Latest posts by Erin Miskell (see all)
- The Guys With The Guns: Earthworm Jim’s groovy connections to The Evil Dead - 25th April 2017
- Saturday Morning Cartoons: Foster’s Home for Imaginary Friends - 22nd April 2017
- Buried Credits: Sam Rockwell in Gentlemen Broncos (2009) - 20th April 2017
Imagine that you’re a child who has just found something too-good-to-be-true, something magical and precious that you instantly wish to care for. But you’re not the only one after this magical thing, and the next thing you know, you’re plunged into a world where you’ve got to not only run for your life, but learn things about your family and take a stand against evil.
This is the premise of writer, Richard Marazano’s, Milo’s World, a story that’s equal parts child-like adventure and classic heroic journey, with a fair splash of human relations and fantasy thrown in for good measure. Our titular character, Milo, finds a golden fish one day – followed in short order by a girl in a burlap sack, being held prisoner by a fiendish creature – and attempts to protect it from harm. When harm literally comes knocking at his door, Milo and his newfound friend Valia (the girl in the sack, which sounds like a lost Stieg Larsson book) embark on a journey that takes them to a faraway land, where they must confront their pasts in order to save many worlds from evil.
The story has a bit of a Studio Ghibli feel to it, thanks largely in part to artist/colorist, Christophe Ferreira. The tale is drawn in a fashion that’s child-like and appropriate for readers of all ages, thanks in part to images that are just enough fantasy without having a toe step into the horror side of the genre. Ferreira’s use of rich colors lends a painting-like quality to the work. It’s enough for an art-lover to step back and admire the clear influence of Japanese animation – particularly through the faces of Milo and our golden fish. Once we get to the character Valia and those of her world, the characters and setting take on the same style of characteristics as some of the old Legend of Zelda comics, as though letting us know that we’ve entered a fantasy realm. It’s a slight difference in the crafting of faces and rolling hills, but significant enough to change the tone of the story.
Where the story deviates from most epics – Ghibli or otherwise – is the writing, which starts out strong and carries through until right before the end of the second volume. Without spoiling an ounce of the plot, the characterization deviates drastically in a short amount of time, leaving the audience little time to readjust. As such, we’re left wondering how sincere these characters are, which is a bit unsettling. By the time volume 3 rolled around, I was actively uncertain of who I could trust and where the story was going. I certainly hope that it can rebound from this misstep, as I found it to be quite enjoyable otherwise.
Available to purchase HERE.