KAYA BOOK ONE, a rejuvenating take on sword-and-sandal stories

Through no fault of its own, Kaya has actually crafted a fresh take on the present direct market indie comic through conserving all its bells and whistles — a letters column, behind-the-scenes idea art, covers with cover-blurb refreshers, and personal messages from developer Wes Craig — exclusively for the regular monthly single problems. So what’s gathered in the trade? Let’s unpack.

What didn’t make the regular monthly series was a 16-page beginning chapter that ran in the anniversary anthology Image! for 4 problems (#1-4). This beginning develops a belabored tone for the lead relationship in between brother or sisters Kaya and Jin who are on a chosen-one escort objective through treacherous, or apparently treacherous, high dream landscapes.

Sticking sorely to the trade, Kaya checks out like a Kamandi-riff on Andrew Maclean’s ApocalyptiGirl or Head Lopper because Craig plainly wished to draw a throwback sword-and-sandal experience, however for today’s perceptiveness and light on depth. What rollicks out in chapters 1-3 fulfills an abrupt, neat end in chapter 4 where a lot of foundation arcs conclude as they strike their narrative turns. What doesn’t help is chapter 5 begins brand-new fights to cliffhanger the trade on, however feels apparently out of no place. This cast of last human beings and lizard folk are quickly upset, mentally vulnerable young people making their method through it; they even include an “I didn’t tell you I’m betrothed” love if that’s your OTP.

Kaya, a native female, does struggle with a regrettable trope as being the last of her kind from a taken down town, the regret of which weighs upon her gas pedal, and begins to seem like “honor” for my fellow AAPI characters. It’s regrettable that’s her present trajectory given that she regularly includes a great representation of fears with Craig making use of a dry brush and nontransparent black ink to shape Kaya’s shape and show her emotion where possible.

Much like the varied lizard folk occupying the series, Wes Craig fans will recognize with the blended usage of greatly silhouetted characters versus watercolor backgrounds. Comfortably, colorist Jason Wordie brings a brilliant, though cleaned technique to Kaya’s rich visuals. Opting for seasonal state of minds and time of day to determine page combinations, Wordie’s choices look spectacular atop Craig’s stipple-heavy dream world.

Equally worth appreciation is letterer Tom Napolitano utilizing balloon tails to include tone to Kaya’s cast. Sometimes the font style can feel too huge for its balloons, however when Kaya’s balloons have a rectangle-shaped end to resolve her curt mannerisms it seldom triggers a kerfuffle. Even more, the lizard riders have a wisp of a balloon tail, which is adorable. Another galaxy brain maneuver is dropping the word balloon overview, which lightens the structure of each page to cancel with the plain black Craig utilizes.

All in all, Kaya seems like Craig traded his mind-bending designs from Deadly Class for mind-bending structures and a fast reading circulation to reduce readers into the experience. The trade might seem like a disrobed proving of Kaya, however it’s more like a rejuvenating breeze. If you desire the commentary track on this one or Wes Craig’s love (he said “don’t tell the trade-waiters I said this, but I love you (monthly readers) the most.”), then take a look at Kaya regular monthly! If not or in the state of mind for a sword-and-sandal speedrun, take a look at Kaya in trade!

SPOILER: Kaya just punches with the huge Kirby krackle arm 4 (4) times and never ever as soon as do we see contact made. If you’re a meathead like me, or that’s what stimulated your interest, I’m sorry to report these investigative findings.