Dickless, by Asher Z. Craw. Craw's thin and delicate line paired with dense cross-hatching and themes related to body horror and psychosexual themes have always reminded me of Julia Gfrörer's comics. Craw's comics are not quite as visceral in the same way and go in different directions. For example, Dickless creates a mythology about teeth as the source of one's power. Losing them may mean a personal weakness that causes one's teeth to reject you, or simply a loss of power by losing the tooth that brings about weakness. In any event, Craw segues from that starting point into a young man losing a tooth, and per the narrator's advice, consulting a professional. Amusingly, that professional is a mysterious shopkeeper (pointedly next door to a dentist's office) who goes through a series of steps that include grinding the tooth up. When the client agrees to ingest it, it inspires the shopkeeper to say "Not as dickless as I took you for", implying any number of things: the danger involved in the process (he sees the future as a result), his decreased masculinity as a result of losing the tooth, his bland appearance, etc. Craw opens the reader up to a craft (in every sense of the word) surrounding teeth, where the shopkeeper recalls an earlier time when she sold tools in exchange for a human head full of teeth. This is a comic filled with hints of deep, lost knowledge and an understanding of the order of things known only to a few. That sense of being influenced by forces beyond our understanding is a running theme in all of Craw's comics.
#Blessed, Part One, was written by Craw's wife Lillie and illustrated by Craw himself. This is a brutal satire of celebrity culture where almost all the characters are animals. The comic purports to be the biography of one Party Twink, a former model from The Glitterverse who mooches off his boyfriend/sugar daddy Money Bear. The first half of the comic is a series of illustrations with text on the opposite page that explain each character and their motivations, all of which are 100% awful. The second half is a comic that has the Craws break into the narrative in clarifying precisely how Money Bear's mansion was a recreation of Marie Antoinette's mansion. The comic is a hilarious study of how privilege warps and distorts one's needs in absurd ways, how narcissism is a black hole, and how codependence enables this kind of behavior.
Zebediah Part III, by Asher Z Craw. This can best be described as Craw's magical realist autobiography. This is a remarkably clever and heartbreaking comic, building on the first two issues in unexpected ways while maintaining the tone and theme of the story throughout. The first part followed a couple named Zebediah and Eula-Lee, taking time to fully develop their quirks and obvious connection as well as subtly introduce the magical realist portions of the story in talking animals and mysterious religious figures commenting on them. The second part introduces the idea that after their deaths, Zebediah and Eula-Lee continued to live on in the forms of Asher and Lillie, except that Asher was in the body of a woman. This also introduces the reader to Asher's own autobiographical account of feeling like a stranger in his own body and wanting to die before his transition. Along the way, they are helped by various animals who have been urged by supernatural forces to save them, and they show kindness to all sorts of animals, including a family of possums. The second issue ended with Zebediah and Eula-Lee starting to remember their past lives and fully inhabit the bodies of Asher and Lillie, all while having to deal with a looming evil.
The third and final chapter opens with the couple in bed, trying to cope with the strange, new world in which they were living. While their faith was deep and abiding, they didn't know to what extent they were being protected or pursued by the forces of good and evil. Most of the issue is a game of cat and mouse as they are told to leave Portland and go out to the woods by the forces of good, and the Devil uses his form as a swarm of mosquitoes to subtly push people into attacking, endangering or otherwise dislodging the pair. When they are finally confronted by the Devil, they rely on their faith but mostly in their unwillingness to harm the innocent souls of Asher and Lillie and thwart evil through their selflessness. Every element of the comic is precisely well-constructed in terms of both plot and its visual elements, and it's all anchored by the vivid characterization of its heroes. Zebediah works on a number of levels at once: a supernatural story, a story of faith, a metaphor for being trans and above all else, a love story.
Craw makes a number of interesting decisions regarding page composition, switching between a steady six-panel grid for most of the action and an open-page, dreamy layout when supernatural forces are arrayed. There's a lot of white space involved here when there are talking heads sequences, which makes sense considering that the characters are the focus of the story. When it switches to an action shot, Craw flips again and draws detailed, heavily hatched and cross-hatched backgrounds and dense underbrush. Pose is more important than movement in this comic, as the figures are actually on the stiff side on the page, but that's once again a function of the narrative. The characters are well-aligned with each other in terms of space and body language, but Craw prefers to linger on each image rather than zip the audience along to the next panel. Indeed, that sense of appreciating stillness and each heartbeat & story beat is an essential element of the comic, especially given its twists and forays into the supernatural. Hopefully, this comic will be collected by someone soon.