This one is a piece that I clearly recall from the first time I read this book in full – I was so startled by how malevolent and scheming Nathaniel looks here. His expression as he interrogates the guardian is captured in a wonderfully lifelike manner, and I have to speculate whether his appearance was based on a real actor? You really can see that his ‘charm’ is quite phoney and fake, and that in reality, he is a somewhat gaunt, rather shoddily-dressed crook with ideas above his talents. Winner of the Most Shoddily-Dressed Magic User Award, indeed.
‘The Rising of Morgawrus’ (c) Robin Jarvis, 1992
I love everything about this, but especially the fact that it looks like a still from a 1990s television series. Look at that set! I can imagine it sparkling turquoise, blue, and violet, and hear the ear-splitting shrieks of the last Mallykin as it flees for its life. (I also love the tiny spirals of curling dust in the top right. That technique is one I picked up from Mr Jarvis and have used to good effect before.)
Maybe I’ve been missing it in earlier books, but I’ve noticed that Robin was really starting to play with some odd ‘camera angles’ in his illustrations for this book. So you look at this one, where we’re sort of staring over the shoulder of the transforming Deacon. It’s brilliant because we’ve got that terrifying claw in the foreground, a look of terror on Miss Boston’s face (and we all know she’s not an easy woman to scare) and, best of all, a dangerous feeling of distance between that railing and the ground below. It feels tense and terrifying – but also a nod to classic black and white monster movies as well.
One word: Mirror. I love the mirror effect here. We only have Ben and Crozier in the frame, so we can only see Jennet in the mirror. For me, it’s the combination of Ben’s haircut (which reinforces how young he is) and the Mallykin on the floor that make this one brilliant.
I was lamenting a little bit that there is no picture of Morgawrus to be found in this book but, you know what? There are some things that are probably better left to the imagination.