![]() Up until the comic's final pages, Mamo mostly keeps its magic out of view. Not so with Mamo, which wisely focuses on introducing its readers to its stubborn but begrudgingly responsible leads while only teasing the magic, keeping it almost entirely out-of-reach to the readers. Many comics (and other forms of media) that deal with magic too often get caught up explaining how their magic system is unique. Whether Orla's struggles are due to an unorthodox upbringing or because of a complicated family situation remains unclear - however, what's important is how the comic communicates Orla's unease without a single caption or word. Orla seems out-of-place as she walks inside Jo's home, shown both by the way she removes both her shoes and socks when entering while Jo and her sisters keep their socks on to the uneasy interactions she has with Jo's sisters. There's one sequence where Orla's gaze lingers on some photos of Jo and her family as the pair enter Jo's house. Honestly, Mamo is a masterclass on how characters can communicate their emotions to the reader without dialogue or a caption box. ![]() Orla is a brooding sort who is still visibly hurt by how the townsfolk treat her, while Jo's unvoiced exasperation plays out mainly in sighs and wistful looks. Her art style features large-eyed and expressive characters who communicate their feelings by facial expressions alone. Milledge is one of comics' rising stars and Mamo showcases both her writing and artistic talents. ![]()
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