![]() ![]() The other reason I think of children’s puzzle books is Kyle’s drawing style. And, if this doesn’t strain interpretation too far, I can’t help but think of the recycled paper as a nod to the “foliage” of the title: you’re holding what was once literally foliage that has unwittingly roamed remarkably far. The feel of those grainy, gray pages is part of the intended reading experience-one that conjures a time before not only webcomics, but before the internet. Compare it to the luxuriously thick, white pages of Nathan Gelgud’s A House in the Jungle or Britt Wilson’s Ghost Queen, both released by Koyama at about the same time, and you’ll understand that Kyle and the press made a deliberate, aesthetic choice for Roaming Foliage. This is atypical even for an atypical publisher like Koyama Press. I mean really cheap-the pulp grade that defined comics until the ’90s. It’s the height of a standard graphic novel (picture anything from Marvel, DC, Image, etc.), but it’s oddly wider-which, for me, recalls the dimensions of a children’s puzzle book. Explaining why that’s such a wonderful thing - not just for Kyle but for comics generally - will take some explaining.įirst, consider the physical book. I’ve literally never read anything like it. For once, the adjective “unique” is accurate. It’s difficult to describe the exceptional weirdness of Patrick Kyle‘s Roaming Foliage. ![]()
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