Chachu #1: The Neo-Noir Riff

Classic noir-style narration is the main vehicle for storytelling in Chachu #1. Vellani uses it both to advance the narrative and reveal most of what is learned about main character Leila. In that sense Chachu #1 could be seen as a neo-noir style story. But Vellani effectively switches out the requisite cynicism and moral ambiguity for a more generalized examination of Leila’s venture out into the world. Leila is on what amounts to a detective story in her search for her chachu which gives way to a bigger detective story soon after the first has ended.

Leila herself is a compelling protagonist. She is insightful and observant, in some ways beyond her years. But at the same time she has a kind of naivette in Chachu #1. What does finding her chachu mean to her and what will happen as a result? Leila has no real conception of that. Indeed, her complete lack of prior understanding adds to the shock at the left turn the story takes in the issue’s second half.

Vellani also slips bits of Pakistani cultural information and background into Chachu #1. The issue never turns into a lesson on the subject. Vellani uses the snippets to help develop Leila and her relationship with her chachu. This aspect of the character building is handled deftly.

Ignazzi draws a fun and engaging Leila. She doesn’t fit what might be expected of a “detective” protagonist of a story that is neo-noir or neo-noir adjacent. She is somewhat flamboyant in appearance with big red sunglasses and a coat with a big fur collar. She is also far more expressive than the other characters in the issue. Ignazzi doesn’t exaggerate characters’ facial appearances, but Leila’s eyes and mouth tend toward wider sizes, especially in moments where the story is pushing her toward more extreme emotions such as excitement. Indeed, for the first several pages, Leila’s appearance drives interest in the story.

Character depiction overall is a major strength of Chachu #1. Ignazzi adds considerable feeling to Vellani’s dialogue by keeping facial expressions and body language constantly changing. There are almost no instances of characters appearing static from one panel to the next. These are interesting characters which help propel an interesting story.

Bellaire’s coloring creates visual chapter breaks between major story beats in the issue. The first several pages take place late in the day, and Bellaire bathes the backgrounds in warm yellows and oranges. An encounter with a criminal in Leila’s chachu’s house takes place in the medium blues of night. Leila and her chachu set out on their new question in the pink of sunrise. As a result, in each case there is the sense that the story has jumped forward to a new phase.

Gattoni uses a handwritten looking font inside caption boxes that seem equally handdrawn. At first it’s just a nice touch that fits in with the narration style in the issue. Later in the issue, though, it connects Leila’s thoughts to a journal that she’s writing in during these events. It’s a clever way to connect Leila’s narration to the story in a very real way.