I’ve read David Petersen’s Mouse Guard: Fall 1152 over a dozen times and every time I read it again, I find new thing to enjoy about it. I don’t remember hearing or reading anything about this comic but somehow I ended up taking the first hardcover edition home with me. The cover was the only reason I bought the comic. Seeing it in the store was enough to convince me to give it a chance and I’ve stuck with the series since. As much as the art was the reason I first read Mouse Guard, it’s also the art that intrigued me on this most recent reread. I’ve recently read Mouse Guard: The Black Axe and I’m amazed by how much Petersen’s art has evolved over the years.
The biggest
difference I could notice is how much scratchier Fall 1152 is compared to its sequels. Going along with the less
polished line art, Petersen’s colouring isn’t as crisp as I’m used to seeing it
now (I can’t confirm that Petersen colours Mouse
Guard but no other artist’s name is listed in the credits). It doesn’t seem
to be as integrated to the art as it ends up being in later volumes. The mice
also look different. Their heads are nearly the same shape that Petersen tends
to draw for them now with the exception that they’re not as obviously triangular.
The ears stick out more and they tend to be longer than the mice he draws now.
Lastly, their bodies are thinner which helps to further contrast them to how he
presently draws his mice characters that seem to have gotten shorter and wider
in recent years, their overall body shape starting to look more akin to real
life hamsters than mice (in a good way). It’s interesting for me to see how the
way Petersen draws his characters evolves in the pages of Fall 1152. At times the mice look more like real mice, or at least
drawings of real mice but by the end of the first volume, they’re closely resembles
the kind of mice drawn by David Petersen. That’s a sloppy way of putting it but
Petersen’s art style is as recognizable as any other great artist. You don’t
need to be a Mouse Guard reader to
know what Petersen’s art looks like and that’s because of the style he developed
while drawing Mouse Guard. In Fall 1152 you can to witness the crystallization
of Petersen’s style.
Compare this picture to the one on the right. It's Lieam, the mouse wearing green. |
It's the same character. Look how much thinner and mouse like he looks in this picture. The picture on the left was recently taken from Petersen's blog and there is a clear different in style. |
For a world that
has such a basic setup, Petersen takes full advantage of the world building possibilities.
His careful attention to detail is present on every page and the art’s
contribution to the story is greater than in most other comics seen on the
shelves today. I love the idea of a medieval based mice culture. One of the
difficulties that often arise with this sort of story has to do with scale. How
big a mouse compared to a snake? To a leaf or a grain of rice? For the most
part, Petersen gets the scaling just right. It’s not something I appreciated
until I read the Legends of the Guard
anthologies in which I witnessed other comic artists struggle with it. Even at
such an early stage in the series, Petersen has an eye for detail and it
contributes to making Mouse Guard: Fall
1152 an extremely enjoyable read.
Petersen has build several maquettes of locations that appear in his comic. It's all part of his detailed oriented approach to storytelling. |
With such a simple setup, Petersen could have easily taken his series in dozens of different directions. Fearlessly, he opts to go big but it’s difficult to tell because the story starts so small. Three Guard mice, Lieam, Kenzie and Saxon, uncover a secret plot. Somemouse has been trying to divulge the secret location and the details of the structure of Lockhaven. It appears that somemouse is trying to destroy the Guard. The scope of Mouse Guard isn’t quite as easy to notice and appreciate in this first volume until you’ve discovered where the story goes from there, but all the groundwork for an epic story was laid in this first volume. The story itself moves a brisk pace and it deceives the reader into false sense that little is going on. In actuality, Petersen is building a multilayered world in front of our eyes. It’s difficult to notice upon the first read. It seems to appear out of thing air by the time you arrive at the final chapter. The world building is carefully integrated into the story and it’s all done with the use of wide panels and small speech bubbles.
As if there wasn’t
enough to enjoy in the comic itself, the hardcover volume ends with a collection
of supplementary material such
as maps and other world building information. There is a breakdown of the towns
of Barkstone and Lockhaven. There is also a page outlining the primary trades
in Lockhaven as well as common trades throughout the Mouse Territories.
Lockhaven, for example, has a full time armoury and an apiary. I quite like
this section of the book because it helps to embellish the story. The
information provide isn’t directly related to the story being told, but it
contributes to fleshing out the world in which the story takes place.
You can see the care and attention with which Petersen
crafted his story of a group of brave mice who have dedicated their lives to
the protection of others. Their way of life is noble and deserves respect and
Petersen gives his characters and story the respect they deserve. The evidence
is in the comic itself. From the cover to the back matter, the details never
let up and it’s presented in such an elegant way that you really get the best
of both worlds by which I mean an elegant and simple presentation of a superbly
intricate fantasy story.
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