Assessment

1. What did you think about what you just read?
The brushwork and panel composition are both to die for. I really feel the new appreciation I've built for comics throughout history while reading this-- if I'd read it just this past summer I don't know that I would have appreciated as many details about it as I did. I've tended to take modern narrative comics with grand cinematic scope for granted as a 'default' state when that couldn't be further from the truth. Like most of my favorite comics, it makes you work to understand what you've read, and gains substantial depth when you continually re-read it-- but despite the persistent mystery it's never so obscure that it becomes too difficult to get through.

2. What connections did you make with the story? Discuss the elements of the work with which you were able to connect.
The main works that immediately jump to my mind when I read this are Sandman by Neil Gaiman and The Meek by Der-shing Helmer. Sandman's contribution to modern story-driven comics is pretty well-documented and I think the solemn Ginny in particular is an interesting contrast to Sandman's cheery Death, seemingly opposite in demeanor but similar in their compassion. Pretty Deadly has a focus on death and the power of story that I find very familiar after reading plenty of Gaiman's comics and novels. On a similar note, the blonde minion of Death recalls one of the main characters of The Meek, another slender and deadly blonde outlaw in a western setting. In both comics the genre elements and dramatic fantastical qualities complement the story's primary focus on the very emotionally grounded characters.

3. What changes would you make to adapt this story to another medium? What medium would you use, what changes would you make?
Movies seem like an obvious choice, given the rich history of western cinematography that this comic draws from. However, I might be more interested to see it re-enacted as a play. The different characters telling stories to each other would give the play clear framing and rhythm. The occasional supernatural elements could be easily simplified, but overall the rustic setting suits the limited budget of many theatrical productions well. I'd like to make the narrative jump around a bit less, sticking for longer with a single character and really fleshing them out so the audience can connect with them without having to work as hard.

Commentary on various works from the beginnings of comic books

Commentary on George Herriman's "Krazy Kat"

Commentary on Scott McCloud's Making Comics

Une Semaine de Bonte Translation

Commentary on The Arrival by Shaun Tan