Starred Review for Kirkus Reviews

An eerie graphic version of the Newbery Award-winning classic.Russell (Murder Mysteries and Other Stories, 2015, etc.) pays no more attention than Lowry (Looking Back, 2016, etc.) did to continuity of detail or to justifying the counterintuitive notion that memories can be shed by transmitting them, but without taking significant liberties he skillfully captures the original's full, creeping horror. By depicting human figures with uncommonly precise realism, bearing calm, smiling demeanors and moving through tidy 1950s style settings, he establishes an almost trite air of utopian normality at the outset…then proceeds to undermine it with disquieting (to say the least) incidents capped by an explicit view of Jonas' serene dad "releasing" a supernumerary newborn by ramming a hypodermic into its head. He also neatly solves the color issue by composing his many small sequential scenes in blue pencil outlines with occasional pale washes—which makes Jonas' disturbing ability to "see beyond," from the red in an apple and a classmate's hair to the garish orange memories the Giver downloads to his brain, startlingly vivid and presages the polychrome wilderness into which he ultimately vanishes. Jonas and the rest of the cast are uniformly light-skinned and generically European of feature, but that is explicitly established as part of the hideous scenario.A first-rate visual reframing: sensitive, artistically brilliant, and as charged as its enigmatic predecessor with profound challenges to mind and heart. (interviews with the creators) (Graphic dystopian fantasy. 12-14)

ALA Booklist (Fri Mar 01 00:00:00 CST 2019)

Color is a potent and central symbol in Lowry's modern classic. Its absence defines the sameness of Jonas' future world, in which everyone's life is neatly prescribed for them, right down to career and family. When Jonas is appointed the receiver of all humanity's memories, the appearance of color signifies his sense of discovery and, ultimately, his escape. Russell masterfully preserves the flow of story within this world of sameness through clean lines and compositional variation. But he, too, centralizes color. A limited palette of cool blues and somber grays strikes the emotionally sterile tone of Jonas' community, while humanity's memories come to the receiver in various hues: the gentle pink of a flower, the saturating red-orange of war. The relief and sometimes shock of these colors allow the power of the memories to reach readers in a way beyond mere sight, and thus the wonder of Lowry's story is made palpable in a startling new way. Includes illuminating interviews with Lowry and Russell on the adaptation process.

Kirkus Reviews (Fri Oct 04 00:00:00 CDT 2024)

An eerie graphic version of the Newbery Award-winning classic.Russell (Murder Mysteries and Other Stories, 2015, etc.) pays no more attention than Lowry (Looking Back, 2016, etc.) did to continuity of detail or to justifying the counterintuitive notion that memories can be shed by transmitting them, but without taking significant liberties he skillfully captures the original's full, creeping horror. By depicting human figures with uncommonly precise realism, bearing calm, smiling demeanors and moving through tidy 1950s style settings, he establishes an almost trite air of utopian normality at the outset…then proceeds to undermine it with disquieting (to say the least) incidents capped by an explicit view of Jonas' serene dad "releasing" a supernumerary newborn by ramming a hypodermic into its head. He also neatly solves the color issue by composing his many small sequential scenes in blue pencil outlines with occasional pale washes—which makes Jonas' disturbing ability to "see beyond," from the red in an apple and a classmate's hair to the garish orange memories the Giver downloads to his brain, startlingly vivid and presages the polychrome wilderness into which he ultimately vanishes. Jonas and the rest of the cast are uniformly light-skinned and generically European of feature, but that is explicitly established as part of the hideous scenario.A first-rate visual reframing: sensitive, artistically brilliant, and as charged as its enigmatic predecessor with profound challenges to mind and heart. (interviews with the creators) (Graphic dystopian fantasy. 12-14)

Publishers Weekly (Fri Oct 06 00:00:00 CDT 2023)

This graphic novel adaptation of Lowry-s Newbery Medal-winning book hews close to the original text, retaining nearly all dialogue and narration in some form while substituting visual depiction for textual description. When Jonas turns 12, his perception of his seemingly utopian community begins to change. His selection as the next Receiver of Memory puts him in a position to see everything that is missing from the world he knows, as well as the hard truths that underlie his heretofore comfortable life. Russell (who also adapted The Graveyard Book) uses a simple, realistic cartoon style in a palette of blue pencil and ink wash that conveys the colorlessness of the world. The blue tone also mirrors the cool, passionless logic that drives the group-s decisions, and the vast swathes of white space on the page hint at the essential emptiness of the community members- lives. Color is introduced slowly as Jonas begins to see it himself, helping the reader to identify with the startling changes that Jonas undergoes and creating a striking visual record of the heinous memories the boy receives-a mushroom cloud in a bright red panel, a battlefield and dying soldier in orange. An accessible version of the story for readers who have not yet encountered it. Ages 12-up. (Apr.)