On the BBC

To End All Wars, the World War One comics anthology I have a short story in, has a nice, big feature on the BBC site today, and yours truly’s contribution, alongside that of Kate Charlesworth who created the wonderful art for the story, is about two thirds of the way down the article. The book itself, edited by Jonathan Clode and and Stuart Clark (who cartoons under the pen-name Brick), is published by Soaring Penguin Press towards the end of this month (so I’ll have my copy in time to ‘casually’ tuck under my arm as I stroll around the Edinburgh International Book Festival in August, where I am chairing a couple of author talks again this year). Two pounds from the sale of each book will got to benefit Médecins Sans Frontières medical charity, so I hope folks will give it some support.

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The stories take in a large number of creators from different countries, with many tales inspired by real events or people and telling stories from all sides of that awful conflict which, even in this centenary year of it’s commencement, still echoes down to us, even after the last of the elderly veterans from that war have faded into history and gone to their rest, and takes in the war in the trenches, the seas, the mountains and the air, the humans and the animals who were used in the war effort, the front line and the home. I strongly suspect Michael Gove will not appreciate the sentiment of most of the stories and also suspect that most of my fellow contributors would be quite happy that he would hate it (I certainly would be). My own story is inspired by one of my photographs, of a war memorial in a cemetery just a few moments walk from my flat, a father and son war grave, the father killed in the Great War, his son in the fall of France in 1940. You can also read a special guest post by the editors talking about how the book came together over on the Forbidden Planet blog.

That’s Because You’re a Robot – Quantick & Kane’s fun, colourful ride

That’s Because You’re a Robot,

David Quantick, Shaky Kane

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I was intrigued to pick up this one-shot, partly because of the involvement of David Quantick, best known in the UK for his music and comedy writing, but I must be honest, mostly because of the art of Shaky Kane. The story in this one-off is light and simple, but fun – Jeff and Matt, two gung-ho American cops are partners, all ready to rock the world of law enforcement, except the pair of them keep making cock-up after cock-up. Then, right at the start, on the first page no less, their sergeant drops a bombshell on them – one of the duo is a robot. Unfortunately he doesn’t know which of them is robotic and which is the real human cop…

This leads to endless wrangling between the pair as they get assigned to different tasks (and make a mess of them), arguing between themselves over which is the real person, which the robotic fake, constantly pointing out behaviour that might prove robotic origins, until they get taken off their case and put on a stakeout. Which they then proceed to bungle as well. Or do they? Was there more going on here than they realised, were they – human and/or robot – really part of some larger scheme?

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To be honest it really doesn’t matter – the story is fairly silly, although I mean that in a positive way; it’s enjoyably silly stuff, gleefully taking common tropes from American cop shows and parodying them (and a bit of enjoyably silly is good for you as part of your reading diet). What really keeps your eyes moving over the pages is Kane’s artwork. I’ve loved Shaky Kane’s art since the Deadline and 2000 AD days, Looking at it here it is a wonderfully clear-edged display of movement and bright, primary colours, taking in, for my money, anyway, all sorts of elements, from 60s Marvel comics to parts that remind me (in the good way, not derivative way) of Brett Ewins and Brendan McCarthy, mixed with a vibrant Pop Art sensibility. It’s gorgeous, it’s pure fun, especially some of the larger splash pages or a cool double-page spread. Light, fast, fun and oh so damned good looking! Smile-inducing stuff.

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Reviews: Ordinary #1

Ordinary #1

Rob Williams, D’Israeli

Titan Comics

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We’ve mentioned Rob Williams and D’Israeli’s Ordinary on here a couple of times in the last few months, just before it started its run in the creator-owned slot the good folks at the Judge Dredd Megazine have (a very good thing to include) and then again more recently when Richard had to be secured with duct tape to stop him falling off his chair laughing while reading it in the Megazine. Now for those who didn’t get to see it in the Megazine there is a new format from Titan collecting Ordinary in the US style comics format, the first issue being out this week. And that’s a good thing, because this is clever, satirical and often so funny the sanctity of your pants may be in jeopardy (go to the loo before reading. And wash your hands afterwards).

Meet Michael Fisher, real two-time loser, a plumber living in Queens, NYC. He’s rubbish in his real life (estranged partner and child, often absent at work) and just a pathetic even in his own dreams. In fact we open with him telling us about his dream of dating Scarlet Johansson and how even in his own dreamscape she turns him down and he just accepts it. Waking to find he has already slept in late for his first job, Michael is about to ind his day escalating on the bad to worse scale. Barely out the house, running to his job, late already and he runs into the enormous local thugs he owes money to. And then as they ‘chat’ there’s a loud noise and something seems to be happening to an airliner overhead.

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Getting free and finally reaching his first job of the day, his partner is unhappy because while waiting on Michael he has had to endure listening to the life story of the old granny whose apartment they are working in. Exasperated, Brian stomps off to begin the plumbing work. And then, as Michael watches, the elderly lady stands up and suddenly she is younger. Then even younger – marvelling she glances down her own cleavage “how high they are!” she cries, delighted. Except she keeps getting younger and, well, there’s only so far you can go if your body suddenly ages backwards… Rushing through to Brian working on the toilet plumbing to tell him what happened he finds his workmate is now – how to put it? – a little different. Okay, a lot different. In fact Brian is now a giant bear.

It’s more than Michael can take, and when he runs out into the street and finds the entire world seems to be going crazy he does the only sane thing he can and goes into a bar for a stiff drink and fumbles some cigarettes from his pocket. When the barman tells him there is no smoking allowed inside, Michael points out the world is apparently ending, and the barman tacitly agrees that lighting up inside is probably not high on the list of world problems, not on this day. This also sets up the next scene where Brian has followed Michael to the pub, still in his bear form and sits down, orders a pint then asks him matter of fact “I’m a bear, aren’t I?” When Michael tells him he looks like an American Black Bear Brian tells him not to be so racist. Then looking at Michael’s ciggy he decides to bum a smoke, leading to what has to be one of the best lines I have read in any book or comic all week:

I would like to see a bear smoke a cigarette, I have to admit. Maybe that makes me a bad person.”

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Then when the news comes onto the bar’s TV it becomes rapidly clear that this isn’t a local NYC problem, this is global – everyone, everywhere, child, adult, saint or sinner, has suddenly found themselves gifted with some form of superpower or ability. And predictably the world goes nuts – imagine the entire population suddenly able to do something they want to using vast powers, imagine the chaos. Imagine the petty arguments that can now develop into shattered buildings and bodycounts. Or the simple shock and horror at finding yourself changed into something totally different. Some powers are awesome in their potential, others are wonderfully ironic (imagine the usual two-faced Janus of a political leader suddenly finding that his power is manifesting comics-style thought bubbles by his head, showing everyone what he is really thinking while he says something else in his speech. Brilliant and one of those conceits that could really only work so perfectly in the comics medium).

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Michael though? Nope, only person not to develop superpowers. So in real life and in his dream life he is a loser, now even in the new tomorrow of superpowers, still a loser. Except of course that may make him vital to working out what happened to everyone…

It’s a cracking read – clever story and some great characterisation between Rob’s script and D’Israeli’ artwork. And on the latter it probably won’t surprise any regular 2000 AD readers to know that D’Israeli has been reworking his style yet again, something he does quite often, finding a new style, palette and approach for different story subjects (and it is this quality that I think is one reason why he is one of our best artists, he has an almost Talbot-like quality to change styles to suit different characters and stories). The nature of the story allows him to go from doing realistic city street scenes to the surreal, from a bear fixing the toilet to a dragon flying over New York, or a giant stomping over the city with the characteristic NYC “Hey, I’m walking here!” refrain. He’s obviously having fun with this.

And there is some lovely attention to detail – right back in that early scene I mentioned at the start, as Michael leaves home but runs int0 the local loan sharks? There’s a kid in the background playing with a toy plane, just a little background detail. I noticed his plane seemed a different colour in the next panel but put that down to a change in lighting perspective or simply a colouring mistake. But nope, much later on we’ll see this kid interact with Michael and realise that tiny background details was one of the first bits of foreshadowing of what was about to happen. It’s just a small details, wouldn’t change the story really if you never noticed, but to me it shows the care and attention D’Israeli puts into his art and the pair have for shaping their narrative.

