In Review: Henry V

With the release of Classical Comics Macbeth (read our interview with artist Jon Haward here), artist Paul Harrison-Davies reviews the company’s first outing Henry V for downthetubes

There seems to have been a bit of a trend in classics adapting lately. Marvel got in on the act years ago, but really, all they were doing was putting out a comic. Publishers like Classical Comics have taken a tougher stance: when you read one of their adaptations, you are not just reading a comic, you’re reading an educational tool.

I’m no Shakespeare expert, and haven’t read or seen a play since I left school, but it strikes me he’s a pretty good choice for a comic adaptation, as like film, and comics, plays are essentially visual. Granted, that visual might be nothing more exciting than two blokes sat by a tree waiting for someone to turn up, but not so Shakespeare – fighting, death, action are the order of the day as much as lofty chat.

Henry V, like other books in the planned Classical Comics range (Macbeth has just been release) is wearing its educational heart on its sleeve with three separate adaptations, original text, modern text and quick text.

As I understand it, we’re therefore being offered an easy read, a general read and an almost as good as reading the original versions. I’m not sure this is actually a good idea, even though seems to come from pretty laudable reasons.

Taking the easy read (Quick Text) edition first, I wonder if the lazy reader who now has the option of just flicking through a comic rather than reading the synopsis will really enjoy the story so much they’ll read the full text?

Why? This is rather like assuming Tom Cruise fans who enjoyed Vanilla Sky went out and rented Open Your Eyes. It’s possible, but not likely, and most people will be happy with the initial fix.

My other concern with the Quick Text edition is that even with the best will in the world (no pun intended) no one is good enough to edit down a 50-word soliloquy into an eight word sentence and retain a sense of the language, or even produce plain interesting dialogue. There may be more to Shakespeare than flowery chat, but I suspect the chat’s more meat than veg.

Much more successful is the Plain Text, modern text version. It’s still a little brisker than the original but it doesn’t jettison nuance in favour of giving the kids an MTV, or worse, DVD on fast forward, experience.

And then there’s the Original Text. If you like Shakespeare, and comics, you’ll like this. Quite simply, it works.

A good comic artist has to be able to be to dress characters in the right clothes, create the perfect stage, control the lighting and composition, and last, and maybe most importantly, create living breathing characters with a full range of facial expressions. Fortunately, Neill Cameron is able to do all this and keep things easy to follow.

One of the odder aspects of Henry V is the introduction by Chorus, who warns us of the limitations of seeing such an epic tale on a less than epic stage. Imagine something bigger than you’re about to seem he urges, and you’ll better appreciate the story. Except we do get to see all that. It’s a comic. It takes a bit more work on the part of the artist, but you can see it!

In the end, Henry V is a good comic and a fine adaptation, but I can’t help feeling three books is one to many. For my money, a compromise between quick and plain text would have be fine, minimising the weakness of both.

Web Links
For more about Classical Comics visit the official web site
Buy the Original Text edition of Henry V from amazon.co.uk
Buy the Plain Text editin of Henry V from amazon.co.uk
Buy the Quick Text edition of Henry V from amazon.co.uk

The founder of downthetubes, John works as a comics editor, writer, as Creative Consultant on the Dan Dare audio adventures for B7 Media, and on promotional work for the Lakes International Comic Art Festival. Working in British comics publishing for over 30 years, his credits include editor of titles such as Doctor Who Magazine, Star Trek Magazine and Babylon 5 Magazine. He also edited the comics anthology STRIP Magazine and edited several audio comics for ROK Comics. He has also edited several comic collections, including volumes of “Charley’s War and “Dan Dare”. He’s the writer of “Crucible”, a creator-owned project with 2000AD artist Smuzz, published on Tapastic; and “Death Duty” and “Skow Dogs” with Dave Hailwood for digital comic 100% Biodegradable.



Categories: British Comics

Tags:

1 reply

  1. Just so as you know:
    Original Text is the full, unabridged script. Nothing is left out, because that allows full study of the Original script for examinations, etc.
    Plain Text is a Plain English adaptation of the script to solve the problem where the language is a barrier to understanding. It has roughly the same word count as the original, because it is a verse-for-verse translation.
    Quick Text has reduced dialogue for younger readers (as young as 9) as well as reluctant readers and less-abled readers.

    Teachers use (and need) the three versions to be able to have classes of mixed abilities, plus even at A-Level, we have examples of some students using the Quick Text to give them a grounding for the play (where they were lost with their traditional script) and then use that foundation to slot the Shakespearean on top – thereby really appreciate the language used without the lack of context getting in the way.

    It isn’t a “money-spinner” for folks to buy all three, they are a set of tools, just like any other set of tools, which are used correctly for the job at hand. Sometimes that’s just one book (as Quick Text would be for my own 10-year-old son, for instance) and other times, there is a real benefit for a mix of versions. They’re all over the same artwork, enabling a direct comparison.

    Maybe that goes some way to describe the use of Chorus……because he is in the original script, he’s in our book.

    I hope that makes sense!
    Thanks for the review!

%d bloggers like this: