Neil Gaiman’s Sandman is my favourite comics work of all time, so when I say Bernhard Pucher’s short, not-for-profit film Black Sand, adapting some story elements from the early Preludes and Nocturnes, where the Dream Lord’s bag of dream-sand is in the possession of a drug-user, taking the sand like a euphoric. There’s a lovely appearance by the beautiful Michelle Ryan as Dream’s big sister, Death (her cheeky wink and smile to the lead is quite in keeping with the comics character). It’s only a dozen minutes or so long, but lovely work:
Peter Milligan, Colin Lorimer, Joana Lafluente, Simon Bowland,
Patrick McGoohan’s mind-twisting The Prisoner is pretty much the definition of cult television, a show that was as fascinating and perplexing as it could be confusing and exasperating (and yet always compelling to watch). There’s nothing quite like it (we shall ignore the lamentable modern attempt in TV-land). It was a regular repeat on TV when I was a kid in the 70s, and it still crops up today, is still often discussed by both fans and academics, referenced endlessly in articles and debates, it has permeated the culture. To this day I often take my leave of colleagues with a “be seeing you” and the little salute, although I am not sure most of them know what I am alluding to. But they’ve never been chased along a Welsh beach by a giant inflatable ball roaring away…
Trying to do a modern take on a classic, especially a super-weird classic, is pretty difficult – even the presence of Ian McKellen couldn’t rescue the modern television version (yeah, I know, I just said we’d ignore that, sorry!). But the fact Peter Milligan is writing this take for Titan gave me some confidence that it would be done right, with respect for the original but not a pale imitation or parody, because Peter’s too experienced a scribe for that, and I was glad to see Colin Lorimer joining him as artist.
This is a contemporary tale – Peter and Colin are using the myth of The Village, but it is a modern setting, the post-9/11 world of fractured alliances and counter-counter intelligences and where anything and anyone may not be as they seem. We follow Breen, an MI5 agent on the run – actually on the run from page one, leaping through a window to escape pursuers from his own organisation. It looks like a stereotypical superspy/action moment, the protagonist leaping through shattering glass from an upper storey window to land, deal with his pursuers violently and flee. Except he has been caught with his pants down, literally, having to pull them up while berating himself for being caught off guard so easily, and it’s a lovely touch showing Peter and Colin are going to take some of the well-worn tropes of the superspy genre but also play with them, knowing how ridiculous some of them are in reality. It’s a good sign…
Breen is wanted as a traitor, and this isn’t just the security services sweeping covertly for an agent gone bad, his face is plastered on the media as a wanted man. He needs to get out of town fast, adopting disguises, travelling across counties, looking over his shoulder, watching for possible tails and other spies. Along the way we get flashbacks to a mission gone wrong, a colleague he became involved with in the field being captured while he escaped, of orders given once home, orders he can’t stomach, a man who signed up for Queen and Country but is now jaded and sees it is all short-term political gains, not really about security of the realm. And now he is being hunted by his own people…
Or is he? Is he really a traitor, and is the mysterious Village – a myth to most in security services – likely to sweep him up to interrogate or use? Or has his treachery and escape run been carefully manufactued by MI5 to be the perfect bait to tempt the Village to try to capture Breen, the ideal way to infilitrate this organisation with no affiliations to any nation? Or could Breen be playing both sides with his own agenda? You see how convoluted this is, even only one issue in? This is The Prisoner though, so it should be twisted and convoluted and the truth should always be shimmering like a mirage.
I’m not going to get too deep into more of the plot for fear of spoilers. However it cracks along at a damned good pace, right from that opening page dramatic/comedy escape, and Colin takes care to give us some more delgihtfully odd-looking, almsot surreal images, such as a man, resplendent in chequeboard suit, playing chess by himself over the sink in a lavatory of King’s Cross station (hardly the oddest thing that’s happened around that area though, I’d wager). All very in keeping with the visual oddities of the original series. And, without giving too much away, there are a couple of moments that fans of the original TV series will find familiar and be pleased with (I could almost hear the series’ music at one particular reveal, it is so ingrained in my mind).
Playing on the classic series and acknowledging it (one character refers to The Village as not a myth, and a place only one man has ever escaped from, I think we all know which blazer-wearing chap he is talking about), but very modern, this first issue did what a first issue should, got me hooked and intrigued to see where it goes next. I think it will be a very interesting and twisted ride…
Be seeing you…
This review was originally penned for the Forbidden Planet Blog
Walking home from work a few days ago, after some awful (even for Scotland) weather, including a return to winter, spring arrived properly, with warmth and golden sunlight. I decided to take a longer but more pleasant route home, past the university and through the Meadows, the large, popular park nearby, and naturally it was full of people enjoying the sudden burst of nice weather. As I was snapping some quick people watching shots I spotted this chap, hammock tied up between two trees near the path, laid back and relaxed, and had to sneak a quick candid shot. Man, this guy has that lifestyle priorities thing worked out…
(all photos from my Flickr, click to see the larger ones on Flickr)
Over the weekend I was enjoying the 2018 Edinburgh Comic Con, again at the rather good venue in the city’s conference centre, which offers up plenty of space. I’m sure I’m not the only one who has memories of some conventions which were fun but the space was so tight that as you walked down one side of an aisle of dealers and artists you were bumping into folks trying to go the other way. That’s not the case here, and it was something I appreciated at last year’s con and again this year – space to move around between the rows of tables and displays (also it saves the place from feeling to hot or airless with all those folks in there). The space also meant room for some larger exhibits to enjoy, like the Delorean from Back to the Future, a full sized TARDIS and Daleks to pose with for photos, or a recreation of the famous magical platform from Harry Potter.