Clever, inventive, bloody funny and it is creator-owned, so do yourself a favour and enjoy a good read and at the same time support a couple of our top-flight creators with their own work. Win-win situation. Roll on, issue #2.

this review was originally penned for the Forbidden Planet Blog

Classic 50s comics Sci-Fi from EC – Jack Kamen’s Zero Hour

EC: Zero Hour and Other Stories by Jack Kamen,

Al Feldstein, William Gaines, Ray Bradbury, Jack Kamen

Fantagraphics

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EC Comics is a legendary name among comics readers, famed – sometimes infamous – for some of their works which would contribute to the baseless moral panic about comics corrupting the youth of America and the imposition of the comics code which neutered many potential stories. Of course the fact that the censor hated them means we loved them all the more! Fantagraphics has been publishing a handsome hardback series collecting some classic archive material from the iconic EC Comics stable (which has brought us other volumes such as Corpse on the Imjin, ‘Taint the Meat and others so far). This new collection features the work of the great Jack Kamen, who was introduced to iconic publisher William Gaines by the equally iconic Al Feldstein. EC published all sorts – romance, crime, science fiction, horror – and Kamen cut his comics teeth on the romance tales, soon becoming noted for his expressive, detailed style, the character he captured on the faces of his subjects and his depiction of beautiful women. It wasn’t long before he was mostly on the more fantastical subjects and 50s style sci-fi and horror by Kamen is what we have in this, the latest of Fantagraphics’ lovely EC library hardbacks, with stories by Gaines, Feldstein and a very young Ray Bradbury (surely not just one of the finest science fiction writers of all time, but one of the finest American writers in any genre).

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These are all very much short stories in the EC classic mould, only a few pages each, most often featuring a male and female character either sneakily plotting behind one another’s backs or frequently in cahoots to commit some act of illegality or immorality for their own selfish benefit. And like, say, Dahl’s Tales of the Unexpected, there is almost always some sort of sting in the tale here. A jealous, scheming wife is sure her husband is cheating on her, duping her with a robotic duplicate while the real version of him is off with another woman, in a story adapted from one of Bradbury’s Marionettes Inc tales (which also feature in his landmark short story collection The Illustrated Man) where a secretive company manufactures detailed robotic doppelgangers. A scientist creates a special process to freeze humans and animals for long-range space missions, and sees in it a chance to stowaway his attractive assistant, ready to defrost in the distant space colonies, far away from his wife, but of course something goes wrong.

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And that’s a recurring theme here – schemers come up with devious plans, husbands plan to cheat on wives, femme fatales (and what femme fatales or swooning love interests Kamen draws) plot to murder for money, revenge and love, sometimes, as in a couple of young lovers who yearn to be married but are too poor, good people are lead astray to do one seemingly clever crime, but every time something will happen, each time that sting in the tale and the moral reminder (hey, this is the 50s) that in the end crime doesn’t pay and that everyone will get their just deserts. There are some exceptions to this ‘house style’ though – a scientist finds a perfectly proportioned miniature woman in his lab, only a few inches tall and the lonely bachelor falls in love so heavily he uses a special potion to shrink himself to her size to live with her, but love has blinded him and there is a secret about her genesis he will learn too late. Or in another Bradbury adaptation, the titular Zero Hour, parents see all the kids in their neighbourhood playing a game together, borrowing items from the houses to construct something as they play a game invented by their imaginary friends – a game about invading the world sneakily, by using children. But it is just a harmless child’s game, isn’t it? Isn’t it….

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Throughout all of these short tales though Kamen’s artwork is gorgeous – the lurid, leering expression of the villainous man, the seductive and yet somehow simultaneously vicious glance of the scheming femme fatale, the wonderfully captured expressions of shock and surprise on faces as the dénouement is revealed to them, it is a pleasure to admire his craft. It’s very much of its time though – not just the style of storytelling, but of that early post-war society that it came from. The casual sexism in many stories will glare out at modern readers – in one tale where a group is asked to take turns working 24/7 on a science project the only woman in the group is asked by the gentlemen to go first and asks for the morning shift so she can have “time for shopping” in the afternoon. This is also an era of the nuclear family, the husband and wife roles very heavily defined (the woman is in the house if married or a seductive secretary or lab assistant if still single and young). And the science in the science fictional stories is often laughably silly to contemporary readers (to be honest it was probably pretty inaccurate even to any half decently informed reader of the time too), but that doesn’t really matter, it’s the stories and that wonderful 1950s artwork that are centre-stage here, and we can’t apply modern mores to stories crafted some sixty odd years ago.

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Enjoy them as period pieces, the stories as great fun shorts, the gender roles as a window into a vanished society (and reminder that while we may have a long way to go in gender parity yet, we have moved on an incredible amount since then, thank goodness), and most of all enjoy these mid 20th century classics for the glorious artwork, a style we really don’t see used much today, perhaps also very much of its time too, but still remarkable and a feast for the eyes. Besides, no real classic collection is complete without some EC works among it, and I think it’s fair to say it was these kinds of stories which inspired the (still running today) Future Shocks shorts in 2000 AD, short tales with a twist, which have been the launching pad for so many now famous creators. The EC Legacy isn’t just in historic archive delights like this, it’s still there, influencing writers and artists…

this review was originally penned for the Forbidden Planet Blog

One of the most intriguing & unusual reads in current comics: Sex Criminals

Sex Criminals Volume 1
Matt Fraction, Chip Zdarsky
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It felt so amazing that…

… that I was terrified. I was confused and terrified. How could anything feel so good? How could anything make everything get so quiet?

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Yes, I am recommending a book with that title. No, I have not sunk finally into a pool of my own degeneracy (well not too much). Yes, I expect you to want to read a book with that title on the cover. Why? Simply put because Matt Fraction and Chip Zdarsky’s Sex Criminals is one of the most unusual and fabulous works to come out in comics recently. The quote above? That’s from Suzie, a rather nice librarian, who is explaining about her first sexual awakenings. Everyone’s been there – hey, what is this, how comes this feels so nice, what’s that – oh. Is that normal? Does everyone do this? Why does nobody talk about it? And the half-blind maze of semi truths picked up from other kids at school and the precious little real information about what’s happening to your changing body and what it is all about. Confusing, fun, bit scary, but so want to know a bit more (except isn’t that being bad and dirty?). And here’s Suzie in this quote looking back at her first teenage orgasm and male or female we can all identify with the competing emotions she experiences. But the “get quiet” bit? Ah, didn’t I mention? When Suzie is at peak arousal time stops for her. And no-one can tell her why.

Doctor, what happens after you have an orgasm? I’m asking for a friend.”

Usually fall asleep, Suzanne.”

No, not metaphorically, not one of those “magical moments that felt like it went on and on” type of deals. Time stops and a wonderful show of swirling lights and patterns envelops her. Like going into an altered state but instead of meditation or mind-altering drugs it’s sex. Growing up and finding out about your sexuality is difficult enough, but when you seem to be different from everyone? First sex, always a mix of worry and wonder, finally it is happening and… Okay, time stopped, here are the colours and your partner, well, he is frozen in time while you go wandering off in your own state of sexually induced temporal grace. So, not the easiest thing to come to terms with, but despite it Suzie seems like a pretty nice, pretty together young woman, in love with her library, which she is desperately trying to stop from being closed down, like far too many public libraries (and rather sweetly trying to ‘rescue’ some of the doomed books). And then she meets Jon at a party, and at their own personal, intimate party afterwards she finds out Jon can do what she can do – to the mutual shock and delight of both of them. Finally they’ve both found someone like them.

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As we got the story of Suzie’s awakening we now get Jon’s, and it is funny and embarrassing in equal measure – like Suzie he finds out about the colours and time stopping, trying to work out what’s going on, realising the reason no-one else talks about it is because it doesn’t happen for them. Finding he can use this power, become aroused, enter this timeless state and actually go out and explore the city while everyone is frozen around him (of course at one point his arousal dips and he appears starkers in a shop. Oops). But this starts to give them both an idea – if they can both stop time together during sexual arousal, and go outside and do things while time is frozen, could they use this power to, let’s say, rob a bank? Not for personal gain per se, but to help fund Suzie’s library. Why not rob the bank that wants to take the library for redevelopment? Poetic justice! Sex as a cultural-economic weapon! But if there are two of them who can do this then isn’t it possible there are others? And some of them may be tasked with making sure no-one misuses those abilities?

