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Iris: A Novel for Viewers
Available for the first time in English, this first-ever Dutch graphic novel is a tour-de-force in all its 1960s psychedelic, pop art, and playfully erotic glory. The characters’ emotions drive the anti-capitalist, dystopian narrative in A Novel for Viewers , the earliest graphic novel produced in the Netherlands. A young woman, Iris, has her heart set on a singing career, and, despite her boyfriend Mark’s warnings, is seduced by the capitalist producer, “dream lover M.G.” He molds her into a megastar, which leaves Mark peddling her a life-sized Iris (sex) doll. Attempts to rescue Iris come to nothing; all they accomplish is allowing the dream lover to go on playing his games. Thé Tjong-Khing’s Iris marks the peak of his career as a comics artist. He and scriptwriter Lo Hartog van Banda wanted to reach the socially motivated young people of the late 1960s, who were growing up with comics and television. Khing’s style here, drawn with virtuoso élan, shows an affinity with his contemporaries, such as Guy Peellaert, and Iris herself is reminiscent of Barbarella. This edition includes an afterword by graphic designer and colorist Rudy Vrooman, which provides fascinating context about the historical and artistic significance of the work and its restoration process. Full-color illustrations throughout
136 pages, Paperback
First published January 1, 1968
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Displaying 1 - 18 of 18 reviews
September 1, 2024
Fantagraphics and translator Laura Watkinson present for the first time in English, Iris: A Novel for Viewers illustrated by Thé Tjong-Khing and written by Lo Hartog van Banda, two prominent names in the Dutch comics scene during the '60s and beyond. Iris is a dystopian, psychedelic sci-fi comic featuring the titular Iris who seeks to rise to the top of the entertainment industry as a pop star, but finds that the industry is muddled by nefarious power brokers that exploit the people under them in the most cruel kinds of ways. Iris' boyfriend Mark seeks to rescue her from her newfound stardom with the help of some violent revolutionaries, and that sets the stage for the story.
The anti-capitalist sentiments are evident throughout, with the critique of the exploitation of women as the most obvious angle here. Those who have read the recent New York Review Comics' release of Chantal Montellier's Social Fiction might find the similarities in the off-kilter depiction of a dystopian future, though naturally Iris has a bit more of a male gaze to it then the feminist-themed, anti-capitalist work from a female cartoonist would. But Khing and Banda don't linger much on the erotic aspects as much as they do highlight with the necessary depiction of what exploiting a woman's sexuality would look like. The depictions are entirely serving the purpose of the narrative, thus allowing for the critique to stand on its own.
Unlike Montellier's depiction of a dystopian setting which is presented in a cold and sterile manner, Khing's artwork could not look any more different. Opting to use neon infuses colors and expressive lines, Iris could almost be an assault on the senses if it also weren't so amazing to look at too. Every panel is soaked in style that is simultaneously alluring as it is discombobulating. This edition from Fantagraphics includes a thorough bit of extras showcasing more of Khing's illustrative prowess, and it shows an artist who remained completely unburdened by a set style. Seeing the variety in techniques makes Iris even more impressive of an artistic piece, since the design feels so entirely irreproducible and established that I imagined most of Khing's art would have resembled the same style. I really hope Fantagraphics or other publishers release more of Khing's works, with the one page of Student Tijloos comic strips (the first collaborative work between Banda and Khing) being the most enticing piece showcased. Khing's style easily captures the photorealist style of greats like Alex Raymond, Al Williamson or Frank Frazetta, which is astonishing given the highly expressionistic style he opts into here. The sheer range of artistic capabilities demonstrated in the back matter makes me really wonder why Khing's works have not been more widely available outside of Europe.
The story in Iris is pretty serviceable outside of the social critique angle. It gets nonsensical quickly, with a huge portion of the plot revolving around the importance of wigs versus real hair, something that isn't really explained in any kind of way that really feels vital to the plot beside perhaps a loose critique on the cosmetics industry. I wouldn't really say I was very grabbed the story, especially as it continued on in fairly erratic bursts of things just happening. That said, it's an easy enough read and just the sheer gorgeous quality of the artwork alone makes this worth checking out. I really hope we get more translated works from Thé Tjong-Khing, since I truly believe his talents are up there with the very best in the medium.
The anti-capitalist sentiments are evident throughout, with the critique of the exploitation of women as the most obvious angle here. Those who have read the recent New York Review Comics' release of Chantal Montellier's Social Fiction might find the similarities in the off-kilter depiction of a dystopian future, though naturally Iris has a bit more of a male gaze to it then the feminist-themed, anti-capitalist work from a female cartoonist would. But Khing and Banda don't linger much on the erotic aspects as much as they do highlight with the necessary depiction of what exploiting a woman's sexuality would look like. The depictions are entirely serving the purpose of the narrative, thus allowing for the critique to stand on its own.
