Based on an unproduced feature-length screenplay by legendary visionary Henson and Juhl, this graphic novel follows its hapless protagonist as he is cast out into the desert by the cheerful Sheriff Tate for reasons as baffling to the unnamed hero as the reader. The scruffy hero is a pawn in a game whose rules are concealed from him, pursued across a surrealistic southwest U.S. by an implacable hunter and hindered by the eccentric, bizarre inhabitants of the great desolation. The prize waiting for him at the end of the chase, should he survive to reach the end, is one he will never guess at. While best known as the creator of the Muppets, Henson was a man of multiple gifts. More than two decades after his untimely death, Pérez has brought to life a little-known side of Henson’s storytelling skill. The story eschews extensive dialogue, making events dependent on Pérez’s ability to convey Henson’s vision. Instead of trying to merely make a movie storyboard, Pérez chooses to make this pure comics, using an animated style somewhat reminiscent of Darwyn Cooke and stunning coloring that uses different palettes—muted pastels or striking duotone—to tell the story. An eccentric oddity, lovingly rendered into a haunting story. (Feb.)

Norwegian cartoonist Jason has returned with more full-color stories populated by lonely, and at times sociopathic, anthropomorphic characters. Cats, dogs, and ducks steal, fight, murder, and drink themselves into oblivion. Although brimming with black humor, the tales are far from ridiculous; the disjunction between the cute creatures and their actions often serves to highlight the despair inherent in their lives. Text is light, as the images drive the narratives. In these spare, mute panels, infused with flat oranges, greens, and browns, small movements covey great meaning and emotion. The volume includes five stories, including “The Brain That Wouldn’t Virginia Woolf,” a hybrid of The Brain That Wouldn’t Die and Who’s Afraid of Virginia Woolf. The title story provides a charming prequel to Jason’s 2008 graphic novel, The Last Musketeer. Visually exciting, at times hilarious and at times devastating, Athos in America will only add to Jason’s well-deserved reputation as a star of the graphic novel world. (Feb.)

In this graphic memoir, Mary S. Talbot intertwines two coming-of-age stories and constructs a powerful narrative about family, gender, and identity at two very different moments in the 20th century. Talbot, the daughter of Joycean scholar, James Atherton, parallels her own upbringing with that of James Joyce’s daughter, Lucia. Though Talbot’s relationship with her father was a source of conflict in her life—a relationship that was alternately characterized by affection, anger, and indifference—it was not nearly as tragic as the story of Lucia Joyce, a young woman who wanted more than what the sexual politics of the early modernist period and her dysfunctional family were willing to afford her. The narrative does a remarkable job at taking a close, critical look at the distinction between our public and our private selves, and how we can sometimes win the admiration of everyone but those closest to us. Talbot’s illustrations show exceptional dexterity in moving from the monochromatic past to the more colorful present, with the changing color palette suggesting the changing social climate for women. Those looking for a graphic memoir that provides an insightful study of how 20th-century sexual politics played out on the home front will be hard pressed to do better than the present title. (Feb.)

At one point in this graphic novel biography, the titular icon states his design philosophy in a succinct phrase: “What you leave out will shape the whole.” This also describes the philosophy driving this book. While not a conventional biography, this book uses a nonlinear mosaic structure to give the reader glimpses into Jobs’s relationship with Zen roshi Kobun Chino Otogawa, whom he met following his ouster from Apple. Melby starts with the near collapse of Apple Computers in 1985 and then jumps around a time line that covers decades. Each scene connects loosely to the next, sometimes showing the origins of ideas Jobs would later employ in redesigning Mac, sometimes connecting only through the relationship between the priest and his student. Melby portrays Jobs as an aggressive egotist as much as an innovator, and particularly later in the book, he is shown to be careless with his friends. The artwork uses shadow and color to indicate form in a way that is deliberately reminiscent of early iPod commercials. A fascinating section in the back matter details the artists’ process in finding that aesthetic. Overall, the drawings and the sparseness of the narrative work together to shape a fine story, one perhaps too large to be told in one volume.(Jan.)