I thought I wouldn't like this book because I didn't believe the comedy-newspaper-strip art style could sustain a 262-page story.
I was wrong. The art fits ‘Nimona’ terrifically on a subversive level.
It reflects the main theme of the story of 'Nimona'. The theme, in a nutshell, is this: nothing is as simple as it first appears. It begins as a zany and funny comic strip set in an ambiguous world where magic and science coexist, and then it morphs into something more complex, dark and twisted. Parody shifts into deconstruction. Halfway through the graphic novel this becomes more apparent.
‘Nimona’ basically asks this question of its audience: if appearances don't matter, and there is always a complexity and reasoning behind everything, then are there really such things as good and evil? These are just concepts; terms made up to comfort people and simplify an ever-changing, ever-moving, grey-area world inhabited by the billions; with different points-of-view and experiences. They may all think that their individual worldview is the right one, therefore no one really thinks of themselves as evil (meaning, wrong). Unless they're in a silly children's story, perhaps.
The characters in ‘Nimona’ also perfectly demonstrate this. While she's the titular character, Nimona herself is not the protagonist. Her origin and motives are a mystery throughout most of the book. Like the book named after her, her true self gradually reveals itself the more you read on. 'Nimona' is not as simple or childish as appearances suggest; this theme is further illustrated by the fact that Nimona herself is a literal shapeshifter. I'll discuss more about her later, however.
First, let's talk about Ballister Blackheart, the true protagonist of 'Nimona'. The reader follows this supposed villain from beginning to end: we witness his struggles, his confusion over the enigma that is his new sidekick Nimona, his loves and losses, and we understand his frustrations as well as his moral code of no killing; something Nimona doesn't share. It is pretty clear from the start that Ballister is not as evil as everyone within the context of the story perceives - or wants to perceive - him to be, and I absolutely adore him. Despite everything that has happened to him, he cares deeply for others and will attempt to understand (grudgingly in Ambrosius's case) and fix people. The dark-haired, goatee-sporting, mechanical-armed, intelligent, science-loving "baddie" is as selfless as they come.
The Institution of Law Enforcement and Heroics, which acts as the government of the unnamed world of 'Nimona', had manipulated and practically forced Ballister into villainy because every swords and sorcery story needs a villain, a scapegoat (scape-goatee? ha ha). Ballister, whose goal is to expose government corruption and fear mongering, appears to be more sympathetic than the Institution’s - and by definition the story's - designated hero, Ballister's old Institution partner Ambrosius Goldenloin.
Blonde and dashing Ambrosius shows signs of complexity and internal struggles more gradually than Ballister does, including remorse over his actions which had caused his dear friend to become isolated and alone.
Nimona in a way fills that void for Ballister, hence one of the reasons why he grows to love her like an adopted daughter. Reflecting this period of character development, Ambrosius is revealed to be neither as dumb nor as much of a pawn as he first appears. Both men love, and can be loved in return...
The Institution - more specifically the sinister Director - is the puppet master of 'Nimona', controlling the fantasy/science land on a macro-scale and driving apart the relationship between Ballister and Ambrosius on a micro-scale. External struggles and internal, personal power ones combine.
I love that, while not explicit, it is made quite clear that the friendship the two main male characters share is something more. Whether the homosexual prince-type figures live happily ever after depends on each of their present actions, with no more dwelling on past mistakes. It would also be spoilery of me to reveal the outcome of their strong bond, so I'll just leave it at that for now.
Now onto the shapeshifting girl Nimona, who, among other things, turns out to be a catalyst for bringing Ballister and Ambrosius closer together than ever before. She is trigger-happy, funny as heck, and evil. But she is so darn cute while she does bad deeds (such as murder) that the reader - as well as Ballister, the audience's stand-in - can't help but like her, even in a confused way. Nimona's carelessness, evasiveness of Ballister's questions concerning the nature of her powers, and hiding her true strength all add up to a sign of and a prelude to how much of a monster she is. Or isn't, depending on individual reader interpretation.
We get many glimpses of who the real Nimona is on the inside as well as the outside. Is the cute young girl image even her true form, as Ballister speculates at one point? A nature-versus-nurture element plays a small part in 'Nimona' here. And it all comes together towards a heart-stopping, deadly climax.
