An imaginative fantasia that celebrates music’s power to connect—and to demolish supervillains.
The fate of the cosmos hinges on a pop song in Quinn’s labyrinthine graphic novel.
The story begins in a Seattle besieged by anti-globalization protesters in 1999, where teen runaway Melody Parker meets Echo, an androgynous, glam vision in spiky blond hair, white pinstripe jumpsuit with red-orange accessories, and blue lipstick and nail polish. Echo explains that Melody is actually an eons-old, reincarnating demiurge destined to settle a celestial war by restoring the primordial music of the universe. Sensing that Echo and her space-suited minions are bent on destruction, Melody leaps off a radio tower, sprouts cicada wings, flies to Los Angeles, and meets record-shop owner Ada Latimer, whose long-lost father, Leon, a bassist in the band The Opticks, plays a murky role in the Melody-Echo conflict. Fleeing Echo, Melody and Ada travel to 1936 New Orleans, where the narrative follows a noirish subplot about a love affair between a photographer and a married woman. Melody and Ada then chug off on a magical train called Glory, which is steered by songs. Ada takes a turn as a punk-rock chanteuse while Melody confronts George Parker, a tweedy record producer who claims to have created her as an immortal weapon against the abyss. Melody and Ada reunite and find the dementia-stricken Leon on his deathbed—but so does Echo, now a 1,000-foot-tall colossus; she vows “to kill the infernal fridge buzz of existence” unless Ada can divine from Leon the song that will defeat her. Quinn’s kaleidoscopic narrative verges on incoherence, but the characters—especially the brassy Echo—are magnetic, and the dialogue is ardent and lyrical in its odes to the creative spirit. (“The only way to achieve transcendence is to risk madness.”) Chisholm’s artwork nicely balances throbbing color, psychedelic ambiance and off-kilter perspectives with kitchen-sink realism in quieter scenes depicting Ada’s childhood. The result is a compelling blend of tuneful mysticism and eye-popping visuals.
An imaginative fantasia that celebrates music’s power to connect—and to demolish supervillains.Pub Date: July 15, 2025
ISBN: 9781545817896
Page Count: 152
Publisher: Mad Cave Studios
Review Posted Online: July 1, 2025
Kirkus Reviews Issue: Aug. 15, 2025
Review Program: Kirkus Indie
Using modern language, McDonald spins the well-known tale of the two young, unrequited lovers. Set against Nagar’s at-times...
A bland, uninspired graphic adaptation of the Bard’s renowned love story.
Using modern language, McDonald spins the well-known tale of the two young, unrequited lovers. Set against Nagar’s at-times oddly psychedelic-tinged backgrounds of cool blues and purples, the mood is strange, and the overall ambiance of the story markedly absent. Appealing to what could only be a high-interest/low–reading level audience, McDonald falls short of the mark. He explains a scene in an open-air tavern with a footnote—“a place where people gather to drink”—but he declines to offer definitions for more difficult words, such as “dirges.” While the adaptation does follow the foundation of the play, the contemporary language offers nothing; cringeworthy lines include Benvolio saying to Romeo at the party where he first meets Juliet, “Let’s go. It’s best to leave now, while the party’s in full swing.” Nagar’s faces swirl between dishwater and grotesque, adding another layer of lost passion in a story that should boil with romantic intensity. Each page number is enclosed in a little red heart; while the object of this little nuance is obvious, it’s also unpleasantly saccharine. Notes after the story include such edifying tidbits about Taylor Swift and “ ‘Wow’ dialogs from the play” (which culls out the famous quotes).Pub Date: May 10, 2011
ISBN: 978-93-80028-58-3
Page Count: 80
Publisher: Campfire
Review Posted Online: April 5, 2011
Kirkus Reviews Issue: April 15, 2011
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced...
A pairing of the text of the Scottish Play with a filmed performance, designed with the Shakespeare novice in mind.
The left side of the screen of this enhanced e-book contains a full version of Macbeth, while the right side includes a performance of the dialogue shown (approximately 20 lines’ worth per page). This granular focus allows newcomers to experience the nuances of the play, which is rich in irony, hidden intentions and sudden shifts in emotional temperature. The set and costuming are deliberately simple: The background is white, and Macbeth’s “armor” is a leather jacket. But nobody’s dumbing down their performances. Francesca Faridany is particularly good as a tightly coiled Lady Macbeth; Raphael Nash-Thompson gives his roles as the drunken porter and a witch a garrulousness that carries an entertainingly sinister edge. The presentation is not without its hiccups. Matching the video on the right with the text on the left means routinely cutting off dramatic moments; at one point, users have to swipe to see and read the second half of a scene’s closing couplet—presumably an easy fix. A “tap to translate” button on each page puts the text into plain English, but the pop-up text covers up Shakespeare’s original, denying any attempts at comparison; moreover, the translation mainly redefines more obscure words, suggesting that smaller pop-ups for individual terms might be more meaningful.
Even so, this remains Macbeth, arguably the Bard of Avon’s most durable and multilayered tragedy, and overall, this enhanced e-book makes the play appealing and graspable to students . (Enhanced e-book. 12 & up)Pub Date: Sept. 9, 2013
ISBN: N/A
Page Count: -
Publisher: The New Book Press LLC
Review Posted Online: Nov. 6, 2013
Kirkus Reviews Issue: Dec. 1, 2013
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