From School Library Journal
Grade 4–7—Part fiction, part graphic novel, and part picture book,
The Escape is a tale of Saskia and Sadie Dopple, twin orphans, forcibly separated by an eccentric cast of characters; and ex-burglar Erik Ganger, who aids them in reuniting. Set in Britain in the early 20th century, the story has a gothic feel, if a slightly absurd one, reminiscent of Lemony Snicket's "Series of Unfortunate Events" (HarperCollins). Saskia is adopted by wealthy writer Muzz Elliott, whose grandfather lost quite a bit of gold at her estate. When criminals seek to dupe Elliott and replace her, both Elliott and Saskia are in mortal peril. Meanwhile, Sadie and Erik escape from the orphanage, only to fall into the clutches of an insane retired magician. The prose flows somewhat awkwardly into paneled storytelling and back out again, and while the style is innovative, the pacing doesn't work consistently in the two formats. Additionally, bits of religious philosophy seem tacked on rather than integral to the story. While fans of Snicket or Roald Dahl may enjoy the absurd tale, and the narrative's mix of prose, panels, and pictures is intriguing, the story itself falls short.—
Alana Abbott, James Blackstone Memorial Library, Branford, CT Copyright © Reed Business Information, a division of Reed Elsevier Inc. All rights reserved.
Billed as an “illustronovella”—a mix of prose and graphic novel—this first entry in the Dopple Ganger Chronicles boasts an enticing design, moderately successful story, and Taylor’s signature blend of frenzied atmospherics that’s equal parts mayhem and mystery with a modern Victorian sensibility. Orphaned twins Sadie and Saskia Dopple are separated when Saskia is adopted and bustled off to live in a creepy mansion. Sadie escapes the tightfisted rule of the orphanage to reunite with her twin, and the children are beset from all sides by menacing grown-ups whose plots, while not always clear, are always nefarious. The points in which the action shifts from paragraphs to panels can seem arbitrary and disjointed, leading characters to sometimes speak things aloud that are better left to straight description. The brief cameo by an “angel,” who alludes to higher-purpose adventures, suggests the series’ religious theme. That hint is so understated here it may go entirely unnoticed, but expect a higher religious profile in subsequent books. Grades 6-9. --Ian Chipman