Exit Wounds - Dignified Excellence

2007 was a good year for the Graphic Novel. First, the success of movies based on them spurred a whole new set of readers to read the original works. Popular movies even used the medium for promotion by launching novels of their own. Then, having established itself as a treasure chest for screenplays (with the benefit of already being storyboarded), the industry saw an influx of capital with rights to various 'scripts' being bought. While all this catered to the masses, the year also produced some phenomenal work that was critically acclaimed. Rutu Modan's Exit Wounds was one of those. Despite winning the coveted 'Best Book of the Year' at the Eisner Awards earlier this year, very few readers in India have actually heard of it or read it. 

While Modan has been in the international spotlight for several years now, a lot of comic aficionados had not heard of her prior to the release of Exit Wounds. Not surprising though since almost all her work has been done in Israel, having worked on comic strips for leading newspapers and won several awards including the Andersen Award for Illustration(2001). Additionally, she's been nominated for the Eisner Awards for Best Comics Anthology of the Year as well as the Promising New Talent Award at the Ignatz Awards. 

With credentials like that, it's no surprise that Exit Wounds is a must-read for any serious graphic novel fan. And if you already are a comic buff, then this is the book that you should hold up to those who say that it's all kid's stuff. 

If you're wondering whether it’s the story or the illustration… well, it's neither by itself, but the balance of both.  Exit Wounds is the story of Koby Franco, a Tel Aviv cab driver in his twenties. The story begins when a woman soldier, tells him that she believes his estranged father was recently killed by a suicide bomber. Koby's initial reaction is one of nonchalance, but she convinces him to help her find out if he did die in the blast. And why is she so concerned about an old man whose own son couldn't care less? Because she was romantically involved with him. And so begins the cross-country hunt.

Modan tells the story expertly; weaving theories for the reader only to shatter them and pull them deeper into the mystery. The chemistry between the two central characters is built up as they constantly fight and allows the reader comic relief, while building up sympathies with their confusion. The backdrop of Tel Aviv adds greatly to this, with the artwork peppered with real-life trauma of those who live there. Yet, not once, do Modan or any of her characters place blame on anyone. This lack of hatred builds up compassion in the reader. 

The artwork is characteristically modest. Modan's bold colours are used with a lot of discretion and contrast well in order to highlight what the author wants the reader to see. It is simple, yet engaging - just right for such a strong story. 

Do make an effort to read this one, if you haven't already. 

P.S - Before I sign off, here's a bit of trivia on Rutu Modan. While most people think of her only as an author of serious contemporary novels, she's also the co-editor of the Hebrew edition of MAD Magazine! 

DevaShard: At First Light - An epic is born

Some months back, a friend referred me to a blog about a new company in Hong Kong called Fluid Friction. They had apparently put together an international team of writers and artists to come out with Hong Kong's first international graphic novel. Intrigued, I checked it out. 

The blog was a record of artwork development for a story called DevaShard which was loosely based on the Mahabharata. Not only did the blog capture each stage of the creation of a graphic novel and its characters, but there were even images of the brilliant artwork that was being developed for it. I loved it.

That's why I was excited when I finally got the first book in the series: At First Light. To say the least, it's a feast for the eyes. 

Before the comic begins, there's a short note from the Fluid Friction team. It declares that their intent is to create an alternate fantasy world for readers - where one can be immersed in a fantastic story and art. 

Do they live up to it? Let's see. 

First, the art. 

The book portrays quite a variety of settings as the story jumps through time and place. In Rhimn, where it’s a rainy night in a garden lit with green-flamed torches. At Lasan, where everything is made of ice. In Ethaar, where there's a rainforest with a river. Each presents a surrounding that has been carefully thought out by the creators. Pains have been taken to ensure that even the flora and fauna are different.  

The ensemble of characters is for the most part humanoid - some have a couple of extra limbs. More interesting, though, are the variations of style and features within these characters. The 5-tailed daemon king has a very east-European face with high cheekbones and long straight hair (and has one blue and one red eye). The voluptuous queen and the charioteer have very distinct Indian features and wouldn't be out of place in some of the current Indian comics. The young prince and the princess have a very 'manga' look to them. Despite these differences, there's a distinct style that blends the characters together. Kudos to the art team for that. 

