Winter’s Knight, Day One

Posted on June 18, 2013 by Joe

This review was originally penned for the Forbidden Planet Blog:

Winter’s Knight: Day One

The Great Beast, the creator-owned Indy Brit comics publisher started by Adam Cadwell and Marc Ellerby, has a new title out this very month, and it is a truly beautiful looking piece of work. Robert M Ball’s Winter’s Knight Day One is wonderfully, delightfully different, a ‘silent’ comic, a wordless tale crafted in images only and relying on the reader to work with the artist to create the narrative inside their own imagination. Our own Richard reviewed it in self-published form last year (see here) and now it’s getting a wider release through Great Beast.

An elderly, weary looking knight swathed in a green cloak crosses a stark, barren winter landscape, the stylised art (which, to my eyes anyway, often felt like stills from a beautifully crafted animation) conveying a sense of chill and foreboding, from white wastelands to jagged, snow-covered peaks and bare, leafless trees where one of the few signs of life in the first pages – a jet black crow – sits like an omen, in one scene glimpsed in the foreground, beak wide open, the juxtaposition with the knight in the distance making it appear as if the bird is about to swallow him whole from the Earth. The few signs of human habitation are deserted, the statue of a martyr holding his severed head stands in icy silence before the houses in a scene reminiscent (in a good way) of something from Mignola’s Hellboy.

Finally encountering some life in this barren place the knight sees a magnificent stag. What follows that encounter I won’t spoil here, suffice to say we move through scenes which may be real, may be fantasy or may be delirious dreams. The open, text-free nature of the story leaves it to the reader to interpret the images, like interpreting a dream or signs and portents. Some elements remind me of the great chivalric romances (of which the modified, Christianised Arthurian tales are the most famous), others recall more modern interpretations (a couple of scenes reminding me very much of elements of Boorman’s exquisite Excalibur). The art moves from some minimalist scenes of a vast, frozen, almost empty landscape to some utterly gorgeous, much more colourful, dream-like moments.

Your interpretation of the story may well trigger different thoughts and feelings, and that’s the beauty of this very open work. Every text – book, painting, music, film – we read is always interpreted a little differently, depending on the reader’s experiences and knowledge, of course. Taking in a tale, in any form, is never a passive experience, our brains tick and fizz away making connections to other memories, other books we’ve read, films we’ve seen, music we’ve heard, and so the reader is always in a form of partnership with the storyteller. With Robert’s achingly beautiful tale that interpretation on the part of the reader is left much more invitingly open – he’s trusting the readers to be a part of the story’s creation here, and that’s not just giving someone a compelling reading experience, it’s giving them a wonderful gift, because when you can engage with a story like this it becomes much more vivid in your imagination, that realm where all stories reside.

Winter’s Knight: Day One is published this month in both print and (DRM free) digital, with Day Two scheduled to follow in November and debut at Thought Bubble.

Film: Byzantium

Posted on June 5, 2013 by Joe

Byzantium

Directed by Neil Jordan

Starring Saoirse Ronan, Gemma Arterton

I’ve loved Neil Jordan’s films since the Crying Game and the fascinating Company of Wolves. He has a lyrical quality in the way he structures the stories and the cinematography of the scenes, and he is adept at layering stories and characters, most especially (as he demonstrated with Company of Wolves years ago and again in Interview With the Vampire) when dealing with mythic and folkloric subject matter. I was a little worried about Byzantium as it had some very mixed reviews, some lavishing praise, others saying it fell badly short. On viewing it myself a few days ago I have to say my worries vanished and I was absolutely absorbed into this intriguing and different take on the vampire mythos.

Gemma Arterton’s Clara turns tricks and performs in lap dancing clubs to bring in money while staying off the grid, living a secretive life with Eleanor (Saoirse Ronan), who, given the fact that Clara still appears very young, she passes off as her little sister, who she is the legal guardian of after their parents were killed. In fact the quiet and thoughtful Eleanor is her daughter, born under less than ideal circumstances and then raised in an orphanage some 200 years ago, while her mother paid for her board but was forced to keep her distance. After Clara’s vampirisation she returns to claim her daughter, the legacy of her mortal life, and for two centuries the pair have had to live a secret life, not just hiding their immortal, blood drinking nature from society but also from an unspecified threat, that Clara is clearly aware of but will not tell her daughter about.

It’s clear that Clara is protecting her daughter from some group and at first we’re not sure who – vampire hunters? An organised team of other undead who object to their freelance lifestyle? But Clara, stuck in repeating the same routine – evade, hide, turn some sexual tricks to make money, move on, hide, repeat – doesn’t realise her daughter, eternally 16 years old, has matured within and is questioning why they live as they do, especially since she’s lacking any real history from Clara on why they are as they are. She repeatedly writes down her life story on paper, in beautiful copperplate handwriting, but not for anyone to read – symbolically she tears up the pages after she finishes and scatters them to the winds…

This brings us to one of the first kills and the modus operandi for the women, when a kindly, very elderly gent in the apartment block they are living in talks to Eleanor one day about the pages – he has picked some up, enough to start putting a little of her story together. He knows what she is and more than that, he welcomes her – he is old, alone, ready to move on. And Eleanor is only drawn to feed on those whose time is done, the old, the dying, the suicidal. To them she is not a blood sucking monster but an angel of mercy, and she speaks a benediction of peace to them as she takes them and lightens their passing. In one scene the horror of a vampire feeding on a helpless old victim in a hospital is transmuted as the woman looks at her and whispers, you came, my angel – she welcomes the release…

Which is not to say they can’t kill for other reasons – Clara is perfectly prepared to kill, but in her case it tends to be evil people, such as an arrogant pimp in the seaside town they flee to (the world is a better place without you in it, she tells the surprised pimp as she overpowers him). Or to attack a mysterious pursuer (I won’t say any more on that for fear of spoilers). These are no innocents (in fact Eleanor makes no claim to be especially good), but they do have a moral code and despite their circumstances they are in many ways moral creatures, given their situation.

Of course eventually we find other vampires and it links back to how both women became immortals, an ancient society, a Brotherhood, which is not terribly keen on the idea of a woman joining when Clara is reborn, much less when she wants to make her daughter the same – women are forbidden to create, one brother intones. Just as the vampire is the inversion of natural life, here their immortal club is also inverse, the men are allowed to create new vampires (all men they deem to be of the right quality, like a perverse gentleman’s society) and women are forbidden – the power of birth, of the creation of new life, is here in the hands of men.

