The Complete Love & Rockets #[20]
☆ Be the first to review + Add to your collection — Join freeThis volume collects the early 'Dicks and Deedees' storyline from the acclaimed Love and Rockets series, focusing on the misadventures of the characters in the fictional town of Palomar. Written and illustrated by Gilbert Hernandez, it showcases his signature blend of slice-of-life drama, magical realism, and intricate character dynamics. Part of Fantagraphics' comprehensive 'The Complete Love & Rockets' library, this edition presents the material in a restored and recolored format.
In "Election Day," Jaime Hernandez delivers a quiet yet piercing moment in the lives of his characters, focusing on Hopey as she serves as a volunteer clerk at a polling station. The story unfolds through a tense conversation with Maggie, who’s confronted about her absence at Costigan’s funeral—leaving Hopey to grapple with grief and betrayal in silence. With intimate detail and emotional weight, Jaime Hernandez (writer, artist, inker, letterer) captures the lingering aftermath of loss, while glimpses of Costigan’s past emerge from the quiet hum of the election day setting. The cover, also by Jaime Hernandez, frames the moment with his signature observational grace.
In "null," Ray Dominguez finds himself caught in a vivid memory of a tense conversation with a group of young people, debating whether rap music still holds the revolutionary spirit once carried by rock and punk. The moment lingers, a quiet echo of idealism and generational friction, as Ray reflects on what it means for music to challenge the world.
In "Election Day," Hopey serves as a volunteer clerk at a bustling polling station, her focus sharp but her thoughts heavy. When Maggie arrives, their quiet exchange reveals a rift—Maggie’s absence from Costigan’s funeral still stings, a silence that speaks volumes. As the day unfolds, the other election workers share fragments of Costigan’s past, painting a portrait of a man whose life touched more than they realized.
In the quiet aftermath of H. R. Costigan’s passing, Norma Costigan takes Negra on a seaside retreat, hoping the distance and change of scenery might mend what’s strained between them. As their bond deepens, the weight of Negra’s impending inheritance stirs unseen tensions, and Norma finds herself navigating a shifting landscape of loyalty and suspicion.
In the quiet aftermath of Election Day, Maggie, Hopey, and Guy share a meal at a local diner, the easy camaraderie of their friendship fraying under the weight of unspoken tensions. As the day unfolds, news of Norma’s arrest for kidnapping Negra sends shockwaves through their circle, and the fallout stirs long-buried emotions—especially when Hopey learns Maggie plans to divorce. Amid the shifting alliances and quiet reckonings, a fragile understanding begins to form, one that hints at the possibility of repair, even if the path forward remains uncertain.
In "The Race," Maggie navigates a surreal dreamscape where she confronts lingering guilt from her divorce, dodging memories and metaphors as she moves through a shifting world of strange encounters—running from a race she’s unsure she wants to win, meeting a shrinking Izzy, attending a bizarre divorce party, and facing a version of herself she can’t quite name. The story unfolds with quiet intensity, blending the personal and the fantastical as Maggie wrestles with loss, identity, and the weight of what’s left behind.
Hopey throws a divorce party for Maggie, weaving through memories of their relationship from the early '80s to the present, all for Mary’s sake. When Tony shows up unexpectedly, the past comes rushing back—Maggie gets drunk and passes out, and Hopey and Tony are left to confront what happened between them.
In "Bay of Threes," we follow the formative years of Penny Century as she navigates the quiet intensity of her childhood, her dreams of becoming a superhero, and the unexpected connection that sparks with H. R. Costigan. Set against the backdrop of small-town life, the story unfolds through moments of longing, quiet rebellion, and the tender beginnings of a bond that would shape her future.
From Ray Dominguez’s hazy, introspective point of view, a night at a dim dive bar with Doyle Blackburn unfolds in fragments—memories of laughter, secrets, and a strange, lingering presence that feels like a name, a face, a moment just out of reach. As the past resurfaces, the line between what was real and what was imagined begins to blur, all centered around a figure known only as “Frogmouth” Velvet.
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Reprints
↩ Reprints Penny Century #5 (1999), Penny Century #6 (1999), Penny Century #7 (2000), Love and Rockets #4 (2002), Love and Rockets #5 (2002)
Reprinted in Locas, elles ne pensent qu'à ça #[nn] (2009)
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