One concept I would like to study and explore in regards to how Nimona plays her role is: the idea of the morally-ambiguous female, or the anti-heroine, and why there are so little of them to name in popular culture. It is likely that what I am about to interpret was unintentional on the part of the author Noelle Stevenson, but I believe it's worth discussing nevertheless:
I think it is self-evident that many people expect too much from a woman who takes charge and acts outside the norm of a patriarchal society. They put an unfair amount of pressure on her to be perfect all the time - for as part of a "minority" she must represent all women everywhere. Naturally a contradiction surfaces, since no expectations from anyone can be perfect and all women are not the same. The “strong, independent woman” must be good, must be forever right (which is nigh-impossible for any person to achieve), and must not lose her temper or let her feelings show no matter how much she may suffer externally or internally. She is not a person to the privileged higher-ups (mainly, the straight white males who have nothing to prove and don't have to apologise for anything), she's a paragon; and therefore her humanity is completely disregarded should she make even the smallest mistake or controversial choice. This line of thinking can affect women in both real life and in fiction. How many fictional females can you name that are "controversial" simply because they don't fit the traditional feminine form and norm? Because they are assertive? How many instances can you think of where a strong woman gets called out for being "mean", "bossy" or "bitchy" - both in-universe and out - when if a man were in her position and did the exact same things he won't receive as much hostility? Too many examples exist in the media/pop culture spectre where a strong woman is punished simply for being strong. For being human.
As a result of this misogynistic and patriarchal outlook, some - not all - creators may worry about their "strong, independent woman" not being well liked. So they don't make her too independent, too three-dimensional, too interesting. And so those who benefit from straight white male privilege remain comfortable in the knowledge that a woman - who to them is an object for their consumption and male gaze - hasn't threatened or affected the status quo.
Nimona breaks the status quo in every way.
She is no role model. Uncaring (mostly), impulsive and a remorseless killer, she should be unlikable. She seems created for the purpose of rejecting traditional gender behaviour, and in light of the revelation of her true backstory, it is plausible that Nimona is intentionally trying to break the very system that harmed her for not being a "perfect little girl". So she is dangerous both in-universe - because of her powers - and within the conventions of the fantasy and science-fiction genre. That Nimona makes her own choice to be a villain's sidekick is fitting for her, and makes sense for the reader wondering whether he/she/they should like this assertive breaker of comforting gender tropes. But Ballister Blackheart is not really a villain anymore than the Institution is a purely good government, and he expresses distaste at Nimona's actions.
But he doesn't kick her out. Like the reader, he is curious about this strange, unconventional girl. Unconventional also is her appearance: Nimona's main form, as a fantasy heroine, is a chubby, fully-clothed one with a shaved head (Nimona’s subversive takedown on her gender role is similar in style to the main female characters from another fantasy comic, ‘Rat Queens’). It is not only her attitude, but the energy with which she exerts that attitude that makes her a surprising break-out character, in my opinion.
Nimona is an enigma, so she doesn't appear in the comic as much as the protag Ballister. In this sense she is also a well-placed, individual entity, rather than a real threat. The reader - and again, Ballister - wants to solve the mystery of Nimona: the unconventional, scarily powerful and striking character. Gender be damned.
Plotwise, Nimona may exist for the other characters to react to. But that isn't her only purpose. One of her functions of breaking the patriarchy and the status quo is to inadvertently play matchmaker for two men who love each other romantically. There are no princesses in this fairy tale.
Slight spoiler: Nimona turns out to be sympathetic after all. Not that it would have mattered if she isn't. She'd still be an interesting and multilayered antiheroine, constantly changing shapes and keeping the reader guessing.
Whew!
On to simpler things now. Dr Meredith Blitzmeyer is another great addition to the cast - a woman who is a mad scientist? Also rather unconventional in any genre. The Director is perhaps the weakest character, for she is the most obviously evil person in 'Nimona', and seems to play straight the stereotype of the cold-hearted woman in power instead of subverting it. Though maybe she's an exact product of a society and system that demands that a woman in charge be unemotional and hyper-masculine?
What a long review this turned out to be! It goes to show how much power storytelling has, and how many layers and symbols can be interpreted to reflect the real world we live in. All from one graphic novel; a worthy medium as 'Nimona' proves.
To wrap things up, 'Nimona' is a charming yet surprisingly deep, ominous and touching sword and sorcery tale. Social, ethical and political themes of government corruption, the nature of what passes for good and evil, punishing and torturing those who are different (discrimination examples include shapeshifters, and the more realistic inclusion of people within the LBGTQ community), forgiveness, and seeing the best in the worst - these are all executed brilliantly. 'Nimona' isn't too preachy, however; if anything it seems like Noelle Stevenson was having a blast with her pet project.
Fun, action-packed, mysterious, smart, dark and poignant, 'Nimona' is fantastic. It will stay with the reader for a long time after the last delightful page. A comic for all walks of life.
Final Score: 5/5
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