The inking and coloring for each of the panels had been done with painstaking care - with the colors always just supporting, complimenting, and never overshadowing, the finely inked lines. I would love to get my hands on the original artwork of some of the panels. 

The 'art' aspect of their goal has definitely been achieved. While the book itself is an easy read, it's the art which keeps the eyes roving over the panels repeatedly, which are at times incredibly detailed.

Now, for the story.

Like the first chapter of any story, At First Light sets the tone and background for a story that is yet to come, introducing characters and giving snippets of events that are as yet not connected. I don't expect to see the main story begin to unfold till the 3rd chapter. But that doesn't mean it's not racy - it is, in fact, quite fast paced.

To help readers get an idea of the story to come, the book has two story overviews. The first is the back cover which tells us that DevaShard is about a boy "who's robbed of his birthright and plunged into a land gripped by darkness" where he must "fight to become a fearsome warrior if he is to survive". 

The second is the longer prologue inside. It introduces Bhumi as a magical world and tells us that a war is about to come where mankind's sole hope will be a daemon army. It also introduces "Moonstones", which are portals spread across Bhumi. More importantly, though, it tells us what to expect in terms of a story - which is about two forsaken sons whose lives are destined to be interlinked in a struggle, be tested by adversity and loss, and learn that "some fights, no matter how unjust cannot be walked away from". 

My verdict on the story: very promising. The world of Bhumi has a lot of potential and can become a base for several stories like DevaShard. 

The last few pages of the comic has brief bios of a few characters and a map of Bhumi. While the map is good for reference, it would have been helpful, especially since this is the first installment, if they had put short bios of some of the characters in this chapter before the story began. Also, it does take some amount of turning back pages to get your bearings - more because the reader needs to get familiar with an entire cast of new characters. 

All in all, it's not often that one gets  the chance to see the birth of an epic - and a stunner like this one is not to be missed. 

You can see the DevaShard blog here and visit the official site here. 

Kashmir Pending: Better Drawn than Written

In the world of Indian comics, one of the things I'm glad about is that while the output is relatively lower in number than say the US or UK, the quality is not. The issues with which they deal are contemporary and real; be it the double-life of Kari, or the journals of The Barn Owl's Capers. Penned by Naseer Ahmed, Kashmir Pending is yet another novel on these same lines. 

Naseer takes on the decades old strife in the Kashmir Valley, one that we now take so much for granted that it no longer even makes the news. The story, however, is not from an outsider's point of view where facts and events are laid out so that good and bad are as easy to tell apart as black and white. Instead, it takes us into the life of young Muslim boys growing up in Kashmir and being manipulated by larger forces. 

But before going on to discussing what I think is the true highlight of the book, here's a short brief on the storyline: The chief protagonist is Mustaq, a boy with unresolved anger issues against the army. To top it off, his family is not supportive of his artistic abilities. While at the university, he attends fiery lectures by charismatic leaders of the Kashmir freedom movement and is so smitten that he goes off to a terrorist camp across the border for training. 

While there, he, along with other incumbents from across the border, are treated with scorn. He starts getting disenchanted with it all and, bribing the guard with a wrist watch, makes his way back to the Valley. He then discovers that the militant recruiters themselves are involved in double-crossing conspiracy, and loses his best friend to them. This finally sets him on the path to reformation. 

That's basically it. What comes out of it is the question of ownership: who's war is it? 

Apologies if that didn't want to make you pick up the book and read it, but I've tried to copy the same bland manner of the author. It's disappointing that given a situation like Kashmir, where there's plenty of opportunity to infuse the dialogue with wit and irony, Naseer chooses to be simple.  But here's why you should go and get the book: the artwork. 

Saurabh Singh's dark and harsh portrayal of prisoners in cells, smoking, praying, and talking set the tone brilliantly for the book. Making the cells shadowy, so  that if it weren't for the bars, you'd think they were caves, gives the story a distinct no-nonsense look. Readers will also be reminded of Sin City in Singh's use of black and red. 

