Review by Ian Keogh
Joan, often disguised as a teenage boy called Emil, is following in the footsteps of Joan of Arc, who appears to her as a spirit offering advice nine years after her death. The original Joan is very keen the king is protected from the coming war with his son, who considers his father complacent and cowardly.
Yoshikazu Yasuhiko concludes Joan’s story with this third volume, making it an extremely short series for Japan, yet a full colour production is more time consuming than a standard black and white title. Much of Book II seemed an unsavoury diversion, but concluded with the king being provided with enough funds to have at least a fighting chance in the coming war. However, the king’s primary loyalty is to his mistress, not his nation, so Joan/Emil is appalled that his priority is to protect the town where she lives rather than fighting somewhere more advantageous.
Joan of Arc is used as a mystical presence much in the way God was when communicating with her, channelling the voice of God and his intentions. It’s a faith based system of knowledge, and the latter day Joan struggles with that more than her predecessor did. Joan/Emil’s doubts are a real strength of the entire series, and they’re finely observed here both with regard to the king’s priorities and the slaughter of combat. It focuses her character and decisions throughout this volume.
More so than in the previous volumes, the art impresses. The drawing has always been excellent, but Yasuhiko’s preference for bright watercolours has sometimes proved more distracting than intended. It’s toned down a little here, and it shows the art to better effect. Yasuhiko characterises people well, and he’s fulsome with the action scenes, pulling viewpoints back for maximum impact when thousands of soldiers clash. There’s plenty of combat as matters take a decisive turn, and it all looks spectacular. Yasuhiko also revels in showing medieval cities.
The original Joan has proved a beguiling memory for many, and Emil’s resemblance can play on those emotions. Yasuhiko employing his fictional construct in this way gives reason to historical fact. Remaining true to historical fact also means realities unpalatable to us today, such as girls married at thirteen.
As events continue, tension is generated by Joan of Arc’s path being so faithfully followed. Will that be the case to the end? The cruelty and manipulation is far more credible than in the previous book, making Joan Book III a strong emotional drama and the best volume of the series.
