Fittingly, the superficial world of Fingerprints is introduced to via a television movie special, in which a grizzled blockbuster director is being interviewed about his latest feature. Over-glossy, soulless and starring two manufactured megastars, it’s a vapid by-the-numbers piece of Hollywood trash by all standards, perfectly capturing the book’s core theme of homogeneity.
Obsession and self-hated collide as Fingers and Zimba gain sexual gratification from surgical talk. Weirdos.
Dinski's principle strength is his compositional talent and layout design. Like Chris Ware, he has a fondness for tight, geometric panel arrangement, adding and intermittent clarity and complexity to his stories via which he showcases his exceptional sense of pacing. Structured flawlessly, there’s no mistaking that he’s a creator deeply attuned to the unique potentials of the comic book form, here and in his other work. In Dinski’s very much recommended interview with Tom Spurgeon in 2008, he detailed his approach, revealing that the uniformity of his panels enables him to rearrange them later in his creature process; a pragmatic method not dissimilar to movie post-production.
Fittingly, the book has gone through somewhat of a facelift itself. A vast expansion of Dinski’s original 2008 self-published comic Beautiful, Cool and Irreplaceable (featuring 96 pages in comparison to 48), it’s great to see it get the full-colour, hardcover treatment that it deserves. A modern-day parable about the societal implications of venerating an unachievable standard of cosmetic beauty, it’s a well-crafted piece of comic literature and well worth a look. Be sure to over to the Top Shelf website now for a 5 page preview. Incidentally, I hear that reading comics gives you inner beauty; just look at me, for example.