Review by Frank Plowright
H.G. Wells always denied any kind of allegorical message to the horrific SF of The Island of Dr. Moreau, but as a progressive thinker he certainly fed in ideas mainstream society struggled with in the 19th century’s last decade. Darwin’s thoughts on evolution continued to confound a society steeped in religious teachings, and some more enlightened people were beginning to campaign against vivisection. The moral question running throughout is what limits ought to be placed on scientific curiosity, which is as relevant today as it was in the publication year of 1896.
The problem with any adaptation from one medium to another is how far the creators choose to adhere to the original work. In the case of a novel do they attempt to transfer as much of the original text to the illustrated version, or should the illustrations tell the story? Beyond that, is any messing advisable?
It was apparently artist Gabriel Rodríguez who suggested altering the viewpoint of the primary character to a woman as it shifts the power dynamic between the cast, and he made a point that writer Ted Adams went along with. It’s therefore Ellen, not Edward Prendick who arrives as a castaway on Doctor Moreau’s remote island, while the novel’s introductory sequence aboard a ship is discarded. It excises what is now regarded as an offensive racial stereotype, and moves the story forward more rapidly without losing any focus.
Questions about how faithful this is won’t matter to anyone who either hasn’t read Wells’ work, or isn’t invested in an exact adaptation. What they’ll find is a creepy story beautifully drawn, primarily over a series of spreads. Moreau is what would now be called a geneticist whose techniques considerably transcend contemporary science, and he’s created human/animal hybrids with no concern for the desires of either or the pain inflicted. A reckoning is inevitable, and Ellen’s presence ensures it plays out.
There’s a gothic quality to the story, but Rodríguez restricting the shadows and Nelson Dániel’s colouring elevating the brightness removes that without ever diluting the tension. While Ellen is the viewpoint, there’s no guarantee things will end well for her, and the most controversial aspect is Adams altering the ending. His replacement is definitely viable, but another point guaranteed to have purists bristling. However, it doesn’t derail an engaging adaptation.
The hardback presentation is sumptuous, and Rodríguez is certainly an artist worth the premium format. However, beware! Wells’ original novel was a slim story, and less than half the pages of this package consist of the adaptation. What follows is the entire story supplied again via only the pencilled art. The discussion between the creators ending the volume is enlightening and engaging, but also supplied as part of the two serialised comics.