As with last year there were two main halls, both very large and spacious, most of the writers and artists and small press folks in one side, the other most dealers, plus plenty of interactive fun to be had from card-based gaming like Magic the Gathering to war gaming, and from classic arcade video games to the latest VR gaming (all of which was, as you can imagine, great for the younger ones). I was there with a friend and his two young boys, who showed little interest in the classic arcade machines (we were more excited than they!), but they did like the VR machines, and the Lego displays certainly caught their attention.
While the boys were enjoying the VR gaming I had another walk around the artist’s hall and chatted to some of the folks there. I was pleased to see Accent UK’s Colin Mathieson and have a wee catch up with him and we were joined by 2000 AD veteran Colin MacNeil who I hadn’t seen in some time, so we all had a nice natter. I spoke to a bunch of other creators too, including Gary Erskine (before he was off to give a masterclass at the con), Steven Ingram (I’ve bought some of Steve’s mini comiucs before, this time he had a new collected edition of his serial, so I had to treat myself), John and Clare Ferguson with their latest Saltire comics and more. I also got to meet Dan McDaid in person, which was nice – I’ve known Dan online for a while but it is always nice to get to meet folks in person! Most said they had done good business, especially on the Saturday, with the Sunday (when I was there), being a little quieter by comparison, but a couple told me the Sunday, although less busy than Saturday, was busier than the Sunday last year, not sure if that was more visitors in general or more that people attending had realised it was a full weekend and they didn’t all need to press in on the Saturday.
Of course there were lots of cosplayers there, from little kids in store-bought costumes to the serious cosplayers who make their own designs, some of them quite unbelievably elaborate and detailed. My friend and regular cosplayer Louise introduced me to several of her friends who had assembled as the Avengers. They told me the day before they had a photo shoot at some of the locations in Edinburgh used in the upcoming Infinity War movie while they were in town, which sounds like a great idea. Like last year I thought the event had a good family-friendly vibe to it, and I was delighted to see some family groups doing a themed cosplay – one family had the dad in classic Star Wars Imperial Stormtrooper armour, his girl in New Order Stormtrooper armour and his youngest girl dressed as Rey – now those kids have a good dad! I’m sure that’s the sort of shared outing they will remember for years, and they were kind enough to let me snap a pic. It was another really fun event, busy, good mix of adults and kids, exhibitors and guests, and it is great to have an event like this in my hometown.
This report was originally penned for the Forbidden Planet Blog
Square Peg/Vintage Books
“All we children knew about them was that books were among the good things of this world.”
This was an unusual one for me, an autobiography by an 88 year old Chinese gentleman; I think the last Chinese biography I read was back in the 90s, the globally conquering Wild Swans. Rao Pingru recalls his long life spanning most of the twentieth century: childhood, adulthood, meeting the woman who would be his wife for nearly six decades, it takes in the huge events they lived through (and many did not), from the end of an ancient way of life to war then civil war and revolution, and Our Story takes us through these events, but at a personal, family level, with an elegant and warm charm; by the end of this I felt as if I could sit down with Pingru for a chat and tea.
After losing Meitang, his wife of nearly sixty years, Pingru didn’t want the stories they had shared to vanish, and writing was a good way not only to share those memories, but was no doubt quite therapeutic after his loss. This isn’t really a graphic novel, it is more prose with illustrations, rather lovely ones at that, painted by Pingru. In fact there are scenes much later in the book, in his retirement years, where he takes up painting, which Meitang teases him for not being terribly good at, that he should have started learning this skill as a child so by now he might be good! And while there is an amateur quality to those paintings, they are done with love and affection and work far better than a professional illustrator’s work would have done, because this is clearly so personal and from the heart.
Pingru’s long life spans a huge series of changes in the ancient civilisation of China, events that have shaped the present day we live in and the future to come, not just in China but globally. But Pingru keeps those vast historical moments to the personal level: childhood in the last days of an old way of life, about to vanish forever, the long war with Japan (starting long before Singapore and Pearl Harbour brought that fight to the West), the subsequent civil war (just as they think they can at last go home to their lives and families), the Maoist revolution, the “re-education” camps, the emergence of modern China. All of these are seen through the personal level, how it affected him, his family, his friends, and as such it reminds us that those big historical moments are one thing, but it is the people swept up in them who really matter, because they are us.
A recurring theme in Our Story is food, and more importantly, the sharing of food. From the little treats beloved in childhood – especially the dishes served up only at specific festivals, like the Dragon Boat festival or Chinese New Year (we all have similar memories, I’m sure), the warmth of family around you (grandparents, aunt and uncles sneaking you extra treats or little pocket money gifts), through sharing food as a married couple then as their own family grew in turn, or the special occasions when several generations of the family get together. These events stand out against the harder, leaner years – the war, the early Mao era which saw Pingru sent to a re-education camp, apart from his family for so much of the time, making those moments together even warmer, more precious.
