THE ROAD

A suitably dark graphic treatment of McCarthy’s post-apocalyptic masterpiece.

French artist Larcenet delivers a full 21 frames before McCarthy’s main characters, a father and his preadolescent son, speak. That’s fitting: In the original novel, the father is grimly taciturn, while the boy is full of anxious questions: Are we the good guys in the piece? Are the bad guys going to eat us? Larcenet’s landscape is the dark, dead land of nuclear winter; in an afternote, he admits to liking snow, though atop every snowbank here, it seems, there’s a corpse. Larcenet’s rendering of the father looks nothing like the Viggo Mortensen of the film, for, as he writes in an afterword, “I’ve been racking my brain to avoid any reference to the movie adaptation.” Instead, the man looks like one of the hirsute Trumpets who stormed the Capitol. But then, so do all the other grown-ups, personal hygiene having fallen victim to the irradiated world of the future. McCarthy’s story is simple: The man and the boy have to head south to find a place they hope isn’t frozen solid. On the way, wheeling a shopping cart, they have to keep their few possessions safe from scavengers while avoiding gangs of roving, cannibalistic brigands. The son remembers a few hallmarks of the old world, praying that a dead family whose larder they’ve raided “are safe in heaven.” Dad, meanwhile, is full of more instructive notes: “You forget what you want to remember and you remember what you want to forget,” he remarks amid an endless landscape of tortured corpses and detached skulls. The story, as with McCarthy’s work in general, ends happily only if you count mere survival as a satisfying resolution. Larcenet’s brooding black-and-white drawings suit the original perfectly.

Read McCarthy’s novel first to appreciate the subtlety of Larcenet’s superb graphic adaptation.