The film is replete with references to some of the 19th century Gothic classic novels, and layered with symbols and many allusions to – and disruption of – gender expectations and roles. It’s a fascinating and spellbinding film, from the gritty, seedy underground life the women have to live to keep themselves hidden, on the edge of society forever to the flashbacks to both of their earlier lives and (eventually) their genesis as vampires (I won’t ruin it for you, suffice to say it is much more mythologically satisfying than the old being bitten and turned, and involves some beautifully composed and memorable shots). Saoirse’s performance in particular is exceptional – in the Lovely Bones (disappointing misfire of a film but she was good in it) and Hannah she’s showcased not only an especially refined gift for acting for such a young woman, she also has a wonderful, ineffable, otherworldly quality to her – like Cate Blanchett in Lord of the Rings you find it easy to take her as different because she radiates that quality quite naturally, and it is used to huge and sympathetic effect here as she questions her life, her immortality, the world around her that she can’t really be part of, and finally romance with a seriously ill, very sensitive young man, who is himself very different from most of society.

I could write screeds more on the symbols and myths invested into this film, the performances, the beautiful shots and the narrative structure which also draws you into this hidden world, but I think if I write any more I’ll risk spoiling some key scenes for anyone who hasn’t seen it yet, so I’ll wrap up. Suffice to say for those who like something deeper, more folkloric and with more bit to it (sorry) than the dreadful modern Twilight teen-girl friendly film vampire tale this is it, deeply steeped in folklore (the transformation scenes owe much to Celtic culture and myth rather than Transylvanian counts) and Gothic lore but laced with the real world and gender issues, it’s intoxicating. As with Jordan’s superb Company of Wolves I know I am going to have to get this on DVD when it comes out so I can watch it again and again, because I know there will be elements I missed the first time round. And when I find a film I want to rewatch numerous times and still expect to find new moments and insights, well, that’s about as high a compliment to a film-maker as I can pay.

Comics: the Wake #1

Posted on June 5, 2013 by Joe

This review was originally penned for the Forbidden Planet Blog:

The Wake #1
Scott Snyder, Sean Murphy
DC/Vertigo

Two of the hottest properties in DC’s table, Scott Snyder (some stunning Batman work among others) and Sean Murphy (the brilliant Punk Rock Jesus – reviewed here – and Joe the Barbarian – reviewed here) working together on a new Vertigo title? Yes, I was curious and naturally I picked it up among this week’s crop of new releases. I was not disappointed – The Wake #1 is pretty much what you want from a first issue, intriguing, setting up some scenarios but only giving glimpses and tastes so you know you not only want more, you have to have more…

An opening prologue sees a woman on an advanced hang glider soaring among once towering skyscraper, now architectural islands projecting from the rivers of what were once streets, a drowned city. Landing she confers with a cybernetically enhanced dolphin before it alerts her to an incoming tidal wave which they try to flee…

And then after those few pages we’re back, some two hundred years previously we’re told, to what looks like our own present, where Doctor Lee Archer is studying whales, in a beautiful scene where one of those magnificent, gigantic ocean mammals surfaced right by her small boat and even allows her to touch him, while her estranged son talks to her on a video communicator. Her ocean studies are about to be disrupted though; through her camera her son can see a helicopter approaching swiftly behind her. Enter Agent Cruz of the Department of Homeland Security.

Archer, it seems, has a previous history of government secret work and they want her services again, despite her previously leaving under a black cloud (at the moment unspecified). She’s told that they picked up a strange sound in the ocean off Alaska, almost whale-like but distorted and odd, so they need someone with Cetacean interests and an espionage background. The carrot dangled is the classic one – help to get custody of her son back. Of course, you know there is a lot more to this than she is being told (Cruz will tell her several times later he didn’t lie to her, he just didn’t mention certain aspects of events).

As I said at the start this does exactly what a first issue does – introduces main characters and set up (handled with great economy and efficiency), tickles our curiosity with a barely glimpsed mystery and promise of much more to come so you know you will have to pick up the next issue. Murphy continues to be one of the hot new comic artists to watch and I’m increasingly enjoying his style, not to mention some neat little touches, such as Doctor Archer wearing a Flak Jackets cap (Chris’ band from Punk Rock Jesus). This looks like a pretty intriguing new Vertigo title: a bit of mystery, some relationship problems, a touch of science fiction and even a secret underwater base – a good mix! Well worth getting in on the ground floor on this one, I reckon.

Review: Great Pacific Volume 1

Posted on May 13, 2013 by Joe

This review was originally penned for the Forbidden Planet Blog:

Great Pacific Volume 1 : Trashed!
Joe Harris, Martin Morazzo
Image Comics

Chas Worthington, the mega rich young heir to an enormous oil fortune, known for his womanising, his extreme sports hobbies and other wealthy pastimes. The Great Pacific Gyre, a rotation of currents that creates a relatively stable spot in the vast ocean currents, where gargantuan amounts of (mostly plastic) garbage flushed into the seas slowly accumulates over years. What does this rich young man and a gigantic, floating garbage patch have in common? What about claiming it as a new sovereign nation?

Chas may lead the playboy lifestyle expected of someone in his position, but behind the scenes he has been deviously out-manoeuvring the treacherous board of directors of his own firm (who want to take more control from him following his father’s death), funnelling vast funds into a secret tech project to do with altering the physicality of plastics and planning to get necessary equipment to the garbage patch, while also making contacts in various governments with strong UN presences who he can ask to help international law recognise his claim to set up the floating plastic continent as a legal country with sovereign state rights.

In lesser hands this could be a pretty straightforward (and clichéd) tale of rich boy who has guilt because his inherited wealth came from hugely polluting industry and wants to make amends. Joe Harris and Martin Morazzo, however, offer up a more complex and satisfying tale. Chas is not a stereotype – yes, he has done the ‘rich kid stuff’, yes, he feels guilt over his wealth coming from polluting exploitation of the world’s resources, but he’s no eco-warrior. He has multiple reasons for what he is doing, only some of which start to become apparent in this first volume. Some are indeed driven by ecological concerns, although he has seen enough of the big corporate world to know they will only back necessary changes if there is a lot of money to be made in it, hence his secretly developed new tech. Other reasons may well include the need to stand out and be his own man, make something by and of himself, not what was handed to him as a rich heir. And he’s not always likeable either, cutting others short, assuming his best friend and assistant will follow him (and not thinking too much about how much he is asking him to risk, without really telling him why) and he is impulsive, his Texan blood making him perhaps too quick on the trigger (which will have consequences).