There are glimpses into another culture’s way of life – the lovely little rituals observed, such as one to mark the first day of proper schooling, including paying homage to the venerable Confucis, the writing of elegant short poems to mark special occasions in life, the seasonal festivals. Mostly, however, Our Story shows the traits of humanity and family run deeply through us all in any decade, in any nation, there is so much family life here that anyone, anywhere, will recognise, empathise with, smile at. Pingru’s paintings add a lovely touch (in some ways taking the role of family photos), and even the designers of the book have gone the extra mile, crafting a gorgeously bound volume; it’s physically elegant (everyone I showed this to thought it very beautiful), but as with any book it is the inner life between those handsome covers that truly counts. And in Our Story it’s a beautifully warm, personal, human story of life, love and family.
This review was originally penned for the Forbidden Planet Blog
Arm of the Sphinx,
“Some scholars believe the Sphinx must be a supreme mesmerist to bring so many to ruin. He spellbinds his victms into self destruction. Other students of the Sphinx, however, contend that, rather than hypnosis, he practices the black art of legal contracts.”
In my review of the first of the Books of Babel series, Senlin Ascends (see here), I described Josiah Bancroft’s debut as “An engrossing, intoxicating delight – I can’t wait to climb higher.” )in fact you can see that quote on the back cover of the new book!) So you can imagine that I have been eager to read the second book and see if it lived up to the promise of that compelling debut. Well, the short version of this review is yes, it does, and then some.
Thomas Senlin, our errant fish out of water headmaster is still determined to locate his missing wife, but now it seems as if he is further away from that goal, both physically and emotionally. He is now going by the name Tom Mudd, captain of a piratical airship, with his small, motley crew, and as far as actual piracy goes, they tend to be rather gentlemanly, as poor Tom is reluctant to surrender all of his remaining principles, already eroded enough by his misadventures in the first book. But circumstances are becoming increasingly dire – months have passed, our little crew is glad to be free, each from their previous form of entrapment, and they seem to be forming a genuine bond together. But as desperation presses them they find they are going to have to take bigger chances, returning in their stolen airship to the Tower of Babel, this time to levels we’ve not yet encountered, and it goes without saying that if the lower ringdoms of the Tower have a habit of enmeshing unwary visitor, these new levels are even more dangerous, their inhabitants even more devious and with much more opaque motivations.
So far we’ve heard whispers of secretive (or possibly whatever the Tower equivalent to urban legend is) figures, powers behind the scenes (if they exist, many think they are just legend), Luc Marat, the Hod King (the Hods being those unfortunates enslaved and who do much of the work that maintains the Tower life), and the even more mysterious Sphinx. Tom’s first mate on the airship, Edith, confirms reluctantly that the Sphinx is indeed real – her marvelous mechanical arm which replaced her damaged fleshly appendage, is a construction of the Sphinx, powered by the same red fluid batteries Tom has seen before in the vicious Red Hand in an earlier level. It seems the Sphinx has fingers in many pies throughout the levels of the Tower, and makes contracts with some he selects, such as Edith, with certain services required further down the line. But what game are these two shadowy figures playing? They seem to extol certain ideas but clearly also have other agendas, some of which may be contrary to their more openly espoused aims. Which are the real goals, how will Tom and his crew fit into their plans and will they survive them?
This is an immensely satisfying sequel to Senlin Ascends, and the book is full of multiple possible meanings, right from the title itself – the Arm of the Sphinx could literally refer to the mechanical arm he replaced Edith’s missing limb with (leaving her in his debt), or it could refer to his reach, connecting to all the various ringdoms of the Tower. And it comes as no surprise that a being named after the mythical riddler is something of an enigma – we don’t even know if this is the same Sphinx as the legends. If it is then he is far older than any human being could possibly be, or is there something more to the person, or the legend? And if so what, and why? Marat too, sitting in the ruined level of the former Golden Zoo (an eerie location if ever there was one, it has that creepiness of a funfair after it has closed for the night) seems to be more welcoming and genial, more humanitarian in his mission than the Sphinx, but like many who seem to be selfless and committed to a noble cause rather than their own aims, he may well be the opposite of what he appears to be.
This quality of the book extends to our small crew as well – Bancroft takes great pains to show us the many failings and weaknesses of each of the crew, but he balances this out by showing their better characteristics, not least their increasing bond to one another, a growing, genuine affection. They’re becoming a family, and like every family there is bickering, there are mannerisms and habits that drive others mad or to despair, and yet through all of that their fondness and loyalty to one another wins over, and it’s rather endearing. It all combines to give us far more three dimensional characters, flaws and all, and makes them both more believable and more relatable – I’ve become very attached to Tom, Edith, Erin, Voletta and Adam, and that emotional attachment, of course, draws me further into their story.
I praised Bancroft’s use of language in the first book – I was not surprised to learn that he was a poet before he turned to prose, as many of his lines and paragraphs have a beautifully worked, lyrical flow to them; this is a writer who really knows their wordcraft. And again the descriptions are remarkable, rich and evocative – think an SF&F version of Raymond Chandler on the descriptive phrases front, with lines like “the marble statues with robes no thicker than spilled milk”. It’s a wonderfully rich reading experience, the character developments, the twisting narrative twining its way up the Tower like writhing snakes, the labyrinthine, possible Machiavellian motivations of the hidden power plays of Marat and the Sphinx, some deliciously slow reveals about the history of the Tower (even this monumental structure may not be what it seems, continuing the theme of hidden or double meanings).
The middle books of a series often suffer by comparison to the beginning and end volumes, but here there is no such problem, Bancroft’s writing is too skillful. In fact this serves to draw you ever deeper into the mysteries of the Tower, the lives and trials of our main characters and narrative, leaving the reader eager for the third volume, The Hod King. Senlin Ascends made my annual Best of the Year list, and Arm of the Sphinx will doubtless make this year’s list, which is as strong a recommendation as I can make.
You can read an excerpt from Arm of the Sphinx on the Orbit blog here.
This review was originally penned for the Forbidden Planet Blog
Comics and cartooning have often been labelled something of a boy’s club, both in terms of creators and most of the readership, and that’s a criticism that is not without some fairly solid truth behind it; in fact it’s still, even now in 2018, a subject of much debate. We’ve certainly seen change though, quite a lot of change, even just in the last couple of decades, and especially in the realm of Indy comics, small press and zines (the mainstream, while improving, is, as is often the case, lagging further behind). And while the larger visibility of female comickers in the last few decades is very welcome, they didn’t spring out of nowhere, like their male counterparts most of them have been inspired by those who went before them, and that’s one of the things Inking Woman does, and does very well, illuminates a side of British comics history that hasn’t been well served, and by doing so places those creators in a more understandable context, from pioneers like Mary Darly in the late 1700s or Marie Duval in the Victorian era (Marie is the subject of another recent, and much recommended Myriad release) through cartoons in Suffragette publications to the 1960s underground scene, the 70s and 80s rise of women’s liberation, the Rrrriot Girls of the 90s, the contemporary small press and zine scene and many points in between.
In fact that placing of cartoonists and comickers into some historical context is evident right from the beginning, and I am pleased to say not just historical but cultural and societal context (for example, the rowing women’s lib movement of the 70s leading to more cooperatives creating publications, which in turn provides both material and a space for women comickers to show their work, those comic works feeding back into the growing social and commercial groups by women, aimed at women). In her introduction co-editor Nicola Streeten mentions the likes of Jacky Fleming and Ros Aquith’s work that she read in her teens as powering her own ambitions in her comics work later on. I’d like to think that somewhere there is a teenage girl who will read Inking Woman and it will inspire her, to let her know she can create her own comics works too, and perhaps in a decade she’ll be citing Nicola and Cath’s work here as one of the starting points that got her going.
The book takes the form of entries on a multitude of women comickers from the 1770s to the present day, interspersed with chapters explaining some of the history and changing cultural elements throughout that period, such as the rise of the women’s Suffrage movement in the late 19th and early 20th century, the rise of feminism in the 70s, the influences of other parts of our ever-changing culture, such as Punk, with its DIY ethos (an influence I think you can still see strongly in the modern small press scene), the expansion of women-lead publishing like Virago or the Women’s Press, Cath Tate with her own publishing, discovering new and existing talents and reproducing their work.
Between those sections on the changing culture and history we have so many entries with brief biographical notes and a quick recap of the work of those women – in a rather nice touch more than a few of those entries contain quotes from the creator in question, talking about their own work or what it was like trying to establish themselves as a female creator, in their own words. Understandably there is much more material from the second half of the twentith century to today, and especially on the creators of the 60s, 70s, 80s, 90s and early 2000s, there simply being more creators working then. And as the authors note themselves, much of this is still living history, the woman comickers from that explosion in the 70s still with us to share that history, and many of them still actively drawing away. And as you move closer to the present you find many names that will be familiar to you – a lot of those creators have featured here on the blog, on Down the Tubes, on Broken Frontier. You’ve read some of those reviews, you’ve seen some of those creators at conventions like Caption and Thought Bubble, and, increasingly, at literary festivals, and chances are you’ve bought some of their comics from them.
The book doesn’t shy away from discussing how difficult it has been to fight through a very male-dominated industry and society, or from commenting on other elements of diversity, such as much of the earlier work in particular coming from women who, while still having to fight sexism, did start from a much more privileged area of society (a criticism often aimed at the 70s and 80s feminist movement, for example, that it came predominantly from a well-educated, white, middle-class perspective that didn’t take in the experiences of working class women, or of women of colour, or LGBT people – but these things are always, hopefully, evolving and learning to be more inclusive and diverse).
But overall this is a very positive, in fact I would say optimistic book, especially as it moves closer to the contemporary era – the number of creators increases, they are more and more coming from different backgrounds, tackling all sorts of subjects from social issues to bringing Shakespeare to a modern audience , from using comics to openly and honestly explore their experiences, from encountering racism to dealing with illness or the loss of a loved one to out and out humour and satire. As the book moves into those later sections it felt as if it was, a bit like the comics community itself, gathering pace, growing in confidence and numbers and mutual support, in fact it felt rather joyful, and it isn’t hard to feel that enthusiasm and delight and want to share in it.
