Final Graphic Design Evaluation.

1. Graphic Narrative
Evaluation

2. Does your final product reflect your
original intentions?
I think that I managed to stick quite closely to my original plans for adapting the Folklore. I created the flat
plans to judge the framing and proportions for the final designs, and almost all of the final illustrations follow
the original flat plats to the fullest extent with the exception of illustration 4, where the only main difference is
the position the Worm is in when crawling out of the well, but this was only because I wasn’t satisfied with
how the original flat-plan looked. The script for the most part stayed the same, but the script I wrote out did
undergo several re-writes. But even then, it was only because I had to alter the text in particular areas, such as
grammatical errors like inconsistencies with the Worm’s name being spelt with capital letters, odd sentence
structures that needed to be fixed such as changing “It was Sunday Morning, as the people of Lambton went to
church” to “It was Sunday Morning, and as the people of Lambton went to church”. And finally fixing a few
spelling issues, such as when I accidently spelled the town Lambert instead of Lambton (which was a common
mistake I would repeat until realizing it). I would say that the biggest change I made in my final product from
my planning was the ending. Originally, it was intended that the king would die from a poisoned bite after
fighting the worm, and the illustration would be his gravestone in a dark graveyard. I changed this because of a
few reasons. The first reason being that I wouldn't’ have had enough time to finish up another illustration and
page, since page eight was only completed on the last day before the deadline for this story ended, and I knew
that it would be almost impossible to complete one last page without it being incredibly rushed. And secondly,
I figured that ending the story on page eight with the king looking out into the horizon felt much more like a
closed narrative for my story, as it is a recognisable cliché that has been imitated over and over again like many
other stories that end in a similar fashion like in the ending to The last crusades, and parodied like in, and Three
Amigo’s. This ending seems like the most likely ending to satisfy the young viewers more than the much more
darker and unconventional ending.

4. How well have you constructed your
images?
I am overall quite impressed with how my final images came out, since they are clearly reflective of the original
flat plans, and feature enough detail and colour tones to seem three dimensional and some-what professional.
I think that maybe if I had more time and with an extended deadline, I could still greatly improve upon these
illustrations, or certain ones in particular like with illustration 8. Originally, I planned to have the king look over
the landscape, which was meant to feature a stone castle and a small village below it, symbolizing the king
looking over his now safe land. But due to issues with time, I figured I couldn’t afford to finish it that way due
to the amount of detail I will need to include in the pencil sketches. So instead, I decided to place a hillside
landscape in its place to save time. For the basic outline of the illustrations, I first drew them all out onto paper
using pencil, before scanning them into a computer. I did this because I have had a fair amount of experience
with sketching, and thus came to the conclusion that this method would be much easier and less time
consuming for me to work with since I almost always knew what I was doing. However, I still managed to make
a few mistakes in these illustrations, such as some perspective issues when it came to full-body shots of the
king in armour like in illustration 6, as you can clearly see that his legs appear to be at an odd angle compared
to the rest of his body. I feel that these faults are a little bit distracting, but not entirely noticeable, and with
some practice, I think I could improve on these areas in the future. As for adding colour to the images using
Photoshop, this was the aspect I was least experienced with when creating these illustrations, but in terms of
how they ended up looking in the final product, I think that turned out ok. I was particularly impressed with
some of the tones I was able to apply, especially in the first illustration where reflections in the ripples can by
seen clearly, and the colour scheme appeared very bright and colourful like you’d expect to see in a children's
book, all of which surprising me as I first thought that I wasn’t going to be able to create more than a few flat
tones due to my lack of experience with colouring. If I need to improve anything in terms of colour, It would
have to be the way I colour in night time scenes. I wanted to make the night time illustrations have a dark and
gloomy vibe to them, but instead, I still gave them the colourful effect, making the scenes seem like they’re
illuminating and glowing like illustration 5. I could also work on skin tones too, since the colour of the heir of
Lambton's skin in every page he’s in appears too washed down, pale, and looks quite unpleasant. I will have to
keep working on colouring skin tones to get the more warmer looking skin tone that I was looking for for him.

