Masereel's "Passionate Journey" narrative, made entirely of woodblocks, is one of the most interesting conceptions of narrative that I have had the chance to observe. The strategy of storytelling reminds me a lot of Brian Selznick's work, although oriented towards a much younger audience; both of the artists lack of narrative or dialogue, relying only on images, is the common connection. Aside from the story of a common everyman as he begins life anew in a city, the intertwining themes of comedy and tragedy make for some very dichotic illustrations clashing in tone, yet united by composition. The woodcuts themselves are the best part of the novel, disregarding the story– each woodcut presents a completely unique scene and subject matter, conveyed in the absolute simplest of shapes. I gawked over the definitive lighting that appeared in each different composition and how Masereel was so damn successful in conveying different times of day within such a binary style of blacks and whites. His shapes are extremely chunky as well, with little intent of half-toning certain spaces for grays, but rather using the most extreme of shadows to instead suggest the angle of the sun in the sky. Absolute madness, but it works!