370 LOUIS RIEL
before being released in a collected hardcover (2003) and later in soft cover (2006).
Th is engaging and comprehensively researched account of the life of one of Cana-
dian history’s most controversial fi gures was nominated for two 2004 Eisner Awards,
“Best Graphic Album—Reprint” and “Best Publication Design.” It was the winner of
the 2004 Harvey Awards for “Best Writer” and “Best Graphic Album of Previously
Published Work.” In his home country of Canada, Brown was nominated for a special
2005 Shuster Award for bringing attention to Canadian history and for raising cultural
awareness of the graphic novel format.
Brown’s exploration of the Métis, people of French-First Nations ancestry in Western
Canada, and its charismatic leader covers the years from 1869 to Riel’s death in 1885,
when he was executed after being convicted of treason against the Canadian govern-
ment. Brown does not shy away from Riel’s mystical experiences, his ordeals in mental
asylums, and the issue of Riel’s sanity during his trial. At the same time, however, Riel
is presented as a well-educated, ambitious, and natural leader, respected and revered by
the Francophone community to this day. In the reader-friendly and expansive footnotes,
Brown presents historical background on the Métis confl ict and the issues surrounding
the various interpretations of the character of Riel and the rebellion by historians, along
with discussions of his own deviations from the historical record to enhance the nar-
rative fl ow of the story. Th e inclusion of an extensive bibliography, maps, and an index
enhance the integrity and application of this title beyond the conventional comic book
readership.
Th e 272-page book is printed in black and white on heavy-weight yellowish paper
and, in order to avoid melodramatic eff ects, employs a static page-layout of six square
panels reminiscent of Harold Gray’s Little Orphan Annie. Brown incorporates other
visual infl uences from Gray as well: blank eye sockets, pronounced noses, large bodies
with almost nonexistent necks, and simplicity of facial expression, background, and gar-
ments. Th e original series, published in a nonstandard size, both narrower and shorter
than most comic books, underwent little adaptation when reformatted into the graphic
novel. Brown had to re-draw some of the early illustrations for visual consistency of
characters, as Riel started out with a big head and smaller body. Th is was reversed by
the end of the series, which depicts Riel with a large body, small head, and huge hands.
Th e notes and rationale provided by Brown remained virtually untouched in the new
format. Th e story is told with a minimum of words; the two spoken languages of the
characters, English and French, are visually indicated, enhancing the reader’s perception
of language miscommunications inherent in Métis history.
Brown began this series, written from a complete script at the onset, with an
acknowledged anarchistic agenda highlighting the incompetence of the Canadian
government and seeking to introduce Louis Riel outside of Canadian borders. In
constructing this work, Brown soon concluded that it was not a viable venue for con-
veying his own anarchist ideas. However, he succeeded in achieving his secondary
goal, producing a refreshing and reliable narrative regarding this contentious fi gure in
Canadian history.
