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3.92 AVERAGE
3.92 AVERAGE
adventurous
dark
emotional
tense
fast-paced
Plot or Character Driven:
A mix
Strong character development:
Yes
Loveable characters:
Complicated
Flaws of characters a main focus:
Complicated
I knew very little to nothing at all about the Boxer’s Rebellion. This has piqued my interest and provided a gorgeous and engaging perspective. Yang’s art is always gorgeous. This book is unapologetic in its use of violence against foreigners. It’s a bit off putting but not doing it would be doing it a disservice.
An interesting take on the Boxer Rebellion. I was pleasantly surprised by how fast-paced this was- there definitely wasn't much dense, historical fact in this graphic novel. However, what made up for that was the feeling behind this story- the inner struggles of Little Bao and whether he should listen to that voice in his head (Qin ShiHuang). I liked how the magical realism was incorporated, but I would have liked a touch more of history and depth added. With vivid illustrations and great palette use, this was an enjoyable read.
another well-done graphic novel by Yang. This one is about a boy fighting in the Boxer rebellion in China. Great illustrations, interesting story. Can't wait to read "Saints", the companion novel.
I enjoyed this book for the most part. The plot was interesting and the drawings were really nice. I don’t really know anything about the Boxer rebellion, so I can’t really speak to the historical accuracy of it, though of course it isn’t 100% historical accurate since there are some sort of fantasy elements. I did find the characters fairly bland, though. None of the character deaths really phased me because I just didn’t connect with them. I would like to read the companion graphic novel at some point, because I am interested in reading Vibiana’s story, but I’m not itching to do so as soon as possible.
Boxers (with the companion novel Saints) tells the story of the Boxer Rebellion in China. It's incredibly moving and Yang nails the art as usual. I finished this story in about half an hour, and it made me want to investigate the real story behind the text even more. I know very little of Chinese history, so this little glimpse made me want to delve in. I think this graphic novel would be perfect for people who enjoy history (maybe even an English or History class!).
A qualified 3 stars, since there is something unsatisfactory having just now read Boxers without yet having read Saints, its companion volume. The three stars is an admiration for the work so far and a rebuke to the idea of selling the volumes separately, as I saw them available in the bookstore, in addition to their availability together in a boxset.
Now I was vaguely of the Boxer Rebellion ahead of time, and am aware of the "Unequal Treaty" which gave China the short end of the stick with the West during the 19th century. Boxers presents an unflinching portrayal of the fin-de-siècle Boxer Rebellion. The story follows Little Bao, who through the quality of Yang's presentation, we come to relate to before slowly seeing him become increasingly unlikeable. Basically no side of this conflict, the Western colonialists (Christian "foreign devils") and the Chinese rebels (the "Society of the Righteous and Harmonious Fist" or Boxers) come across well in the story. Little Bao is the face of the latter and the atrocities of the former largely come across through secondhand tales and text in this narrative (outside of an inciting incident that shows how the Christians made the Chinese secondclass citizens in their own country). The companion volume, [b:Saints|17210471|Saints (Boxers & Saints)|Gene Luen Yang|https://d202m5krfqbpi5.cloudfront.net/books/1359199657s/17210471.jpg|23691810], promises to provide the perspective of the Christian side, through the character of a "secondary devil" or Chinese Christian.
Apparently, Gene Luen Yang's goal was to present a sympathetic portrait of one who is essentially a terrorist, without condoning his terrorism. To do this, his art does a lot of the heavy lifting, portraying looks of regret and the deadening of his soul as he makes difficult decisions, mostly involving the killing of civilians. These passages become harrowing as Yang avoids condemning Bao outright, as Bao struggles with the four edicts of compassion that he starts with and the spirit of history that possesses the Society (quite explicitly in the art). Yet, Yang's art uses a simple, "cartoony" style that does not allow for a great deal of subtlety in its expression. Instead the work shines in those moments of subjectivity displaying the Society becoming their "opera" gods on the battlefield. These moments glorify the battles and violence before Yang dispels that notion by cutting back to a horrifying reality.
There is also an ongoing thread about the misogyny within the Boxers (how they fret about the polluting "Yin" which they believe powers the foreign devils), that is given some blunt consideration in this volume's conclusion.
Now I was vaguely of the Boxer Rebellion ahead of time, and am aware of the "Unequal Treaty" which gave China the short end of the stick with the West during the 19th century. Boxers presents an unflinching portrayal of the fin-de-siècle Boxer Rebellion. The story follows Little Bao, who through the quality of Yang's presentation, we come to relate to before slowly seeing him become increasingly unlikeable. Basically no side of this conflict, the Western colonialists (Christian "foreign devils") and the Chinese rebels (the "Society of the Righteous and Harmonious Fist" or Boxers) come across well in the story. Little Bao is the face of the latter and the atrocities of the former largely come across through secondhand tales and text in this narrative (outside of an inciting incident that shows how the Christians made the Chinese secondclass citizens in their own country). The companion volume, [b:Saints|17210471|Saints (Boxers & Saints)|Gene Luen Yang|https://d202m5krfqbpi5.cloudfront.net/books/1359199657s/17210471.jpg|23691810], promises to provide the perspective of the Christian side, through the character of a "secondary devil" or Chinese Christian.
Apparently, Gene Luen Yang's goal was to present a sympathetic portrait of one who is essentially a terrorist, without condoning his terrorism. To do this, his art does a lot of the heavy lifting, portraying looks of regret and the deadening of his soul as he makes difficult decisions, mostly involving the killing of civilians. These passages become harrowing as Yang avoids condemning Bao outright, as Bao struggles with the four edicts of compassion that he starts with and the spirit of history that possesses the Society (quite explicitly in the art). Yet, Yang's art uses a simple, "cartoony" style that does not allow for a great deal of subtlety in its expression. Instead the work shines in those moments of subjectivity displaying the Society becoming their "opera" gods on the battlefield. These moments glorify the battles and violence before Yang dispels that notion by cutting back to a horrifying reality.
There is also an ongoing thread about the misogyny within the Boxers (how they fret about the polluting "Yin" which they believe powers the foreign devils), that is given some blunt consideration in this volume's conclusion.