Editions appeared in Danish in 2010, Korean in 2012, Polish in 2014. and Serbian in 2017. Style and analysis The story takes place in the 1980s and follows Seth, a cartoonist whose life revolves around cartooning and collecting nostalgic items. He feels ill-at-ease in the modern world and pines for bygone eras. His obsessions and cynicism alienate Seth from most of those around him. By the time he began the serial, Seth had developed a style derivative of The New Yorker stylists of the 1930s and 1940s. In the book's appendix Seth describes Peter Arno as "possibly The New Yorkers greatest stylist". Seth appropriates the sophisticated, jaded satirical mood, thick brushline, and compositional sense of Arno's work. Seth's renders with a simple and organic brushline, and gives attention to buildings, landscapes, weather conditions, and other background details. giving fine attention to details of objects despite the stylized, iconic rendering. The brushstrokes broaden into thick black shadows, sometimes flattening figures to near-abstract silhouettes. A greyish-blue wash accents the otherwise black-and-white cartooning. The novel is printed on yellow paper, giving an aged feeling to the book. Several wordless scenes unfold in an atmospheric panning through landscapes and cityscapes, with a particular focus on older buildings. The third section opens with such a sequence—tangential to the plot—in the Royal Ontario Museum. The detail in the buildings is much greater than in the simplified delineation of the characters. In a self-referential twist, the character of Seth at one point discusses his love of the New Yorker style with Chester Brown, while the story itself is drawn in such a manner. Brown expresses his appreciation for such cartoonists but disappoints Seth with his lack of enthusiasm. The cartoonist Kalo is fictional, though this is not revealed in the book. Seth produces the Kalo cartoons in a New Yorker style, yet distinct from the art in the rest of the book. Seth's use of a real person to comment on Kalo's work makes the fictional cartoonist's existence seem more plausible, as does an actual photograph on the final page purporting to be of Kalo. Though it avoids sentimentalism, a strongly nostalgic and melancholic tone pervades the narrative as the Seth character searches for peace and meaning in his life. The narrative is presented as confessional and revelatory: it displays the protagonist's intepersonal problems and self-doubts, and at one point he is depicted as naked. He often