It’s not a simple plan though; however much he thinks he has prepared and done all the relevant research, this is still something no-one has ever attempted, after all. And then there are complications you don’t expect – pirates seeking hidden WMDs, the intervention of the US government, both legally and militarily, a mysterious group of Pacific islanders who seem to have settled somehow on the garbage patch. And then there is a gigantic Octopus, which the islanders think may be a sort of god, with which he starts to form a strange relationship. The massive floating garbage patches in the gyres of the ocean were first predicted in the late 80s and are now scientific fact (see here for more), although Harris takes some science fictional liberties with it for dramatic purposes, such as making it large and solid enough to walk on and even build upon a little (very carefully!).This also allows Morazzo’s art (which at time reminds me, in a good way, of the Luna Brothers) to depict some spectacularly weird, alien landscape.

But it’s a fascinating premise, a driven and complicated young man playing at both ecology and international politics and corporate business at the same time, in a setting which only exists because of our civilisation’s own wastefulness of material and uncaring methods of disposing of our unwanted rubbish. Clever and intriguing, drawing on several contemporary global concerns, not least pollution of our environment, exploitation of dwindling resources, divisions of wealth, power and influence and corporate-goverment interests and powers (or abuses thereof). This took a very different path from what I originally thought it might be, which pleased me no end (I love when a storyteller throws me a curve ball and hits be some something I wasn’t expecting) and I’m looking forward to the second volume. Plus, y’know, it had pirates and a giant (and perhaps intelligent and aware?) octopus, what’s not to like?!

Review: Jupiter’s Legacy #1

Posted on April 27, 2013 by Joe

This review was originally penned for the Forbidden Planet blog

Jupiter’s Legacy #1

Mark Millar, Frank Quitely

Image Comics

There’s been a huge amount of buzz on various comics forums and twitter in the run up to the first issue of Mark Millar and Frank Quitely’s creator-owned new series from Image, Jupiter’s Legacy. The first issue hit racks this week – was it worth all that eager anticipation?

I suppose the answer to that is going to vary depending who you talk to – some of my colleagues loved it, where I would give it a more cautious thumbs-up. Which is to say I certainly enjoyed it, but no, I wasn’t blown away by it and to be honest some elements are a bit familiar to regular capes’n'tights readers, with elements of Tom Strong, Kingdom Come and Authority springing to my mind as I read the first issue (which is not to say there is no merit here, as I said, I did enjoy it after all).

Starting in 1932 we see a failed financier, wealthy family ruined in the crash of ’29 and the subsequent Great Depression. But he is less concerned with the loss of wealth and power than with what the Depression has done to his beloved America, a country now lacking confidence, unsure of its self, many unemployed, homes being repossessed, people literally on the bread line. And in a dream he is called to a mysterious island which promises some form of salvation. Gathering a group of friends who unquestioningly believe his vision, they manage to travel halfway across the world to an island on no charts. We don’t see what happens there, but when they return to the world they are changed, garbed in strange costumes, with awesome abilities and powers which they pledge to use for the betterment of humanity, to help…

Fast forward to the modern era, and the lazy, indolent, self-indulgent children of that first generation of superheroes. They too are superpowered, but more interested in the trappings of fame that come with their powers – money, sponsors, drugs, easy sex, superheroes for the me-me-me, 24 hour celeb-watch media, than in fighting evil (as one smirks, hey, most of the good villains are gone anyway, the older generation lived in a golden age for those kinds of battles). Into this crashes – literally a huge battle with a tremendously powerful being which takes a whole assembly of the older heroes to take down (with little to no help from their offspring, despite requests for aid).

In the aftermath one declares that he is tired of fighting villains – the world they served for the last few decades has again slipped back into economic chaos and moral quagmire, people again stand in line to beg for charitable food help. Perhaps they should be using their powers directly, getting involved in actually trying to change things and organise them at the political leadership level. Or should they remain ‘servants’ of the people and ignore the urge to take charge and try and fix a broken system which repeats the same errors to huge human cost every few decades?

It’s certainly interesting enough (and it boasts that lovely Quitely artwork of course, never a bad thing), and taking element of today’s world problems and comparing them to similar ones from history gives it some relevance, while also working as a mirror to the simpler way superheroes were back in the old days, compared to today’s heroes. But as I said I kept feeling too many elements were familiar – the political aspects of the Authority and Kingdom Come for instance, or the celeb superheroes of X-Statix, as well as the obvious schism between generations which Kingdom Come did so well.

That said I still found it enjoyable enough, if not exactly gripping – and most superhero tales by their nature use and re-use elements of earlier genre tales, so I can’t hold that against Jupiter’s Legacy, really (and it is using some of them to comment on the changing nature of how we want our heroes). Besides it is the first issue and so it is early days – the question is what Millar and Quitely will do with those elements and how they mix them up into something new and uniquely theirs. I may not have been totally blown away with it (and to be fair it had too much hype to live up to, which is a bit unfair to be laden with so much expectation), but it did what a decent first issue should do: it introduced the set up (in a compact but efficient manner, no dawdling), the main characters, already set up some forthcoming lines of conflict and, most importantly, yes, it does make me want to read the next issue and see where the guys take this, and that’s what a first issue should do.

Review: Big in Japan

Posted on April 26, 2013 by Joe

This review was originally penned for the Forbidden Planet blog:

Big in Japan: an Illustrated Travel Diary

Moogs Kewell

Moogs is a sculptor and jewellery maker, as well as a comics creator, working out of the well known Hope Street Studios in Glasgow. In fact it was her hand-made jewellery which caught my eye at the recent Dundee Comics Expo (I had to get a close up of the supercute Domo earrings she had made for one of my manga-mad colleagues). And while chatting away to Moogs at the Dundee show I noticed her Big in Japan comic, with a very colourful and rather joyful cover and an unusual small landscape format. I’m not a major Japanophile or manga reader, but this caught my eye and I had to give it a go. Besides I do have a bit of a weakness for travel lit, especially done in comics form.

(some of Moogs’ jewellery at the Dundee Comics Expo, pic from my Flickr)

This is essentially a diary of Moogs’ trip to Japan, drawn in a manga-influenced style, to attend the wedding of her friends Masami and Taka, and knowing her trip starts with a hideously early morning call for the shuttle down to London to catch her main flight she’s decided to go in style – no budget airline here, the real deal complete with nice service and cooked breakfast, and a delighted looking Moogs tucking into it with a “screw you, Easyjet” speech bubble. Anyone who normally has to take the budget flights and then gets a full service one will sympathise with that reaction.

