Some more events from August’s Edinburgh International Book Festival have been uploaded to the EIBF’s YouTube channel, including the full, hour-long talk I chaired with Arthur C Clarke award winning writer Lauren Beukes and cracking artist Inaki Miranda, talking about their collaboration on Fairest: the Hidden Kingdom for DC’s Vertigo imprint:
Coffin Hill #1
Caitlin Kittredge, Inaki Miranda
“The Coffins brought nothing but blood and misery to everything we touched.”
Coffin Hill is another of the raft of new Vertigo titles launched this autumn, and as with the first issue of Hinterkind (reviewed here) it is an “extra-sized” issue, which seems to me a good idea for a first issue where you have to pack in introducing the characters, some set-up and background etc in addition to getting on with telling your story. It also continues the strategy of approaching successful novelists to write comics for Vertigo (artist Inaki had previously worked on Fairest: Hidden Kingdom for Vertigo with novelist and Arthur C Clarke award winner Lauren Beukes, reviewed here).
Caitlin is especially known for her dark, urban fantasy and strong female characters, and this serves Coffin Hill very well, I think. This opening issue starts in Boston in the present day, a serial killer caught by a rookie cop, Eve Coffin. We don’t stay in the present for too long though – after leaving the celebration party for her collar quite early and clearly upset Eve goes home and walks into a major domestic disturbance. And by major I mean her flat-mate ahving a gun pointed at her by her drug-peddling psycho boyfriend… The gun goes off, Eve takes the hit and is rushed to hospital. As surgeons battle to save her life fractured memories of her earlier life slash across the page jaggedly, Inaki using a central scene of her on the operating table surrounded by these broken shards as his layout, the art cleverly suggesting the damage and turmoil in her injured brain.
And then we’re back ten years previously to Coffin Hill, Massachusetts, the Coffin family manor – proper New World Old Money – Caitlin describes them as “the holy trinity of New England royaltyL old blood, old money, old secrets” which beautifully sums the family and its history in the area up. Oh, and of course they are cursed. Their scheming, decadent lives have produced all manner of secrets, and part of that seems to be linked to witchcraft and dark magics, the woods by their estate brooding and haunted, known in local lore as a place not to go, a place where bad things happen even centuries after the Salem witch trials, the dark atmosphere hangs over it, poisoning the area and the family.
And it’s this dark legacy that attracts Eve, purloining a forbidden old tome from a study in the family manor while an extravagant party takes place and the wealthy bicker and argue and intrigue while wearing false razor-blade smiles at their societal gathering. Meeting her Gothy friends in the dark woods it seems young Eve is determined to do more than play at being dark, she and her friends plan a ceremony, and it’s becoming clear that something she did during these events is what has haunted and changed her all the way to the present day ‘hero’ cop life she leads in Boston. It’s an intriguing, nicely dark and disturbing opening issue that leaves me wanting to learn more about this secret history and the effects it has had on that decade of Eve’s life that we haven’t seen yet. Caitlin creates an interesting lead in Eve, from the damaged, haunted, older woman we see as a police officer in Boston now to the rebellious rich daughter doing what she wants to annoy equally spoiled parents and flirting with something she doesn’t fully understand.
Inaki’s art moves from dark, grayed tones for the present day urban police setting to brighter, clearer images of the richly dressed socialites of Coffin manor or the alluring, sexy (but not sleazily so) young Eve and her friends, while over it all there hangs a dark pall, like something from the House of Usher or other works by Poe. Intriguing, I will be picking up issue 2.
This review was originally penned for the Forbidden Planet Blog
Yes, I know, I’m recommending a Volume 2 to you – but worry not, although if you already know your Fables history there are little references hidden away for you to enjoy, but to the new reader this Fables spin-off series focused on the female characters is a terrific way into this long-running world of tales (and if it is new to you you will want to explore not only Fairest 1 but the whole of Willingham’s magnificent Fables series afterwards). For this story arc Willingham sought out South African writer Lauren Beukes (rhymes with Lucas, if you are wondering), who I’m sure some of you will alreadyknow from her Zoo City novel, which won the prestigious Arthur C Clarke Award, the UK’s top prize for literary science fiction (I’d also commend her recent, disturbing, fascinating and compelling The Shining Girls novel, reviewed recently by James on our blog and now nominated for the prestigious Golden Dagger award), while Brit comics readers may have seen Inaki’s work in Judge Dredd.
