Review by Ian Keogh

The legend of the Monkey King can be traced back to the provinces of China in the 16th century. Also known as Sūn Wùkōng, he’s a good-natured, but mischievous and extremely powerful presence, which is transmitted over the opening pages. The King of Hell considers it outrageous that Sūn Wùkōng erased monkeys from the Book of Death, but he did so to save a life.

From the opening pages Alina Chau is true to the legend, which is a very different form of storytelling to that usually found in graphic novels. There’s no slow building of character, just introductions as to the titles characters have. with the presumption that readers will pick up on the status and with it the deference due. The same applies to the illustration, where humans and those resembling humans mix with all kinds of others. Chau’s bright painted pages lack shadows, so resemble the art from children’s books, with a community of happy monkeys playing in grassy areas shown between assorted battles and travels.

After grievances against the Monkey King have been laid out, the Jade Emperor and his advisors discuss what might be done, and it’s the first time Uproar in Heaven slows the manic pace. Young readers’ sympathies will be with the Monkey King as the Jade Emperor enacts a succession of plans to bring him into line, each failing due to not understanding his strength or essential good nature.

It’s not difficult to pull back the metaphorical curtain to reveal a story about snobbery, and the entitled complacency of the ruling classes. In the short term they may be able to flatter and manipulate great power, but eventually their day of reckoning will come. She uses modern language, but Chau channels the legends by having the Monkey King supremely confident from start to finish, no matter what’s thrown at him.

Perhaps in keeping with the myth, the ending is a new beginning, but there’s enough entertainment along the way to ensure young readers remain enthralled.