6. How well have you used text to anchor
your images
Well, first I focused on writing the script for the story first before even starting to work on the images, then
after I finished the script, I wrote down the layout of the illustrations, writing about the framing, the
composition of everything in the image and the features that I have planned for the illustrations to contain
such as props, intended lighting and character gestures. After I was satisfied with everything I had written
down, I worked on the flat plans just to see if my ideas could be translated into real images as easily as I hoped.
Then finally I would begin to work on my illustrations. All of the extended planning I have just listed above was
included just so I could properly make sure the illustrations I produced anchored the text. And I think it all
worked for the better in all honesty. Because there is a fair amount that I had to compress of the original
folklore into a few sentences on nine to sixteen pages, I had to make the sentences cover as much information
as possible, while still being phrased as basic enough for children to understand properly, making some pages
quite difficult to translate to illustrations, such as page six that only describes what the king is about to do,
rather than where he is and how he feels. So I decided to draw him with his hands in his face to show his
shame for himself for knowing this was his fault, sitting in his throne to show the power he has, the dark
shadows around him to metaphorically demonstrate how isolated he feels thinking he’s the only one
responsible. And the light shining through the glass window to symbolise the hope that he might have the
ability to stop the Worm, and finally, I drew in his sword and armour to show that he is about to fight the
worm. Every single image I feel was reflective of what was being described in the text, whether they would be
rather quiet images showing a simple scene like the Heir looking at the worm up close, or quite busy, showing
an action like the King battling against the worm. Next time, I might need to take into consideration my
capability of how much detail I will be able to include into each of these illustrations, all within a particular
deadline. For example, when writing about how illustration five is to look, I wrote down “In this wide-shot, two
skulls (a human and a cow skull) are placed in the foreground, while in the background there is the worm
silhouetted on-top of a hill, screeching up to the moon. In the much further distance, a few small houses of a
village are seen with lights on and the castle looming over the houses”. In the end, I didn’t include these houses
and the castle in the background, because just like illustration eight, I was too concerned about the amount of
time I had remaining to include them in the final illustration.

8. Is your product suitable for your
audience?
In my original proposal, I mentioned how my book was to be targeting “boys or the male gender in general”
and that the targeted age would be between age 1-6. For the most part. I think that for the most part, my
product is still viable to be sold to this demographic as the primary audience. Like I mentioned in the proposal,
it will most likely attract young boys because of the medieval setting and and tropes such as the hero in armour
off to slay a monster, who just happens to be the king of the land. All of these themes are seen as quite
masculine for kids at an early age, not to mention our protagonist is also male, allowing male boys to possibly
connect and identify with him and the story while at a young age. Not to mention that although there are no
specific violence shown in any detail throughout the book, it is heavily implied however that there is violence
on-going throughout the story as evidence from the skulls in the illustrations, and in page seven when the king
fights the Worm, and only for the next page to show the Worms tail hanging from the well, implying that the
King had killed the worm himself with his sword just through the visuals alone. This hint of violence in the story
could help bring in more attention from the male demographic than the female demographic. I personally think
that the only way I haven’t fully stayed true to the original proposal is the children's age range. I originally said
that my book will target children aged 1-6. But now because of the further research into other existing
children's books and finding out that many of the books I looked into had an age range between 4-7. I may
possibly adjust the age range for my children's book to this as even though these books are targeted for
children, they will be bought out by adults who will determine if they should buy the book for their child to
read to them, and I have doubts that a parent would buy this book for their one year old who can hardly speak
yet, and is sensitive to any frightening images, but a parent could possibly buy this for a four year old child
learning to speak, or older as they learn to read, who can handle some mildly scary scenes fairly well. After all,
it’s not as if this folklore hasn’t been adapted to a children's book before, as it has done many times, such as
the book created by Jorge Lulic, which is clearly targeted to an audience much younger than mine. But my book
stays a bit closer to the darker and grittier story, without becoming unsuitable for children by any extent. This
mix of sticking to the source material, while suitably telling the story to kids will hopefully generate a lot of
sales for people living in Lambton who want to educate their kids on the Folklore.