Lauren was given Rapunzel (of flowing locks fame) as a character to play with and teamed up with Spanish artist Inaki Miranda, and although she felt tempted to do something with folkloric characters from her own African homeland she couldn’t resist the lure of Japan. And while I would love to see the duo revisit Fairest later for an African myth-themed tale I, am glad they did go Japanese for this first outing. Despite working in different countries the two were soon swapping ideas, references and influences, from ancient Japanese folklore to modern anime and J-Pop, and the hugely influential J-Horror (as Lauren put it, there had to be a crazy hair horror moment in the Japanese setting!) which fuse in the tale to give a fantastic setting that takes in the hypermodernity of big-city Japan mixed with its much, much older rich seam of folklore.
Rapunzel has had a mysterious message, that a dark chapter of her long personal history is calling her to Japan, where she had been centuries before. A potion helps slow her astonishing hair growth so she can travel in the human world without drawing too much attention (when your hair grows several inches every few hours it’s hard to hide it on a long flight from the US to Japan!) and with some other Fables she begins her search in Japan, where we get to meet a whole array of Japanese Fables, many of whom soon prove memorable characters in their own right, some quirky, funny, some disturbing and monstrous, some rather sexy.
This is no simple tale of personal rediscovery in a (too us anyway) exotic setting and culture though , as Beukes and Miranda layer in a whole lot of other elements into both the story and the characters. This isn’t a story that shies away from exploring dubious moralities and the consequences to many from the actions of one, and it is also a story in which sexuality (in a very sensual fashion though, not an exploitative way) plays a major role. Also mixed in with this is violence, including a particularly harrowing sequence which writer and artist crafted to be brutal, not wanting the stylised, almost, as Lauren put it discussing this scene recently at the Edinburgh Book Festival, consequence free violent fights of some superhero tales (lots of violence but rarely seems to matter much). This shows the awful nature of someone being hurt, repeatedly and brutally, deliberately shocking the reader, as indeed it should. Miranda conjures up some wonderful visuals, from a splash of neon Tokyo that looks like a J-Pop album cover to a brooding, dark old forest in which the overgrowth of Rapunzel’s hair (and the things that come from it) are spun into a nest, like something from one of Del Toro’s early films, menacing and disturbing, while the aforementioned violent scene flashes from different protagonist’s perspectives until the physical punishment leads to the frames breaking up, shattering, cleverly echoing the victim’s point of view as the punishing concussion of the blows drives her into unconsciousness, or a psychedelic, disturbing birth scene – the pair of them reallydo craft some memorable scenes.
There’s been a real push to bring in novelists – especially from SF&F – into comics to help stir things up in recent years, bringing in new perspectives, and this is one of the fruits of that push. Much recommended. You can read a special guest Commentary post by Lauren and Inaki discussing their approach to Fairest here on our blog. Inaki’s art will be seen again this autumn in Coffin Hill as part of the big, new DC/Vertigo series of titles and I reckon he’s one to be watching. Lauren is already working on a new book and let’s hope it won’t be long before she also returns to comics.
this review was originally penned for the Forbidden Planet blog
During my very busy period at the Stripped comics strand of the Edinburgh International Book Festival, in addition to chairing a couple of the author events this year I was also delighted to pose the questions for a couple of their series of short video interviews with authors, including this one I did with Lauren Beukes and Inaki Miranda shortly before chairing their event (which was great fun) – don’t worry, you don’t see me in either as I am safely behind the camera (which I prefer) and indeed as they edited it to mostly the author’s responses you barely hear me, but was nice to be asked to do a couple and fun to do. I talked to Lauren and Inaki about their collaboration (this was the first time they met in person) as well as their next projects:
And I also got to ask Neil Gaiman some questions, which was great – hard to believe it’s been around twenty years since I first did an author event with Neil in my old bookstore. Our slot got bumped by another interview team but Neil noticed this and very kindly arranged to fit us in after the next item on his very busy schedule, and so we got to stand in late summer sunshine in Charlotte Square and I got to ask Neil about his returning to the Sandman, working with JH Williams III and how it felt, having grown up like most of us our age watching Doctor Who, to walk onto the TARDIS set knowing they were filming a story you wrote, and how much more receptive the people now at the BBC are towards his work: