Resting with MEADOWLARK

This work, MEADOWLARK, is an English-language piece that has not been translated into Japanese. The original story was written by the Hollywood star Ethan Hawke, with art by Greg Ruth. Ethan Hawke needs no introduction. If I were to add anything, (according to information online), it seems Ethan Hawke is quite active in various fields beyond acting, such as writing novels. What about Greg Ruth? I suspect his name recognition in Japan is not very high. Looking at Greg Ruth's website, it seems he is someone who, as is common for artists working on overseas comics, engages in a wide range of graphic creative activities, including picture books and posters, not just comics. As a notable piece of background information, his collaboration with Ethan Hawke is not limited to this work; it was also realized in a comic titled INDEH, released in 2015, which depicts the story of the Apache. I would like to purchase and introduce this INDEH (which I have not read as of the time of writing this article) at some point.

The story goes something like this: A former boxer father and his son. A poster of the father from his boxing days is hung in the son's room. The father works at a prison. A riot suddenly breaks out at the prison where the father had taken his son. It becomes the worst day for the father, who tries to send his son home, and the son, who tries to accompany his father. Through various events, the dialogue between father and son, as well as the son's growth and departure, are depicted.

Regarding the art, to describe it in one word, I felt it was cinematic.

For example, please look at the panel above. I think back shots themselves are common, but the father in the background feels slightly out of focus. Partly because the colors are monotone, this kind of lens effect can be felt throughout.

Also, please look at the two panels above. A panel from the father's perspective is followed by a panel from the driver's perspective. I think this is a reverse angle shot often seen in movies, but it feels like it is surprisingly not used that often in comics. At that time, the fact that the person in the background is clearly out of focus is also a factor that makes it feel cinematic.

There are also action scenes like this. Dynamic movement is expressed in a large panel, but the fact that it is followed by a close-up panel of hands also feels somewhat cinematic.

Also, there are panels where animals appear, and I felt it was cinematic because of the metaphor, or rather, the effective use of a loose montage.

Overall, the story, which proceeds with a masculine atmosphere, is also pleasant to watch. I felt that this work is one that people who usually enjoy movies would also be able to read and enjoy.