10. What do you like/dislike about the
techniques you have used?
When it come to the digital aspects of my illustrations, I used Adobe Photoshop to colourise my images using
the simple paintbrush/airbrush tool, eraser tool and the levels adjustment tab for lowering the outlines of my
scanned image to a much darker black colour than the faded grey it originally was, as well as hiding away the
paper texture and creases that were present on the scan. Although I did consider using Adobe Illustrator. But in
the end, I decided not to go along with using it because I had no prior experience with the program, and still as
of right now have no idea how to properly use it. One of the main things I liked out of all the techniques I used
was use of using airbrush tool with a low opacity (usually between 8-29%) and using either white or black to go
over certain patches of colour that seem pretty flat, and very lightly going over them to either brighten or
darken the colours, depending on what is necessary. This technique really made the illustrations seem all the
more three dimensional and eye catching, and was able to create some really great shadow effects and
highlights using this technique, and was. However, I found that this technique was only successful when
creating bright and luminous colour schemes. I couldn’t apply this to creating a dark and grim tone however, as
evidenced with what I tried to do with illustration 5. So the other technique I used for tones was by choosing
one flat colour, and also find a lighter version and darker version of that colour, and applying the two alternate
tones when needed. This technique allows for much harsher shades on certain surfaces, but can make certain
subjects appear all the more striking, such as on the Kings spiked armour, or the stone bricks that the well is
made up of. This is a technique of using just three tones is used by many artists working on high end projects
such as in animation, where characters in some shows will have a very minimal amount of different tones
depending on the lighting and character positioning, most noticeable in hair. The issue with this technique
however comes from knowing what the correct tones to use are. Sometimes you will use a light tone that is too
bright, or a dark tone that is to dark, that doesn’t blend well and sticks out a little too much from the rest of
the colours. You can see this slightly when looking at illustration 7 on the Kings sword where the dark tones at
the centre of the blade doesn’t seem to mix in together. This can be especially problematic for large subjects
like the sky, when this issue can become especially distracting. And unpleasant to view. I feel that if I got use to
using Adobe Illustrator, I could use the more advanced paintbrush tools it exclusively features to bypass some
of these problems in the future, or I could learn to improve on toning to bypass these problems too.

12. What do you like/dislike about how
your final product looks?
The main thing I am pleased about with the final design of my book is the page design itself. I
think that the choice I made early on to layout the text and illustrations separately from each
other like what I had seen in some of the real children’s books I looked at for research such as
Hairy Maclary and ‘The Selfish Giant’, as it’s both simplistic, and very conventional for guiding the
readers attention from left to right as they read the text first, and then see the image to put it
into context with the text. I also particularly like the old stained paper texture given to the page
provided with text, as it fits the theme of the story taking place around the medieval era, and
being a folklore story that has been passed on from generations, so the aesthetic seems quite
fitting. The main issue I do have with the way the product looks however, is with the appearance
of the paper-back book cover. Since I wanted to include the cover, but was running low on time
before the deadline, and didn’t want to risk having to draw a new piece for the front cover. So
instead I took the asset of the Worm on Illustration 4, enlarged it, flipped it horizontally and
placed a dark evening landscape in the background. The issue however, is that the asset wasn’t
the correct resolution to scale up properly, so the final cover looks very pixelated and suffers a lot
of loss when scaling up, almost looking like a bootleg print copy of the book rather than a real
copy that has been correctly printed. I should’ve either found the time during production to start
creating an original cover, or I could’ve done the same technique, but instead fix the resolution
before exporting it over and re-scaling it. Or by smoothening out and polishing the low-rendered
image using either the Photoshop filters, blending modes, or by going over it with the brush tool.

13. Why did you include the content you
used?
Through researching and looking up several real children's books that are being sold on the market at the
moment such as ‘Hairy Maclary’s Caterwaul Caper’ and Where the wild things are’ I ended up finding that
almost every single children's book was published using Serif font as appose to San-Serif. This is most likely due
to the fact that Serif fonts are much easier to read than san-serif, possibly due to the serifs adding a making the
letters seem much broader and brings their eyes to follow each word much more easily, which is of course very
important for children that are learning to read. Whatever the reason, almost every single book uses this font,
so I figured that I would also use this font to keep traditional to other mainstream children’s books. At first, I
had initially was going to have a plain white backdrop on the text pages, but during the development of each of
the pages, I cam to find that this type of design was quite boring, and began to stand out as more of a
distraction compared to the illustration pages next to it with a vast variety of colour to them. So that is why I
chose to include the stained paper aesthetic to the text page, as it fit the theme of the story in terms of
historical context, since it’s a tale set during the 10,000-11,000 centuries. The bright and colourful colour
scheme was included to go along with the story to appeal to young children and other readers on a visual
aspect, since some of the themes in the story become quite dark and grizzly, even after trimming the original
story down to hide some of the more gruesome and depressing plot points like the sacrifice of the dogs.
Hopefully using a much brighter colour scheme could tone down some of the darker scenes to make them
more appropriate for younger audiences. I decided to use a few more toned down, gloomier tones in pages 4
and 6, because in page 4, I wanted the worms first appearance to at least come off as menacing to the young
viewer to showcase how the Worm has now truly become the villain of the story now that it has grown to its
full size. This is done with many existing fictional villains such as in Disney movies with the entrance of villains
like Ursula in the Little mermaid and Maleficent in the Sleeping Beauty when the colours are made gloomier
and darker in their presence. As for page 6, this is the moment when our protagonist comes to the conclusion
that the worm is his problem and his mind has reformed to make him ashamed of not getting rid of the
creature while he had the chance, and decide to go at and kill it before the conclusion of the story. The darker
tones are a reflection of the shift in the character, as he becomes much more serious and determined to fix his
problem, and how the darker colour scheme is also a shift from the more brighter illustrations in the story.