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But apart from the story of trying to save the library, this really is more about relationships, love, friendship, coming of age (take that anyway you want in this context), exploring who you are. And yes, a big part of that is s-e-x. The confusions, the worries, the sheer bliss. It’s all part of that weird old thing we call life, and Sex Criminals tackles the subject wonderfully. In fact charmingly. Yes, hard to believe, but I am using the term ‘charming’ to describe a book entitled Sex Criminals. Because, well, simply, it is. Both leads come across as very genuine, it’s so easy to like them, so easy to identify with elements of life they deal with because we all have had similar (okay, perhaps not stopping time, but the rest of it). That opening chapter with Suzie telling us about her younger life is an utter delight – imagine in this medium that has, sadly, not always had the best attitude to women, a story where a young woman is front and centre and her sexuality the core of it. And imagine it being handled with humour, grace and charm and warmth. It’s not sleazy, it’s not exploitative, it is warm, delightfully human, emotional without being schmaltzy.

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It’s different, unusual and utterly addictive, drawing you into these young people’s lives, making us identify with them, laugh with them, share embarrassment at lack of knowledge, smile at them finding one another. Zdarsky’s art handles it all effortlessly, managing to be naturally sexy without being too much or seeming to be simply there for voyeuristic effect (I suppose the difference between pornography and erotica), also doing a great job with the facial expressions of the characters which mirrors the back and forth dialogue perfectly. And those trippy colour scenes in “the quiet” as Suzie calls it, up there with the sort of cool colouring effects Dan Goldman and Brendan McCarthy might use (which is high praise).

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All in all it’s just a uniquely unusual and wonderful story, it’s picked up a pile of critical acclaim and frankly it deserves it. One of the best works in comics right now. And as a bonus there’s a scene where Suzie sings Queen’s Fat Bottomed Girls (including donning Freddie Mercury’s iconic yellow jacket), but they didn’t get the rights sorted in time, so the speech bubbles are all covered with post-it notes explaining what’s going on, which is just a cracking bit of playing with the medium and winking to the reader about part of the process of making the issue, while still creating a great scene. How can you not love it?

this review was originally penned for the Forbidden Planet Blog

The clockwork universe: Edginton & Culbard’s beautiful Brass Sun

Brass Sun #1

Ian Edginton, INJ Culbard

Rebellion

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Regular readers will no doubt have heard several of us on here mention Brass Sun, a wonderful science fiction series created by Ian Edginton and Ian Culbard for the mighty 2000 AD. Have you ever, as an adult or a child, been entranced by the simple beauty and wonder of an old clockwork orrery? A seemingly perfect little moving model of the solar system, all the worlds and moons orbiting around the sun, driven by clockwork, representing each world’s distance from the mother sun and length of rotation and orbit relative to its fellows, an intricately fashioned device. Our understanding of celestial orbits and dynamics has increased enormously since those models were first fashionable and we know the universe to be far more complex than we ever dreamed of when first the craftsmen took Newton and Keppler’s laws and applied them so lovingly to these brass representations of the heavens.

And yet the orrery remains such a beautiful piece of work, conjuring dreams of wonder, a marriage of the craftsman’s art, as precise as a hand-built clock, with scientific learning; engineering and art and imagination all in one lovely device, for some a demonstration of what Sagan called “the magnificent machinery of nature”, for other’s proof of a benign deity, a magical clockmaker in the heavens. Now imagine there were real worlds, little realms actually on such an orrery, all living on their little realms rotating around that central sun on their brass wheels. A “wheel of worlds” set by a blind watchmaker… That’s the set up for Brass Sun, which several of us on the blog have been loving in the weekly 2000 AD, but now as part of the ongoing expansion of 2000 AD series (especially to the North American markets) the series (so far, it is still ongoing in the weekly Prog) is being collected into US-style comics of 32 pages, starting late in May, a perfect way to get into it if you missed it in 2000 AD.

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Frankly I have to say the Ians had me at that simple but beautiful and wondrous concept alone. And oh, it is beautiful, achingly beautiful – Culbard does wonderful close-up character scenes but he’s also a master of the magnificent splash page, and our first glimpses of this clockwork solar system is a glorious piece of comics art, tapping into that most precious of sensations that science fiction – in both graphic and prose form – does pretty much better than any other genre in literature: the sheer sense of wonder.

But wonder alone isn’t enough – a story requires narrative drive, it requires characters, and we’re in the hands of two of the UK’s very best here. We meet young Wren and her grandfather – he has been committing a dangerous heresy in a very religious and orthodox world, studying the skies with his telescope. He knows he will be noticed and reported, that the guards will come for him, that he will face burning at the stake for his heresy. But he has gained knowledge from old papers, secret papers, and with his scientific study of the sky applied to this he knows that the seemingly relentless icy winter which is pushing into their world, killing all before it, is no accident but a sign of something wrong in the very system of their wheel of worlds. He equips his grand-daughter Wren, entrusting her with information and a ‘quaycard’ and sends her off, knowing that he himself will be dragged before the religious authorities. Indeed we now find out he was once a bishop himself but what he learned turned him from orthodoxy. Now beaten and in chains he argues with the religious leader:

I was like you – I did as the Cog commanded – but the ice still came. Our people freeze and starve by the million. Prayers and persecution cannot hold the inevitable at bay. There must be another way.”

Faith! Faith is the only way!

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It’s not hard to see these scenes alluding to the persecution by the church of early astronomer’s for daring to suggest that their observations and calculations showed the progression of the heavens to be different from what the religious authorities of the day said, threatened with torture and worse for daring to speak what we now know is commonsense truth. And it’s not a major leap to see these scenes also as a commentary on some zealots today who refuse to acknowledge rational debate and scientific evidence (think on demands to give creatonism space on a school curriculum alongside evolution). But the world doesn’t care what blinkers people put on and what fables they tell themselves are true, it will do with it will, and in this case it seems the wheels have been slowing for centuries, but religious dogma has chosen to ignore this. Now Wren is sent away from her doomed grandfather, beyond her own world and into the spaces beyond armed with his journals. He hopes she can escape, but more than that, perhaps she may be able to do something to help the people of her world, of the other worlds…

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And so we get a wonderful melding of different story types, the science fiction with a hint of Steampunk for the clockwork solar system, the medieval religious mind meeting the early scientific thinking and then the classic young but determined hero (or heroine) being forced onto a dangerous quest. All of this is set up within this first issue, a terrific bit of storytelling from both writer and artist – introducing such a lovely concept for a world (or series of worlds), characters and quest, all within 30 odd pages, but then again as both are used to working with four of five pages in a weekly Brit anthology comics format those are skills in economy of storytelling you have to hone to work well in that format.

I was totally taken with the first runs of Brass Sun in the weekly 2000 AD and am delighted to see it being offered in this new format so more readers get a chance to experience it (same US comic book format as was used for the recent, highly successful Dredd movie sequel tale), and it is also a great way to wave the flag to a wider reading audience for some of the fine works that still come out of the House of Tharg and from our top Brit comics creators. A gorgeous, intoxicating story, beautifully illustrated and carrying us on a tide of wonder. Brass Sun #1 is published late May and is available to pre-order on our comics subscription site.

This pen was originally penned for the Forbidden Planet blog

Fists of Fury

Iron Fist the Living Weapon #1

Kaare Kyle Andrews,

Marvel

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Alright, confession time – I’ve never read a lot of Iron Fist before, so I come to this first issues of the Marvel Now! take on the hyper kung-fu martial art warrior relatively fresh. A colleague recommended it to me and well, since this is a first issue of a new take on the series it does seem like a good time for those relatively unfamiliar with the character to have a peek. And actually I’m pretty impressed.

Kaare Andews has a somewhat unusual opening for a mainstream comic issue, the very first page being pretty much just a head and shoulders shot of Danny, the current Iron Fist, very long series of speech bubbles down the left margin (we soon find out he is being interviewed by a very smitten and flirty journalist) and series of dialogue boxes counterpointing the speech bubble conversation over on the right. One large image and an awful lot of text – not the usual way top open a brand new action series. Ballsy, different and quite interesting, I thought.

There is one smaller element to that main head and shoulders shot, almost easy to overlook actually given the small size and the amount of text distracting the reader’s focus – a small image overlaid on one shoulder of Danny, explorers by the look of them, in parkas tramping through snowy mountains. The following pages follow into that flashback presaged by this tiny, subtle hint on that first page, Danny as a boy, with his mother, father and family friend trekking through storms in the remote mountains, his father so obsessed with his quest he is risking his family.