There’s the very, very long flight halfway round the globe to Japan, complete with turbulence and the “is there a doctor on board” moment you hope only happens in movies, but it appears does sometimes happen in real life. Still, it’s not al bad as she’s prepared with a bag full of distractions and snacks, plus there’s around eleven hours of viewing to watch. And at last she’s there, Japan – jetlagged nad tired, but arrived at her destination. Which is more than can be said for her luggage…

But getting there is just the start and forget the annoying lost luggage thing, because there are her friends waiting for her, and the real reason for her trip, to see her chums and be a part of their wedding. Of course there will be a bit of proper sightseeing, holiday making and socialising going on around her while she’s there, as well as the wedding herself. There’s the great delights of the Ghibli Museum (wouldn’t we all love to go there?), some dining form called Okonomiyaki and, of course, there is dancing and karoake. And then there is the shopping – and some wonderfully peculiar oddities, such as a shop that sells a Marie Antoinette action figure, complete with removable head! Ah, Japan…

The sightseeing and trips are fun, both the landmark, historical site and the quirky themed varieties – cafes (a Moomin cafe in Japan? Fab), theme parks and other venues – and taking in more traditional Japanese pastimes, such as the hot springs. But the core of this wee book is the wedding and sharing time with good friends, friends she obviously doesn’t get to see too often given the vast geographical differences, and the book reflects the sheer pleasure and delight in being among your friends and celebrating an important moment with them. It doesn’t get maudlin or overly nostalgic, instead the comic is suffused with a simple feeling of fun and joy, which left me smiling. It’s a short, personal work, but quite charming, and although much of it is drawn in a manga-influenced style (except for more detailed depictions of some of the historical landmarks) it’s still very easy on the eyes even to someone like me who doesn’t read a lot of manga. A short and pleasurable delight.

Review: Porcelain

Posted on April 19, 2013 by Joe

This review was originally penned for the Forbidden Planet blog:

Porcelain: a Gothic Fairy Tale

Benjamin Read, Chris Wildgoose

Improper Books

I had my first glimpse of Porcelain towards the end of last year when Improper Books’ Matt Gibbs was kind enough to give us a sneak-peek ahead of the teaser pages they were taking to last November’s Thought Bubble. There are some works where I get an instant vibe – call it the bookseller’s tingle – that tells me even before I start that a book or comic is going to be good, and that instinct rarely misleads me. And after a good wait, when I finally got to read the entire book I was pleased to see that instinct was still sharp, because this is good work. Better than good work, it’s utterly beautiful, a delightful concoction that partakes of Victorian novels, elements of the industrial revolution’s real history, the fantastical fairy tale (and even elements of Bluebeard and perhaps Little Orphan Annie) and a very elegant form of Steampunk, all woven through a tale which is by turns mysterious, charming, touching and frightening.

We begin, as any good Victorian drama probably should, in the cold, snow-bound city with a group of ragamuffin street urchins. Overseen – and indeed brutally bullied by – Belle, they are braving the curfew in order to spy out opportunities for a little light larceny. The imposing gates and wall of a large estate promise a rich, tempting target within, but none of the children are willing to go in, because they believe an evil wizard lives inside the mansion. Eventually our young heroine is forced up and over the wall against her will – as it turns out, fortunately for her, since the small band she was with are brutally apprehended by the constabulary just moments later, and thieves, the constable delights in telling them, swing for their sins…

(pages here (c) Benjamin Read and Chris Wildgoose, published Improper Books, click for the larger versions)

Inside though there are still perils for our little heroine; as she descends a large, twisted tree, winter-bare, into the snowy garden beyond the walls there are eyes watching her, glowing, red eyes. Suddenly two gleaming white beasts emerge from the snowy darkness – but not flesh and blood beasts, no common guard dogs these. Instead they are gleaming white porcelain, some form of clever automata. But like a fleshly guard dog they are dangerous and set on protecting their master from intruders – luckily he spots the girl and halts them just in time. Understandably irked by this intrusion into his grounds this very large, bearded man demands an explanation. When she puts on an attempt at a posh accent and asks oh-so innocently, oh isn’t this where the ball is being held? I must be lost… At this point the man laughs and the ice is broken. In a more amicable manner he agrees to see her out, no harm done, but when the shabbily dressed child almost faints in the cold he realises she is tired and malnourished; picking her up in his huge arms he carries her inside for warmth and food.

And so the scene is set for a tale that mixes warm charm with hints of the dangerous and unspoken. The ‘wizard’ is in fact an engineer who creates the ‘porcelains’, which just like the ‘creamware’ of Josiah Wedgwood are all the rage. Except where Wedgwood perfected porcelain tableware to royal standards our rotund engineer crafts delicate porcelain mannequins which can think and move – his household has no other human being in it, just a staff of these delicately white, mostly silent automata. He alone can make them walk and act (and in a few cases talk), and he can scarcely keep up with the demand – which has made him very wealthy. And yet he sits alone in his vast mansion under the weight of a secret sadness, until the girl comes. Realising she has no real family to return to and only the cold street to live on, he asks her to stay. Both need to get used to being in a relationship – having a roof over her head and someone to care for her is new for our untrusting street child, while our wizard has to get used to caring for a child, which involves far more than simply clothing and feeding her. She slowly starts to trust and love, his clearly once generous heart is reminded that it too can love again, and it’s a very sweet sequence as two lost souls find reason for being by caring for each other.

“It has been winter within these walls forever it seems. You have brought summer back to my life and this is my thank you. Happy birthday, sweet child.”

Of course if all went on as sweetly as this we’d have a shorter and more sugary tale. But anyone who knows their fairy tales – or even their Dickens – will know that something is going to happen, that part of the girl’s past (she and the engineer are never specifically named, deliberately) will come back, and there is the question of why an eligible and kind-hearted, wealthy man is living alone with only his automata for company. We know he had a wife, but what happened? He shows her the whole mansion, gardens and even his workshop (where he begins at her insistence to train her in his delicate arts), but one locked chamber in his porcelain workshop is forever off-limits to her, and as with the tale of Bluebeard the reader wonders what is really in there and worries that curiosity may eventually drive our little heroine to look where she shouldn’t. And then there is the question of the porcelains themselves…

It is to the great credit of Benjamin and Chris that what may seem to be a nice fairytale, semi Steampunk take on the Little Orphan Annie meets Bluebeard tale, proves to be much more. While it certainly partakes of those other stories it crafts its own distinctive path and is its own beast, taking in some remarkable twists along the way, which I won’t spoil here. It’s an utterly beautiful piece of work, a charming yet sometimes disturbing and scary tale – and a fairy tale should be scary as well as magical, it’s part of their raison d’etre – which boasts some truly gorgeous comics artwork by Chris (some of the scenes demand you stop reading the tale for a moment and just drink in the art, the magical porcelain garden splash page is simply wonderful).

