'Denmark is in turmoil. The palace is seething with treachery, suspicion and intrigue. On a mission to avenge his father's murder, Prince Hamlet tries to claw free of the moral decay all around him. But in the ever-deepening nest of plots, of plays within plays, nothing is what it seems. Doubt and betrayal torment the Prince until he is propelled into a spiral of unstoppable violence.
'In this sumptuous staging of Shakespeare's enigmatic play on the page, Nicki Greenberg has created an extraordinary visual feast that sweeps up all in its path as the drama intensifies both on stage and off.' (From the publisher's website.)
'Comics or ‘sequential art’ has historically been considered an art of time. Yet, many recent artists privilege comics’ spatial extensions over the dimension of time. This article explores the role played by space in structuring comics. It does so by analysing two comics by Australian artist Nicki Greenberg, The Great Gatsby (2007) and Hamlet (2010). These two adaptations, which marry conventions of comics with a photo album and a theatrical stage, exploit the tension between material forms outside the comic, the material forms that influence the comic’s creation, and the material form taken by the work itself. They are examples of innovative comics made possible when material form is viewed as a structural force. Through analysing Greenberg’s methods for adapting existing works ‘through’ other material forms, I argue that material form is a structural force that can be analysed alongside optional conceptual structures such as the panel and gutter.'
Source: Sage Publishing.