This is a wonderfully warm look at an important part of British comics history, it is also a history of the challenges of gender, class and more and how they can be overcome, of how the medium is part of that society and that societal change as well as reflecting it, or sometimes even leading the vanguard demanding that change, placing those changes and the changes still to come into a larger context of pioneers and inspirational creators in turn inspiring new generations to realise they are free to create, to say something. The discussion of the rise of small-press friendly cons and other events, co-operatives like Team Girl Comics or the Strumpet/Whores of Mensa also sends a positive message, something I must admit I love about our comics community, the amount of mutual support and encouragement.
Flipping through the various individual entries on creators will likely bring cries of recognition at some of the names while also, hopefully, bringing creators who are new to the reader’s attention. I think many readers will come away from this not just with a more informed perspective on the history of Brit comics, but with a list of creators whose work they really want to read. And to return to what I said earlier, who knows, perhaps some young girl will be reading this and it will be the spark to her creative outlets and in ten years perhaps we’ll be reviewing one of her comics. I really like that idea.
This review was originally penned for the Forbidden Planet Blog
Directed by Matt Schrader
Music and cinema, two of my favourite things in life, and when combined those visuals flickering on the screen, the narrative, the actors, the dialogue and the music create something which is, when it really works, far greater than the sum of its parts. Can you imagine Star Wars without John Williams’ score? Or the magic he brought to Jaws (Spielberg often remarked with all the effects problems with the mechanical shark models Williams’ iconic theme became the shark the visual effects couldn’t give him)? Or that Superman theme, that dum de de dum dumm dumm building rapidly to that triumphant, suitably heroic theme that makes you want to “do the Superman”, rip open your shirt to show that big S, so empowering, magical, inspiring, so perfectly in symbiosis with the visuals. Just a few bars from any of those themes is instantly iconic, we hear it and the magic of that film moment fills us. A few notes of it added to a comedy sketch works the same magic, it’s instantly recognisable and comes with a built-in recognition and series of memories and emotions.
And that’s only three examples from one – albeit masterful – composer. Score talks to, well a score or more (sorry) of contemporary composers, and this includes a large number of have worked on some of our favourite sci-fi, horror, fantasy and comics-based movies, from Bear McCreary to Hans Zimmer, about their work, their inspirations, how they collaborate with directors and other musicians, from rousing themes like Gladiator or Pirates of the Caribbean to musicians who are generally seen as working outside the soundtrack composition world but who have been invited in, like Trent Reznor, bringing fascinating new ideas, rhythms, energies and passion to the world of film music, to its betterment.
(Hans Zimmer discussing his craft in Score)
That notion of change and evolution is strong in Score; while much of the running time, understandably, talks to contemporary composers – John Williams, Danny Elfman, Trent Reznor, Quincy Jones, Rachel Portman and many more – about their craft, and commenting on the works of others they admire, past and present, the film also takes in the ever-changing nature of film music. From the mighty King Kong in the 1930s, a pioneer not just in visual effects but in using a full symphony orchestra to score the movie (that fabulous music as Kong scales the Empire State Building) – bear in mind at that point the “talkie”, the sound movie, was only a few years old, this was inventing new ways of storytelling for a new medium (although as the film also points out, even the preceding “silent” movies were never truly silent, there was always at least a piano playing along to them, or the famous Wurlitzer organ, or a small chamber orchestra in some cinemas, while some silent films had visual cues for those musical accompaniments – think Buster Keaton in Steamboat Bill Jr, for example).
Like many things today we are so used to the notion of a film with carefully composed music being part of its fabric that it is easy to forget someone had to come up with these ideas originally, then others developed them, they became the standard approach. Then others would come along and shake that approach up with something new and fresh – that fabulous, then contemporary jazz score for A Streetcar Named Desire replacing the notion of the symphonic suite to huge effect, a burning, modern, sexual, jazz that went with the story and visual so perfectly evoking and enhancing the mood, the feeling on levels that work beyond those paired with the visuals.
(the Air Studio in a converted London church)
The methods used for inspiration, for creation and recording are discussed, from hearing natural sounds and wondering how they might translate into music for a piece to feeling their way through how to translate that sound in their head into something tangible, experience and artistic intuition telling them how to continue, be it a simple, short piece that may be best on a solo piano to some great, iconic theme that requires a full orchestra (and then how to set up and record that orchestra, which space to use, how to deploy it, the changes in post production, so many choices that can make totally different sounds and feeling to the resulting music), or something new, digital electronica or contemporary jazz or rock or dance beats. There’s technical discussion, but mostly what comes across from all of these musicians is passion for their work, for what it adds to the cinematic medium, and the respect and admiration many of them show for the work of other musicians, contemporary and those who went before.
(Bear McCreary experimenting with different instruments and sounds)
This takes in a huge swathe of film music history, and of course it includes many of our beloved fantastical genres that have featured score which have become iconic – think on that intricate music for Inception, the big, brassy, sassy, swaggering music for James Bond, that Jaws theme, Mad Max, Close Encounters, Psycho, the Avengers movies, that great, swelling Lord of the Rings theme (and all the smaller character themes that weave through key moments). I play a lot of soundtracks when working in the Blogcave, and even divorced from the film they still inspire me, enthuse me, play with my emotions and the best ones, even played on their own, evoke memories of some of my favourite film moments, from Star Wars to Dunkirk. Score captures that feeling the music creates in us as the audience, how the finest soundtracks live in our heads afterwards, and that wonderful magic that happens when amazing musicians and remarkable film-makers come together.