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There are some fantastic scenes and layouts here, from a one page splash that combines fairly minimal art juxtaposed with big, stark, bold sound effects lettering to denote the start of an avalanche – quite excellent use of art and graphics, more effective than a series of smaller panels depicting the characters being caught up in the moving wall of snow would be, followed by several landscape format panels on the next page, each one becoming slimmer than the last, the black spaces between wider, giving a seriously good impression of being caught in the flow of that avalanche, the noise, sudden movement then white out followed by black out…

Back to the present and Danny musing on his father and his obsession, as well as his business empire, He eats and drinks mechanically, even has sex with the flirty journalist, but again the same lack of emotion on the face, everything is the same to him, he is going through the motions. Outside his apartment window the ruined tower of his father’s former corporate headquarters juts up into the sky, still standing but huge portions gone, mangled, standing in silhouette against a blood red sky like some Freudian symbol of father-son power dynamics.

Of course this is Iron Fist, so we have to have some action, and wouldn’t you know it, helicopters deliver teams of ninjas sliding down their ropes to attack sneakily, but it’s rather hard to sneak up on Danny. And he really hates ninjas…  Again Andrews uses some pretty interesting layouts for the dynamic, unusual looking fight sequence, and the troubled Danny forgets his brooding over his life, his father, his company – a big battle against multiple opponents focuses his mind: “this is just what I needed.” This line is delivered from an uplit, menacing looking facial shot of Danny which reminds me very much of Miller’s The Dark Knight where it clearly acknowledged the dark part of the Batman that liked dealing out violence to wrongdoers, even needed to do it.

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As for the question of why the attack team was sent to ambush him and what is going on back at K’um Lun, those I’ll leave you to discover for yourselves – don’t want to spoil the whole issue now, do we?

I have to say I was very impressed with this, even coming to it with no great knowledge of the character or indeed particular love or interest in it previously, but for a first issue of a relaunch it worked perfectly for someone with that background – I didn’t need to know anything else, this was self-contained (I’m sure old hands will spot references I didn’t, but it all still worked for me). And as I already said there are some fantastic, innovative layouts here, some great use of space, different panels and the like, some of the most interesting I have seen since JH Williams III’s brilliant work on Batwoman, and some wonderfully moody use of colour schemes and shadow. Intriguing first issue plus creative use of art and layout, someone clearly wanting to push and play with how you tell a story in a comic issue, what’s not to love here?

this review was originally penned for the Forbidden Planet Blog

Jeff Brown’s A Matter Of Life

A Matter of Life,

Jeffrey Brown,

Top Shelf

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American cartoonist Jeff Brown has been a bit of a favourite with many of us here for several years. In recent years he’s expanded his audience with some delightful all-ages Star Wars parodies imagining Darth Vader actually trying to be a dad to Luke and Leia, but he remains best known (and loved) for his bittersweet autobiographic works. Yes, I know, Indy cartoonist doing autobiographic comics is almost a cliché these days, but for me Brown always stands out with his simple but elegant and effective style and voice – he’s one of those creators that the minute a new book is announced you know you’re going to have to read it.

In this recent book he turns his attention to family matters, mostly the men of the Brown family – himself, of course, but also his father and his own wee boy. Eschewing the regular chronological approach, instead A Matter of Life (I’m guessing the title is a nod to the classic Brit fantasy A Matter of Life and Death) offers up several snapshots of life in the Brown household – we can go from a very young Jeff at school or church (lot of church scenes, his dad being a minister) to adult Jeff with wife and child of his own, or back to high school or college age Jeff. The theme that ties these short scenes together is little glimpses into formative moments – all those little things (and the odd Big Thing, good or bad) that makes up this funny old thing called Life that we all deal with.

Brown is always quite honest, rarely trying to revise his personal history to make himself look better – instead he offers it up, warts and all. There he is as a kid in Bible study class or church youth group holding forth about the meaning of events in the Bible or God’s intentions, but in the commentary present day Jeff is noting that he wasn’t really that clever and most of this was stuff he had heard from his dad and his fellow ministers or read somewhere, repeated now as if he’d thought it up himself. Or a bit older and now at college and realising that an old school friend who writes to him a lot isn’t just being friendly but is actually gay and in love with him, and the cold way he responds, not from homophobia as such, just from being socially awkward and too young to know better. Some elements will be familiar to many readers – being young and curious about sex but not having a clue, and this being pre-internet youth no real way to find out. One sheltered girl in class is teased for asking what a condom is during a sexual health class, while teenaged Jeff sits at the back thinking “what’s this oral sex thing they’re talking about?” Or there are those awkward moments when shared aspects of family life you took for granted as a kid simply fade as you get older and become your own person – in his case religion becoming increasingly remote to him, failing to make sense any more, while his parents are still firm church-goers (and indeed his dad is a preacher) but he stops going and eventually decides he doesn’t believe anymore (leading to a delightfully surreal moment about feeling Jesus in your heart – taken literally with a tiny wee Jesus standing in his heart calling out “Jeff?”).

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Like all of life there are happy moments and sad moments – his dad becoming ill, so slowly, gradually that they don’t realise the seriousness of his ailment at first and that horrible dawning that a loved one is going to die and there is nothing you can do about it. Then being a dad himself and having to explain to his wee boy about it all, that one day he and mummy will be gone, that one day, hopefully when he is very old, he too will go. It’s pretty emotional, suddenly brightened as his wee lad, understandably upset, suddenly declares I know, I’ll fight Death, daddy! And suddenly the now sombre dad is grinning again because of his wee boy.

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Or simple little things like his mum telling him that music he listens to is just a noise and he’ll never listen to it when he is older – young Jeff adamant he will love that music forever, the way you do with your music when you are a teen. And then admitting years later as an adult that his mum was right… Or warnings by some in his church that heavy metal music and science fiction books would lead to the Dark Side – quite why reading Douglas Adams would lead you to Satan’s service is beyond me (may lead one to the Evil Demon of Missed Deadlines, of course), and Jeff takes a shot at this narrow minded view in fairly gentle yet effective fashion with his younger self thinking “I guess I shouldn’t let them know I play Dungeons & Dragons...”

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And that’s the way it rolls, little vignettes from different parts of Brown’s life and his family’s, the little mysteries when you are a child, wondering, the bigger mysteries that puzzle you as an adult, the stupid things you did from awkwardness, or things you said without thinking when younger and brasher and look back at now and wince. Lots of little moments and then the odd bigger ones, but each leaving a mark, each shaping the person you will become. Then being a parent himself and thinking how on Earth did my mum and dad manage, this is the hardest thing in the world?! And there’s more of that Life stuff just starting out again with the new little Brown, all told in his quite gentle, honest manner. Jeff Brown is one of those comics creators that any decent collection requires on its shelves, and this 2013 slice of life is a perfect way in for those new to his work and a welcome addition to his previous work for the established fans.

This review was originally penned for the Forbidden Planet Blog

Sally Heathcote, Suffragette

Sally Heathcote, Suffragette

Mary Talbot, Bryan Talbot, Kate Charlesworth

Jonathan Cape

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I’ve been eagerly awaiting this work for many months; Bryan and Mary talked about it at last spring’s Dundee Comics Expo then again at the Edinburgh International Book Festival. And with the huge success of their previous Dotter of Her Father’s Eyes (scooping the Costa literary award, first time ever for a comics work) I suspect there’s a wide range of readers, including many who are not normally comics readers, waiting to read it too. This time Mary has collaborated with artist Kate Charlesworth – Bryan worked on layouts, Kate on the finished artwork – and the result? Oh yes, my friends, well worth waiting for.

Manchester is the moral conscience of England.”

Turn of the century Britain and orphan Sally Heathcote has escaped the workhouse to a job, ‘in service’ to a household headed by the formidable Mrs Pankhurst. Both Pankhurst and her daughters are already busy with others coming and going, their house in Manchester a busy meeting place, and right away the creators show us this is going to be a more nuanced story – this isn’t just about equal voting rights (important though that is), the suffragette movement was born also from people (some men as well as the legions of women) who were sick of the vast inequalities in Britain. Heart of a vast empire and yet while many made large amounts of money and earned titles from those imperial efforts huge swathes of the population lived in abject poverty, going hungry, living in slums, little education, no healthcare. Unions in the vast factories of the industrial north of England, such as in and around Manchester, were forming and were one of the places where women started to come together collectively to wield influence and have their voices heard, and the quest for equal suffrage for women went hand in hand with many other noble concepts – eliminating poverty, care for the sick, rights for workers. The Talbots and Charlesworth are at great pains to show the interconnected nature of the movement, that it was socially driven by many blights in society.

