REVIEW: The taste of conflict in ‘Starve. Vol. 2′

It is a rare moment for comic book readers to read something innovative, radical and socially relevant that mainstream comics fail to utilize and moreover, empower readers to the greater cause. More so, if one applies FOOD as a medium for socioeconomic and cultural commentary in the graphic novel genre, that’s more difficult to find nowadays. But, Brian Wood and the rest of the creative team of STARVE take this lofty challenge of putting FOOD on the table, deconstructing its juicy layer, and visually tasting its true nature in its core: our ways of perceiving reality shows, and the socioeconomic structures we are now confronting with.

STARVE, VOL. 2, its second and final volume (collecting issues Starve #6-10), Brian decides to twist his literary knife further by having celebrity chef Galvin Cruikshank challenge the current (and rotten) system even more by making peace with himself and his dysfunctional family; empowering the downtrodden New York community via his culinary and business savvy skills; and confronting his own creation — STARVE itself. Unlike the first volume where the reality chef fought to free himself, this time around, he transcends himself by thinking outside the box for the greater cause, to which he ends up sacrificing his inner pride/ego to attain his lofty, if neither utilitarian nor ideal, goal. The conflict is no walk in the park for the Establishment, as to paraphrase Karl Marx (and rightfully so), wants to maintain its existing status quo and control the resources, including the main protagonist’s most treasured asset of all: his unica hija.

Indeed, STARVE Vol. 2 is not only a serious critique to what’s happening to our globalized existence, but it has shares of familial and social moments that are both poignant and engaging as well. Wood crams legal and police procedural tropes, corporate and backstabbing narrative approaches, and even friendship and professional rivalry issues into one cohesive, serious but entertaining read until the very last page that one may leave pondering and reflecting on what will our future society looks like and how it will view on the way of eating (and starving).

The art, led by Danijel Zezelj and Dave Stewart, is meant to be distorted, gritty at times, and gloomy. But that’s the charm of this mini-series because that is how the creative team views the future if we continue to be shallow on how we manage the existing resources and the issues we need to confront with, especially climate change, overpopulation and corporate greed. The art is an acquired taste, yet it justifies the message this rare gem wants to convey nonetheless.

STARVE Vol. 2 serves well even the aftertaste is something to be pondered upon. It is nothing short of artificiality, but what actually needs to be done if one wants to fully comprehend what Wood and the STARVE creative team really drive to. We’re lucky indeed we read a true work of culinary-literary masterpiece.