Using the graphic novel form to tackle an issue like the rise of Nazi Germany is fraught with traps, not least of which are comparisons to other works, such as Maus, as well as literary criticism for minimizing such an important topic. Lutes navigates these hazards well, creating sparse black-and-white sketches that often render a mood wordlessly. Whole pages go without text, and it serves the story well. As much can be told by showing a character in a window's evening reflection, eyes inked as darkened sockets, than through retelling details of (now) familiar historical events. The story itself has a rambling and philosophical feel, focused on details that become all the more poignant for their insignificance. One segment--where Lutes shows Marthe's walk onto a newly snow-covered street--tells us everything we need to know about this character, without much actual action occurring. Lutes doesn't use moments of transcendence to make a point or add sentimentality; instead, he firmly grounds us in this time and place.

Without knowing more about the next volumes, it's impossible to say whether Lutes will use this attachment against the readers later, knocking down his characters cheaply, allowing the shortcuts demanded by the burden of history. The last pages of this book--with a disappointingly predictable resolution--hinted in that direction, but the overall tone of the book indicates that something much richer and deeper will happen along with the inevitable loss. --Jennifer Buckendorff

Product Description

Each chapter unfolds gracefully, linking easily with the next, although each one stands well on its own, without having to rely too heavily on the others in order to be comprehended. The art style isn't "cartoony" by any means...Lutes is a shrewd observer of the human form, and his figures reflect his keen eye. He's also a tireless researcher, and you can rest assured that when he draws an automobile, or a cocktail dress, or a phonograph player, it's appropriate to the time and place. Artistic drama is heightened by his clever use of inking; indeed, his employment of sheer black compares favorably to that of Milton Caniff, although in more subtle ways. It's worth noting that Lutes seems to prefer dealing in strict black and white; there are no zip-a-tone grays here.

But what makes "BERLIN: BOOK ONE" so compelling is the writing. Lutes has created a handful of characters whom we follow chapter after chapter; sometimes, their lives intersect, but in other instances they never meet with one another. Some are Bolsheviks, some are Nazis, some are just survivors in the rapidly shrinking middle. They are all fascinating, and the drama, the humor, and the uncertainty of their fictional lives against the very real historical backdrop of their era gives "BERLIN" its true power.

This is the first volume of what Lutes promises will be a three book saga. One can only admire his audacity, and marvel at the success he has achieved so far.


OK, but not Breathtaking   April 29, 2002
 10 out of 13 found this review helpful

The first in a project trilogy, Lutes' fictional attempt to recreate the confusing period of the tail-end of the Weimar Republic in Germany rambles and doubles back just a bit to much to satisfy. In trying to show how inter-war Germany was pulled to extremes by the Communists and National Socialists (Nazis), he creates a handful of characters and follows them from September 1928 to the violent May day clashes of 1929-with occasional flashbacks to World War I and the months following the armistice. The two main characters are journalist Kurt Severing and art student Marthe Muller, who meet on a train en route to Berlin (yes, they do eventually fall into bed together). Through his savvy and intelligent eyes, and her newcomer's naivete, Lutes presents the political scene, one where the middle is disappearing, and every citizen is forced to pick a side. Ultimately, however, the book is far too ephemeral to work as a history lesson, and the relationships presented aren't compelling enough in and of themselves.

As for the artwork, Lutes' style is what might be called "European" in that it's all clean black and white inks that bring to mind Herge. Architecture, automobiles, and wardrobes are all skillfully executed, however Lutes has difficulties with faces. Many of the characters' faces are either oddly formed and proportioned, or are too similar to one another. Still, the publisher has to be commended for the beautifully designed and produced book.


You either get it, or you don't   August 22, 2001
 4 out of 5 found this review helpful

If drawings, animation and other graphic froms of expression make you think "For kids" then don't bother. You're missing out though.

Adult cartoons (not Fritz) are a great blend of media...you can tell a cinemtatic story that would never get produced as a film, and lend a type of visual detail to a tale that is hard to create in books. Jason Lute is great at picking up these details, and for those of us who grew up reading comics, we recognize a master at work.


hoping and waiting   March 2, 2006
 4 out of 4 found this review helpful

The Weimar presents a set of profound issues for an artist or historian to grapple with. Lutes has done a more than admirable job beginning a graphic narrative that does justice to the myriad issues the period dileneates for contemporray readers. He has a point of view, an ability to transmit nuance, complication and contradiction, some compelling characters, a drawing style that to my eye pays some homage to Masereel while taking a more realist turn and big ambitions. The problem here is that we only have 1/3 (now some new chapters have been produced) of a much larger work. It's hard to judge just how successful this project will be with only one third of the story arc completed. I for one appreciate anyone who grapples with the set of questions Lutes is engaged with here and think he's off to a fascinating start but it is kind of like judging an entire play by its first act. We can get swept up in the action in the first act, but at the first intermission we can only hold out hope the rest of the play rewards the promise we just had take a hold of us. It could be a classic or a disapointment. I eagerly await the answer to that.


A BOOK FOR PEOPLE WHO LIKE TO THINK   December 30, 2002
 3 out of 3 found this review helpful

This is a graphic novel for people who like to think -- a complexly connected set of stories that move together in productive, thoughtful ways. Lutes takes full advantage of his spare, generous style of drawing in the creation of this graphic novel ... once you read it, you'll be dying for the next one to come out. It's historically and psychologically rich; a tremendous addition to this growing genre.