Review by Ian Keogh
A Tale of Two Knights is James Persichetti looking back to the myth of King Arthur’s court and twisting the relationships considerably. Morgan, Arthur’s half sister and a witch of sorts, is presented far more sympathetically than her usual covetous persona, the story of forbidden lovers Tristan and Isolde is considerably altered, and Lancelot is recast as a far more human character. Picturing Lancelot and Tristan gazing lovingly into each others’ eyes on the cover gives away a moment a long time in coming inside, somewhat sabotaging Persichetti’s gradually constructed build-up to it.
It comes after some preliminary set-up necessitating the three main characters depart together on a journey to locate the missing Merlin. Due to her witchcraft Morgan is considered someone to be wary of during her brief visits to Camelot, while Tristan is transmits as surly and taciturn. Lancelot most resembles the traditional heroic figure. However, it’s only necessary to know your Arthurian legend to appreciate Persichetti’s modifications as A Tale of Two Knights can be enjoyed without awareness of them, or indeed the background.
It’s the type of story where the journey is the purpose, not the solution. During conversations and bouts of trouble the three main characters open up to each other and we learn of their difficulties, which are human and well developed.
Unfortunately the good work put in by Persichetti is balanced by less than satisfactory art. On a panel by panel basis L.S. Biehler supplies neatly drawn portraits, but for a conversation-heavy story she doesn’t offer enough variety, while the lack of it is compounded by dull colour.
The cover’s promise notwithsanding, the possible relationship between Lancelot and Tristan is the story’s weakest element. The frailties both possess are explored well, as is the mutual understanding revelation brings, but Biehler’s art doesn’t sell the attraction well enough. Also worth noting is how the title diminishes Morgan’s role. She’s an equal participant, and it could be said her magic makes her the most valuable of the trio, yet she’s not represented on the cover or in the title.
It’s not until the final third that the greater threat kicks in solidly, and Persichetti again draws on the legend to present fae queen Mab released from imprisonment to wage war on humanity. A great danger is resourcefully and unpredictably nullified, with the elements well foreshadowed, rounding off some creative writing that needed art to match.
