This review was originally penned for the Forbidden Planet blog:
“I wondered, what if a modern day soldier saw a face so horrific, it could turn him to stone?” Chris Kent in his Director’s Commentary.
I’ve been anticipating reading Chris Kent’s fascinating-looking Medusa since it first was listed for pre-orders in Previews a few months ago, and his recent guest Director’s Commentary here on the blog increased my desire to read this unusual work, so I was delighted when Chris dropped by to say hi when he was in town and also drop off a copy of the book. Ostensibly it is the story of a British soldier, Corporal Elliot Ford, fighting in Iraq when he gets news from home that his daughter has gone missing, and he is sent home on compassionate grounds. But home and the battleground may be separate geographically, but such distancing between the two is not so simple in the scarred mind of the veteran soldier…
This is not just a tale of the mental wounds so many of our armed forces personnel carry home with them, important though that issue is (especially given a recent news report just the other week about how veterans are more likely to find themselves doing something violent because of their experiences and training, without meaning to, yet another festering wound for too many), as Chris takes elements of Elliot’s combat experiences and his family life back home, then mixes them with his deepest fears and mythology. Who is the young woman he saw in Iraq watching his squad just before an explosion? Was she a suicide bomber? An innocent bystander caught up in an eruption of violence in what had once been her own neighbourhood? Why does her face haunt him? Why does he keep thinking of her, seeing her face? And when he gets the news of his daughter’s disappearance back home why is it he feels some subconscious link between both women? Is there a link? How could there be?
Medusa is suffused with this dark, confused, tormented view of events and Chris wisely opts not to give the reader the ‘god’ position, where we can look upon the narrative and know more than the characters, instead we see this mixed up world through the filter of Elliot’s increasingly frantic, desperate attempts to make sense of things, struggling to comprehend what he is experiencing, to understand what is real and what must only – surely? – be in his mind, constantly driven to find his girl, to make sure she is safe.
There’s a real feel of drowning slowly in dark, cold waters here – Chris mixes his own art with an almost collage-like collection of images from newspapers, reworked to fit the tale; rather than the traditional sequence of panels and speech bubbles of most comics this is a series of overlapping images, some dark splashes through which figures or scenes can be barely glimpsed, others like snapshots from a soldier’s diary of life at the front, some flow, others suddenly break up violently into jagged, fractured scenes, emulating both the sudden eruption of adrenalin and violence and danger that comes with a routine patrol suddenly flaring into instant combat action and also the stressed and strained mind of the combat veteran, trying to keep it together for the sake of his unit and his mates relying on each other, then trying to keep it together because he has to be strong, he has to strive for his girl, while all around him he can feel the demons waiting to sink their teeth into him and drag him into dark chaos.
The art approach may put some off, but I found it highly appropriate to the story, a mix of the almost documentary then the broken, fractured scenes, the almost photographic collage collapsing into painted darkness; it gives a flavour of the anguished state of Elliot’s mind, not just his frantic search for his missing daughter (handled so well, anyone who’s had a family emergency will empathise with that lurching, dropping feeling, the panic, the attempt to try to make sense of it, to be ‘strong’ for others and deal with it while wanting to collapse within) but also how the constant strain of patrols and combat and seeing comrades injured or killed, civilians harmed, starts to break down the defences of the mind, causing emotional damage as surely as bullets and bombs do physical wounds. The swirling darkness and struggle to comprehend events that refuse to fall into a regular three-act chronological narrative (even his sense of time starts to break down – how long has he searched? A week, a month? Or has he only been home for a couple of days?), and Elliot’s perspective is ours, so we share that disorientation.
And the Medusa herself? Is that haunting image of the young woman really just a young woman or is she an aspect of an ancient myth, the achingly beautiful rendered monstrous? It’s hard to tell until very late on just how much is in Elliot’s deeply wounded mind and how much is real, and that is how it should be (and I won’t spoil it by going into more on that intriguing aspect of the tale). This is a journey through the Heart of Darkness, and like the voyage up-river to the lair of Colonel Kurtz there is that deepening fear in the soldier that the darkness is infecting him too, and through him perhaps his own flesh and blood, his family, that his actions will lead to karmic payback for what he has had to do, a spiritual, emotional stain that could go beyond his own self and actions to others he cares for.
Elements of Apocalypse Now are in there, also perhaps a nod to the fascinating Tim Robbins movie Jacob’s Ladder. But where this journey through darkness will take Elliot, that’s the real question? Is this a journey of a wounded soul to redemption or a spiral into chaotic despair? A highly unusual, deeply disturbing, dark tale, the mythological elements are timeless and echo the fact that for all the hi-tech equipment of the modern soldier, warfare itself is also, sadly, timeless, and equipment is but a tool, at the end of the day, regardless of century it is the humble squaddie who is at the heart of it, and what it does to the soldier.