Unlike Montellier's depiction of a dystopian setting which is presented in a cold and sterile manner, Khing's artwork could not look any more different. Opting to use neon infuses colors and expressive lines, Iris could almost be an assault on the senses if it also weren't so amazing to look at too. Every panel is soaked in style that is simultaneously alluring as it is discombobulating. This edition from Fantagraphics includes a thorough bit of extras showcasing more of Khing's illustrative prowess, and it shows an artist who remained completely unburdened by a set style. Seeing the variety in techniques makes Iris even more impressive of an artistic piece, since the design feels so entirely irreproducible and established that I imagined most of Khing's art would have resembled the same style. I really hope Fantagraphics or other publishers release more of Khing's works, with the one page of Student Tijloos comic strips (the first collaborative work between Banda and Khing) being the most enticing piece showcased. Khing's style easily captures the photorealist style of greats like Alex Raymond, Al Williamson or Frank Frazetta, which is astonishing given the highly expressionistic style he opts into here. The sheer range of artistic capabilities demonstrated in the back matter makes me really wonder why Khing's works have not been more widely available outside of Europe.
The story in Iris is pretty serviceable outside of the social critique angle. It gets nonsensical quickly, with a huge portion of the plot revolving around the importance of wigs versus real hair, something that isn't really explained in any kind of way that really feels vital to the plot beside perhaps a loose critique on the cosmetics industry. I wouldn't really say I was very grabbed the story, especially as it continued on in fairly erratic bursts of things just happening. That said, it's an easy enough read and just the sheer gorgeous quality of the artwork alone makes this worth checking out. I really hope we get more translated works from Thé Tjong-Khing, since I truly believe his talents are up there with the very best in the medium.
July 18, 2024
It's psychedelic and strange and I loved it! The story isn’t particularly rich with substance and its commentary on sex in the media isn’t exactly groundbreaking, but the art transports you to another world in the way Quasi at the Quackadero or Yellow Submarine does and for that, I highly recommend it.
September 26, 2024
Interesting styles and layouts.
Forgettable story.
Forgettable story.
November 2, 2024
I liked the comic, but I loved the supplemental essay tracing how it fits within the 60s pop art and related cultural aesthetics.
December 11, 2025
Pop Art Magnifique!!
April 8, 2025
Absolutely gorgeous, a Yellow Submarine for the sex people.
April 25, 2025
Honestly? It was just OK. Very readable but kind of a toss-off. (Probably better than Barbarella though.) On the other hand, if you take the core idea seriously that aiming for success can put you in a prison of other people's expectations, well, that's rather terrifying.
Nearly one-third of the book is a ‘making of’ article and history lesson. Via this, we learn that the cartooning style here was not native to the artist Thé Tjong-Khing but something he adopted for this project, inspired by Pop Art and The Adventures of Jodelle (by artist Guy Peellaert). He inked his pencils with a Chinese brush—thick, with a fantastically fine point—while adding his own spin to the style. Unfortunately, everything here has a rough bitmapped edge. Color-wise, it's all over the map—and no, there are no neon colors, just loud choices and a lot of flat backgrounds, like a standard DC comic. I can't help but wonder if an older style of print production (newsprint, large DPI halftone) might have tempered the result for the better.
This book is the ‘first-ever Dutch graphic novel’, and the back matter delves deep into its late-’60s context. It's a history piece, written with the feel of a press release. Should it be judged as a graphic novel, or for its informational and educational value? Apparently, this is also the first consistently full-color version, restored and recolored by Rudy Vrooman, in collaboration with the artist.
Nearly one-third of the book is a ‘making of’ article and history lesson. Via this, we learn that the cartooning style here was not native to the artist Thé Tjong-Khing but something he adopted for this project, inspired by Pop Art and The Adventures of Jodelle (by artist Guy Peellaert). He inked his pencils with a Chinese brush—thick, with a fantastically fine point—while adding his own spin to the style. Unfortunately, everything here has a rough bitmapped edge. Color-wise, it's all over the map—and no, there are no neon colors, just loud choices and a lot of flat backgrounds, like a standard DC comic. I can't help but wonder if an older style of print production (newsprint, large DPI halftone) might have tempered the result for the better.
This book is the ‘first-ever Dutch graphic novel’, and the back matter delves deep into its late-’60s context. It's a history piece, written with the feel of a press release. Should it be judged as a graphic novel, or for its informational and educational value? Apparently, this is also the first consistently full-color version, restored and recolored by Rudy Vrooman, in collaboration with the artist.
