Nottingham
Writer: David Hazan
Artist: Shane Connery Volk
Publisher: Mad Cave Studios
Robin Hood is one of England’s most enduring characters.
Dating back to the 14th century AD, he is a legendary hero in folklore and popular entertainment, perpetually popular with creators and audiences alike. He first appeared in ballads, poems, and plays, before moving into books, movies, television, and games.
As the number of Robin Hood creations grew, so did his myth, his character, and the world he inhabits. Typically portrayed as an incredibly proficient archer in Lincoln green garb, Hood resides in Sherwood Forest with his band of outlaws, the Merry Men. With assistance from his often-wife Maid Marian, Hood endeavours to “Rob from the rich and give to the poor,” with his actions represented as a noble and moral mission.
He constantly clashes with the Sheriff of Nottingham, popularly depicted as a menacing tyrant who mistreats the local people of Nottinghamshire. Robin Hood is so popular that his name is synonymous with his ethos, and both real people and characters in other media are regularly and understandably described as a ‘Robin Hood’.
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Interestingly, despite Robin Hood’s seven centuries of demand and acclaim, the entertainment value of his media has been of mixed quality. As a public domain character with an established reputation, and due to his popularity with audiences, creators of all skill levels and creative motivations have found reasons to produce their own works. This has resulted countless versions of Hood, with the character adjusted to fit plot, genre, medium, creative choices, and even commercial decisions.
A cursory review of more recent major Robin Hood productions show creators often struggle to produce works true to the character and his world that modern audiences find engaging. Despite widespread adoration and a large built-in audience, there’s a fair argument that Robin Hood is a creative gamble. How is it possible to make something original? To tell a Robin Hood story that audiences haven’t heard before?
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In this context, it’s hard to view ‘Nottingham’ as anything but a swing for the fences. Excitingly, it’s a home run. ‘Nottingham’ completely recontextualises Robin Hood, by changing so much of what is typical of Hood media. The Sheriff of Nottingham is our protagonist, a tough man trying to stave off the worst elements of an even tougher world, using his hard earned brutality and guile in the service of public order. He’s trying to solve the mystery of Robin Hood’s identity, in order to capture him and bring his murderous spree to an end. Hood is the fanatical leader of the Merry Men, collectively on a mission to cure the various sicknesses they believe are plaguing England.
A world away from Hood’s usual modus operandi of material theft, they view their actions as a righteous crusade to rid the country of corruption. They act as judge, jury and executioner as they kill the traitors, fornicators, infidels, and tax collectors. As Robin Hood and his men terrorise Nottingham, the Sheriff must connect the dots to try and catch up with Hood before he is able to unleash his biggest and most brutal plan yet.
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In ‘Nottingham’, we get a close character study of the Sheriff of Nottingham, one of Robin Hood’s primary characters, whose appeal is often neutered by his portrayal as a one dimensional villain. We become privy to his backstory, understand his motivations, and learn of his virtuous traits, including his cunning and his protective nature. We buy into joining his efforts to solve an obtuse mystery for the good of public order, and feel for him as he is frustrated by roadblocks, incompetence, abuse, and betrayals.
By shifting focus to another lead character, flipping the roles of protagonist and antagonist, adjusting perception of characters’ actions, altering the moral perspective, and modifying characterisation and motivations, we get a book that is familiar yet entirely new. As an audience, we don’t know what is going to happen in this story because we haven’t read or watched a similar version of it numerous times before. The recognisable elements allow readers to dive right in, and the unfamiliar creative choices also immediately pique our intrigue. It’s little wonder that this book captured a large and passionate audience so quickly, with future issues becoming even harder to purchase.
For all these merits that deservedly fall at the feet of writer David Hazan, the story of ‘Nottingham’ is told just as much through its visuals as it is its text. Shane Connery Volk’s art is spectacular, visually conveying so clearly just how different this world of Robin Hood is to what we are used to. He allows us to see just how grim and claustrophobic this version of Nottingham is, the insanity of Hood, and the brutality of his violence. We’re able to understand why everyone is so terrified of him, and desperate to see him brought to justice through any means necessary.
Luca Romano’s colours are also exceptional; visceral sprays of red blood shock, chilling blue rains increase anxiety, and black shadows raise the tension and dread. Joamette Gil’s lettering and Diana Bermudez book design are also on par with the book’s very high visual standard, contributing to its overall excellence.
‘Nottingham’ is not a book for everyone. Some long-term lovers of the world of Robin Hood may find its role reversals and other adjustments too much to take in, preferring the familiarity of Hood’s ostensible status quo. Some comic book readers will find limited enjoyment due to its violence and darkness. Others may have a rigidly defined idea of what they believe Robin Hood must be (Russell Crowe, or an animated anthropomorphic fox), and could dismiss the book out of hand as an attempt to make a classic character dark and edgy. For many though, ‘Nottingham’ will rank as one of their favourite comic books of the entire year, a book that demands repeat readings, and urgent anticipation for a sequel.
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