The storyboarding has also been done very interestingly. If it were a movie, it would jump from far shots to close-up zooms, which gives the novel a very surrealistic feeling. All in all, I wouldn't really ask you to go mad looking for it, or even buy it if you see it… but it's a good book to borrow. 

Note to readers: I'm sure that many of you would have read this book. It's possible that I got so taken with the artwork that it set my expectations of the story much higher. Do let me know your views on it. 

"Who watches the Watchmen"

Note to readers:  Alan Moore's 'Watchmen' has been in the news for quite some time now. Thousands across the world are awaiting the release of the movie in March '09 - which the director has promised, is as close to the novel as possible. Judging from the trailer, it might well be. I'm optimistic that it won't turn out to be the disappointment that Wanted was. But still, why take the chance of judging the book from the movie when there's plenty of time to read it first.

 

In 1939, masked heroes arose. Some called them the Minutemen. Others, the Watchmen. Guarding society against crime. Battling criminals on their own terms. Going beyond the law whenever necessary. For 38 years, they reigned. Two generations of disguised crime-fighters.

 

In 1977, the Law was passed. Vigilantism became illegal. The heroes were forced to give up their masks. Only the ones who already worked for the government were allowed. And there were few enough of them. Once more, urban crime-fighting became the realm of the Police.

 

Now, it is 1985.  The US had won the Vietnam war. Nixon is still President, now in his fifth term. And the Cold War is at its height with the US and Soviet Union edging towards a war.

This is the alternate history which forms the background of the Hugo Award winning Watchmen. 

 

The novel opens to a murder. A man has been beaten and thrown out of his high-rise apartment window. Two investigations ensue. One, by the Police. The other, by the only remaining independent (hence illegal) vigilante - Rorschach. The man who has been killed used to be the vigilante formerly known as The Comedian. A man who worked for the government and one of two legal vigilantes in the US. So that makes Watchmen a murder mystery.

 

The story revolves around 6 vigilantes: The Comedian, Rorschach, Nite Owl, Silk Spectre, Dr. Manhattan and Ozymandias. The volumes skip between the Now and the Past, giving the reader biographies of each of the characters, how they came to be vigilantes, insights into the frictions within the community, and their love lives. So that makes Watchmen a drama.

 

Of them all, only Dr Manhattan has super powers - that's strength and intelligence. His conversations on humanity, actions, consequences and on life itself are at times unethical, but always logical. He is the one character that seeks to understand, rather than know. His view of himself? "There is a God and He is American." That, perhaps, makes Watchmen philosophical.

 

Watchmen also has one more thing. It's debatable since its got a long ending, but I thought it had a surprise ending.

 

In terms of illustration, the style is simple, but there's loads for the reader to look out for. The pattern of Rorschach's mask keeps changing, for instance.  The graffiti on the walls often says "Who watches the watchmen".  Each volume ends with a quote by a famous person, which encapsulates the thoughts of the character that is the subject of that volume. Notice what the people in the background are doing. The back covers of each of the 12 volumes features a clock which progressively inches towards midnight. It's the doomsday clock. All of it builds up to the fatalistic society that is portrayed within.

 

Watchmen also has a 'comic within a comic' where there's one character who's reading a comic next to a news stand throughout the book. The reader can hear snatches of conversation going on around him, but can also read the comic - which in itself is a noir 'Count of Monte Cristo meets Robinson Crusoe'.

 

All of this makes Watchmen a classic. Ever since DC Comics brought it out in 1986, it has enjoyed a cult following, and, in many ways, set a benchmark for graphic novels that few others have equaled. If you're going to be reading it for the first time, then here's a word of caution. Don't compare the novel's characters with other vigilantes. When it comes to superheroes, familiarity breeds superiority and you may lose interest in the initial volumes. In Watchmen, vigilantes aren't about skills, gadgets or intelligence. They're simply people out to do the right thing.

 

Before I sign off, here's a bit of trivia. In the novel, there is a dialogue that explains the etymology of the title as something that John F. Kennedy wanted to say in a speech. However, the quote 'who watches the watchmen' is from the writings of the Roman political  satirist Juvenal (circa 100 AD). He wrote:

"I hear always the admonishment of my friends:

'Bolt her in, and constrain her!'

But who watches the watchmen?

