Written by Matt Fraction
Illustrated by Gabriel BaOn the run from ten thousand parallel worlds that want him dead, Casanova Quinn fights for his life inside his dying father’s E.M.P.I.R.E. He’s figured out the biggest secret in the world and now he and his girlfriend from beyond tomorrow, Sasa Lisi, embark on a ferocious triple-cross that means they’ll either win it all or spend forever in hell. Or heck. Or somewhere awful, trust me.
32 FULL-COLOR PAGES that have come from the future to MESS YOU UP.
Before we begin, I’m going to use the staple “random Multiversity review intro paragraph” thing to let something be known: I have an obvious bias towards “Casanova.” I’ve written about the book multiple times, it was my best ongoing series of 2011, and I gush whenever I get the chance. Anything I may say has a slant to it, and it’s only fair you should know this before trusting me or my critiques.
Take a look behind the cut for some thoughts on the latest issue of my (admitted) favorite comic book.
It should surprise no one when I say “I loved this issue.” Now let’s get into why:
Since the incarnation of “Casanova” and especially since the return of “Casanova” via Marvel/Icon, there have been two elements of the book that have always been heavily important: the autobiographical nature of the comic and its inherent relationship with music. The autobiographical hints are both obvious and not, with Fraction himself appearing in the previous issue and all the twists and turns inevitably/assumedly having a direction relationship with Fraction himself, accidentally and on purpose. However, unlike with the latter, there’s nothing there with the autiobiographical context you really need to know to enjoy the book; it has always been a “if you get it, cool, if not, no worries” element to the book (and the image above assuredly has reverence if you’ve ever seen/heard Fraction’s w00tstock performance). It’s there in the way any story by a writer has a few autobiographical elements snuck in, and I’m sure there are those who know more than you or I do who can appreciate the more subtle nods (though the backmatter of the first two volumes certainly makes the biographical aspect certainly more overt).
It’s the musical relationship, though, that has always been the most obvious, or at the very least the most resonant. In the same way that music shows off a very flowing sense of creativity, “Casanova” sings while you read it and keeps singing all the way through, like a great CD by your favorite band. The musical references in “Casanova” are clear as well, whether it be little nods to songs on the pages and in dialogue or during the breakdown of chapters. “Casanova” is the most musical book on the market, and not by being a book about music like “27” or “Phonogram.” No, “Casanova” is just musical, an example of comic creators grooving in sync and it’s beautiful for that fact alone. It has its ups and its downs, sure, but for the most part it’s perhaps one of the purest expressions of abject creativity on the stands whatever week it comes out due to this essential mind-meld between Fraction and Ba (or Moon). In the same way that a freeform jam session can leave you tapping your toes and transport your ethereal self to another plane of emotion, “Casanova” is the closest a comic has ever come to doing the same form of magic (outside of, say, “the Invisibles”).
There are really few books that can hold a candle to “Casanova” in terms of creativity here, because this is an ode to comics in the same way that it is a brand new entity. Often times when I find myself discussing it in conversation with other people while trying to explain why it’s my favorite book, I end up tongue-tied. There’s just so much to love: the book pays adamant tribute to the books that came before or its various influences, but it forges ahead in a continuously new direction. Between every issue of the book, there’s always that thought that you finally have a firm handle on things, yet as a new issue arrives, everything changes both stylistically and in the plot itself. The book starts opening up new doors and exploring new realms like a rat who chose to lose himself in a maze on the chance of what he might find, and that’s the best part — at this point, “Casanova” feels like it is its own entity, directing itself and leading Fraction and Ba down a path as opposed to vice versa, and god dammit, that’s just so damn cool.
Continued belowIn the modern consumer age where we struggle to perceive value upon that which we choose to own, there’s no question when it comes to “Casanova.” The book up value right away, from the beautiful cover to the final page of back matter. It’s a multi-layered book that demands multiple reads and rewards those who take the time, and when it comes down to it, “Casanova” is one of the few books that can read as completely different experiences both in single issue format and when completed and collected in trade. On the one hand, each individual issue is an odyssey in its own right, full of emotional resonance and a kick-ass story to boot. On the other, everything is oh so very clear much more so by the end than the beginning as the book constantly reinvents itself, and a distinct knowledge of direction can make even the tiniest scene of the book that much bigger (the epilogue to ‘Luxuria’ alone is much more important now after this issue than it already was, for example). It’s a book by people who love comics for people who love comics, and the final message of “Casanova” is abundantly clear: Comics, you guys! FUCK YEAH!
The creative team here is extraordinary. In no shorter terms do I say that this is Fraction at his absolute best. If you’ve ever wondered what people really love about Matt Fraction, “Casanova” is the best example from his entire body of work. It’s easier to say that in terms of writing (because really, what can’t Gabriel Ba make look great?), but it’s the basic truth about the book: with a stalwart blend of humor and respect to the craft, Fraction develops a deep sense of reverence that make “Casanova” a book you quickly latch on to. When you add Gabriel Ba’s wonderfully fluid artwork that makes the action sequences fly off the pages and the more personal moments feel personal, all mixed together with Cris Peter’s colors that just pop off the page, you get some of the best comics can throw your way. All comics are inherently a love letter to comics, but the combination of all the talent involved end up with a sonnet.
I’m happy to throw my hands in the hair and declare my love for the book (every time I pick it up at the shop, I find ways to mention how it’ll most likely be the best book of the week), but there are only so many effective ways month after month to explain how or why “Casanova” is the best to me. I do my best to make the point stick and to really hammer the point home, but no matter what I say, nothing measures up. “Casanova” is my favorite comic, and I wish it were yours too. This comic doesn’t just speak to me, it shouts my name and treats me well when I give it my attention. If we as discerning comic readers want to share comics that exemplify why we read comics in the first place, I have no better suggestion than this book right here.
So. If you haven’t read “Casanova” yet for whatever reason, you’re missing out. The end.
Final Verdict: 9.0 – Casanova: where awe shifts to excitement
Additionally: perhaps accidentally, perhaps on purpose and perhaps a sly oxymoronic combination of the two, the entire comic syncs up rather well with the latter half of the first disc of M83’s Hurry Up, We’re Dreaming. That can’t be more than pure coincidence, but it works out well regardless.
