Comic art by way of computer-enhanced photography isn't exactly a new idea, but it is a rather rare one. As such, Dorothy, which is finally seeing some regular distribution beyond sales on the publisher's website, is bound to turn a few heads. Far more attractive than the lithe frame and emerging sexuality of the title character, though, is the dark and supernatural atmosphere that permeates every page, every panel. The premise, obviously, is a more mature and intimidating take on the classic Wizard of Oz, and the familiarity of the subject matter is both a strength of the book and a weakness. What's going to happen to the title character and what she's going to encounter is far too predictable. The story needs more than just a darker take on Oz; it needs something different as well.
Dorothy Gale is 16 years old, and like most 16-year0olds, she's miserable. Her aunt and uncle -- her guardians -- are far too strict in her estimation, and she is forever sneaking out of the house and scurrying off to the nearest big city, Topeka, Kansas. Dorothy buys softcore drugs, dresses provocatively and laments her lot in life, and she's never gotten over the death of her parents. She wishes someone or something would come and take her away from the life she's been forced to lead. Dorothy should be careful what she wishes for.
Fans of artists who rely heavily on photo-reference, such as Alex Ross and Greg Horn, will no doubt enjoy what Dorothy has to offer in terms of visuals. The mix of photography and computer graphics is a delight for the eyes. It's not up to the level of detail and sophistication that Stephen John Phillips and Steven Parke bring to their photographic and computer-enhanced work on such graphic novels as Veils and I, Pararazzi, but it's quite strong. The lettering is a bit difficult to make out at times, and the simplicity and artificial nature of it sometimes clashes with the more realistic visuals.
Masterson's script is quite strong, capturing Dorothy's ennui, anger and confusion with seeming ease. At first, the narration -- courtesy's Dorothy's journal -- is overdone and repetitive, but by the time she emerges from her home to steal a car, it's compelling and paints a clear picture of who this young woman is. There's a clear sadness and sense of being lost in her words.
Though the 21st century elements are darker and add an edge to Frank L. Baum's world, the creators follow the formula pretty closely. Twister, check. Emerald City, check. Reference to the Yellow Brick Road (albeit one with a lot of potholes, perhaps), check. I expect future issues will see some different spins on the sights and citizenry of Oz. It makes sense that the creators here wouldn't mess too much with the formula; they want to draw readers in with the Oz elements. But still, I was looking for more than just a new mood. 6/10
