Read It: Gou Tanabe's At the Mountains of Madness

Intricately drawn splash pages add to establishing a tone of impending doom.

Gou Tanabe's graphic novel adaptation of H.P. Lovecraft's At the Mountains of Madness succeeds for two reasons. First, the manga takes a narrative that is familiar to many and makes it new, and, secondly, Tanabe deftly brings into the visual realm a novella that has, to this point, worked best in the imagination of the reader. Like most Lovecraft readers, I too, have read the classic cosmic horror story in multiple editions with a variety of well-written collection forewords, most recently At the Mountains of Madness: The Definitive Edition prefaced by an excellent introduction by China Miéville. It is difficult to discuss any version of At the Mountains of Madness without acknowledging the prior understanding (and bias) of readers as compared to those for whom this is a first time through the story.

Despite having read manga for 20+ years,
it always helps to have a reminder as
to how the panels flow, especially when
the story has multiple characters, each
of whom communicate via dialogue.

This graphic novel volume is the first of two, and serializes in short 5-7 page chapters the events of roughly the first half of Lovecraft's original text. Beginning with a prologue set in January 1931 (five months before the tale begun in Chapter 1), entitled "After the Storm," and concluding with "Chapter 12 Under Five-Pointed Mounds," The First Volume concludes on a cliffhanger with expedition team leader's, and Lovecraft's narrator Dr. Dyer, making the decision to "Fly to the Black Mountains!" The search for Gedney, the presumed lone survivor of the Lake's advance party, is where I would expect where The Second Volume  to pick-up. (I have yet to have acquired it as of this writing.)

As I read Tanabe's graphic novel, I felt as if was I was engaging the material for the first time. Tweaks to the story require those familiar with the original text to read and view the visuals carefully so as to not miss out on key character alterations. These changes deal primarily with the characterization of Dr. Lake, a Biology professor, and his relationship with geologist, Dr. Dyer. Perhaps I missed it in Lovecraft's story, but here it is very clear through the different visual depictions and interactions, that Lake, besides being the advance leader whose disappearance is the initiating factor for Dyer's deep trip into the mountains, is also intended to act as a more traditional antagonist or foil. Lake's unchecked ambition to push the boundaries of exploration are sharply contrasted by Dyer's more measured approach to the huge Antarctic undertaking they are mutually engaged in.

Tanabe includes quotes from both
historical and literary figures,
 including this rare color page
 acting as an epigram to Lovecraft's
story here.

It may surprise the new reader, especially given the obvious influences of the work on contemporary science-fiction and horror, how little the human parties actually engage with Lovecraft's cosmic creatures on the page. It is only half way through the text, with "Chapter 6: Elder Things," that a visual representation of the titular star-headed creature in fossilized form even makes its first appearance. Readers of cosmic horror don't come only to gawk at monsters though, and Tanabe's approach reflects this understanding. A modern reader unfamiliar with Lovecraft may expect more, but careful reading reveals that Tanabe has properly trusted his illustrations and storytelling to build suspense and sense of impending doom.

Beginning with the prologue depicting the remains of the original Miskatonic University Expedition led by Dr. Lake and "the manner and cause of their destruction" that Dyer and his team are seeking answers to. Using background setting and images that an organic, alien environment, not unlike that designed by H.R. Giger for use in Ridley Scott's classic film Alien (1979), Tanabe establishes a blend of natural and alien worlds. This effect is further reinforced through Tanabe's inclusion throughout of journal entries from a number of real-world explorers such as Captain James Cook. For the reader who hasn't experienced the source material, there is a subtle foreshadowing as to what to expect once this group enters the "Mountains of Madness." Once the eventual dissection  (desecration?) of a petrified Elder Thing by Lake, an act that is juxtaposed to that of the members of the first party by some heretofore unknown force, the tension amps up considerably.

With accessible language and excellent, detailed artwork, Gou Tanabe's graphic novel adaptation of H.P. Lovecraft's At the Mountains of Madness is an excellent way to introduce the young reader into Lovecraft's world. It's visual nature, as well as manga's increased popularity and acceptance among students of all ages, Tanabe's interpretation seems certain to entice the ambitious student to seek out other readily available Lovecraft horrors. (Gou Tanabe has also crafted a manga collection of the author's shorter works, H.P. Lovecraft's The Hound and Other Stories.) H.P. Lovecraft's At the Mountains of Madness would be a welcome and exciting addition to any high school library or reading list... if the adults involved dare to try something different!