It can be enchanting and magical (a special birthday present crafted by the engineer is wondrous), it takes in elements of the fairy tale and Gothic and Victorian novel, mixes the uplifting with the disturbing, but really, at its core its about that aching, deep need to care for someone and to be cared for and the way that enriches our lives beyond all measure; it’s about a daughter who needs a father and a father who needs a child. This is one of those books you will keep coming back to, the sort you will find yourself recommending to others and picking out as a present to friends, and without a doubt one of the most beautiful graphic novels of the year.

Reviews: Medusa

Posted on April 1, 2013 by Joe

This review was originally penned for the Forbidden Planet blog:

Medusa
Chris Kent
Graphite Fiction

“I wondered, what if a modern day soldier saw a face so horrific, it could turn him to stone?” Chris Kent in his Director’s Commentary.

I’ve been anticipating reading Chris Kent’s fascinating-looking Medusa since it first was listed for pre-orders in Previews a few months ago, and his recent guest Director’s Commentary here on the blog increased my desire to read this unusual work, so I was delighted when Chris dropped by to say hi when he was in town and also drop off a copy of the book. Ostensibly it is the story of a British soldier, Corporal Elliot Ford, fighting in Iraq when he gets news from home that his daughter has gone missing, and he is sent home on compassionate grounds. But home and the battleground may be separate geographically, but such distancing between the two is not so simple in the scarred mind of the veteran soldier…

This is not just a tale of the mental wounds so many of our armed forces personnel carry home with them, important though that issue is (especially given a recent news report just the other week about how veterans are more likely to find themselves doing something violent because of their experiences and training, without meaning to, yet another festering wound for too many), as Chris takes elements of Elliot’s combat experiences and his family life back home, then mixes them with his deepest fears and mythology. Who is the young woman he saw in Iraq watching his squad just before an explosion? Was she a suicide bomber? An innocent bystander caught up in an eruption of violence in what had once been her own neighbourhood? Why does her face haunt him? Why does he keep thinking of her, seeing her face? And when he gets the news of his daughter’s disappearance back home why is it he feels some subconscious link between both women? Is there a link? How could there be?

Medusa is suffused with this dark, confused, tormented view of events and Chris wisely opts not to give the reader the ‘god’ position, where we can look upon the narrative and know more than the characters, instead we see this mixed up world through the filter of Elliot’s increasingly frantic, desperate attempts to make sense of things, struggling to comprehend what he is experiencing, to understand what is real and what must only – surely? – be in his mind, constantly driven to find his girl, to make sure she is safe.

There’s a real feel of drowning slowly in dark, cold waters here – Chris mixes his own art with an almost collage-like collection of images from newspapers, reworked to fit the tale; rather than the traditional sequence of panels and speech bubbles of most comics this is a series of overlapping images, some dark splashes through which figures or scenes can be barely glimpsed, others like snapshots from a soldier’s diary of life at the front, some flow, others suddenly break up violently into jagged, fractured scenes, emulating both the sudden eruption of adrenalin and violence and danger that comes with a routine patrol suddenly flaring into instant combat action and also the stressed and strained mind of the combat veteran, trying to keep it together for the sake of his unit and his mates relying on each other, then trying to keep it together because he has to be strong, he has to strive for his girl, while all around him he can feel the demons waiting to sink their teeth into him and drag him into dark chaos.

The art approach may put some off, but I found it highly appropriate to the story, a mix of the almost documentary then the broken, fractured scenes, the almost photographic collage collapsing into painted darkness; it gives a flavour of the anguished state of Elliot’s mind, not just his frantic search for his missing daughter (handled so well, anyone who’s had a family emergency will empathise with that lurching, dropping feeling, the panic, the attempt to try to make sense of it, to be ‘strong’ for others and deal with it while wanting to collapse within) but also how the constant strain of patrols and combat and seeing comrades injured or killed, civilians harmed, starts to break down the defences of the mind, causing emotional damage as surely as bullets and bombs do physical wounds. The swirling darkness and struggle to comprehend events that refuse to fall into a regular three-act chronological narrative (even his sense of time starts to break down – how long has he searched? A week, a month? Or has he only been home for a couple of days?), and Elliot’s perspective is ours, so we share that disorientation.

And the Medusa herself? Is that haunting image of the young woman really just a young woman or is she an aspect of an ancient myth, the achingly beautiful rendered monstrous? It’s hard to tell until very late on just how much is in Elliot’s deeply wounded mind and how much is real, and that is how it should be (and I won’t spoil it by going into more on that intriguing aspect of the tale). This is a journey through the Heart of Darkness, and like the voyage up-river to the lair of Colonel Kurtz there is that deepening fear in the soldier that the darkness is infecting him too, and through him perhaps his own flesh and blood, his family, that his actions will lead to karmic payback for what he has had to do, a spiritual, emotional stain that could go beyond his own self and actions to others he cares for.

Elements of Apocalypse Now are in there, also perhaps a nod to the fascinating Tim Robbins movie Jacob’s Ladder. But where this journey through darkness will take Elliot, that’s the real question? Is this a journey of a wounded soul to redemption or a spiral into chaotic despair? A highly unusual, deeply disturbing, dark tale, the mythological elements are timeless and echo the fact that for all the hi-tech equipment of the modern soldier, warfare itself is also, sadly, timeless, and equipment is but a tool, at the end of the day, regardless of century it is the humble squaddie who is at the heart of it, and what it does to the soldier.

Reviews: Hawkeye Volume 1 – My Life as a Weapon

Posted on March 27, 2013 by Joe

This review was originally penned for the Forbidden Planet blog:

Hawkeye Volume 1 : My Life as a Weapon

Matt Fraction and David Aja

Marvel Comics

“Clint Barton, aka Hawkeye, became the greatest sharp-shooter known to man. He then joined the Avengers. This is what he does when he’s not being an Avenger. That’s all you need to know.” From the introduction.

Oh, where to start with Matt Fraction and David Aja’s superb, rollicking ride of a superhero series? I’ve never been a huge Hawkeye fan, but FPI Glasgow’s Nicola raved about this so much on our blog that I picked up the first couple of issues. And I am glad I did, I liked it; in fact I liked it so much it made my annual Best of the Year list (and some of our other Best Of posters picked it too).I love when someone puts you on to something unexpectedly good, something you’d probably never have picked up otherwise – I mean that’s why we all love to talk about our favourite comics and books, after all, share the love of them, hopefully spread it around.