I could easily have sat through much more of this, Score is by turns fascinating and inspiring, a glimpse into some of the creative processes that bring out favourite films to life, to the power of music to enhance the emotional experience.
Score: a Film Documentary is out on DVD and available via Video on Demand from Dogwoof on April the 2nd
This review was originally penned for the Forbidden Planet Blog
“Now Blanche lies on the bed and waits to become a page in the book…”
I would happily read any book from Audrey Niffenegger or Eddie Campbell, so you can imagine my delight when a book collaboration by both of them turned up in the Blogcave, a collection of short stories on themes of relationships and love, some prose with illustrations, other short comic strips. As with any collection there are always stories that you like more than others, such is the nature of individual taste, but I can honestly say that while I did have my favourites, there really isn’t a tale here that I didn’t enjoy. In fact even the introduction is enjoyable here, as the pair relate a little of not just this their artistic partnership, but their real-life romantic one, once a tentative, very long-distance relationship, then full-blown romance and marriage: “now we are living happily ever after.”
That fairy tale phrase in the introduction is perhaps setting a bit of a tone – quite a few of the stories here have the scent of the fairy tale around them. Some fairly obviously are modern tales riffing on older fairy stories, such as RoseRedSnowRidingBeautyShoesHoodSleepingWhite, which starts with a sister and brother trying on last minute ideas for Halloween costumes in a store, a single splash page of the pair in front of the dressing room mirrors, costumes hanging from the racks, full of colour and hints of a chance to be someone else, at least for a while (it’s also, to those of us of a certain age, reminiscent of the start of Mr Benn’s adventures in the old kid’s animated series. And just like Mr Benn Roselyn is whisked away on a magical adventure, via the age-old portal of the mirror (reflecting surfaces long a gateway to the Otherworld). Faeries appear in other stories, with their own sneaky agendas, as the Fair Folk usually have.
Felines feature several times – Secret Life, With Cats is a short prose tale with illustrations, this one less about grand romantic love and more the warm companionships we can form, with other people and with our furry friends (and they with us, in their own manner, of course), while Digging Up the Cat is a short comic strip meditating on family, on home, on moving, on growing up, on parents getting older and of the furry members of our family, while another tale ponders the parental-child bond and the elements that changes as both grow older (and the elements that never change, no matter what our respective ages, if we are lucky).
Motion Studies plays with the still-fascinating early photographic studies of Eadweard Muybridge which showed, as if by magic, the range of human and animal motions caught frame by frame (long, long before the Matrix’s clever “bullet time” method of multiple cameras), and allows Eddie to frame the strip like Muybridge’s famous photographic studies. The model, Blanche, normally poses for the life classes in the art school, the students trying to translate her likeness through mind, hand and brush, “to transform her into art”, but here Muybridge seeks to capture her exact image in slivers of frozen time, turning, rising, bending. Brand-new science which appears as magic, and yet both her appearances as artist’s model and as photographic subject are re-rendered here as comics artwork now, another transformation (are any of them really true representations of her or does each capture just a facet?). I found this one particularly fascinating, visually, the peculiar Muybridge with his still-compelling imagery and new way of looking at people, animals, the world, science and art and magic.
There are thirteen tales, all told, and I’m not going to go into the rest here because one of the joys of short tales is that you briefly immerse yourself into another world, or see through other eyes, but their very brevity means it is far, far too easy to spoil an important element in a review, and I really don’t want to do that. The stories rotate around love and loss and grief and joy, but there is a quite delightful playfulness running through them all, a deft lightness of touch, such that even the stories that have sadness in them are never maudlin or overly sentimental but leave you with a warm feeling. Bizarre Romance is an utter delight, an artistic collaboration between two writers and artists, not just of great storytelling skill, but who are, quite clearly from that lovely, warm, light tone, sharing a very good space together, and that warmth permeates the stories quite beautifully.
This review was originally penned for the Forbidden Planet Blog
Like much of Europe we’ve been hit by some very severe winter weather, ironically just as meteorological spring arrives. Last weekend I was walking around town and noticing the first signs of early spring, the return of colour to the land with a few crocuses and daffodils starting to poke their heads up out of the cold soil. Last few days, several inches of snow and bitingly cold winds. For only the second time in the years I’ve lived in Edinburgh the buses were stopped, even in the city centre, trains were off, we were sent home early from work while we still could get transport and like a lot of places work just had to remain closed the next day as staff couldn’t get in and police advice was for nobody to try travelling. So fun and games! Still, even with severe wind chill and driving snow I still managed to get a few photos over the last couple of days…
This trio of classic red British telephone boxes is a regular photo subject on the Royal Mile, I’ve snapped them a few times, by day and night and it’s a bit of a cliche as everyone takes this shot, but dammit, they looked quite cool in the snow, the red contrasting the white, so what the heck, take another…
The park by the Union Canal was pretty busy despite the awful weather, with folks making snowmen (or snow women, or perhaps non binary snow beings), lots of dogs going nuts in the snow (and clearly wondering why their humans were not so equally enthused), the canal itself was frozen and the ducks were reduced to walking on the ice rather than paddling along in the water.