15. What signs, symbols or codes have your used in your work?
In my opinion, there are two Illustrations that feature a lot of clear symbols, with that being illustration 5 and 6. The
original story mentions how the Worm would awaken every night to hunt down and eat cattle and people, and then
taking them up to a hill that becomes referred to as “Worm Hill” to rest after hunting. Because in the children's book it
would seem inappropriate to mention or showcase in detail people being devoured by the worm, and didn’t have
enough space in the limited amount of lines I had for each space to mention Worm Hill, I instead drew a cow and human
skull in the foreground of illustration 5, to symbolise that the Worm has definitely been killing cows and people, as skulls
are commonly associated with death, with some of the most famous examples being the skull and cross bones to
symbolise a life-threatening danger, such as toxic chemicals and on pirate flags to spread fear. And not to mention the
physical representation of death, the grim reaper, is also a cloaked figure with a skull for his face. I also showed in the
background the worm onto of a large hill that can be associated with worm hill, and the entire background as well as the
worm are silhouetted in shadows to give off the since of anonymity and fear the Worm has among the people of
Lambton. In illustration 6, I wanted to show that the Heir of Lambton had now gained a lot more responsibility as he’s
aged. I drew him sitting on his throne, which has a very elaborate and sharp design to it with spikes and curves all around
the chair, not looking too comfortable, I tried to make this a reflection of how uncomfortable our protagonist is feeling at
the very moment. The idea of using chairs as symbols is actually a more common practice than you think, one example
could be to reflect the characters such as in Up, where carl is shown sat in a blocky chair that reflects his square head,
and Ellie has a much rounder chair, reflective of her round head. The king also has his palm placed over his eyes, a
gesture that is often most associated with shame or embarrassment, with the most famous example of this being
Captain Piccard in Star Trek: The Next generation. In my story, it’s obvious that he’s clearly feeling ashamed of what his
actions have now caused. In the story, I mention how the King decides to go out and fight the worm, so I drew the king
wearing a suit of armour and holding a sword to show he’s ready for combat, and may also have had experience with
combat. As for the colours and location of the scene, he is sat in what looks like a large, but empty hallway that
encompasses more toned down and gloomy colours compared to many of the previous illustrations, not to mention the
dark shadows around the illustration that seem to act as a frame for the King. We can infer form the illustration that the
character is feeling isolated from the dark shadows sealing him in the picture, as he feels this since he knows he’s the
only one to blame for the Worm and is singled out because of it. The vast and empty room could reflect how lonely he
feels, having nobody to turn to as everyone else fears the Worm, and dares not to confront it. And the dark and gloomy
colour scheme could be compared to the Kings gloomy emotions of having the guilt of many dead people on top of him.
But if you look closely into the image, you can see a stained glass window above him with light shining down upon the
king, reflecting colours around the centre of the image. It is often believed that god Created the Sun and Moon to shine
good over evil, and since the worm is reminiscent of a dragon, which a symbolic of the devil, and thus evil, this could
foreshadow that the King is that light that shall conquer evil, and that He will be the one who will inevitably kill the
worm.

