Review by Ian Keogh

Unlike most graphic novels inspired by Arthurian myth, Vincent Pompetti begins not with Camelot in its pomp, but with the young boy Arthur introduced to Merlin, by whom he’s schooled for a while. It introduces what’s very much a biographical accounting, covering the highs and lows of Arthur’s life and often featuring montage illustrations. As such it’s reminiscent of the type of strip serialised in the likes of Look-In in the 1970s, and as such it’s also richer in small details than similar projects. We learn, for instance, that Merlin financed the construction of Camelot, paying workmen in gold.

If Arthur lived at all as per the legends, which is a dubious proposition, it was in the days before England was a united land, and his family were important in Cornwall, England’s southernmost tip. The building of a castle attracts the attention of existing powers, and repelling them establishes Arthur’s name.

The sample art represents the inconsistency throughout. The left hand page is vibrant and action-packed, if very reminiscent of a Prince Valiant illustration, but it’s a rarity, while what should be a major dramatic moment on the right page is understated and dull. Pompetti’s page compositions frequently disappoint as all too often the drama is dampened down via the use of dull colour and concentration on head and shoulders illustrations.

He’s on stronger ground with story part, including Arthur’s attempts to forge a better and more open society and foreshadowing troubles to come. The Ladies of the Lake portion of the title stems from religious beliefs in which goddesses were shown great reverence, and Arthur is shown as someone chosen to receive the benefit of their advice and wisdom. It’s some while, though, before the traditional menaces associated with Arthur emerge, and his earliest challenge shown at length is a persistent bishop determined to spread Christianity.

This is a stirring tale, and it’s well written, delivering more than the usual touchstones and constant tension as assorted forces mount against Arthur, although some might find the downplaying of assorted knights to be disappointing. However good the writing, though, it’s severely hampered by ordinary art underselling what ought to be a glorious spectacle.