Within a reader’s first few minutes of interacting with ‘Mimi’ by Frankie Lyne, a few things are noticed before the book is ever opened:
1) The stylistic difference between the front and back cover
2) The stark use of primary color
3) The heart shaped push pins utilized as a binding tool.
Each of these artistic choices creates an immediate impact on the audience, clearly communicating from the get-go the central theme of interpersonal connection and heart.
But first, a word on the creator and the context of this story:
Frankie Lyne is a multifaceted Chicago based artist whose comic work focuses on the characters Simon and Marie, two deeply flawed but deeply interesting individuals. ‘Mimi’ is a snapshot narrative followings Simon’s decision to get clean as he reckons with the events of his past and explores his relationship with his mother figure. The story blends past and present timelines to weave together a tale of coming undone while coming back together.
‘Mimi’ puts the reader in the middle of the action from the start, with quick pacing and fast story beats. The payoff for keeping up with the narrative is delicate moments of characterization displaying human connection.
This knowledge is crucial to anyone picking up this comic, as reading ‘Mimi’ relies on an understanding of Lyne’s comic universe. Now, on with the show.
Established quickly by the front and back cover of the comic, the stylistic contrast of the past and present storylines is a strong point of this work. By creating such a dynamic difference in visual language, the reader’s understanding of how Simon relates to these two points in his life is elevated. The present tense storyline exists in textured line-work with depth built by hatching techniques to create an edge visually that translates to Simon’s
experiences trying to get clean. The flashback sequences are, instead, lineless and saturated in color. This decision softens the imagery, lending a sort of dreamlike quality to the panels and showing off Simon’s recollection of his mother.
These choices are heightened by the colors utilized in each timeline.
In the present, the rough line-work is hatched with exclusively blues and reds and never are both colors used in one panel. This lends itself to the divisive nature of drug withdrawal and the bleak circumstances Simon finds himself in. In the flashback sequences, red and blue meet yellow not only in the same panel but overlapping to build a spectrum of color into each page. The introduction of yellow in these sequences builds warmth and quickly communicates to readers the difference in emotional pacing.
Lyne utilizes RISO printing for the production of this comic, a method that thrives on the human hand being present in final printed and bound copies. Within this process, each color is printed separately and run through the machine multiple times to create the final product. ‘Mimi’ does well to show off the wonders of this medium. With every slight smudge or printer artifact hidden in the art, the knowledge that the book was crafted by hand and assembled with passion is presented. For a story that is at its core about human connection, this traditional craftsmanship amplifies the message.
Down to the final details, Frankie Lyne delivers a story about heart. The comic being bound by heart shaped push pins, a charming and unique finishing touch, only serves to further prove that point. Simon as a character is struggling to let go of his past, struggling to make healthy choices, struggling in general. The care shown to him by the other characters and the care put into the story by its creator provide a clear emotional tether as the reader takes in each panel.
This limited-run printing exists only in 100 copies, a true collectible! Having read ‘Mimi’, it’s impossible to resist checking out Frankie Lyne’s other exciting work about these dynamic characters.