Pedrito explains to younger sister Pipay that they’re going to celebrate Undas, “when families visit the cemetery and gather around their dead loved ones’ tombs.” This is typically celebrated on the first and second day of November during All Saints’ Day and All Souls’ Day. Pipay innocently asks if they’re still a family without their nanay and tatay (Tagalog for mother and father), prompting Pedrito to point out the different families they encounter as they walk. The candle sellers are an example of a “BIG AND LOUD” family; the flower sellers are “small and quiet.” The dialogue-heavy narrative flows naturally as they enter the cemetery. Soft, borderless hues bleed into one another, artfully textured with simple lines. Dreamy, impressionistic scenes enhance Pedrito’s gentle observations of families: Some include members living apart—an acknowledgment of overseas Filipino workers. Others are headed by same-sex parents. “Some families have babies born in the tummy. Some have babies born in the heart.” A satisfying climax is reached as the pair visit their parents’ graves with their grandparents and Pedrito assures Pipay that they’ll always be a family, “as long as our love for each other remains.” Tagalog words are interspersed throughout, with a helpful glossary and backmatter providing more insight into the celebration.

Pedrito explains to younger sister Pipay that they’re going to celebrate Undas, “when families visit the cemetery and gather around their dead loved ones’ tombs.” This is typically celebrated on the first and second day of November during All Saints’ Day and All Souls’ Day. Pipay innocently asks if they’re still a family without their nanay and tatay (Tagalog for mother and father), prompting Pedrito to point out the different families they encounter as they walk. The candle sellers are an example of a “BIG AND LOUD” family; the flower sellers are “small and quiet.” The dialogue-heavy narrative flows naturally as they enter the cemetery. Soft, borderless hues bleed into one another, artfully textured with simple lines. Dreamy, impressionistic scenes enhance Pedrito’s gentle observations of families: Some include members living apart—an acknowledgment of overseas Filipino workers. Others are headed by same-sex parents. “Some families have babies born in the tummy. Some have babies born in the heart.” A satisfying climax is reached as the pair visit their parents’ graves with their grandparents and Pedrito assures Pipay that they’ll always be a family, “as long as our love for each other remains.” Tagalog words are interspersed throughout, with a helpful glossary and backmatter providing more insight into the celebration.