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You know what it's like when you are the odd one out, like when you're the only person you know who hasn't read the latest Harry Potter, or the only one who hasn't got around to seeing Batman Begins yet. Well, until I picked up Issue 6, I felt I was the only one missing out on the MALCOLM MAGIC phenomenon. It certainly is one of the most talked about UK independent titles of recent years, and those Etherington boys sure know a thing or two about self-marketing. Their stand at 2005's Bristol Comic Expo was very noticeable, and it made them among the most prominent publishers across the weekend. Now that I have had the chance to read their work for myself, I am happy to say that all the hype surrounding MALCOLM MAGIC is extremely well deserved.
For those of you who aren't familiar with the world the Etherington brothers have created, it finds rabbit hero Malcolm spending his time flitting between his ordinary hometown of Fuzzton and the rather extraordinary dimension known as Happy Hippy Dale. He has a motley assortment of animal friends to fall back on, but they don't believe Happy Hippy Dale exists, putting the whole thing down to his rather excessive drinking habits.
This particular story, the climax to the first rabbit related story arc, finds Malcolm and his cohorts en route to his old school. Their aim is to try and rescue his old class 2B (cue the obligatory Hamlet gag) from the clutches of evil Happy Hippy Dale exile, and fellow bunny, Bright Eyes. If you still can't keep up there is a handy rundown of the events from the first five issues in the front cover.
From the second I opened the book, with its gorgeous wraparound cover, I was hooked. This is Wind in the Willows on acid, Jamie and the Magic Torch writ large for the media savvy '00s audience. The art is breathtaking; Lawrence manages to create beautifully in-depth surroundings without sacrificing subtlety, and his artwork is so vivid and expressive you could happily stare at it for hours. He manages to create a living, breathing world full of individual looking, effervescent characters. Thankfully brother Robin's writing is just as good, each of the characters is well defined and when the book's humour hits the mark it really is laugh out loud funny. One of the series' main strengths is its ensemble cast, but with so many characters involved you do obliged to commit to the book for the long haul. Only then will you be able to get to know each of the main characters in any real detail.
The dialogue is lively and interesting, and unlike other similar books, here you get the feeling every phrase has earned its place on the page. I love the quirky Britishness of some of the dialogue too, it almost has a John Mills jolly hockey sticks feel at times. I can already picture the animated series, complete with Alexander Armstrong, he of the Pimms ads and one half of Armstrong and Miller, voicing our titular hero. The book's tone, though more contemporary and edgy, shares the grand tradition of subversion found in old Tex Avery cartoons. Movie, music and TV references are bandied around like there's no tomorrow, and on virtually every occasion they hit the mark. And even when they don't quite work, the book's frantic pace and disarming charm mean you hardly notice. It manages to be nostalgic yet modern, of its time yet timeless, clever yet still dumb fun, all at the same time. The story showcases both brothers' strengths, with a strong story, scattershot gags and some excellent set pieces. There are even some very clever colour effects thrown in for good measure at the end too.
Issue 7 picks up unsurprisingly where Issue 6 left off, and is the first part of Book 2. Again the cover is gorgeous and it really captures your imagination and interest. In this story Malcolm has been separated from his furry companions, and in a Wizard of Oz style move, Doorum Valley, where he finds himself, appears in glorious Technicolor. Lawrence's art is amazing when presented in black and white, but the addition of colour to these key pages makes it even more sumptuous and engaging than before.
While Malcolm gallivants in full colour, the rest of the gang are left in the monochrome Happy Hippy Dale, and it isn't long before they realise Malcolm has been telling the truth all along. This issue is slightly slower than the previous one and it doesn't rely on so many clever gags, but it still works just as well. Letting the other characters have an adventure without Malcolm helps them feel like more than just supporting players too.
This is an ambitious edition, and it introduces us to two more locations within the Malcolm mythology, each with their own look and feel. With mythology in mind, there is an Ewok style village in this issue along with a storyline where two bands of heroes have been separated. These could well be intentional nods to both the Star Wars and Lord of the Rings trilogies. In fact both references are relevant, as this issue has a far more wide ranging and epic feel than Issue 6. It would be interesting to know if this marks a change of direction for the book as a whole.
Overall the issue isn't quite as much fun as its hilarious predecessor, but on the art front it is even more spellbinding. With some colour pages, along with lots of characters and a variety of settings Issue 7 was a real chance for Lawrence to flex his artistic muscles. I won't spoil the ending, but prepare yourself for a double cliffhanger that will have you on the edge of your seat.
MALCOLM MAGIC really is an un-missable treat from start to finish, it feels, looks and reads like the work of a major publisher rather then two independent guys from Bristol. If you haven't been caught by the bug yet I suggest you play catch up with back issues or the two trades, Collected Edition 1 (reprinting issues 1-3) and 2 (Issues 4-6), which are available for £10 each. With a computer game in the pipeline, merchandise, spin offs, a cracking website and an International distribution deal around the corner, it won't be long before the Etherington brothers get the exposure they deserve. I am actually planning on buying myself a hat, purely so I can take it off to them. Because if their books were available on the newsstands of Britain tomorrow we might just have the catalyst we need to put the UK comic industry back together.
- Peter Rogers
