Birthright #2 and #3

Creator, Writer: Joshua Williamson

Creator, Artist: Andrei Bressan

Colorist: Adriano Lucas

Birthright #2 and #3 continues to convey simplistic lines that easily transition from panel to panel.  The variation of panel sizing and panel bordering are key elements to establish a darker fantasy world that enhances suspense and passions within the reader.  The simple and solid line quality provides easy identification with the characters as reference to Scott McCloud Understanding Comics: The Invisible Art in my previous review found here. 

However, the complexity of Mikey’s story further unravels in Thierry Groensteen’s “spatio-topia” and “anthrology” principles in System of Comics.  Spatio-topia is about the spatial layout of the page bringing the idea of space and place.  The panels are positioned in place in relation to other panels on a page, and are part of a multi-frame.  A multi-frame connects the meaning of comic elements to each other.  On the other hand, anthrology is about the relationship of the panels (a panel is influenced by the panels that comes before or after it).  As a result, the reader is able to construct meaning based on the position and spacing of objects, characters, paneling sequence, etc.  For example, the pictures below (issue 2, pages 7-8) depicts the two different time periods.  The picture on the left conveys a concrete and black bordering that verifies that this is the present time.  The solidness of it allows the reader to grasp the moment, time and what is happening at a steady pace. On the contrary, the picture on the right depicts a clean and no-border bordering that clearly suggests Mikey’s memory of the past.  The no-bordering effect allows the reader to become more active excitedly but relax at the same time.  It is both exciting and relaxing because the process of unraveling a story feels like one is in the story.  Both spaito-topia and anthrology principles help the reader connect everything through panel bordering, panel sizing and color.

  (Issue 2, pages 7-8)

Color is the signifier that helps in the progression and connection of Mikey’s story. The picture below (issue 3, pages 8-9) depicts difference in color as it corresponds with the two time periods.   Page 8 (left) is brighter in color with orange as its main background while a navy gradient color maintains the darker fantasy world.  Orange here represents the vitality, warmth and presence of life.  It is as if one is familiarizing oneself to a place or person that helps to form deeper relationships.  Orange also blurs the truth about Mikey’s life in Terranos and his family’s life on earth.  The darker shade of orange, however, reflects the dangerous mission that Mikey has to complete on earth.  On the other hand, page 9 (right) depicts a darker gradient of black and blue.  These colors represent the fading effect of recollecting a memory.  The white snow shown reflects the only light that Mikey’s eyes can adjust to in the dark but also serves as a familiar entity he acknowledges back on earth.  The orange/black monster on panel three foreshadows the same dangerous mission he has to face once back on earth (refer back to Groensteen’s anthrology).  This allows the reader to put the fragments of Mikey’s story together while becoming again more active readers as the plot progresses.

  (Issue 3, pages 8-9)

What I enjoyed most are the reunion of Mikey’s family members that will help him on his mission (dad and brother only), and the future five wizards he has to face on earth shown below.

- End