17. What representations can be found in
your work?
There are really only two characters seen or mentioned through-out the entire story, the Heir/King of Lambton and the
Worm. However, it is mentioned that there are over people present in the story living in the land of Lambton, but are
never referred to more than “The People of Lambton”, and in one of the illustrations, a human skull is shown, but is
really nothing more than a prop to show how the worm is killing people in Lambton. In the original story however, there
are more characters that appear, such as a mysterious old man who shows up after the Heir catches the worm in a pond
to warn him about the creature, and a wise woman that the Heir confronts to learn how to kill the worm, and she is also
the one who gives him the spiked armour, and the heir of Lambton’s father is present in the story, referred to as “The
king of Lambton” while the heir is later on named “the Childe of Lambton instead. There were also many religious
aspects to the original story too. In the original story, the Heir tells the mysterious man “I think I’ve caught the devil”.
Not to mention that during the story, the heir of Lambton is absent between the years as the Worm grows to a large size
because he goes to join the crusades, and the Heir is cursed towards the end which ends up killing his family for another
few generations to come. As you can imagine, I had to trim down a lot of the original story just so I could fit it all onto
about 8-16 pages, and also to make it more suitable for young children, as including some graphic imagery when killing
the worm, and the slaughtering of dogs to break curses could be controversial to include in a children's story. I also
removed most of the religious themes from the story (with the exception of the church on the first page), because I
found that I could still tell the brief story without them, and it could also possibly make the story appeal to a wider
audience who may be put off by the many Christian themes through-out the story, whether they’d be of a different
religion or no religion. In the end, I limited the story to only two characters by either removing characters from the
story, or merging characters together, like how I had the Heir of Lambton replace his father as the King of Lambton, and
personally I think this works better than the original story, as it makes the story seem much more intimate like the issue
with the worm weighs entirely on our protagonist. As for my portrayal of the character in the story, I have showcased
that the character as a boy is quite laid back, care free and possibly a bit self centred, hence that doesn’t go to church
like everyone else, as he doesn’t see it as his priority. And while he’s much older, he feels much more resentful, now
possibly as he has grown to become much more wiser, and feels guilty for his foolish actions as a child. In some ways, I
think that these portrayals a quite relatable and accurate, hence that we don’t really care about anything other than
what benefits us a a child, and as we grow older, we do look back on things we wish we had never done.

18. What style have you employed in your
products?
In terms of influences for my story, I should probably start with how I came up with the designs of my characters. For
The young Heir of Lambton, his design is loosely based on the appearance of the identical twins Dylan and Cole
Spouse from the show ‘Suite life of Zack and Cody’. I figured that they would act as a good source of inspiration for
this character, since at the time they were commonly well-known child stars, as they were always the primary focus of
the show, and were portrayed as quite care free characters, and have the features often associated with young boys
such as moderately long hair, wide eyes and round heads. Much similar to the heir of Lambton, who is presumably
well known in his land since his ancestors own it, is quite a relaxed and care-free boy, and is of a young age when he
first catches the worm, so I gave him the same facial features of young Dylan and Cole Spouse, with fair-blonde hair,
wide blue eyes eyes and quite rounded heads. As for the older version of our Protagonist when he becomes the King
of Lambton, I decided to make the character seem like he’s matured heavily over the years to take on a more mighty
and powerful appearance like a young king would, with much broader facial features, a stronger body build and
mature features like facial hair. But I also had the idea that he would also have a fairly warn-down look in him,
perhaps maybe a sadder facial expression and more sunken in eyes. To design these features, I looked at over famous
celebrities that bore similar features of the Spouse twins with blonde hair and rounded heads such as Kurt Cobain and
Heath Ledger, who I immediately thought of due to most of their masculine features like rough skin, broad cheek
bones and stern eyes and noses, not to mention that both experienced mental health issues later on in their lives,
which was somewhat reflective of our older character with the stress of peoples lives being lost by the Worm because
of him. I personally always thought of the idea of the Worm being a serpent like reptile creature, which is a design
choice that has followed many other interpretations of the Worm with its dragon-like design. So I decided to design
my Worm using a lot of existing cold blooded creatures like fish, amphibians and reptiles. The head of the fully-grown
Worm was designed from the head and skull of a Moray Eel, The hands at the top of the worms body was inspired by
the Greater Siren (a species of Salamander with only two fore-arms), the yellow under-belly and rough, red skin
(which is a little bit hard to see in the illustrations) are attributes to the red bush Viper. And I also decided to look at
other fictional snake creatures like the Basilisk in Harry Potter, which is where I got the idea for putting the sharp frills
on the creatures back. I chose to make the colour scheme appear bright and colourful like many other illustrators for
children books choose to do, just so I could possibly balance out some of the more dark and grim aspects of the story
like the Worm devouring cattle and people, and the King slaying the worm by slicing it to pieces. You could say that
the aesthetic of thick black outlines mixed with a wide range of colour tones is similar to the work of artists like Nick
Price and Bill Greenhead who have done illustrations for many children's books in the past such as ‘Secret Agent
Oliver’ and the ‘Pongwiffy’ series.

