ALA Booklist (Sat Mar 01 00:00:00 CST 2008)

Candlewick's graphic-format Shakespeare adaptations, with glossy paper and lavish art, seem diametrically opposed to the fast, energetic retellings of Abrams' Manga Shakespeare line. In this follow-up to King Lear (2007), Hinds (Beowulf, also 2007) cleaves to the darker elements of Shakespeare's "comedy," using realistic, rough-around-the-edges figures (Shylock looks like Al Pacino) and ink-and-chalk shades of grey. Certainly young, contemporary readers won't find many laughs in a story centering on a Jewish moneylender's attempt at merciless revenge against a young man in his debt, nor in the moneylender's shockingly anti-Semitic (by today's standards) comeuppance. The romantic element in the original has survived abridgement, but by excising large portions of the play (including characters devoted to comic relief) and setting the tale in modern times, Hinds has, instead, invited readers to engage with the most controversial notions of the play. An occasional incongruous passage of contemporary language aside, this is a powerful visual showcase for Shakespeare's work ough by no means a definitive one.

Horn Book

These books outline the lives of famous figures, from their early years to their deaths; their lasting impacts are also discussed. An emphasis on placing the biographies into the context of world history at the time is done well. Each double-page spread includes a running timeline. Maps, archival photographs, sidebars, and quotes add interest. Bib., glos., ind.

Kirkus Reviews (Fri Oct 06 00:00:00 CDT 2023)

Of late, there have been many unsuccessful attempts to adapt Shakespeare into the graphic-novel format; Hinds's beautiful new offering now sets the standard that all others will strive to meet. Presenting readers with deftly drawn characters (based on live models) and easily read dialogue that modulates over the course of the work from adapted prose to the original Shakespeare, he re-works the classic Shakespeare play of deception, greed and revenge. Though located in a modern setting, readers will easily follow the premise and find themselves lost in the intricately lovely Venetian backdrop. While this adaptation may leave purists sniffing at the omission of entire scenes and characters, Hinds carefully explains to his readers in a note why and how he made those choices. A deceptively simple graphic novel on the surface, this volume begs for multiple readings on a closer level, at the same time acting as a wonderful introduction to the original. Easily on a par with his stellar adaptation of Beowulf (2007), it's a captivating, smartly executed work. (Graphic novel. 12+)

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

Fans of the play will find this an intriguing adaptation. Hinds sets his version in modern dress and dramatically edits the text to the basics while keeping the Shakespearean flavor of the dialogue (increasingly as the book goes on). The coloring in shades of slate blue and pale gray gives it an antique patina that's counterbalanced by the way Hinds leaves construction lines visible. That makes it feel like reading someone's unpolished sketchbook, as though the characters were observed, not created. It's always a benefit to see Shakespeare acted out, to make the universal situations clear to the modern viewer, and that benefit extends to the graphic medium, especially when the characters have a sense of motion, as here. Some aspects of the original are still discomforting; Hinds is faithful to the play in its treatment of the bloodthirsty, money-hungry Shylock, and some readers may be put off by the inclusion of lines such as “you may be pleased to collect whatever usurious interest pleases your Jew heart.” An author's note encourages further research on that matter and clarifies some of Hinds's creative decisions. (May)

School Library Journal (Thu May 01 00:00:00 CDT 2008)

Gr 7 Up-Shakespeares original play has been modernized and recast in a graphic format with characters drawn from posed models, creating a realistic feel. The cover depiction of a casket, embossed with images of the courtroom scene, sets the stage for the multiple layers of meaning embedded within this drama, and beautiful endpapers with the fish map of Venice foreshadow the opening scene. The careful use of color to signal scene changes and page headings helps readers follow the action and refer to the original play. As the authors note explains, the decision to modernize the story creates visual and textual anachronisms. The men are attired in dress shirts and business suits. Portia wears an evening gown, even while traveling. Shylock sports a neatly trimmed beard and a slightly off-center bow tie, making it hard to envision him brandishing a knife in the courtroom. Even more jarring is the shift between modernized speech and the original Shakespearean language. For example, in Act I, Nerissa tells Portia, Your father was a pretty sharp guy. In contrast, Nerissa announces in Act II, My lord and lady, we that have stood by and seen our wishes prosper wish you joy. Despite the inconsistency, readers looking for an accessible introduction to the plot, major characters, and themes of The Merchant of Venice will enjoy this visually appealing book. Barbara M. Moon, Suffolk Cooperative Library System, Bellport, NY