The cityscape in Grand Mal is also huge, dark, grungy and mechanized as it should be. The backgrounds in Grand Mal are the most colorful elements of the work and add greatly to the setting of the story. What really gets me about this work though is the background work. The boomers (robots they battle against) likewise are given a creepy and impressive design that fit with the designs found in the anime series. It’s characters are distinctive looking both in and out of their trademark mechsuits, and are given designs that are both authentic and colorful. I thought it was clever how Warren’s art imitates the pallet found in a 1980’s comic adding to it’s retro-futuristic feel and giving the work a interesting (though not entirely convincing) color scheme. The art captures the anime’s style of art and retro-futuristic setting of the work well. The art for this work is surprising well illustrated for an American made work, based upon a manga style. I hope to highlight this works strengths and weaknesses for those new to the anime series, as well to explain the minor differences in the work for fans of the original anime. I also found it interesting that I felt that liking or disliking this work is determined on reading feelings toward the original anime series. The work does an excellent job at capturing the mood of the animated series, and unlike many other American made quazi-manga’s this title actually looks rather genuine. Another reason why this is surprising is that if one didn’t know who the creator was for this work it would be hard to tell this wasn’t drawn by a Japanese artist. Despite being based on the 1980’s anime cult classic, this work was published by the American writer Adam Warren under Dark Horse comics.
What is strange about the work Bubblegum Crisis Grand Mal is that it really isn’t even a manga.
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