Review by Ian Keogh
Nick has the feeling that he’s missing out on aspects of life. Attempting to compensate, he plays roles in public, the first being sitting in a bar and pretending he’s unhappy to gauge the response. The concept that perhaps being himself and saying what he’s feeling might open more doors doesn’t occur to him.
Being a cartoonist for the New Yorker, the expectation is that Will McPhail will supply sharp compacted observations of life, and he does, from the satirical selection of pretentious coffee shops to the hilarious online interview where everyone has to make a statement, however meaningless. The unexpected comes in the form of surreal interludes, such as the song and dance number before taking a table at a restaurant.
That occurs when Nick finally breaks through to someone, although McPhail’s talent for understatement makes readers aware that despite Nick’s view, most of the running is made by Wren, who’s attracted despite his reticence and lack of imagination. That sort of nuance is a constant accompaniment to the observation of Nick who’s constantly on panel, giving the feeling of watching some kind of documentary.
There’s also a subtlety to McPhail’s art, which prioritises expression, gesture and posture to communicate. Most scenes are drawn in an attractive grey wash filling delicate lines, but occasionally, as per the sample art, we have watercolour, representing Nick making a breakthrough. The wordless colour sequences are creative interpretations of proper conversations, with the first arriving relatively early in surprising circumstances. It’s a false dawn, though, for supplying a realisation of communication relying on sharing, but Nick’s fundamental mistake is not taking on board that sharing also means listening and responding. Despite good intentions he’s very much broadcast without reception.
Although it’s been set up, a coincidence two-thirds of the way through is a clumsy narrative convenience. However, weigh that against In. being a naturalistic, perceptive and sardonic commentary on modern life with a nice line in visual metaphors and in touch with human emotion. It’s a gem.
