The b&w art, highlighted with Wedgwood blue, effectively accents the children’s sense of alienation, but limits some critical storytelling elements (like a villain’s red eyes) after Meg, Charles Wallace, and their neighbor Calvin are whisked across time and space on a mission to rescue Dr. Meg Murry looks every bit as gawky and uncomfortable in her own skin as she feels, and Larson also plays up Charles Wallace’s specialness and strangeness, giving him large, haunted eyes that seem to see things his other family members cannot. Larson’s loose, modern drawing style focuses on the characters, largely omitting backgrounds and leaving readers room to add their own imagination. L’Engle’s Newbery Medal–winning 1962 novel of good, evil, and quantum physics gets a stellar (no pun intended) graphic novel treatment from Eisner-winner Larson (Mercury).
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