Review by Frank Plowright

The reason From Above is titled so, and why it’s subtitled An (Info)graphic Novel becomes clear as the opening page displays Martin Panchaud’s innovative form of storytelling. The art is almost entirely circular shapes representing people initially laid on simple backgrounds and seen directly from above for a two dimensional effect. Different coloured circles represent different people, with the key character being Simon Hope, an overweight teenager seen as an orange circle surrounded by a brown ring.

Simon’s lot in life isn’t a happy one. He’s a target for bullies, while his parents are concerned with other matters. Still, even that’s better than the situation he finds himself in when his parents go missing and he’s placed in protective care. What Simon doesn’t know at that point, though, is that his life is about to undergo an even more monumental change.

Panchaud uses digital technological advances to apply minimal art at the start. However, he becomes more ambitious as the story progresses and the locations change. While everything is initially kept within the panels, Panchaud begins to extend items out of them, and we discover there’s little that can’t be done with the format. It’s reduced to shapes, but a fight with bikers is among the set pieces. His use of time is notable throughout, represented by means as different as obvious notes as to passing days and the gradual draining of a drink.

Time is also spent establishing Simon as well-meaning, but not the sharpest tool in the box and lost without his parents. The turning point, although he doesn’t realise it at the time, is a tip from a fortune teller that he utterly believes, and it turns out he’s right to do so. What follows is part eccentric detective story, and part shaggy dog story, underscored by a dry sense of humour as Panchaud puts Simon through hell.

Clever use of the restricted format continues, ‘The True Story of the Hope Family’ a compact single page detailing the family history standing out, but while initially startling, the novel storytelling can’t compensate for shortcomings. Some scenes aren’t clear, incorporating a Star Wars allegory for one, and there’s a growing feeling of Simon’s story being dragged on to feed in too many whimsical inclusions. An exception toward the end is the most whimsical moment of all amid heartbreaking revelations for Simon.

From Above is innovative and graphically stimulating, but what’s ultimately a gimmick didn’t require 223 pages.