![]() ![]() The speech bubble where the Bard recounts the fall of Troy is superb. What’s particularly galling is that this page also possesses one of the most stunning panels in the entire book. You can see an example of it in the image below. Speech and captions throughout tend to default to a sort of left-justified Times New Roman esque font. I think if this book struggles anywhere it’s in the use of lettering. It’s intensely Mediterranean and also very classical. I love the colour palette that Hind’s chosen to work with warm, sun-bleached colours of blues and greens and yellows. However, if you persevere through these opening chapters, you’re rewarded with a richly coloured tapestry of stories. The only areas where it faltered a little for me were at the start as we had a lot of exposition to get through. He does well in selecting ‘highlights’ and creating a continuous narrative that drives itself steadily throughout the book. ![]() I grew up on these stories (seriously, I love a good bit of derring-do) and I admire his work here. Gareth Hinds’ adaptation of The Odyssey into graphic novel form is a stunning achievement. ![]()
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