A young woman on a search for love gets caught up in infatuation, adventure, and ultimately, takes a dangerous trip into the afterlife to rescue her boyfriend. A romantic comedy with a dash of science fiction/fantasy.
I quite like Lay's style, apart from her trademark representation of every character's mouth as an absurdly huge row of teeth; otherwise, she has a supple, cartoony line and a great sense of page design (despite the unvarying use of a twelve-panel grid). This book collects one-page "Story Minute" strips, and a couple of longer narratives. All are consistently amusing with a wry and even acerbic wit. They aren't necessarily satirical, or primarily satirical, but they usually include at least a modicum of social commentary, perhaps especially "Invisible City," the final story and one of the few extended narratives. It presents a dystopic near-future world in whimsical but observant terms, in its odd narrative of population control, greed, and invisible South American natives.
She's one of my favorite cartoonists in all three catagories- content, aesthetic AND their combination. To make sure that has proper weight I must mention that those are in all-encompassing (general) terms so don't think I'm putting a qualifier like "humorous" in front of them even though is IS one of the funniest alive or dead.
The majority of the material included within is delivered in longer format serial-released stories as opposed to her twelve-panel "Story Minutes". I prefer the former but know you well- that takes NOTHING away from the latter.
This book only lacks one thing- her mustachioed devil who has a charming pseudo-soul despite his evil machinations.
I must admit that I've fallen into that effervescent sort of love with the Carol Lay that I (foolishly believe) I know well from the surface of her work and the subtexts that I've judiciously mined with self-serving abandon. You know that endearment of someone you "can't have" that doesn't include lust- but doesn't discount it in hypothetical terms? The seed was planted with "Goodnight, Irene" when I fell for her professionally but blossomed with "Joy Ride" when I saw the less absurd framing of her creative persona.