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Visual development illustrator and concept designer Travis Koller was kind enough to share some of the concept art he created for The Book of Life. Flannery O'Connor said short stories need to have a beginning, a middle and an end, though not necessarily in that order. But the exaggerated buoyancy of the doctor is meant to contrast with the gloom of the previous version of the delivery. December 26, 2014 by Andrew Kardon 8 Comments A New Year is upon us and what better way to celebrate 2015 than by embracing Life!
The art and animation was beautiful and extremely colorful, but the storyline was so amazingly refreshing. This is arch but serious stuff, and for a while there, it's hard to know how Atkinson wants her readers to feel about it.
You'll find reviews, giveaways, and lots of fun, geek talk about Star Wars, Disney, Nintendo and superheroes! To see more of his concepts and illustrations for The Book of Life be sure to out The Art of the Book of Life.

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Ursula Todd a€” who happens to be the woman in the cafe, as well as the baby turning blue, and the baby not turning blue a€” is the novel's main character. In a sense she's meant to be you a€” just another soul who has the misfortune of being born, living and getting caught in the dangerous machinery of history. Atkinson not only invites readers in but also asks them to give up their preconceptions of what a novel should be, and instead accept what a novel can be.
For in another version she manages to rebuff her would-be attacker, and in yet another version, the moment between her and this same man turns out to be merely lightly amorous. In the opening pages, in a German cafe in November 1930, a woman raises a gun and shoots Adolf Hitler.
At one point, Atkinson places Ursula in prewar Germany, where she befriends a young Eva Braun; and then, during the war, she's seen working in London on a rescue unit, grimly coping with its everyday shocks and horrors. Gamely anticipating the consequences of that action a€” even if they held the possibility of Twilight Zone cheesiness a€” I turned the page, only to find that there were no consequences, at least not yet, for the clock had turned back 20 years and the action had moved to another locale.

What impresses me about this flip book of nonstop scenarios a€” in wartime and peacetime a€” is not only how absorbing they are, but how brave Atkinson is to have written them. After all, there really isn't much recent precedent for a major, serious yet playfully experimental novel with a female character at its center.
Maurice, the horrible brother no one can stand, is horrible in every version of this story. And Ursula, while not a world-beater except perhaps in her big Hitler moment, is always human and readable. Because, in the next chapter, the road is open, and Sylvie, who has just given birth, asks, "A girl, Dr. Instead, she opened her novel outward, letting it breathe unrestricted, all the while creating a strong, inviting draft of something that feels remarkably like life.

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