Please view my review of the first issue for my thoughts on both it, and general overview fluffery that comes with looking at first installments of anything that deal with concepts and characters that have any amount of history. You may also want to see my interview with series writer Eric Shanower.
We are starting to get into the part of the story that you wouldn’t notice at all in any sense once The Wonderful Wizard of Oz is collected in what I imagine is going to be a terrific hardcover package once the series is completed and primed to invade the library system. As a single issue, this third issue plays the role of placing a series of obstacles that allow for each for Dorothy’s companions to show their worth, and of course utilizing characteristics that they supposedly lack. Lions leaping, Scarecrows thinking, a Tin Man a finding a bit more of Nick Chopper as he stands between friends and Kalidahs– a Kansas girl sees her companion’s quest begin to be fulfilled in the process of their journey, not waiting for sanction at the end. Even if they themselves and she do not know it.
Skottie Young’s art continues to be gorgeous, and with these type of scenarios could easily tell the story themselves; the hues and moods of Jean-Francois Beaulieu are once again in evocative form, instilling that sense of curious adventure. The visual takes what would be a prosaic outline and makes it something more – a simple board game is instead Jumanji. It is a perilous journey, but doesn’t stray too from the idea that this is an excursion that brings together new friends. More and more as others solve problems and save lives we realize (again) what the girl from Kansas embodies. She is the unlikely catalyst and inspiration to rally around – the mundane that inspires heart, ingenuity, and courage in those that are otherwise fantastic. It speaks on both her and the make-up of her companions. While for many of us in the speculative fiction (prose) community and fandom, we look upon moments like mysterious visits in Shady Vale or Councils in Rivendell as archetypes, but it really is here, upon the Yellow Brick Road that the first ideas of a quest were put into my mind.
In what is usually an opposite occurrence for me, Shanower’s narrative frames the visual part of the journey. There is quite a bit of narration in this issue and the series in general, and Shanower’s choice in dialogue placement; in when to give voice to Young’s parade and barnstorming, is a practice in storytelling and suggests a writer who recognizes the value of time behind the curtain. When Dorothy does speak, it is not taken away from her that she is a child– there is an exactness and honesty to her at this point that comes with that. The type that smacks lions in her path and accepts the world as it is presented to her.
As I read this issue I found myself conflicted about perspective and reaction. As a 30-something year old and lifelong fan of the medium, I identify this issue as suffering in a manner that would not be noticed in the aforementioned collected form that The Wonderful Wizard of Oz is destined for. Yet when I give this issue to a child it is her favorite of the three thus far. While I am joyfully retracing footsteps, she is now trail blazing– she’s off to see the Wizard. It is this realization and understanding of the two creators that make the appearance of fourth issue’s cover so appropriate:
I heard a child’s real life echo of Dorothy’s words. It is no longer just about of my own nostalgia, but now Shanower and Young are introducing OZ to someone. I come away with the issue anticipating next month when I can claim two generations have walked those great and terrible steps.
- Jay Tomio
Jan-ken-pon is the time traveling, force-walking, multiverse crossing column of Jay Tomio, owner of 1/3 of everything you see currently on screen, and the editor of Heliotrope. He’s pissed that some motley group found his poppy field. Some call him the Bodhisattva.