August 4, 2024
Thé Tjong-Khing is tegenwoordig vooral bekend als illustrator van kinderboeken, maar in de jaren zestig en zeventig behoorde hij tot Nederlands allerbeste striptekenaars. En het hoogtepunt van zijn stripkunst is zondermeer 'de roman voor kijkers' Iris. 'Iris' behoort tot de kortlopende stroming van pop-artstrips die vooral in de Franstalige wereld even bestond, maar in tegenstelling tot haar voorgangers gáát 'Iris' ook echt ergens over. Waar de strips van Guy Peellaert meer vorm dan inhoud waren, vertellen Lo Hartog van Banda en Thé Tjong-Khing een werkelijk goed verhaal. En Thé Tjong-Khing tekent ook véél beter dan de andere pop-artstriptekenaars. Werkelijk iedere bladzijde is prachtig, maar het hoogtepunt vormen wel de akelige droomscènes. Met 'Iris' wordt de Nederlandse ballonstrip in één keer volwassen. Zondermeer een van de hoogtepunten van de Nederlandse stripgeschiedenis.
Voor degenen die de originele uitgave uit 1968 al hebben, is deze heruitgave overigens zeer de moeite waard. Waar in het origineel uit geldgebrek pagina's ongekleurd bleven, volgt deze heruitgave Thé Tjong-Khing's oorspronkelijke kleurideeën. De tekenaar heeft dan ook nauwgezet aan deze heruitgave meegewerkt. En de uitgebreide toelichting aan het einde mag er ook zijn.
Voor degenen die de originele uitgave uit 1968 al hebben, is deze heruitgave overigens zeer de moeite waard. Waar in het origineel uit geldgebrek pagina's ongekleurd bleven, volgt deze heruitgave Thé Tjong-Khing's oorspronkelijke kleurideeën. De tekenaar heeft dan ook nauwgezet aan deze heruitgave meegewerkt. En de uitgebreide toelichting aan het einde mag er ook zijn.
December 1, 2024
"Iris" is a gorgeously illustrated, and beautifully well rounded graphic novel. It explores themes of sex and freedom all while maintaining some of the best illustrative work that I have ever seen. Each page takes a while to read because your gaze naturally lingers on each panel. The use of color is beautiful. It seems like the artists that illustrated this book have a remarkable sense of color, and the emotions that colors trigger. The colors and cityscapes seem to be reminiscent of our modern day cities, as the creators of "Iris" have done an amazing job of replicating the hectic buzz that roams throughout these modern urban landscapes.
The storyline seems to be a creative comment on society, and people as individuals. The creators of "Iris" show us how manipulation can be used to break people down on a society level, and also on an individual level. "Iris" comments on "success" and what that really means. It discusses how you must be yourself in order to seriously get in touch with what your version of "success" looks like. And it tells us, that often the simplest answer holds the most value. Amazing reading experience. :)
The storyline seems to be a creative comment on society, and people as individuals. The creators of "Iris" show us how manipulation can be used to break people down on a society level, and also on an individual level. "Iris" comments on "success" and what that really means. It discusses how you must be yourself in order to seriously get in touch with what your version of "success" looks like. And it tells us, that often the simplest answer holds the most value. Amazing reading experience. :)
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October 14, 2024was good! i'm not too fond of the digital coloring but what do I know... Skelly esque- but my favorite Skelly is the Agent entry that's colored like NOTHING else in her catalogue. I think this will be something I enjoy rereading. ANY DUTCH SPEAKER WHO SEE'S THIS- I NEED a translation or at least a scan of that Kooreman collection, Sadine. I will make a shitty, amateur english translation.
January 4, 2023
Uitermate fascinerend, ook omdat het een historisch overzicht bevat van hoe dit stripverhaal en indertijd anderen ontstonden en de invloed van deze op kunst en cultuur in het algemeen.
Aanrader voor iedereen die graag meer wil weten over hoe stripverhalen onderdeel werden van kunst en cultuur.
Aanrader voor iedereen die graag meer wil weten over hoe stripverhalen onderdeel werden van kunst en cultuur.
January 28, 2025
A new edition time warped straight outta the groovy Eurocomics scene of 1968 for your viewing pleasure: Iris is a sexy/sinister rainbow of pop art delights and counter culture anxiety about the future. Like Barbarella crashing the Yellow Submarine headlong into A Clockwork Orange! 8/10
September 7, 2024
fluidly drawn psychedelia feels very stylish despite the premise and aesthetics being of its time
September 26, 2024
The visuals are exciting and stunning but the story did nothing for me
September 27, 2024
3.5; Ron Campbell and Ken Russell present The Society of the Spectacle.
October 1, 2024
Truly retro psychedelic pneumatic fun!
January 28, 2025
A spectacular, groundbreaking work which until now was totally unknown in English. Kudos to Fantagraphics for enabling us to read it.
March 15, 2025
visually striking, really nice art but the writing and story was so trite and forgettable.
Displaying 1 - 18 of 18 reviews