On the walk home I paused to take a few pics in the old boneyard near my flat, when the skies opened and the snow came on heavily again, one of those snowfalls where you coat is covered white in seconds, so I snapped very quickly and beat a hasty retreat back indoors to the fireside…
This was another comic picked up at the small press comic fair which I am belatedly getting round to, having bought several, put them aside then as usual got busy, had some other books waiting and am now catching up on at last. I couldn’t resist this one when I saw MJ’s stall. I have a huge affection for animals in general, and cats in particular – besides I just couldn’t say no this wee face on the cover above.
Sif Fox-Fighter is a short, landscape format mini-comic about MJ and partner and flatmates adopting a cat. Not just any kitty though, they pretty much look for the saddest feline from the Cats Protection League folk and take him in. Sif, as he comes to be named by the people in his new furever home, has healthcare issues and is also very nervous – he’s had a rough time and isn’t secure around people or new situations. As anyone who has ever lived with animals of any type will know, rehoming is very stressful. Heck, even just moving home can be very stressful to cats, dogs and our other animal chums and that’s with humans they know and are comfortable with already.
I’m sure many of you have been to animal rescue shelters, and have seen that scared look on an animal’s face; it’s a look which is part fear and nervousness, but also contains a need, a need for love and affection. It’s not an easy path, to be sure – even starting with a young kitten it takes a while to establish a bond, but with an older animals, especially one who has been through the wars, it takes an awful lot of patience and a big, big heart. But it’s worth it, oh so worth it. And that’s one of the things MJ brings out rather beautifully here in such a short collection of life with the new kitty strips.
This collection covers the flatmates adopting Sif and trying to make him comfortable. Like a lot of nervous felines he hides, he doesn’t get too close to people, he’s wary. A cat, even the domestic moggy, is an apex predator which incredibly sharp sense, reflexes and guided by instinct, like any animal you can’t take their behaviour for granted. Like having kids to take care of you can try your best but often just have to roll with the punches. And to their credit the whole flat tries their best not to crowd Sif, he’s introduced to his new home, given space, allowed to explore. You really want to pick them up, cuddle them, smother them with affection, but you simply can’t push these things, the animal has to feel comfortable, secure, when they do then they may come to you when they are ready. And that’s what they do, give Sif that space and time.
It’s a slow process as anyone who has been through it will know, but that moment when they slowly begin to come to you willingly, that first wee head bop, that first contented purr as they sit on your lap, it’s just joy and delight. It’s quite something that cats, dogs, horses and other animals so often come to trust humans, totally different species, and yet they can and often do. And the inner joy you feel when an animal chooses to trust you makes you feel amazing, it lifts the spirits. Like humans they bond with those around them over time, settling into rhythms of life with us, sharing trust and emotions, and again that’s something MJ shows here beautifully.
I’ve heard it said that animals don’t really have expressions, it’s just us reading in our own expectations, and that they don’t have the same emotions as us. Frankly I don’t believe either of those claims for a moment, and I doubt most people who’ve shared their lives with animals would agree either. A cat or dog face may not move the same way ours do when making expressions, but you can still pick up on them, and on their body language, and they pick up on those of their humans. And on the emotional side, yes, they’re not human, their emotive states may well be different from ours, but they are close enough that we can, over time, share a very deep bond.
MJ doesn’t overly mine this story too much on the emotional front, rather presenting the changes as Sif becomes comfortable with his new humans, and lets the emotional side speak for itself with the art showing those expressions some say animals don’t have. It’s warm and engaging and rather lovely and I think anyone who loves animals – cats or otherwise- will recognise a lot in this collection.
You can read more of MJ’s work at the Roller Skates and Breakfast Dates tumblr
This Review was originally penned for the Forbidden Planet Blog
Jean-Pierre Filiu, David B,
I have been waiting for this third volume in the Best of Enemies series for a while – back in the summer of 2015 author Jean-Pierre Filiu (a former French diplomat and now history lecturer) was at the Edinburgh International Book Festival, on a double bill with Martin Rowson and chaired by Teddy Jamieson. At that point the second volume had only just come out, and the audience were treated to a fascinating discussion by an author who didn’t just have deep academic, historical and cultural knowledge of the issues, but a lot of first hand experience from his years working in an NGO and as a diplomat.
Ally this with some quite remarkable cartooning art by the great David B and you had two totally fascinating volumes of recent and modern history that has shaped – and continues to shape – our planet’s geo-politics. Jean-Pierre explained that the amount of work involved in researching and then illustrating the books had taken quiet a toll on David B, hence a bit of a gap between those two and this third volume, which covers US and Middle Eastern relations from 1984 -2013. And that right away makes an already absorbing read even more compelling, because we’re moving from history, both older (18th century and the earliest foreign policies of a young USA) and recent (mid twentieth century) to events most of those reading will have lived through, have watched on the news, often with varying degrees of anger and despair.