The wife arranges accordingly, and begins with them."

 

Well, that's enough said. I'll leave the rest to you. For those of you who've already read it, let's talk about it. 

Ghost in the Shell

Note to readers: The iconic Masamune Shirow's works are pretty hard to come across in English (and in India), and I found one tucked away in an airport bookshop. I simply had to leave my other projects mid-way to read the original manga - albeit in English. Apologies for the delay to those of you who've written to me asking when the next review would be out, and to those of you I had promised to do Sandman and Watchmen. These, I promise, will be next. 

Most comic (and movie) buffs have heard of 'The Ghost in the Shell'. Thus far, I had contented myself on just the animated movies (which are iconic in their own right). If you haven't read the book but watched the movies, then you're pretty well clued into the story. It doesn't deviate from the book and I can only imagine the pains with which the screenplay for the animation was written since it does indeed put forth the philosophical aspects rather well. 

The year is 2029. Cybernetic technology has successfully (to a large degree) molded Man and Machine. Hands and legs can be easily replaced by more technically advanced limbs. Eyes can be replaced by electronic lenses that allow you to zoom or change visual medium (think Robocop). Even the brain can be downloaded and transferred to a human exoskeleton, called a Shell. With all human organs easily replicable, what's left is the 'Ghost' of the person that existed earlier; call it a 'consciousness' if you will. This forms the basis for the title's etymology. 

The world is basically one large electronic network.  And since one can actually plug in one's brain to this 'internet', interpersonal communication can happen via thought without actually speaking. Of course, there's the chance that if you let someone into your head, they may find stuff you don't want them to - but this can be guarded against (like using firewalls on your computer). This is the background on which the story rests. 

What hasn't changed in the world is this: countries are still haggling with each other for economic profit and power. 

The plot revolves around a special division of the paramilitary forces called Public Security Section 9 which deals with external threats to the country (in this case, Japan). They report only to the highest authorities and enjoy almost limitless freedom to take action as they see fit. The protagonists are all part of Section 9. The soldiers (in order of hierarchy) are  Kusanagi a.k.a. the Major, Batou, Ishikawa, and Togusa. The unit is headed by Aramaki (who's also referred to as 'ape-face' - with good reason). The unit also uses an 'intelligent' single-seater armored tanks called Fuchikoma and other state-of-the-art weaponry (including personal armour that can render you invisible). 

The story starts with Section 9 being formed after a government-authorized assassination. After that, the team carries out a series of seemingly routine operations that include an orphanage where an inmate tries to run away, chasing down a bomber, a brutal mafia boss who's trying to escape the country and dirty politicians. As the story progresses, they realize that the crimes are all somehow connected at the highest levels with a secret government project called the Puppet Master - a cyborg that claims to have a consciousness. That apart, there's the interdepartmental rivalry, the team members' personal lives and relationships, and the rapport they develop with one another in the course of their work. Enough, I suppose, to say that there's something for everyone. But what sets the novel apart are Artwork, Technological detailing and Philosophy. 

The Dark Horse Manga edition I bought is interspersed with full color spreads, as in the original collected format. There was an earlier edition which was less graphic and explicit. Needless to say, Masamune brings stories to life as few others can. 

Reading the novel reminded me of Michael Crichton's writing, which is full of scientific/technical explanations. 'Ghost in the Shell' features writing between the frames which are small notes. They give bits of information that either clarify technology or describe what's been drawn. For instance, when a nurse asks "Feel any pain around the brain, hon?", there's a small note below the panel which says "The brain itself cannot feel pain". There are quite a few pages that illustrate technology and how it works. In fact, most of the technology he speaks of actually exists. 

But what makes it 'cult' is the philosophical discussion that emerges within. A sort of case against Cartesian Dualism. For instance, if the mind can be replicated, then what's the definition of being human? How far can/should Man and Machine integrate? What part of us makes up our 'identity'? 

Reading the book won't make you hate the movie in any way at all. It'll give you scenes and insights into characters which weren't included in the movie and add depth to what you would already know. And it's definitely worth the read. Do try to get your hands on this one.