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Servants overhear many things in the grand houses of course, and Sally picks up on a lot of what is going on. She’s well treated (it’s inferred Pankhurst took her from the workhouse and gave her respectable employment) and she’s learning of a much wider world. So when the Pankhursts decide the fight needs them to be in London and not in the union heartlands of the north, where the embryonic Labour Party (partly funded by some of those women’s unions) is starting to gather strength, she’s heartbroken. She finds new employment with some help, but suffers horrible sexual innuendoes and attempted abuse from the men of the house, both the master and some of the other male servants. Horrid though this is though, it gives her the drive to leave and head to London, and it is while searching for work their that she find the headquarters of the movement and some of her old employers, and it isn’t long before she’s happily working among the women there, and becoming increasingly active in the protest movement.

It’s quite something to watch Sally – and the movement – grow. She becomes more confident, from the first timid,  shy attempt to raise a question about votes for women at a local Liberal party meeting (she is thrown out almost at once) to the determined woman not just marching in the streets but a confident, powerful young woman who will eventually stand there in public making speeches herself, not to mention carrying out more daring acts. As the body politic (including, to their eternal shame, a Liberal government that included supposed Liberal heroes like Lloyd George) simply ignores the growing demands of the suffragettes and legal, peaceful demonstrations get rough treatment from police and from crowds of angry men, the movement starts to become increasingly militant, and here we see it all from the inside view of Sally, from breaking windows to setting fires and more. The jails begin to fill up, opinion is divided, some say the militant action loses them public sympathy, others, like Pankhurst call for “deeds, not words”. Splits appear within the movement and tensions rise. Then the hunger strikes begin…

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Demanding to be treated as political, not criminal prisoners, the suffragettes arrested and imprisoned begin a series of hunger strikes. At first it seems to be winning them ground – weakened woman are released from prison by a government reluctant to be seen as essentially killing women in prison. Until the forced feedings begin. In a turbulent tale full of both uplifting moments and terrifying ones, this scene is among the most awful to read, and it’s probably no coincidence that as Sally’s prison time begins the sepia tinged look of the other pages gives way to heavy black borders, ominous, threatening. The security and confidence that comes with acting in concert with comrades sharing the same goal is suddenly wavering – now she is on her own, isolated, in a dank cell.

The true test – when alone, surrounded by those who despise you, imprisoned, do you hold to your moral stance or break? Sally is not one to break, but again this subtle story doesn’t try to give us some ridiculous super-heroine, fearlessly facing her foes regardless of odds. No, Sally is scared. She should be, anyone would be, and she is – it’s very realistic and beautifully managed and it makes the reader believe in the character all the more, makes her more real, more vulnerable, more human. It also put me in mind of the prison scene with Evey in V For Vendetta (a scene I always consider the emotional heart of V): terrified, alone, but clinging to that belief not to give them that “final inch” of themselves; where Evey had the letter sneaked into her cell Sally has one uplifting moment where she hears others in nearby cells singing suffragette songs and a note scrawled on the wall “courage, brave heart”.

And when the forced feedings begin you feel utter shock and horror. There’s no other term for them but a violation of the body, a form of rape – brutal invasion of the body against its will. And like rape this is very much about power – here pretending to be about caring for the women and stopping them from starving, which makes it all the more horrendous. But it is a violation and a demonstration of power, the authorities showing their will over the imprisoned women. It is barbaric and truly horrific to watch the scene, the more so because while Sally may be fictional we really care about her by this point and, worse still, we know this is based on real accounts, that this was done, often repeatedly, to many women who simply had the temerity to be considered equal citizens. It gets worse with the infamous ‘cat and mouse’ act, allowing the authorities to release suffragettes who were becoming too weak, wait for them to recover a little on the outside then re-arrest them without trial and take them right back in and start it all again. And again.

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The book doesn’t present absolutes in terms of wrong and right, however – right from the start we see that certain personalities, such as Mrs Pankhurst, could be hugely divisive. In many ways remarkable and implacable in resolve, standing in the face of all against her, but like many sometimes so concerned with ‘the good fight’ that they become blind to everything else and will use anyone and anything in the service of that fight, even if it hurts and alienates good allies and friends. We also see that despite the union movement that a huge chunk of working men are as hostile to women’s rights as the ruling class males are, and indeed a large number of women, who consider the suffrage demands to be very ‘unwomanly’. We also see our determined Sally carry out all sorts of activities but eventually wondering at some of the methods Pankhurst is demanding they now use – it’s another way in which Sally becomes so very human to us, she had her ideals but she also has her doubts and worries, she isn’t relentlessly singe-minded, her time among so many activists has taught her to question and think for herself, and that includes thinking about the movement. No whitewash here presenting nothing but good, noble women against an evil tyranny, there are nuanced levels, there are good and bad men and women on both sides, and there are some who are so determined to do ‘right’ that they will use any ends (again on both sides).

It’s an absolutely fascinating and compelling look at a very important piece of recent history (consider most of this took place only a century ago – seems unbelievable to modern eyes, but yes, only a hundred years ago this was happening, many of us had grandmothers who remember a time when women weren’t allowed to vote). And like last year’s astonishing March Book One (detailing a personal history of the US Civil Rights movement – see review here) this isn’t static history, this is living history; this is history that is never done and dusted, it permeates the present and influences the maps of the future. It isn’t only about one goal really, about equal voting rights for all, irrespective of class and gender, it’s about equality and fairness across all of society, it’s about our rights to legally protest, to be heard, to demand change and to be listened to, to participate in the democratic decision making, to demand that the laws of the land not be used to enshrine discrimination against one section of society (a fight still going on, think of how we have only just created equal marriage rights for gay people). And like all good histories it echoes with resonance to the here and now – police being used to stifle peaceful, legal demonstrations in our major cities? We’ve seen a sad series of such events in recent years with the notorious use of ‘kettling’ and the like. Those in power, frightened at losing some of that power, stooping to creating reprehensible legislation to ‘legally’ commit immoral acts against protesters, or covert police surveillance of members of the movement, all sadly familiar to today as well (at one point Sally comments on the police having new cameras they use to take pictures of your from a distance to keep an eye on you – the distant ancestor of our current wall-to-wall CCTV Big Brother state).

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But this isn’t just a story of the movement and struggle against the odds, hardships to overcome. This is a personal story too, this is Sally’s story, and that’s our way into this Britain of a century ago, and as a mechanism for engaging the reader and making these historic events more personal, more emotional, it works brilliantly. Most of the pages use a pretty subdued colour palette, with a sepia type dominating, but one colour that always stands out is the copper-red of Sally’s hair. Be it an intimate, close up scene or a sweeping view of a huge crowd of protesters marching the street, our Sally is always visible with that hair, she’s our anchor in the turbulent tides of the period. It’s also a tale of the ways being exposed to new ideas and new people changes us, helps us grow, it’s a story about friendship and even love. As the civil rights demands for women escalate the same tired, frightened old men who govern also find themselves facing the First World War (and coping about as successfully with that as they did with women’s suffrage). The two collide, causing more friction between elements of the movement, but also becoming part of that tumultuous time that would, ultimately change British society forever.

And don’t think it just changed the lot of women, proper, universal suffrage for all men (not just the well off and property owners) emerged out of fear of the women’s movement, a transparent attempt by the government to recruit more allies -somewhat similar to the South African government in the dying days of the loathsome Apartheid regime expanding voting to select non-whites (such as those of Indian descent), as a desperate way of trying to fortify their own position, make new allies to hold off the perceived threat. Ultimately it would lead to more equal rights for all, something I’m sure many of those in the suffrage movement would have been proud of. The story is framed by a very old Sally, now with her grown daughter, and her daughter’s daughter, decades later, another nice, emotional touch, but also a way of reminding us that the fight for civil rights and equality for all never actually stops. It was once said the price of liberty is eternal vigilance. So too with our rights – hard-won rights, literally fought for and then defended in both fine, stirring rhetoric and, when needed, with blood. Because there’s always some idiot who thinks you can draw a line around one group in society – women, immigrants, people of a different religion, gays – and treat them differently.

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This is a beautifully constructed tale – unsurprisingly well-researched given Mary’s academic background, but so much more than just an accessible way of learning of a hugely important piece of our history. No, Sally Heathcote is much more than an impressive slice of social and political history, it’s a beautifully done human tale. If you’re not emotionally invested in Sally by the end of it then there’s something wrong with you; to be honest you’ll probably fall in love a little with her, it’s hard not to. The artwork is lovely, Charlesworth teases some terrific ‘performances’ from her cast; you can visually see Sally’s growth from shy young housemaid one step from the poorhouse to confident, determined woman in her expression and her stance. Kate also captures that resolute look on the face of Mrs Pankhurst, as determined and terrifying as staring down one of the terrible dreadnoughts of the era (contrast with Sally’s young, eager, open face and smile), while the backgrounds behind those characters is lovely, from the grand neo-classical meeting halls of those Edwardian big cities to fine small period details, like the iconic shape of an old Thames sailing barge going past Parliament. Or serious scenes executed with a light touch, such as a pair of Suffragettes trying to knock on the door of Ten Downing Street, to be told angrily “no, you can’t see the Prime Minister” (those of us of a certain age can doubtless recall when you literally could walk right up to Number Ten’s door, seems unbelievable in today’s post 9-11 society, but we could…).

Without a doubt one of the most compelling, emotional, vital reads you will have this spring. It has funny moments, touching moments, it has moments that will make your blood boil at the injustice of it, and moments of tenderness that are heartwarming. Pleasingly the book also comes with extensive footnotes to explain more of the socio-historical context of some scenes, a timeline and suggested further reading sources – ideal for anyone wishing to use it for educational purposes. It’s only April and I already know this will be on my Best of the Year list come December. I found it so fascinating I read it twice in one week, and I think this is one of those wonderful books that you know you will come back to again over the years. Simply wonderful, uplifting work.

this review was originally penned for the Forbidden Planet Blog

Climate Changed – science goes graphic

Climate Changed: a Personal Journey Through the Science,
Philippe Squarzoni,
Abrams Comicarts

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Climate change – it’s rarely been far from ours news reports over the last couple of decades, and increasingly so in recent years (freak once in century storms happen repeatedly, is it the climate changing and did we alter it?) and just this week we’ve seen a major UN report on expected climate change and the colossal cost to our civilisation if we don’t actually take action. And that action requires a lot more than people in Western nations changing to energy-saving lightbulbs and doing their recycling more – important though those are. And this month also sees Philippe Squarzoni’s approach to this huge scientific-political-ideological-cultural problem in comics form. In pretty weighty comics form, actually – this graphic science work weighs in at well over four hundred pages. This is not a quick read, nor should it be. We’ve seen an increasing number of graphic works tackling heavyweight subjects in recent years and making them very understandable and accessible to pretty much any reader, in the case of books like this even those with only their basic high school level of science learning.

This is not exactly jumping on the bandwagon though – for starters the book first came out in French from Delcourt a couple of years back, and secondly it is quite clear not just from the length but the detail Squarzoni goes into that this is something he has been working on for years. In fact early one we see that this large, complex work actually grew out of a previous bande dessinee Squarzoni had been working on, a book on French politics. As he researched and drew a section on the environment the author suddenly finds himself coming to a halt. When his partner asks him why, he replies it is because he is using phrases like ‘carbon neutral’ and ‘greenhouse gases’. Common phrases these days, we’re all familiar with those terms, right? His partner points this out. Yes, he responds, but what do they actually mean? I’m using these phrases lifted from bits of research and re-using them in my work but I don’t really know what they actually mean, what they involve and what they portend for the future.

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And that is, perhaps, the crux of Climate Changed – many of us know these terms, we even use them sometimes in earnest pub discussions. But how much do most of us really know about the subjects these terms cover (Darryl Cunningham, you are excused this, we know you’ve researched it!)? I mean really understand, not just a vague knowledge assembled from the BBC website articles of the Guardian, but know the various aspects of climate change and how they relate to one another – and there is not just one topic here to get to grips with, this is a real multi-headed monster, a hydra of our own making, and we need, badly need, to understand the problems, and how they interact with one another, before we can even start to consider our response to them. Assuming, of course, we have the luxury of time to formulate a response. And also assuming humanity is wise enough to decide to take relevant action. And let’s be honest, recent events where agreed restrictions on targets like emissions being missed (after already being set fairly low to begin with) or even simply ignored by some nations, that latter part is not looking good right now.

Squarzoni, as you would expect, looks at the science behind climate studies and draws on numerous experts to discuss the observed changes, relating them to historical data gleaned painstakingly from sources such as deep ice cores and tree rings, to give centuries and even millennia of historical context. Because we know the Earth’s environment is always changing – it always has, it probably always will, ours is an incredibly dynamic bio system of overlapping, interacting elements: amount of sunlight reaching the surface, various gases at different altitudes in the atmosphere, currents in the air and the great oceans, the amount of ice at the poles or on glaciers, the amount of vegetation, venting from natural sources such as volcanoes… It’s a massively complex system with each component having effects on the other, which in turn cause further effects, from increased flooding to drought, even to the fabled “mini ice ages” (think of those pictures depicting the ‘frost fairs’ on a solidly frozen Thames). And this is before you factor in human activity…

We’ve started things we cannot control…

Despite the nay-sayers (and there are still many out there, often those with a large financial stake in the status quo of consume more, make more, want more) too many of these scientific studies clearly show large increases in output from human causes which are interacting with this incredibly complex environment’s variables – the charts leap following the industrial revolution really getting going in the 1800s and the post-WWII boom accelerates this at an astonishing speed. And it isn’t just as simple as more power stations pumping out CO2, or too many cars belching exhaust gases into the air – Squarzoni also draws on economic, social and cultural elements to this debate. Advertising imagery crops up numerous times, symbolic of our modern, Western, post-WWII urge to increasingly consume, tied to the cultural ethos of a capitalism that assumes we can endlessly consume, expand, consume more, expand – more production, more buying.

But we live in a finite system, there are only so many resources, and we are using them at an alarming rate. Not just the obvious resources such as fossil fuels being depleted (and increasingly so, with developing nations industrialising) but the simple, everyday items we all take for granted. Shiny new smartphone to replace the previous one – hey, it’s tiny, it’s just me, how much difference does that make? But multiply by the number being marketed and sold across the globe, the resources used to create them (rare minerals, metals), and the energy of mining those resources then that of the factory… And you get the picture. And don’t even get started on people who drive massive SUVs around city centres, the dirty looks Squarzoni gives repeatedly to a large Land Rover parked in the middle of Lyons speaks volumes!

We continue to act like it’s nothing. And the worst thing is … it feels pretty good…”

But this isn’t some anti-capitalist diatribe – as Squarzoni points out neither he or any other person in the West has any desire to cut their use of resources from energy to affordable, plentiful food (and industrial scale agriculture is a major emitter of greenhouse gasses), losing our comfortable lifestyle where we have electricity on tap, central heating, easy transport, affordable range of clothing… He doesn’t really fancy cutting his environmental imprint to that of someone living a malnourished life in an underdeveloped nation without clean water, heating, power… And obviously none of us do. But if we can’t believe the lie of endless expansion and ever increasing consumption how do we square that circle of lowering our impact on greenhouse gases and resource scarcity with maintaining a decent standard of living? Especially as, increasingly from the 1980s on a small cadre of oligarchs and super-rich live a publicly indulgent, opulent lifestyle we’re all encouraged to want to emulate (work hard enough and anyone could be a billionaire in a mansion and yacht!). Plus why, he asks, should we ordinary folk decide to cut down on things like flights to cut pollution if the super-rich are swanning around in a Rolls Royce or a giant yacht?

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And then there is the developing world – how do rich nations who created much of the pollution and resource consumption problem tell developing nations, no, sorry, you can’t come up to our standards, the planet won’t take it? He has to wrestle with this personal responsibility when offered a dream post, several months artist in residence in Thailand. But as he is in the middle of working on this book and researching the impact of things such as flying how can he in good conscience accept travelling there? He’d love to, but isn’t that hypocritical of him? But if he doesn’t go, but the guy down the street continues to run round town in his gas-guzzling SUV, what different has his personal sacrifice made? And, as his partner asks him, does that mean that he will never fly again? Does that mean the places they’d love to see together will be off-limits for them? What about green technologies? Are some good or just a bandwagon that some big companies (who have given more than their share of pollutants) a new, image-friendly ‘green’ marketplace to exploit? From large corporate installations to the personal, such as solar panels or wind turbines on the roof of our homes, which are actually effective, which will help do a bit to reduce our impact, and which are really just a salve to our conscience?

It’s one of the aspects of this book that makes it so accessible and easily understandable – for all the expert talking heads (which are frequent, but while slightly repetitive as a method, it is nonetheless a good way of getting information from expert sources across to the reader) talking about the Big Picture – what government, massive corporations and trans-global organisations such as the UN are trying to do (or frequently failing to do, depressingly), the sheer array of different experts required to make sense of it all (climatologists, industrial experts, meteorologists, geologists, disaster relief experts, economic experts and more) he continually comes back to the personal level, both from the personal responsibility side of things (what can we do individually? How do we encourage others to do the same so small change become large differences? Why should we if others don’t?) but it also reminds you constantly that the author himself is not a scientist, that he’s coming to this subject himself as an individual and realising from his research that, just as some of the experts are arguing, this is a subject that requires individual responses and changes in lifestyle, but also collective – this is a global problem and no nation will escape effects.

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Even if you are lucky enough to live in a country where, say, temperature rises from greenhouse gases are mitigated because actually it makes your region a bit nicer to live in during winter months, you will still suffer because resources from oil to container vessels full of food come in from all around the world. And some of those areas may suddenly stop being so productive. Or may even be under rising waters. And then there are those rising waters – with a huge chunk of our global population (including massive Western cities of millions) right by the coast there will be problems. Perhaps catastrophes (imagine millions being displaced as environmental refugees, both in the developing world and even in the rich, Western nations – consider the thousands of poorer citizens left behind to face the waters in New Orleans after Katrina, but on an even larger scale).

On the art front there are, as you might expect perhaps for a thick tome dealing with science, a lot of graphs, and a lot of ‘talking heads’ as a series of experts from different fields – climatologists, energy experts, economists and more – to deliver large sections of information. But to stop these being too repetitive he also uses a variety of other visual tricks – his obvious love of cinema comes in handy, with frequent visual references to the iconography of film, for instance, and advertising imagery is used regularly, while he keeps grounding this vast subject in the personal with scenes from his own life with his partner and dog, as well as flashbacks to childhood (comparing his journey through life to the relentless change of the world). This also leads to a touching scene further in, as the years go past and their trusted old dog passes away we see later scenes where Squarzoni goes walking in the snow, accompanied by a ‘ghost’ dog, just the outline of his old pal by his side, not actually drawn in detail, the memory of his dog by his side. His walks through the French countryside include some quite lovely large scenes – we may be doing something bad to our environment, but it is still a quite beautiful world, he is pointing out. And in a book where there are many small, close up panels of people talking or detailed charts and graphs it’s nice to be able to breathe in the fresh air of a large, beautifully rendered scene of lakes and mountains.

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It can be quite overwhelming reading – to be honest, despite finding it utterly fascinating and compelling I found it best to limit myself and read it in chunks (the layout of sections actually made this quite a suitable way to approach the book), partly not to simply overload my brain with concepts and figures and arguments, but partly also so I could allow myself time to stop and consider what I was reading. And despite what you may think, it isn’t entirely negative or doom-laden (although there is a strong pessimistic bent) – Squarzoni doesn’t restrict himself to covering everything we’re doing wrong as a species, he marshals many of those same ‘talking heads’ of his expert panel to discuss possible changes. All are adamant we have to change, and the science backs this up – despite some very shoddy media reports – as he points out when some opponents used media claims of dissent between scientists to fuel doubt about climate change a study of a decade of appropriate peer-reviewed scientific journals revealed no such disagreement, compared to about half of articles written by journalists which tried to convey there was doubt about human-made climate change – draw your own conclusions from that. And all point out that such changes are best managed incrementally – none of them want to tip the world back into economic chaos by suddenly imposing major changes without planning viable alternatives, and the quicker we start changing and adapting then the less severe those changes have to be (as opposed to head in the sand, wait till last minute then have to take radical surgery instead of holistic long term treatment approach). And all agree that such change can’t simply be forced, the democratic principle has to be used, people engaged in the debate, informed and give consent (and indeed to pressure) to their political leadership for changes.

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It’s a fascinating, thought-provoking work, well-researched (coming with a good bibliography and list of various experts quoted and other resources for learning more), and the graphical approach makes the task of assimilating the mass of complex material much simpler for the reader. Squarzoni is also to be commended for taking in the large range of industrial, economic, social and cultural aspects to climate change and relating them to one another, in addition to the perhaps more obvious issues of just what sorts of waste we’ve pumped out relentlessly into our own biosphere without thinking about what it was doing. This isn’t a single problem, it’s a series of multiple but interconnected problems, some exacerbated by natural causes, but most from human causes which many simply don’t think about much, beyond the afore-mentioned changing to energy efficient bulbs. But as one expert points out in the book, the Earth has it’s own timetable – change is happening and most consider we’ve gone beyond the point where we can stop even more change coming. But we can adapt to it, we can limit the changes, manage them better, if we’re informed and able to make those decisions (and the drive to see them through – actual action, not just fine speeches from politicians or ads telling us how much giant oil companies care about the environment). And as with many problems, reading about them is a fairly good place to start… Don’t be put off by the size of the book or the heavyweight subject matter – as I said Squarzoni does a remarkable job in putting across the subject and also personalising it (it also arrives bearing plaudits and awards from the European scene), and let’s face it, as arguments erupt already over this new UN climate report out this week, we could all do with being more informed on a subject that affects every single person on the planet.

this review was originally penned for the Forbidden Planet Blog

Review: Royals – Masters of War, intriguing new alt-history series

The Royals: Masters of War #1
Rob Williams, Simon Coleby,
DC/Vertigo

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I’ve been looking forward to this new Vertigo series from Rob Williams and Simon Coleby for a wee while now – I chatted to Rob a few weeks ago about it (see here) and that just whetted my appetite. First issue hit racks with this week’s new releases and obviously it went straight onto my reading pile.

As you may know if you read the interview with Rob, this is an alternate history tale, mixing superpowered beings with the real events of World War Two. Of course superbeings in WW2 isn’t new – even during the war the Golden Age comics frequently had their characters like Captain America, Sub-Mariner, Superman etc fighting the Axis, more recently Ian Tregillis penned his fascinating Milkweed Triptych, a trio of novels involving an alternate WW2 where British spies fight against a secret Nazi Übermensch, scientifically created beings with powers (much recommended). What Rob and Simon bring to the mix is the eponymous royalty – in this reality there are superbeings, but they are all aristocrats, blue bloods, with the higher ranking, more pure breed being more powerful (so a prince or king for instance, is enormously powerful).

This opening issue takes place in 1940, as the Blitz is devastating British cities, the badly outnumbered RAF, ‘the few’, struggling to hold the might of the Luftwaffe at bay as they try to destroy Britain’s defences from the air as a prelude to the invasion everyone is sure will soon come. Could a few of the Royals use their powers to stop the Nazis in their tracks? Yes. But it isn’t that simple – superweapons rarely are, are they? Whether they take the form of splitting the atom or a superpowered being, there are always consequences, and in the case of the Royals there is an international treaty between ruling houses not to become involved on the battlefields of their nations. Because if one nation’s royals use their powers in a fight, others will join in and an already bloody situation will escalate rapidly to even more dangerous dimensions. Not hard to consider parallels with WMDs like nuclear weapons – used to end one years-long conflict that took vast numbers of lives and caused global destruction, but ushered in an era of ever escalating, finger on the trigger of Armageddon for decades, the promise of an even worse war born from that new power, which we narrowly avoided.

And some royals genuinely don’t care – the eldest son, Arthur, Prince of Wales, is a dissolute prig, happy to not be allowed to become involved (despite his huge powers), content to live a life of drink, women, comfort and who cares if the masses are being burned to death or buried beneath rubble in their own homes as the bombs fall. A prince who wouldn’t have been out of place in Blackadder III, more concerned for the luxuries his station confers than any sense of national duty and responsibility. But some of the young royals take their duty to their country more seriously:

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The East End’s burning, apparently. Although no-one will tell me the full extent of the damage. And there’s always so many more of their planes than the RAF boy… People are dying, Rose. Lots of people are dying, and we can’t do anything… We’re powerless…”

The troubled young Prince Henry borrows an idea from his royal namesake, Henry V, and changes clothes to go incognito among his people. He and his beloved Rose go into the Eest End, he carrying her as he flies over wartime London, a charming scene of two young people drifting through the air, Rose in his arms,  “like Peter Pan” she remarks. But the fairy tale allusions end brutally in grim, blood reality that confronts them as they land. Bombed out ruins that were once homes, fire raging, bodies of the dead burning in the street, exhausted ARP wardens, screaming children… People in agony and despair. Their people. His people. ..

