Page 45 Review by Stephen
"Come with me to the island tonight.
"We will be alone, just me and you."
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A haunting tale of love and longing, this is a million miles from THE SUITCASE's sublime suburban comedy and closer by far to CARRY ME or THE END. Nevertheless it marks another departure for Dan Berry's ever-evolving art.
NICHOLAS & EDITH has attracted an even wider chorus of voices to shout out in praise of Dan Berry than ever before. HELLBOY: MIDNIGHT CIRCUS' Duncan Fegredo was in awe of this taut, disciplined and perfectly paced, lovelorn lament.
In a small village by a vast lake Nicholas and Edith are in love. Their parents disapprove of their relationship for no better reason than a petty family feud. To be together they must therefore find sanctuary away from the spying eyes and tattling tongues of the idle-minded villagers.
And there is an island, you see, an island on the lake.
It is an object of local superstition involving some so-called spectre of doom but you know what close-knit communities are like. You know how local legends endure. You know how parents keep their children in check: with a little elaboration and fear.
But when you're in love you can see right through these things, so one evening when the waters are calm Nicholas rows Edith to the island. They find a clearing in the trees overshone by the serene, silver light of the moon.
"I love you.
"I want you.
"I need you."
I will say little more except think Becky Cloonan (THE MIRE in particular). When you've read this through once you will want to start again from the beginning immediately.
Entreaties are reprised word-for-word like echoes. Reproachful echoes, you could argue.
Visually, things are done with Edith's hair. Oh, how how I wish I could say what they were! I want to holler so loud about Dan Berry's craft. What I am praying for shortly is something longer-form so that I can do so without giving too much away.
So let's pull back to the first two pages. In the very first panel with its aerial view of the village by the lake we are subtly shown in short-hand so much: that the houses of different elevations have no gardens but instead open up on the streets. These streets boast modest pedestrian courtyards like Venice and other European towns and are planted with trees here in their autumnal colours. It's beautiful. But there is very little privacy. Everyone is evidently straight in each other's face.
On page two the script doesn't say so but the art implies that Nicholas is a builder of boats and Edith sells fish. It is a fishing village after all. Neither is particularly important to the plot except that Nicholas has access to rowing boats but my point is this: Dan Berry understands succinct storytelling in comics: that the image can convey much that the written word can therefore skip past and move immediately on to that which is salient.
The washes are looser than usual and I like that. I've always loved loose washes. I cannot believe this was accomplished in a mere 24 hours, pre-planning or no. But it was, as part of Dan Berry's masterful, multi-creator 24 Hour Comics Marathon for The Lakes International Comic Art Festival.
This prolific pioneer is a miniature British Comics Industry in his own right, just like John Allison. I heartily recommend you pop them both into our website search engine
but then let them out immediately so they can start drawing again.