Skip to main content

Ye



Writer: Guilherme Petreca


Artist: Guilherme Petreca

Publisher: IDW Publishing

Release Date: April 3, 2019

In simple words, Ye is beautiful. Through a mute boy's journey of self revelation, it shows us how even the simplest of things can be heartwarming and inspiring, as each panel transcends you to the realm of wholesomeness! 

Ye is a young boy living in a beautiful village named after the only sound he ever made. Ye! The villagers believed that his sound was stolen by the Colourless King, the source of all the sorrows and bad omens. When a warhead landed on Ye's house in the form of a crow, he was marked by the King which promised an avalanche of unfortunate events. His only hope was a witch, living far away in the town and the only person who can find her was him, and him alone! There begins Ye's journey into the unkown and beyond. 

To be honest, I picked this up only because of the title, and Ye gave me an experience I'll never forget. The art was so on point that you will just flow with the story and never look back. The artist, who is also the writer of the book won Brazil's HqMix prize for his work on Ye.

For me, Ye is a unique piece of art. Some stories will make you cry, some will make you laugh, but what Ye gave me was a smile! A simple smile of satisfaction. This is my first time coming across Guilherme Petreca, but I'm sure I'll be jumping into more of his works.

Comments

Popular posts from this blog

The Music Between the Strings: Why Kerala’s Communal Harmony Isn’t What You Think It Is

 Kerala is often praised and criticized for its so-called “communal harmony.” To some, it is a secular utopia where faiths walk hand in hand beneath the coconut groves. To others, it is a terrifying aberration, a ticking clock of cultural erasure. But Kerala’s pluralism is neither accident nor anomaly—and certainly not a free-for-all. It is not born from sameness or affection, but from balance, tradition, memory, and a shared grammar of difference. Like the music between the strings, it arises not from the notes themselves, but from the space between them, filled with historical, spiritual, intellectual, and political dimensions. To understand it is to confront several false images: the utopian Kerala of outsiders, the dystopian Kerala of ideologues, the rootless Kerala of postmodernists, the derivative Kerala of its neighbours, and the indifferent Kerala of the average Malayali. Tracing this deep architecture behind Kerala’s pluralism reveals a story not set in stone, but one impr...

History Hijacked: The Original Sin of Presupposition

Bodhidharma; Yoshitoshi, 1887  "As we move, the story travels. But if you misunderstand a story for history, then that’s pathetic."   - R. Balakrishnan, Indologist There is something profoundly human about wanting our stories to be real. Not just meaningful or metaphorical. Real. As in datable, documentable, diggable-from-the-earth real. Somewhere along the line, meaning ceased to be enough. Somewhere, we began to look at myth, the shimmering, breathing soul of every civilization, and say: “Prove it.” This demand, this quiet, almost innocent insistence, is where presupposition of historicity begins. Not with dogma, but with longing. I have seen it in the eyes of those who mean no harm. An Indian Christian, young and devout, beams as they point to the Book of Kings, convinced that the phrase “distant lands of gold” must be India, the forgotten land of Ophir. Not because archaeology says so. Not because it changes doctrine. But because the need to be included eclipses the cauti...

Dragons in Malabar: The Story of a Ming Protectorate in Kerala

Cheena vala (Chinese nets), Cheena chatti (Chinese wok), Cheena bharani (Chinese pots), Cheeni mulaku (Green chillies)...  The handshakes between the Keralites and the Chinese have a history spanning no less than two thousand years. A bustling trade hub even during the Sangam period, the Malabar coast used to boast about some of the important Sea ports on the ancient and mediaeval world maps. However, although a truly cosmopolitan series of coastal trade pockets in the beginning, the split and eventual weakening of the Roman Empire would cause these locations to be under the influence of only two major groups. The Chinese and the Arabs. This shift in character transformed the chaotic bustling of Kollam , Kozhikode (Calicut) and Kochi (Cochin) into an economic AND political theatre of trade wars, well into the period of the European reemergence.  And bustle they did. From horses and spices to silk, jewellery, precious stones and even exotic animals, there was barely anyt...