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It’s all handled across a couple of pages, a montage of the horrors of the Blitz, with only two speech balloons throughout; most of it comes through from Coleby’s powerful visions of a burning, devastating London (all the more powerful, because we know this scenario isn’t fantasy, it’s drawn from the real history), until the young royals are left in tears at the sheer suffering they witness.

And enough is enough; Prince Harry’s rage and his desire to do his duty over-ride the royal pact not to become involved, and when the next flight of Luftwaffe bombers appears overhead and the RAF rise tiredly to meet them once more, he is at their head, flying right into them, a wrathful superbeing smashing through planes in righteous fury, blasting them from the skies. The papers rejoice at the royal family joining the war effort finally, but the king realises his hot-headed young son may, albeit for the finest reasons, have condemned the world to a much darker, bloodier, more costly battle…

It’s a gripping first issue, introducing the concept of this alternate 1940s and the idea of superpowered royals and the fragile accord that has kept their powers off the international board for years. Coleby’s art is terrific, with a nice eye for period details (those of us who grew up on Commando Books, Warlord, Victor, Battle etc always appreciate an artist who takes the trouble to get details like uniforms or aircraft from the period correct) and moody – the change in visual tone from the Palace to the hellish inferno of the East End is a kick to the senses (as it should be), while the moral dilemma of the patriotic young prince grabs your attention. I mean what would you do if you had those powers and knew you could defend your people from awful harm? But if you intervene then people with other powers in enemy nations will then join the fray, up the stakes…

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Damned if you do, damned if you don’t, and we all know what paves the road to hell… Each issue will take place in a different year and pivotal moment for the war, and I’m looking forward to seeing where this goes, not least because this first issue opened with a glimpse of 1945 before flashing back to 1940’s beleaguered Britain. There’s often something very compelling about an alt-history story, and this is a cracker. Plus we get a superhero story, a good war tale and a touch of alt-history science fiction all in one tale. Bargain!

March Book One

March, Book One,

John Lewis, Andrew Aydin, Nate Powell,

Top Shelf

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A cold January day in 2009, Washington DC, and a venerable politician goes about his morning routine before heading to his congressional office, preparing for inauguration day – a new president is about to be sworn in. Always an important day, but this particular occasion is more remarkable than most – Obama is about to take the oath of office, the first black president of the United States of America. The veteran old politician we see preparing for the day is congressman John Lewis, not just a man who has served his constituents for decades, but a veteran of the Civil Rights movement, a campaigner who stood there during the famous March on Washington in 1963, giving an important speech alongside Doctor Martin Luther King’s iconic “I have a dream” speech, surely one of the most moving and inspirational political speeches of the 20th century.

In a way I found this quite a daunting book to review – not, I hasten to add, because of anything wrong with the book. It’s beautifully put together, open, accessible. It was more a worry that anything I might say wouldn’t really do justice to the events recorded here, from eyewitness testimony of someone who was there, who stood up for rights for himself and others and had to struggle terribly for it against vile, brutal, racist thuggery that it is hard to credit was ever allowed to happen in a free and democratic society. And so I delayed it, kept rethinking it, rewriting it and eventually just had to decide to post it, warts and all. I’m not sure any review can do justice to someone’s memories of events like these that helped shape the world (and are still shaping it, Lewis is still fighting the good fight), but at the very least I can commend it as a book very worthy of your reading (and hopefully the sort of book you will want to pass around friends), and also one of those stand-out works which again emphasises how well the comics medium is suited to tackling any subject.

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But, as I said this first book of John Lewis’ memories of the long march for Civil Rights is, quite deliberately I would think, made as open and inviting as possible to the reader, regardless of prior knowledge on the part of that reader – if you’ve read the history of the period or if much of it is new to you, this will still welcome you in gently. In a way it reminds me of Walter Scott’s approach to retelling Scottish history, the “Tales of a Grandfather”, and it did feel like that to me, as if a much-loved, warm-hearted older relative, a grandfather or favourite uncle, were telling a tale. And what a tale it is…

Through the framing device of a lady bringing in her young boys to meet Lewis and learn a little about the history of the struggle for equality we are taken back to his earliest days, as a young boy on the family farm in Alabama, his love of the animals, especially the chickens (although, as he points out wryly, there is a bit of a pitfall to becoming emotionally attached to your animals on a farm, since eventually they end up in the pot…), an early desire to become a preacher prompted by the gift of a Bible which he read and re-read and then school – especially school: “But school was important to me, and it was ultimately the reason I got involved in the Civil Rights movement.” In a simple but moving scene he also highlights the roles of educators, librarians and books in creating awareness, an enthusiastic school librarian telling the children “read everything.”

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But how does a young lad in a rural county start to learn about the movement, much less get involved? Especially when much of the advice he is given is to keep his head down, not to attract the attention of “white folk”. A favourite uncle clearly sees something in the young boy, something he himself is probably not yet aware of, and he takes him on a road trip to expand his world a bit. This isn’t the usual road trip we’d think of today though, the freedom of the open road, seeing new places – as the book explains the trip took careful planning, such as carrying their own food because there are no roadside restaurants ‘coloured’ folk will be allowed in, some places they just can’t risk stopping in. It’s a simple part of the tale, but like many simple examples it illustrates a complex and distasteful truth, that a century after the end of the Civil War some citizens of a democratic country couldn’t fill up the tank or eat at a roadside diner in the Southern states simply because of the colour of their skin. And that was simply the accepted norm. Until some very brave people started to challenge it.

The early episodes where young Lewis is introduced to those creating the Civil Rights movement are fascinating and horrifying in equal measure – on the one hand to see a young man realising that he and others can make a difference, can work with others to make their society a better place, it is uplifting, inspiring, empowering, even; you feel, perhaps, just a little of that excitement he and his friends must have felt that they could make things better (and isn’t that something any of us in our societies should always aim to do?). And the determination to follow that model of Ghandi and remain resolutely non-violent is admirable in the extreme. Turning back on violence and hate with more violence and hate in response only fuels an endless cycle, trapping both parties. In some very upsetting, harrowing scenes we see activists (black and white) subjecting each other to harassment, derogatory remarks, pushing and more, to train themselves not to react with violence. I’m not sure I could bite my tongue or remain still in the face of that sort of provocation, and yet here are these young people disciplining themselves to do just that. To be better than those who want to ‘keep them in their place.’. It’s remarkable.

And it is at the same time horrifying in exposing the virulent face of unreasoning bigotry and pure hatred based on nothing more than seeing an entire group as ‘different’, and that difference justifying Jim Crow laws of discrimination, actually using institutions of state to repress and control black people, something you would have thought unthinkable in a free, democratic society, that it would do this against a section of it’s own citizens. And of course there is the raw hatred, indoctrinated into each generation to generation which justifies this control and repression, and which all too often leads to outright acts of sickening violence, with the perpetrators rarely held to account in any hall of justice, because those who are supposed to administer justice are as swollen with the same hatred – or indeed sometimes the acts of violence are perpetrated by those such a policemen who are supposed to ‘protect and serve’.

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Throughout Nate Powell, whose work I have admired greatly since his powerful  and atmospherically drawn Swallow Me Whole, brings this to life with quiet, un-showy monochrome artwork, clearly striving not to let the art become more important than the story here, but also still ensuring these moments of memory are brought vividly to life. It’s obviously quite an emotional story, and Nate’s art captures this essence and enhances it, most notably, for me anyway, in the expressions, from the haunted, worried look as some of the black characters traverse a mostly white area to the hideous, contorted expressions of unreasoning hate as police lay into peaceful protestors, or the opposite, the gentle, loving expression of friends helping one another, that simple expression on a friend or loved one’s face that can be enough to get us back up the floor and make us keep going because we know they’re lending us their strength.

This is a slice of recent history, but it is also a personal tale, a beautiful reminder that all historical events were enacted by people. Actual people, not remote historical figures, real people with families, loved ones, hopes, dreams and fears and that to make that history they had to embrace the dreams and overcome the fears. And this is history that remains painfully relevant to modern society – just a few days ago a UK politicians tried to claim that recent extreme winter storms were God’s wrath because of Parliament allowing gay marriage; there is always someone, for whatever reason, prepared to justify treating others in an unfair manner because they are ‘different’, and March reminds us how hard the road to equality for all is and that we’re not at the end of that road yet, but perhaps we can see it, and we can all keep marching towards it. March made it into my top three graphic novels from 2013 in my Best of the Year.

This review was originally penned for the Forbidden Planet Blog