This is Clint Barton’s life when he’s not busy being an Avenger and saving the world as Hawkeye. This is Clint the guy who lives in an old apartment block, talks to his neighbours (and tries to help them out although he often messes up in the most endearing fashion), who know who he is (even if some keep calling him “that Hawkguy” by mistake). And even outside of his epic Avengers role Clint seems to continually walk into trouble, be it relationships (Kate Bishop is almost like an apprentice to him, except numerous times she proves to be as good as him and has to rescue Clint, while the will-they, won’t-they chemistry between them is superb leading to some cracking inter-personal scenes between the pair), the mystery women that breeze in and out of his life (and bed, always with some sort of I-knew-it-was-too-good-to-be-true consequences, of course), tracksuit wearing, Mini driving Russian mafia goons, secret video files and more.

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And along the way there is the day to day stuff; Clint trying to be ‘normal’ (whatever that is), helping neighbours move stuff, attempting to sort out cable problems for another neighbour and her kids after buying the block (to fend off a greedy landlord who attempted to screw his neighbours over – not every victory is won by a battle, sometimes lots of cash works well too, fortunately Clint is very rich), trying to take care of a homeless dog, unpack his own belongings (including, in one great sequence, a bewildering array of ‘trick’ arrows that Aja & Fraction then gleefully give him an excuse to use) and organise his apartment to be like a regular place a regular person would live in. And throughout often sparking off Kate, who is more than a match for him, be it in the middle of action or on a high society bash stake out.

“Keep your eyes open. Keep it casual. Casual. Casual. Nice and…”

“Clint”

“Casual. Casual. Super casual.”

“You know there’s nothing casual about a guy muttering ‘casual’ to himself over and over again, right?”

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And all his good intentions always end up in some sort of unintended action (including a brilliant car chase that partakes of both The Italian Job and Bullit). Or his mixing with the neighbours on the roof on a nice day, barbecue, some beers, relaxing, being a regular guy, not just an Avenger as he keeps telling is neighbours – right up until a huge shadow falls over them all and they look up to see a massive SHIELD vessel floating over the roof, ropes drop out, black-garbed action men rapel down, grab Clint without so much as a by your leave and pull him straight up into the air for an urgent mission, while the nonplussed neighbours look on with an “I told you he was a big Avenger guy” expression, a wonderfully deadpan comedy moment.

Yes, it is clever writing, with some smart takes on the superhero genre and what they do when they’re not saving the world and battling supervillains. It has sassy dialogue, superb characterisation, humour, romance, drama, sex, car chases, diving out of buildings, falling into pools, saving ‘orphaned’ dogs, pulling mad stunts, all of them depicted with great art that walks the fine line between realistic and cartoony (right down to an old style Hawkeye mask placed over Clint’s naughty bits when he has to dive naked from bed when hoods machine gun it! A lovely, cheeky nod and wink to the audience).

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It has all of those elements, but what elevates it from good to brilliant is that in addition to those Hawkeye is purely and simply fun. Huge, enormous, your own floating bar in your very own pool staffed by monkey butlers fun. And dammit, we like the gritty stuff, the dark stuff, the autobio stuff and the serious, heavy, introspective stuff that the medium can deliver so well, but sometimes a comic read should just be darned good fun. And this is about the best fun you can have with your clothes on, one of the best reads in comics right now. If you’ve not been picking up the issues over the last few months then do yourself a favour and grab this first collection.

Reviews: Nine Lines of Metro and Seven Days in Berlin

Posted on March 25, 2013 by Joe

This review was originally penned for the Forbidden Planet blog.

Nine Lines of Metro

Seven Days in Berlin

Neil Slorance, Pipe Down

I know Zainab had mentioned Glasgow-based Neil Slorance’s Seven Days in Berlin on the blog before, but browsing in Glasgow recently I picked up both that work and the preceding Nine Lines of Metro mini comics and took an instant liking to them; I rarely ignore my instinct when I get a good vibe on a new work, even when I know little of it, because that instinct usually always points me to some good reading, and so it proved again. Both comics are rather charming, autobiographical short works detailing a couple of trips abroad by Neil to Spain and Germany respectively.

In Nine Lines of Metro Neil goes to visit his friend Morv, who is living with her sister, sister’s husband and their kids in Barcelona for a wee break after a rough time back home, and also to catch up with his old chum. It begins like a gentle travelogue, Neil arriving in Spain, meeting his friends, going exploring (using the metro system, whence comes the title, although he notes he later found out there were actually more metro lines than he thought, oops!) and having fun. Being Barcelona he naturally ends up taking in works by Picasso and Gaudi, wandering the narrow streets of the city’s oldest quarters.

So far so good – there’s nothing overly remarkable, but it is a gentle, good-natured short comic, in a nice, simple style for the most past, and not so very different from many other short comics about trips to different places. But for me Nine Lines started to become a bit more different and find it’s emotional feet towards the end, when Neil and Morv come across an outdoor concert by accident and stay to listen. Smoking a pipe he attracts the attention of a German visitor, Toben, and the two of them are soon chatting away in a friendly manner, when he is introduced to one of Toben’s companions, Lisa. There’s a nice feeling of him relaxing, all troubles forgotten, sitting in a warm country with old and new friends, listening to music, content, happy. And then as he and Lisa spend more time together their hands find each other’s hands, and Neil captures the emotions of that magical moment of first physical and spiritual contact with another person rather wonderfully, I felt, that simple pleasure of mutual touch “all of a sudden I had someone’s hand to hold.” Simple, unfussy but so wonderfully, humanly warm.

