While it comes out in comic shops this week, Nemo: The Roses of Berlin has been available for a couple of weeks digitally. I wrote about it at Sound on Sight and said…
Janni and Jack end up being that emotional entry point into the story but Moore and O’Neill do all that they can to hide it. Using pages filled with wide shot panels punctuated every now and again by full double-paged spreads detailing the coldness of Berlin, the pacing of this story feels regulated. O’Neill’s art doesn’t have the usual subversive spring to it, that gleeful delight he takes in drawing Moore’s twisted plots. O’Neill’s art here is all about the business of getting to the rescue of Hira. But what it really does is slyly capture the marriage of Janni and Jack. Almost every panel is a two shot of them, framing them always together and constantly moving forward for their daughter. They never appear in a panel without the other. In that way, the long, wide shots that O’Neill employs is as much about their marriage and their family as it is about the struggles that they now face.
I would have to say that the book comes off a bit monotonous because O’Neill uses all of these long, narrow panels but when I realized how that was actually better able to frame the characters, I really appreciated how the whole story came together. And then you get panels like the above one, Janni alone, and it’s an emotional gut punch.
You can read the whole review at Alan Moore and Kevin O’Neill Continue the Meta Fictional Adventures in Nemo: The Roses of Berlin – Sound On Sight.