For me, the true appeal of this book lies in the questions that the reader encounters when considering what happens between panels. For instance, in the sequence described at the end of the previous paragraph, Samuel shoots an arrow into the head of the yellow creature before using its slumped corpse as a platform on which to reach up into a tree for fruit. The protagonist departs, discarding his bow next to his victim, arrow still embedded in its skull. Finally, the last panel of this sequence jumps forward in time and depicts the creature’s bare skeleton still propped up against the tree; the fruit has re-grown, the rocks and pebbles of the scenery have shifted, the arrow and bow absent. I couldn’t help asking questions regarding the time between panels: “How much time had passed?”, “Did the still-visible tongue indicate that the creature’s flesh had been stripped by a predator?”, “Did it simply decay?”, “Did Samuel himself eat it?”, “Who took the bow and arrow?”. Etc ad nauseum.
Equally cute and subversive (the former informing the latter), Musturi’s art and storytelling make this comic an essential read for anyone. Even more alluring to monolingual English readers is the fact that they can pick up any of the foreign editions of Sur les Pas de Samuel (Finnish!, French!, Swedish! Portuguese!) without fear of hitting the language barrier. I personally demand that everyone reading this buy it right now (link provided below).