Of course, as is the way with such things he’s met her right at the end of his stay in Barcelona and has to leave for home just as he is starting to connect with Lisa. There’s one of those strange little sad-glad scenes as he takes his leave of her and his friends, sad to part but obviously a happier person for having come and stayed with them and for meeting his new friends. But there’s more to this to come in Seven Days in Berlin – Neil keeps in touch with Lisa and eventually takes her up on an invitation to visit her. This is a slightly longer work and starts off with him being very welcome into Lisa’s circle of friends, including Toben – in fact it is Toben’s birthday and he’s invited along, fitting in nicely. He explores the city, as you’d expect, gazing at the architecture, marvelling at the tower by the Alexanderplatz vanishing into the clouds, enjoying the festival of light, when all sorts of major buildings are illuminated in interesting ways (in fact this causes him to divert from his usual small panel sequence to do a two-page splash of the Brandenburg Gate) and suddenly coming across piece of that iconic symbol of division, the Berlin Wall:

Of course while I’m enjoying his recounting of visiting galleries and buildings, and musical spots, the zoo and other cultural and historical parts of Berlin, what I’m really thinking is what’s going on between him and Lisa. And that part is rather lovely and sweet and very natural, unforced, two friends who become a little more than friends but are still aware they live in different countries, mostly speak other languages, where, realistically, can this relationship go? But the pair are sensible and don’t really consider this too much, they simply spend the time they do have together as enjoyably as they possibly can, not a bad philosophy when you know the time you can share together is going to be too damned short. And he handles this in a lovely, open, charming manner, with quite sweet scenes that leave you with a nice, warm feeling inside:

Both connected works are nice, gentle, very enjoyable, good-natured works, the travel lit side of them is fun, although for describing some of the sights perhaps he should use a few larger panels as he did try with his Brandenburg Gate scene in Seven Days and save the smaller sequence of panels for the more intimate, person to person moments, but clearly he’s still trying things out and I’m sure he’ll play more with layout in later works. Of the two the longer Seven Days is more enjoyable and better composed – I felt as if Neil was not just trying to say more in this comic than he did in Nine Lines, I felt he was relaxing a bit (perhaps the result of two good trips!) and giving himself more space to breathe as an artist in the latter book. And both, especially Seven Days, are very satisfying on an emotional level – there’s a charming, brief romance and chance connection formed and an acceptance of it, of taking something nice when it comes into your life even if for a short while, because you know that even when you part and have to return home you take a part of that experience and person and the feelings the two of you created together with you, still inside, making you a different, hopefully better person. Sweet, honest and very charming works.

Interview With the Vampire – Claudia’s Story

Posted on December 1, 2012 by Joe

Interview With the Vampire – Claudia’s Story

Based on the novel by Anne Rice, adapted by Ashley Marie Witter

Headline

I’ll start by confessing straight up that Anne Rice’s Interview With the Vampire is one of my favourite novels. Originally published in the mid 70s it has sold in the millions and spawned a connected series, the Vampire Chronicles as well as a beautifully shot film by the very fine Neil Jordan. It is also one of the most influential novels in the vampire literary cannon, arguably as important to the genre in the 20th century as Stoker’s Dracula was to the 19th; both books are landmarks in the genre. I’ve re-read it several times over the years and in fact re-read it again just a few weeks before this adaptation arrived on my desk. It isn’t the first time the Vampire Chronicles have been adapted to the comics medium – I still have some of the Innovation comics adaptations in my collection (see here). However this is not a straightforward comics interpretation – instead Ashley Marie Witter has taken the original tale, which saw the 200 year old vampire Louis de Pointe du Lac narrating his life story to a young reporter, from his mortal life in the late 1700s plantation near New Orleans to the present day, and retold it, but this time from the perspective of one of the most singular characters in the novel – and indeed in all of vampire literature – the child vampire Claudia.

Ashley begins the story with a seriously ill Claudia – a beautiful young girl with a doll-like face and golden curls – being brought across by Lestat, the older, dominant vampire who made Louis into his immortal companion. As a shocked Louis watches, Lestat gashes his own wrist and offers it to Claudia, telling her she has to drink to get better from her illness. The human child drinks from Lestat and is transformed into an immortal vampire, endless, unchanging, in an incorruptible body that survives on a diet of human blood each and every night. Lestat has his own motivations for his actions – knowing that Louis is increasingly unhappy living with him he creates Claudia to be their ‘daughter’, her diminutive size and appearance making her as dependent on their support for her survival as any mortal child would be to its parents, locking Louis to him and their lifestyle, effectively forming an immortal, blood-drinking family unit. Realising what he has done calls Lestat a bastard and a fiend, while Lestat merely smiles in satisfaction, “such language in front of your daughter,” he mocks. I’m not your daughter, the little voice pipes up, I’m my mama’s daughter. Not anymore, Lestat informs her, now you are mine and Louis’ daughter…

As obvious and transparent as this gambit is, it works – Louis, the sensitive soul who finds immortal life difficult, wrestling with the morality of his existence, of the need to feed on human beings to sustain immortal life, cannot bring himself to leave with Claudia there, for her to be left only with Lestat to look after her. And so the trio settle into an uneasy family life – as with any family the child learns from both her carers. From Louis she learns an appreciation for the arts and the finer things of human existence, while from Lestat she learns the art of hunting and killing her human prey, something she takes to with great enthusiasm. Louis, the more nurturing of the two, is the one she loves, Lestat less so, but she still pays attention to the lessons he can teach her, until as the years pass she realises that he isn’t prepared to answer some of the deeper questions she starts to formulate, particularly regarding their own existence – why are there vampires, how did they come into existence, which vampire made Lestat and why does he never mention him? He becomes regularly enraged at her questions and when he refuses to explain she decides he simply doesn’t have the knowledge she desires but is reluctant to let her or Louis know, preferring to pretend to have access to secrets about their vampire nature that they may need for their survival.

At this point it becomes clear that she enjoys provoking him over such points and at first it might be easy to see this as the actions of a child. But Claudia, despite her deceptive appearance, is no child – decades have passed since she received the Dark Gift, and while like all vampires her body is forever fixed as it was at the moment of her mortal death, her mind has grown. She is now a mature, experienced woman, realising that while she may be a swift, immortal predator, she is trapped inside this child’s body – forever. She cannot physically grow up and this, along with her growing desire to know why ‘her kind’ exist and the fact that, denied a real childhood, she has grown up with a lack of empathy and human morality (unlike her ‘parents’ she did not have the luxury of experiencing human life for long to ground her for later life), will trigger an explosive, bloody rupture in their artificial family…

There’s much more, but I don’t want to spoil it for you if you haven’t read the original novel (and indeed if you have read it, you may know the major events, but I don’t want to spoil how they come across when viewed from Claudia’s point of view). Ashley handles portraying both Claudia’s childhood innocence and her later knowing, determined adult personality with a deft touch – since her physical body cannot change much of this has to be conveyed through gesture, expression and body language, a task the artist achieves magnificently, moving from beautiful child to cold-hearted, century old immortal killer with the small change of facial expression. In one scene the panels move closer and closer to Claudia’s doll-like face (and indeed despite the decades passing both her fathers still treat her like a beautiful doll), until the perspective zooms into a close up of her eyes, which are the eyes of a predator, of a cat, glowing, shining, luminous – beautiful yet dangerous because you don’t know if the mind behind them is regarding you with amused condescendion or if they are sizing you up as dinner.

