This interpretation of The Tempest offers a profoundly satisfying reading experience. That the text is abridged has to be mentioned, but the clarity with which both action and meaning comes across is exceptional.

The influence of manga, and of Japanese culture in general, is clear throughout the book, for instance in the repeated use of elements of Katsushika Hokusai’s ‘The Great Wave Off Kanagawa’ (around 1831) from the ‘Thirty-Six Views of Mount Fuji’ (circa 1826-33). Costume, too, draws on both Japanese and European styles and references. These aspects of the interpretation offer readers familiar with Japanese culture additional ways into the text.

The influence of manga here is not simply a fashionable surface gloss, but deeply felt by the illustrator. Further, the readers with Japanese cultural capital are likely to feel a sense of ownership, rather than alienation, with regard to the narrative. Indeed, reports suggest that these are texts read more for pleasure than study, an excellent outcome.

The pacing and use of imagery for contemplation enhances the understanding of the play, asking the reader to take time to think through specific ideas and moments in the action. There are some key pages, such as the one showing the disintegrating book that combines depictions of the book the reader is reading, a sense of movement through the book’s slow descent through water (as if in slow motion) and the layout of the text on the page to create a lovely reading of the words ‘and deeper than did ever plummet sound, I’ll drown my book’.

The use of a range of points-of view also emphasizes the positions and voice of the characters. Speech balloons are laid out in such a way as to clearly direct the reader to the next element of dialogue. The drawing employs sweeping and dramatic lines and the initial color pages establish the overall atmosphere well. As with the characterization, the geography of the island is well realized and the map outlines both space and journeys, so helping to frame what happens in the play.

Finally, along with the repeated use of Hokusai’s image, there is a similar repeated motif in relation to Ariel, where ribbons of material, of paper, of spirit, unravel from the figure as if in the wind. This is repeated at the end as magic, Ariel and the play are dispersed and completed. Here then, is air to match the element of water within the play, again offering a subtle visual enhancement of the text.

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2008-06-14