una hija que se siente rechazada. También una vida en soledad, el volcarse en las cosas que te rodean,en los recuerdos que esas cosas evocan. Al final es vivir de recuerdos y no de realidades, de preferir lo que fue a lo que pudiera ser. Y la costumbre, la quimérica seguridad que te da lo que te rodea y que te impide salir fuera y vivir. O puede ser que sólo sea un caso de síndrome de Diógenes, quien sabe.
.
Cómic autoconclusivo que plantea temas interesantes, aunque hubiera estado bien más desarrollo.
.
Relaciones familiares, una madre aparentemente lejana, una hija que se siente rechazada. También una vida en soledad, el volcarse en las cosas que te rodean,en los recuerdos que esas cosas evocan. Al final es vivir de recuerdos y no de realidades, de preferir lo que fue a lo que pudiera ser. Y la costumbre, la quimérica seguridad que te da lo que te rodea y que te impide salir fuera y vivir. O puede ser que sólo sea un caso de síndrome de Diógenes, quien sabe.
.
Cómic autoconclusivo que plantea temas interesantes, aunque hubiera estado bien más desarrollo.
November 12, 2019
This was a weird and troubling graphic novel about a daughter visiting her estranged mother after the death of her father. The mother has some serious hoarding issues, but there are also some things that Ruby must come to terms in order to move forward.
February 11, 2020
A graphic novel that tells a story about why it is bad to cling to material possessions with a twist!
It was pretty good, however I am going to have to limit checkout due to nudity in the book.
It was pretty good, however I am going to have to limit checkout due to nudity in the book.
Displaying 1 - 17 of 17 reviews