acknowledged<\/a> the recent trend toward graphic adaptation of YA novels. In the same interview, she stated: \u201cI wanted the Raven Cycle to be a part of this, but only if the adaptation seethed with the same intentionality and specificity as the prose novels.\u201d The question readers are left with is whether the graphic novel achieves this goal, and if so, to what extent?<\/p>\nAnswering the first part of this question is easy. From gorgeous full-page spreads of tarot readings to the subtle detail of a loose EpiPen in one character\u2019s messy car, every page drips with the same propulsive air of magic and realism that The Raven Cycle is remembered so fondly for. Much like its perfectly captured cast of characters and exquisitely detailed backdrops, this graphic novel \u2014 like its source material \u2014 makes magic feel as real and abundant as the 50-50 odds that the same character\u2019s messy car might stall during his morning commute.\u00a0<\/p>\n
Yet, as lovely as the artwork may be, the question of the story\u2019s<\/em> quality remains. In particular, the question of whether this work, as an adaptation, can also be read as an original, or if it remains merely a touching homage for fans of the original books. If the accessibility of a graphic novel was intended to invite new readers in, this feels especially relevant to ask.\u00a0<\/p>\nOn one hand, it\u2019s easy to see such a faithful adaptation as a success in its own right. Many scenes seem to have been surgically removed from the original book and transplanted into this version, along with almost 250 pages worth of breathtaking images. For old fans, there are few things quite as enjoyable as seeing Blue and Gansey\u2019s first meeting in the pizza shop or the boys\u2019 tarot reading with Blue\u2019s family play out exactly as they did in the original series. New readers, too, are likely to find these scenes just as compelling as old fans found them the first time around.<\/p>\n\n\t\t<\/aside>\nAnd yet, ironically, it\u2019s hard not to feel at times that the adaptation is being stifled by its attempt to remain so true to the source material. What the book might be able to say in a sentence requires an entire page in the graphic novel, story time that ends up being siphoned from other less showy moments of the book. Without the context that these apparently \u201cplain\u201d scenes provide, and without a stronger attempt to redirect that information to the reader via unique dialogue or plot points, certain story beats and character dynamics never reach their full potential.\u00a0<\/p>\n
A particularly notable example comes on page 122, almost exactly halfway through the novel, when Blue\u2019s cousin Orla \u2014 who lives with Blue \u2014 is mentioned for the first and only time. Her mention comes during a scene in which Blue and another character, having a conversation on the porch, are interrupted by the arrival of a flower delivery. Not realizing the flowers are actually for her, Blue assumes they must be for her cousin. Jumping to finish the delivery woman\u2019s sentence, Blue cuts her off with an assuming \u201cOrla?\u201d This is a moment lifted directly from the original text, but we realize as Blue says Orla\u2019s name here that nowhere in this version of the story has Orla ever been introduced. For new readers, this interaction makes zero sense: Who is Orla? Why would she be receiving flowers at Blue\u2019s house?\u00a0<\/p>\n
In the original story, this moment is a brilliant use of \u201cshow, don\u2019t tell\u201d \u2014 having already established Orla as Blue\u2019s older, flirtatious cousin who receives attention from boys all the time, it makes sense that Blue (and the reader) might assume the flowers are for her. In her simple assumption \u2014 \u201cOrla?\u201d \u2014 readers are given an early glimpse of a longer character arc, one in which Blue, unused to romantic attention, would default to an insecure assumption that no flowers being delivered to their house could possibly be for her. Throughout the series, Orla serves as a mirror to Blue, showing her what she simultaneously resents and wishes she could be. Without the context of who Orla is, however, this moment falls completely flat.\u00a0<\/p>\n
There are many other smaller moments where something is lost on readers who don\u2019t have the context of the original series to fall back on. A character\u2019s introduction, a villain\u2019s true motivations, a clever bit of foreshadowing \u2014 many lose a bit of their shine in this new format. And while none of it makes for a bad read per se, it certainly cheapens the experience.\u00a0<\/p>\n
So I arrive back at the beginning: If you had asked me a year ago if The Raven Boys would make for a good graphic novel adaptation, I would have said yes, and if you asked me today whether it succeeded in that goal \u2026 I would likely still say yes. But I would probably recommend that you read the book first.<\/p>\n