Rave

Weird teachers, parents who don't understand, strange group-project partners, love, loss, and dial-up internet--Rave captures the drama of early 2000s high-school life. Lauren's religious, conservative parents won't allow books on evolution in the house, which leads to sleepovers at Mariah's house while her mom is away. This queer coming-of-age story follows the two lonely girls as they discover each other, fall apart over their beliefs, and individually face the casual homophobia of other teens as well as the organized anti-gay message of Lauren's church. Campbell's art clearly captures the emotions of the characters, notably Lauren's anxiety and uncertainty contrasting with Mariah's mask of confident attitude. The pages are largely formatted in traditional square panels, and the separation of each moment along with the heavy lines emphasizes the isolation and oppressive atmosphere the girls face. The climax of the story is a tense series of panels paralleling a fateful weekend. This is a story to leave readers melancholy, wistful, and wondering what could have been if only the world weren't so cruel or full of hypocrisy.

Unfolding at the intersection of budding sexuality and evangelical Christianity, this gripping graphic novel from Campbell (XTC69) depicts a quietly tragic coming-of-age. Fifteen-year-old Lauren appears no more swayed by her pastor's warnings about remaining "a pure bride of Christ" than his own disaffected, heavily pregnant daughter. After Lauren is paired with classmate Mariah--rumored to be a witch--for a school project on evolution, the two quickly become constant companions: talking, making out, and engaging in some light shoplifting. Certainly, Lauren finds Mariah much more appealing than the church boy who wants to get married and "have a kid every nine months," or the vibe at the youth ministry rave ("Jesus Christ was the first raver"). Yet, amid sermons against same-sex marriage and swirling rumors about her, Lauren breaks up with Mariah. As the pastor preaches about how girls must fend off weak, lustful boys, Mariah tries to do just that, to no avail, one night at the local reservoir. The church blames her subsequent disappearance on Wicca; and a sharp turn in the plot is genuinely shocking. With thick black lines and contemplative, wordless sequences, Campbell effectively conveys both Lauren's turmoil and the harm done by a religion set on turning youthful passion into intolerance. It's a testament to the hold of belief systems, even when one no longer believes. (Apr.)