1602: Marvel goes retro

Last night, I was going through my collection and came across one of my favorites: the Marvel 1602 series. Written by Neil Gaiman, the story features characters from the X-Men, as well as Captain America, Nick Fury and The Fantastic Four in the Elizabethan Era. Villains like Dr. Doom and Magneto appear as well. 

The plot revolves around the central characters in the year 1602. None of them know how they've come to be there and slowly start realizing that they don't belong in that age. Several stories spin out simultaneously sometimes coming together and then again splitting ways. Nick Fury's avatar, Sir Nicholas, heads the Queen's intelligence bureau and is charged with appropriating the secret treasure/weapon of the Templars. Javier (Charles Xavier) runs a safe home for "the witchbreed", which the Spanish High Inquisitor wants to blame for the sudden strange weather across Europe. A tall man and his young charge come from the Americas to seek the Queen's protection, but have strange abilities that they themselves do not understand. A Count Von Doom, the ruler of Latveria, has been building strange machines. And the Fantastic Four are hapless prisoners in his castle. 

Enough to whet your interest in it? Saying more would reveal the interesting twists in a carefully crafted plot. While the story is a great 1st time read, and may not tempt you to go back for a 2nd read anytime soon, its the artwork that will make you want to frame each page. The night-time lighting in the frames is exceptional. Since the artists didn't have the freedom to presume a well-lit room (with bulbs et al.), they are restricted to working with "torches" that burn on walls near the characters. I was so intrigued by it that I did some research and it turns out that they used a technique called "enhanced pencils" wherein the pencil drawings bypass the inker and go straight to the colorist. Do try and get your hands on this one.

A Preacher you should listen to

Presume God exists. Suppose he decided he didn't want to be responsible for the world anymore and simply got up and left… leaving Heaven to be run by his scientists and army. 

Believe there is a Devil. Suppose that he died at the hands of one of his own creations - the Saint of Killers.

Know there is a Man. A Preacher. Suppose he has imbibed a power called Genesis that renders him unquestioned obedience to the words he says… and he wants to ask God why He has abandoned his creation.

Add to that a conspiracy by a group of Christian extremists who want to bring about Armageddon before they produce a Saviour.    

That is the foundation of Preacher - a comic series by Garth Ennis and Steve Dillon. 

But its more than that. As the Preacher and his assassin-lover search for God, their paths cross with a vampire who becomes his best friend, a sexually deviant ruthless military commander, a kid with a mutilated face - all of whom play key roles in the story. An interesting angle is John Wayne (yes, the man himself!) as the Preacher's imaginary friend who makes appearances throughout the series. 

With a storyline that sometimes moves into flashbacks giving the reader insights into the characters' past, we see examples of society's dark side and stark examples of deviant desires. On one level, the dialogue on religion is controversial, yet its also about a 'never say die' spirit across all its characters. While the protagonists have a marked 'take no shit' attitude, the reader also understands why some of the others do 'take shit'. 

Another way of looking at it is through individual philosophy. Each character has his/her own philosophy of life and they never waver from it. Each one has clarity about what he/she has to do next… and does it without any compunctions of any kind. As individuals, they are flawed, and don't even pretend to apologize for it. 

Read it once for the story. Take it in like you would a Oliver Stone film. Then go back and spend time on the monologues/thoughts of the characters. Now look at the modern America and the image it tries to project and what it tries to hide. The poverty of the poor. The underlying racial tension. The lobbies within the government.  The clash of cultures. The search of identity in youth and modes of expression. 

Ennis' dark writing is brought to life by  Dillon's stark no-holds-barred artwork. The ugly are ugly. Scars add character, and not a 'cool' factor. The fights are dirty with no-quarter given. Moods and thoughts are shown with entire pages of repeated frames where only the character's facial expressions change. If the narration is dark, so is the frame. The series is dotted with pitch black frames with just a few words in a box. 

But it's not all dark... there're frames that'll have you laughing. Herr Starr's unfortunate wounds, mishaps and frustrations are a source of constant comedy. Indeed, if it weren't for that, the story would have been much harder to read, since these allow the reader some breathing space.

The series consists of 75 issues in total — 66 regular issues and five one-shot specials and a four-issue Saint of Killers limited series. Read it.