And this third volume also takes a quality all of the best histories have, the ability to show that history in today: why our world is now as it is, because history is never just the past, dates, facts, events, it’s a rich tapestry, perhaps the most elaborate tapestry humans have created, so many inter-connecting threads all forming the today. The previous two volumes had this too, but with volume three covering such recent periods it really, really brings that aspect of history home to you, and that’s a damned good thing. In fact that’s one of the reasons many of us like to read history – we know the here and now is an expression of so many elements and events that preceded it, and we cannot hope to have any understanding of the now without that grasp of the earlier woven segments of that vast and never-ending tapestry.
And even though the book comes to an end at 2013, it leaves things open, because that history is still rolling on, as we know all too well just from our news bulletins – this volume takes in events we’re still reeling from in horror right now, such as the vile slaughter in Syria. It is all but heartbreaking as Filiu and David B show how policies and events from decades before in different capital cities created the scenario whereby Syria could fall into the seemingly endless civil war that has horrified us all and which the world seems powerless to stop. We see American and European activities with Israel, Iran and Iraq and how they pulled in Egypt and Syria, adding dominoes to the line that would later fall with such horrendous consequences.
We see Reagan, Bush (Snr) and Gorbachev, the USA and USSR both involved in talks in the Middle East, only for fledgling peace processes to falter and stall. We see that USSR collapse a little after those attempts to broker talks, then some years later the revived Russia under Putin intervening forcefully in those same regions. Of the globalisation of the “war on terror”, going from a supposedly noble aim (if you believe the propaganda about who we were supposed to blame, sometimes, but not always clear or true) to an easy excuse for any power to use for overt, powerful, often illegal actions.
Extra-judicial killings and torture? This justifies it. Breaking the terms of a peace process? We have to, because we are fighting the same terrorists as you, so you have to support us. As Israeli PM Sharon says by way of an excuse “Everyone has his own Bin Laden”, to justify breaking the terms of peace talks and use of military force. Putin uses similar excuses in Chechnya, leaders even in supposedly democratic countries use it to justify civilian deaths in military adventures, torture and the erosion of civil rights. Yes, this will leave you not just upset, but angry, bloody angry, and you should be. Of course we have the benefit of hindsight here, always useful, those who made the decisions that started these various dominoes did not, but they also failed to make much of an attempt to look forward at the potential repercussions of their actions and policies, sacrificing the tomorrows to the expediencies of today, as politicians all too often do.
David B’s artwork is, once more, absolutely superb – this is the work of a comics master at the height of his powers. He summons both humour and horror, satire and sorrow – invading armies during the Gulf Wars are shown as giant soldier’s helmets on legs with giant cannon barrels projecting from them, he again uses differing sizes to denote the relative power of different players (so the US presidents and generals are shown as huge frequently compared to other leaders, despots like Saddam are small compared to US presidents in the art but huge compared to some of his own enemies like the Kurds). There’s humour to be had – a bellicose Saddam Hussein yelling threats takes the form of a giant thunderstorm of a speech bubble, like an adult version of the “swearing” in an Asterix album, or Clinton depicted with Pinocchio nose a he lies about Monica Lewinsky, but distracts everyone with a missile strike against terrorists, only for one of the missiles raining down to turn out to be his Pinocchio liar’s nose.
And of course the artwork conjures disturbing, even horrific imagery. A panel depicting an Israeli-Hezbollah war in the Lebanon where, as usual, there were no clear winners but very clear losers – the civilian population (as in so many wars). The panel only shows a little, the bare feet sticking out from under the blankets covering the bodies, but it is more than enough, and it is echoed by later pages on the ongoing slaughter of civilians in Syria. Another panel depicts uniformed skeletons, all that is left of large numbers of Iraqi soldiers after the mass bombing on the “highway of death”, or the gunning down of protesters and crushing of suddenly raised hopes during the Arab Spring, yet another a starving child in Syria, hungry mouth open but the only thing falling into it is barrel bombs, all depicted in clear, powerful black and white artwork.
These histories take in cultural movements, political posturing, chicanery, greed, opportunism, nationalism, religious zealotry (Christian as well as Muslim), but also attempts at peace, noble aims of freedom and equality. In short these pages take in much of the worst and best of human nature, and they do so in a way that doesn’t point one accusing finger, for there is no one guilty party here. What this book and the preceding two volumes make eminently clear is how interconnected it all is, the actions and reactions and counter-actions from many different leaders in different years in different countries, all contributing to lead us to this point where we have madmen murdering innocents with airplanes into towers and others dropping bombs on civilians, and all of them in the name of some imagined higher purpose.
These are immensely complex woven threads in the grand tapestry of history, but Filiu’s expertise and deft analysis coupled with David B’s remarkable comics art makes it far more accessible and understandable than many prose works could. And we need to understand these things, we need to be aware of them to try and have some grasp of what is happening and why, and so what could be done to steer towards a more peaceful course eventually. Sadly I doubt many of the world leaders who could really do with learning from these books will ever read them, but that should not stop us from doing so – this is essential reading, and a fine example of the power of the comics medium to make such a complex subject accessible and understandable to readers. I highly recommend this and the preceding volumes.
This review was originally penned for the Forbidden Planet Blog