20. What were the strengths and weaknesses of the pre-
production and planning
I think that the pre-production planning was quite successful, and I was able to complete most of the tasks on-time. The
areas which I placed the most extensive research into was with how I was going to adapt the folklore into a children's story.
So to do this, I had to look into how the original story was told, and research other adaptations of the story, and as a result
gathered a large amount of sources from other children’s books such as the adaptation by , to post cards and even to a
cigarette packets that featured scenes from the story for commercial purposes. This gave me more of an understanding of
how the original story played out (as the first time I had ever heard of the story was a poem summarising the story in just a
few lines in a book of sonnets), what other children's books had done to adapt the story, and how they had changed it in
terms of toning down some of the darker elements for children, and what elements of the story they cut out to make the
story fit into a more condensed book for children. They and to give me a bit of inspiration for the aesthetic I should use
within my story, like the art style that would be most suitable for portraying the story, the setting that the story should take
place in and the design for the backgrounds, and for how my characters should be designed, such as the idea to make the
Worm more serpent-like as seen in the cigarette packet. When it came to looking into how a few real children's books are
designed such as ‘Where the wild things’ are, and ‘The selfish giant’, from there, I was able to examine many small features
that could make my own children's book seem all the more authentic and sellable, such as the choice of using Serif font, the
page layout of text on the left page, and illustrations on the right page and how looking up the psychology of how our brains
read information from left to right to understand how this layout works, and even how the back of the cover is designed
with a blurb, price tag, and the particular barcode that is used specifically for books. As with managing my time, I managed
to get all of my research and planning layed out before the deadline, leaving enough time for me to move straight onto the
development of my real children's story itself. However, I did later on include a few more details and improvements to my
research into children's books, as the original written research appeared very basic and un-informal compared to what it is
like now after improvements. If there was one thing I would definitely improve upon, it would be parts of my proposal for
the story when describing my targeted audience. In this segment of my proposal, I mentioned how I had planned for my
book to be sold to children aged 1-6. I consider this a mistake on my part, as at the time, I overlooked what the regular
targeted age is for children's books, thinking that it would be this age range, but after looking much closer into the books I
researched, I found that the targeted age was much higher than this, with the average book being promoted to children
aged 3-7, and ‘Where the wild things are’ targeted children age 5-8. I think that this mistake came after looking up a few
books apart of the ‘Biff and Chip’ series which did promote itself to be read by children at a much younger age, and I
assumed that this was just the average targeted age for all children's books.

22. Historical and cultural context
In regards to the original telling of the Lambton Worm, I’d say that my adaptation is definitely much less
graphic and darker than the original, which I suppose is good, regarding that it is a book designed
for children. But in terms of the actual plot, the original story felt a lot more dense with many other
elements happening within the main story such as the curse that plagues the heir after killing the
worm, the religious themes throughout the story, and the many other additional characters, while
my story wound up kind of bare-bones due to the content that needed to be cut out to complete
the story in time, which I suppose isn’t too bad either, saying that children are meant to follow the
story easily. Oddly enough, this story itself does have several re-adaptations, but they are few, and
with some being relatively obscure titles to say the least. It appears that the first adaptation of the
story was into an old folklore song, which can be found in the Roud Folk Song Index, identified as
Roud #2337. The song follows the same basic story, only this time with a much happier ending
without any mention of the curse. Other adaptations of the story include The lair of the white worm
by Bram Stoker in 1911, which draws a lot of inspiration from the tale, but was poorly received.
Later on from the late 1970’s and onwards, it seems that the story started to gain more and more
attention. an Opera had been made of the story in 1978 by composer Robert Sherlaw Johnson, and
poet Anne Ridler. A film adaptation of Lair of the White worm was made in 1988, this time with a
mixed reception from critics, with Roger Ebert calling it “A respectable B-grade monster movie”. And
in 1989, a direct sequel to the Wicker man was written titled the loathsome Lambton Worm, but
was never set into production. As of today, there have been a few other children's books that have
told the story like I’ve mentioned previously in the slides above. As well as being included in a
variety of folktale collections, such as in Joseph Jacobs’ More English Fairy Tales. But some of the
more mainstream depictions of the Lambton Worm seems to be in graphic novels, such as in Bryan
Talbots Alice in Sunderland, where it was retold as apart of an anthology with other existing
folklore.