A first-rate visual reframing: sensitive, artistically brilliant, and as charged as its enigmatic predecessor with profound...
An eerie graphic version of the Newbery Award–winning classic.
Russell (Murder Mysteries and Other Stories, 2015, etc.) pays no more attention than Lowry (Looking Back, 2016, etc.) did to continuity of detail or to justifying the counterintuitive notion that memories can be shed by transmitting them, but without taking significant liberties he skillfully captures the original’s full, creeping horror. By depicting human figures with uncommonly precise realism, bearing calm, smiling demeanors and moving through tidy 1950s style settings, he establishes an almost trite air of utopian normality at the outset…then proceeds to undermine it with disquieting (to say the least) incidents capped by an explicit view of Jonas’ serene dad “releasing” a supernumerary newborn by ramming a hypodermic into its head. He also neatly solves the color issue by composing his many small sequential scenes in blue pencil outlines with occasional pale washes—which makes Jonas’ disturbing ability to “see beyond,” from the red in an apple and a classmate’s hair to the garish orange memories the Giver downloads to his brain, startlingly vivid and presages the polychrome wilderness into which he ultimately vanishes. Jonas and the rest of the cast are uniformly light-skinned and generically European of feature, but that is explicitly established as part of the hideous scenario.
A first-rate visual reframing: sensitive, artistically brilliant, and as charged as its enigmatic predecessor with profound challenges to mind and heart. (interviews with the creators) (Graphic dystopian fantasy. 12-14)Pub Date: Feb. 5, 2019
ISBN: 978-0-544-15788-0
Page Count: 192
Publisher: HMH Books
Review Posted Online: Nov. 20, 2018
Kirkus Reviews Issue: Dec. 15, 2018
A charming adaptation.
A miscommunication leaves Matthew and Marilla Cuthbert responsible for a plucky, effusive orphan girl instead of the boy they’d expected to help maintain their farm.
Retold in traditional manga format, with right-to-left panel orientation and detailed black-and-white linework, this adaptation is delightfully faithful to the source text. Larger panels establish the idyllic country landscape while subtle text boxes identify the setting—Prince Edward Island, Canada, in the 1870s. The book follows redheaded Anne Shirley from her arrival at Green Gables at 11 to her achievement of a college scholarship. In the intervening years, Anne finds stability, friendship, personal growth, and ambition in Avonlea and in the strict but well-intentioned Cuthbert siblings’ household. The familiar story is enhanced by the exciting new format and lush illustrations. A variety of panel layouts provides visual freshness, maintaining reader interest. Backmatter includes the floor plan of the Green Gables house, as well as interior and exterior views, and notes about research on the actual location. A description of the process of adapting the novel to this visual format indicates the care that was taken to highlight particular elements of the story as well as to remain faithful to the smallest details. Readers who find the original text challenging will welcome this as an aid to comprehension and Anne’s existing fans will savor a fresh perspective on their beloved story. All characters appear to be White.
A charming adaptation. (Graphic fiction. 12-14)Pub Date: Sept. 1, 2020
ISBN: 978-1-947808-18-8
Page Count: 308
Publisher: Manga Classics
Review Posted Online: Aug. 18, 2020
Kirkus Reviews Issue: Sept. 1, 2020
BOOK REVIEW
BOOK REVIEW
PERSPECTIVES
True to this series' winning formula, an enjoyable mix of terror, comedy and romance.
When a weird midnight rite in a museum brings a hunky Incan mummy back to life, teenage Staci has a decision to make.
Tall, dark, chiseled and gifted with magical powers to boot, the stranger who introduces himself as Pachacutec, or "Chuck," puts Staci on the horns of a dilemma: Though they have instantly and thoroughly clicked, even he admits that his reanimation is dangerous and unnatural. Furthermore, Staci has a set of erstwhile friends who have been dabbling in magic, and they are so eager to drain the Incan prince of power that they've put a vicious hex on Staci to pressure her into betraying him. Even minor figures are distinguishable characters in Nourigat's monotone ink-and-wash art, and both their emotional tides and the increasingly suspenseful dramatic action are ably conveyed in the small but clear panels. The climactic face-off takes place in the can't-miss setting of an after-hours fair and leaves the would-be witches thoroughly chastened and Chuck still around for romance—plus, there's a closing "interview" in which he reveals that he's actually based on a historical figure.
True to this series' winning formula, an enjoyable mix of terror, comedy and romance. (Graphic paranormal romance. 12-14)Pub Date: Oct. 1, 2012
ISBN: 978-0-8225-9425-3
Page Count: 128
Publisher: Graphic Universe
Review Posted Online: July 17, 2012
Kirkus Reviews Issue: Sept. 1, 2012
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