I’ve been wanting to follow up on Queenie Chan‘s work and read her stories ever since I put together the diverse women authors post for AWW 2012, and @tansyrr left a comment that reminded me of Chan’s work.
The Dreaming series, which I read all at once in a single book, has three volumes.
I must admit to not having read or seen much of Chan’s work. I’m also not much of a manga reader, but I know the broad style.
I was immediately struck by how true to the Japanese manga aesthetic Chan’s settings and characters’ expressions seemed to be.
For me, it was quite a twist to discover that this horror story is set in the Australian bush, complete with gum trees, billabongs, and Aboriginal mythology.
Reading the three volumes at once was such quick work that I felt guilty about not spending time appreciating the inkwork and scene transitions. Chan is refreshingly down-to-earth about her practice and skills (see her entry, “How I got started”) and prioritises the narrative above artwork:
I persevered not because I started off wanting to be a great manga-artist and drawing “cool comics” (though that crossed my mind more than several times), but because I had a story I wanted to tell, and wanted to tell it in manga format.
The Dreaming hit many classic creepy notes for me, particularly as it cross-referenced the girls-disappearing-in-the-bush motif (Mirandaa-aaa! – cf. Picnic at Hanging Rock). The superstitions and untold stories added to the narrative tension, as did the leakage of disturbing dreams to waking life.
Chan consistently references Victorian era schoolgirls in bustly dresses with good, chilling effect. What is it about that element that lends itself to a studied creepiness? Perhaps that brandished carving knife didn’t help…
My two caveats about the trilogy: First, I did have some difficulty in the beginning with the immediate introduction to the cast of characters. The girls in the school, especially, confused me because – dare I say this? – they kind of looked the same… I soon depended on their hairstyles to tell them apart. Second, while I was effectively sucked into the narrative, I found the pacing uneven and, at times, repetitive.
In the end, Chan’s back-story for the school and its dark history is satisfying. She tied up many loose ends, but not all. I liked having some questions floating in the mix after closing the covers.
Chan has also drawn several of Dean Koontz’s books, and she recently featured in a women manga artist symposium at the Art Gallery of NSW (January 2013). I’ll certainly be looking out for more of her work in the future, and am considering snagging the Koontz books.
Queenie Chan’s website: http://www.queeniechan.com