Reframing the original events from Claudia’s perspective raises this beyond simple adaptation (not that there is anything wrong with a straight adaptation) and to someone like me who has read the original series it seems kind of fair – the novel of Interview is from the point of view of Louis, the second novel, The Vampire Lestat, allows Lestat to comment on those events from his perspective, but Claudia, until now, didn’t receive such treatment. Ashley’s artwork is absolutely delicious – you may remember quite some time ago I posted a piece of art from the book when it was first announced she was working on it, and it was a gorgeous looking piece of work. Well the finished book is even more beautiful, the artwork mostly sepia-tinted (except for expressive scarlet splashes of blood dripping from fangs, or in blood tears from the eyes, which stand out with the vibrant hue of the blood in the early Hammer films when they were introduced to audiences more used to black and white), and wonderfully delicate and as lush, sensual and decadent as the original novel itself; this is one of those comics works I will find myself going back through again to pore over some of the delicious artwork. The erotic subtext of the original is preserved and, as with the novel, delicately layered through and hinted at rather than too obvious. The book itself is a very handsome small hardback, good stock glossy paper that shows off Ashley’s beautiful artwork to great effect – not just a good read but an attractive addition to your shelves; much recommended.

This review was originally penned for the Forbidden Planet blog

Hipster Hitler

Posted on November 12, 2012 by Joe

Hipster Hitler,

James Carr and Archana Kumar,

Feral House

I’ve flagged up Carr and Kumar’s clever webcomic Hipster Hitler on here before; I first came across it online a couple of years back and then, as many of you will doubtless know, it appeared in the comics pages that the fine Stool Pigeon includes. Humour, of course, is a very subjective taste – when Richard covered the Stool Pigeon strips this was one that didn’t so much appeal for him, for instance, while I was consistently cracked up by it, so obviously I was pretty happy to get my hands on this collected print volume of the strips.

As you may infer from the title the main idea for this satirical take on the Nazi Fuhrer is conflating one of the 20th century’s most evil dictators with the poseur douche figure of the self-obsessed, style over substance (but pretending to be all substance) hipster figure. And while that does offer up a good comedy image, it’s not quite enough to sustain it by itself for strip after strip, and it’s to Carr and Kumar’s credit that they don’t rely on that idea exclusively; it forms the basis, the format for the series, but there are clever little tricks all the way through, most notably the very changing T-shirts Hitler sports throughout (often very funny if you know your history to get the references – one T proclaims “Triumph of the Chill”, another has “1941: a Race Odyssey”, “Weimar Guitar Gently Weeps”) and the little text introduction at the top of each strip, which manage to combine a bit of actual history with the comedy, one strip on his virulent anti-Semitism starting with the introduction noting how Hitler “blamed the Jews for Germany having lost World War I and further accused them of degenerating the arts, trying to take over the world and causing the breakup of the Smiths.”

The collected edition is arranged chronologically, sampling the webcomic’s run in historical order, from Hitler’s early life, leaving his rural Austrian home (he is too poor to afford stylishly distressed clothing, he explains to his family) to try his luck in Vienna, before joining up in the German army for the First World War (this allows for some good lines about his changing his moustache style and a nice M*A*S*H* reference when he’s wounded and taken to a military hospital), the inter-war years, and then Hitler in power and the Second World War. The art is pretty simple and clear, rarely bothering with much in the way of background detail, but combined with some clever wordplay it’s pretty effective.

I found something to giggle about throughout all the sections, and more than a few that had me guffawing, and the duo make good use of the real, historical Hitler’s (and a number of other leading Nazis’) penchant for superstition (he consults a fortune reader and is horrified to find she predicts a later dictator who will come after him and who will appropriate his moustache – cue a good dig at barking Bob Mugabe) and his well documented eccentric behaviour (which none of those around him dared to question) in real life here is pastiched perfectly as being because of his hipster values and lifestyle (he tells Goering they will have air superiority for the planned invasion of Britain, but he means he will ground the Luftwaffe to reduce their carbon footprint and pollution, thus ensuring their air is ‘superior’, he likes the idea of a tripartite pact between him, Italy and Japan because it makes “a perfec triangle. Silly, but no sillier than some of the other beliefs of the real Nazi heirarchy). The rest of his rogues’ gallery of henchmen (and women – Leni Reifensthal and Eva get a look in too) are present – Goebbels, Goering, Himmler et al) and we also get a nice line in who’s the coolest dictator between Hipster Hitler and his one-time friend, a very party-on Stalin.

I’m sure some will object and claim this is bad taste, but I can’t agree with that at all. I probably came well primed to appreciate this – it’s a period of history I know well, and I was also geared to comedy lampooning of the characters and events of that period, as the late, great Spike Milligan’s war memoirs (beginning with the brilliantly titles Adolf Hitler: My Part In His Downfall), read way back in my teens, had me well prepared. Personally I don’t find this in bad taste, nor do I think it cheapens or lightens awful events and indeed hideous crimes against humanity, it does instead what good cartooning often does, takes the very serious and lampoons it mercilessly, along the way taking a vile real character and reducing them to utter ridicule, and that’s something satirists were doing actually during the war itself to bolster morale (and even before the war – consider Chaplain’s remarkable The Great Dictator) and afterwards – again think of British comedy genius Milligan (who noted in one volume of his war memoirs that he was convinced our sense of humour about it all was a major part of why we eventually won, it kept us going) or the great Mel Brooks who has delighted in any chance in his comedy career to ridicule the Third Reich. Hipster Hitler does what any good satire does, it takes some of the real aspects of the events and characters, then gleefully distorts them to ridiculous levels for comedy gold. And along the way it takes a vile, hideous dictator and mass murderer and through cartooning and comedy exposes the pathetic little man he actually was, inviting us all to laugh at him.

This review was originally penned for the Forbidden Planet blog

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Category Archives: reviews

Winter’s Knight, Day One

Film: Byzantium

Comics: the Wake #1

Review: Great Pacific Volume 1

Review: Jupiter’s Legacy #1

Review: Big in Japan

Review: Porcelain

Reviews: Medusa

Reviews: Hawkeye Volume 1 – My Life as a Weapon

Reviews: Nine Lines of Metro and Seven Days in Berlin

Interview With the Vampire – Claudia’s Story

Hipster Hitler