Differences from the Disney and Barrie’s play (which the Peter novel is based on, of course) are emphasized, like a bit more attention being paid to the Neverbird.Īdaptations don’t always serve Barrie’s “Red Indians” well, and how to handle them remains problematic to this day. This version isn’t for adults, however, and so the creators’ decision to stray as far from possible from the Disney designs isn’t necessarily done to stand out, but simply to remind–or, more accurately, reveal–that there’s more to Peter Pan than what Disney’s done with him and the rest of Barrie’s treasured characters and concepts.Īfter a brief, four-paragraph prose introduction entitled “All About Peter Pan,” writer Blake Hoena and artist Cano re-tell Barrie’s novel in just six short chapters, about 60 pages total. Hook looks closest to his Disney incarantion, but he’s traded in his luxurious mustache for a mustache-less beard. Smee and the pirates look more like shaven gorillas in their cartoonishly menacing bodies. The Lost Boys look like they’re wearing skinned Pokemon rather than animal skins. Tinkerbell has black hair and big butterfly wings. Peter’s abandoned the green pixie gear for a more scavenged and hand-made looking ensemble. Artist Fernando Cano, who draws Stone Arch’s condensed, graphic novel version of Barrie’s 1911 Peter and Wendy, certainly does so. The theater has its traditional depictions, and the 1953 Disney film, which has long since unseated Barrie’s stage version as the preeminent one, had its own depiction, so any new versions generally try to distinguish themselves by departing from these as dramatically as possible. Barrie’s Peter Pan story in various media, the most interesting aspect of any new telling might simply be in seeing how its creators choose to depict the cast of characters. For adults, who have spent most of their lives occasionally experiencing different presentations and interpretations of J.M.

Peter pan the novel