I thought that this was a very interesting reading experience. I remember being too old not to have been embarrassed when I discovered that so many UK comics were black and white publications. In the U.S., I was only used to line art in the newspapers and black and white art in MAD magazine and some of those oversized Warren comics. So, I really appreciated reading this volume.
I love the pen and ink style with cross-hatching and I was surprised at some of the details (I would swear that one of the fish in the aquarium looked like a "fighting fish." Nonetheless, I did have an observation on the art. At times, such as the lower left panel on page 26, Brian looked so androgynous as to be female.
It must have been the era, but I did find it strange that the young woman would climb trees, walls, and the sides of houses in a dress. Somehow, that didn't really ring true to me.
I enjoyed the story, though. I had to suspend my disbelief a lot to think that those pedi-cabs beat the doctor's car back to the house or that the two could hire a carriage so handily, but I liked the clue on the kite and even the Scooby-Doo phrasing in the bottom left panel of p. 65. I hadn't realized when the Scooby kids used it in the cartoons that there was a history behind that phrase. I would wager we'd find it in other places, too.
First, I must say that I enjoyed the artwork(inking style). I think it is reasonably realistic, although I agree that there isn't much movement shown in "action scenes". The "treasure" being thrown in doesn't seem to add anything to the story, except as a reason for the nasty cousin to want to get rid of Dr. Foo. I might have chosen a different reason. I would have made the false doctor more dangerous, more willing to use violence. I would have included more suspense by adding an imminent danger to both the real Doctor, AND a similar threat to the children.
As to the black and white format, we Canadians are well used to that, as all of our own comic books were black and white (except the covers) during World War II. I specially liked "Dizzy Don" despite the stiffness and weak portrayal of movement of the characters. I agree that in some poses, the boy looked effeminate. Was the artist a female? I also agree that it would have been difficult for the girl to climb the trees and walls with such a long dress.
As to the pedi-cabs: I spent 20 years working for The UN in The 3rd World (Africa, The Middle East and Far East). In the crowded ancient portions of old city centers it is very crowded. Often, traffic is snarled and completely stopped for long periods by animal herders with their animals, and old, broken down vehicles, that conk out, and can't be moved. During a festival such as in this story, the streets of the centre are choked, and cars and trucks cannot move. But narrow vehicles such as bicycles, motorcycles, rikshas. and pedi-cars can get through, even when the wider vehicles are stopped for hours. So, I could easily believe the kids beat the false doctor back to the house with time to spare.
About the Scooby Doo reference: I worked for Hanna Barbera Feature Animation for awhile, and also The Cartoon Network. My code phrase for our security check to enter the building in off hours was "Scooby Doo". Although I never saw more than a few seconds of a "Scooby Doo" cartoon, and never read "Scooby Doo" comic books, I am curious to know to what phrase you refer. Page 65 of the story is the advert after the last page of the story (64). So, I couldn't find the phrase. Maybe you wrote the wrong page number? If so, please correct it for us. Thanks.
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Topic: Week 211 - Schoolgirls' Picture Library 006 - Prisoner of The Pagoda (Read 2205 times)
