Nick Drnaso’s artistic style implicitly reproduces the orderliness of how news is meant to be. The structure of the panels is clean-cut and uniformly organized, either with congruently sized frames throughout the page, or a few larger panels surrounded by smaller ones, aligned in four by six grids. Outlines of characters and backgrounds are precisely filled with homogeneous blocks of color, with no shading or gradients present — alike how news is meant to represent the truth in a black-and-white manner with no grey areas. Even the illustration of the characters, whose facial expressions bear few details and rarely display overt emotion, engages the reader in an instinctual, emotional detachment from the setting. Nick Drnaso’s depiction of the characters is never overt in the responses it’s meant to elicit, despite evincing genuine empathy and consequently, biases — similar to how news channels are meant to present objective accounts and should not set out to sway viewers’ opinions, yet still manage to do so in other discreet ways. Calvin, the protagonist, is depicted as a nice, lonely guy who never emotes or opines on the surface level, though the reader can infer his true feelings. As the reader follows him around and the plot unfolds, they naturally assume that they have the most direct channel to Calvin’s interiority — therefore, when these purportedly cut-and-dry news outlets depict Calvin as “hostile,” or twist his words into intentions that the reader most likely did not assign, the reader is especially jarred. Would Drnaso’s discussion of news, “fake and non,” be as impactful if his stylistic presentation were more dramatic or sensational?