BOOK REVIEW: Chu, Vol. 1 by John Layman and Dan Boultwood

Chu, Vol, 1Chu, Vol, 1 by John Layman
My rating: 4 of 5 stars

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Out: January 26, 2021

 

The unique element of this book is its food-centric premise, and – in particular – the existence of food-based extrasensory perception. The central character, Saffron Chu, is able to read the mind of anyone nearby, if she eats the exact same thing that person is consuming as he or she consumes it. Saffron is part of a criminal gang that conducts high-value burglaries. Saffron’s brother, Tony, has a different (and much grosser) food ESP in that he can get psychic impressions from sampling the deceased at crime scenes (i.e. a bit like “iZombie” but he doesn’t have to eat brains; it can be blood or viscera that he tastes.) [Actually, his power is broader than that in that he can get impressions off of anything he eats, except – for some reason – beets, but the tasting of blood and gore is most relevant to his role in this story.] Tony is a police detective.

The story begins with the crew that Saffron belongs to bungling the burglary of a powerful crime boss. Keeping with the critical role of food, the burglary fails because a city-wide outbreak of food poisoning attributable to tainted chicken strikes part of the crew, and only Saffron and her charming, if douchey, Dick Dastardly-looking boyfriend – Eddie Molay – escape. The rest of the story revolves around Saffron and Eddie trying to survive and escape revenge attacks from the crime-lord who they attempted to rob. As the couple is doing so, Tony and his partner are assigned to solve the murders of the burglary-gone-awry from which Saffron and Eddie escaped, as well as some of the subsequent cases that ensue.

Family is a major element of the story’ tension. The cat-and-mouse between Tony and Saffron is only part of this, though it is a central element of the story. These characters are also put in situations in which they must determine if family comes before the other things they value, and they must cope with the fact that whatever they do happens within a familial context – i.e. they each have to face the shame of the family knowing who they truly are.

The art is whimsical, colorful, and easy to follow. The classic cartoony nature of the drawings is beneficial in maintaining a tone that is lighthearted, despite the many gruesome deaths that are depicted in graphic, but comically absurd ways.

This volume collects the first five issues (#1-5) of the series. I enjoyed the story, which was straightforward and entertaining. The premise of the book is unique, if odd — but better bizarre than cliché.

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BOOK REVIEW: Kill a Man by Steve Orlando

Kill A ManKill A Man by Steve Orlando
My rating: 5 of 5 stars

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James Bellyi is a closeted gay mixed martial arts fighter in contention for the middleweight belt. Amid the pre-fight smack talk, Bellyi is outed by his opponent, the man who current holds the title. The dropping of this bomb throws Bellyi’s career into disarray, his gym quietly drops him, the fight promoter overturns Bellyi’s previous fight, saying that he cheated under the referee’s nose, the organization – name “EFC” for legal reasons, I presume – fearing that much of its fanbase is not ready for a gay champion.

When the EFC finds itself in a bind because losing an injured headliner threatens to bleed the interest out of its upcoming event, they are forced to give Bellyi another shot to work back to a title-fight. With no one in his corner – literally — Bellyi manages a victory, but he knows he’ll need a coach to succeed in the title fight against the man who publicly outed him.

This is where things get interesting. Bellyi’s father, DJ Bellyi, had died due to fight-related injuries when James was still a boy. DJ Bellyi had been trying to stigmatize his opponent, Xavier Mayne, with anti-gay slurs, in part to get Mayne of his game and in part — we learn — because the senior Bellyi was genuinely a homophobic bigot. However, instead of knocking Mayne off his game, what DJ succeeded in doing was throwing a legendarily powerful striker into a seething rage.

While James Bellyi always despised Mayne for killing his father, when he finds himself facing a title fight without “a corner” and with all odds against him, Bellyi decides to pursue Mayne as a coach. Reluctantly, Mayne agrees. This creates overlapping stories between James and Mayne, and the core question is whether the younger generation can learn from what the previous generation went through. We learn that Mayne was traumatized by DJ Bellyi’s death. It’s also about whether and – if so – how the world has changed on a societal level in the intervening years.

I found this book to have an intriguing premise. It’s a simple story. It may seem like I gave it all away in the review, but reading the back-cover blurb gives a reader at least as much insight into the key story elements as did my description. There’s not a lot by way of extra layers. So, its more about whether the details of the story (e.g. the characters’ interactions) resonate with the reader than whether the reader will find some huge unexpected twist. The art is easy enough to follow. The artist uses different color palettes to differentiate different blocks of panels, I believe this is for the purpose of establishing emotional tone (but, perhaps, I misunderstood what was meant to be conveyed and it’s more about differentiating scenes.)

I enjoyed this book, and if you like fight stories you’ll likely enjoy it. It’s like “Rocky” but with the underdog status being less by way of being from down-and-out circumstance and more based in bigotry.

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BOOK REVIEW: Hanuman by Anant Pai

Hanuman (1)Hanuman by Anant Pai
My rating: 4 of 5 stars

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This comic book is one volume in a huge collection of graphic depictions of Indian mythology (not only Hindu, but also Buddhist, Jain, secular folklore, etc.) Having lived in India for the better part of a decade now, I must admit that, sadly, my understanding the country’s mythology and folklore is not up to snuff. In my defense, I have often found that my Indian friends tend to have a varied and or tenuous grasp of the subject, a given person might know about some story or deity in considerable detail, but know virtually nothing about others – even if they are relatively popular tales. It’s just such a huge and disparate collection of stories that only experts are capable of both a breadth and depth of understanding of the topic. Even those books that attempt to simplify, making the subject comprehensible to a layman, often get bogged down in the vast number of characters and stories. Having stumbled upon this series on Amazon Prime, I thus decided to change tack and take in Indian Myth and Folklore in the chewable (if child-centric) bites offered by these comic books.

This book tells the story of the monkey-god, Hanuman, particularly his role in the story told in the “Ramayana.” If one is looking for a broader story than that, you may be disappointed. Anyway, this tale seemed like a good place to start because I already knew the story, at least in broad brush strokes. Thus, I had some basis for comparison of how this series tells the story. In a nutshell, the story revolves around the conflict between Rama and Ravana. Ravana has absconded with Rama’s wife, Sita, and is holding her hostage at his stronghold in Lanka, attempting unsuccessfully to woo her. (Though the latter part is not addressed, herein.) Hanuman enters the scene because he allies with Rama, and the monkey-god is sufficiently superpowered to leap the sea from coastal India to Sri Lanka. Hanuman, therefore, goes to Ravana’s territory to reconnoiter. When discovered, Hanuman makes a daring (if mischievous) escape to report back to Rama. The monkey-god then plays a crucial role in Rama’s battle against Ravana.

The only part of the story that I remembered from before that wasn’t addressed was the bit about Rama wrongly accusing Sita of infidelity and her response. I suspect this was primarily because the story is directed at children, and marital unfaithfulness was considered to be too intense of a topic. However, it might have also been the case that this bit of the story was deemed to be too big a can of worms to open in a Hanuman-centric telling of the story.

I enjoyed the book. With superpowered characters and heroic deeds, it’s not all that much different from the superhero tales of modern comic books – which, themselves, are sometimes rooted in varied mythologies. The art is simple and clear (if a bit dated in approach,) and I found the text surprisingly devoid of the clumsy exposition that has historically plagued comic books. If you’re interested in taking in mythology and folklore in bite-sized chunks, it’s worth checking this one out – particularly if you don’t mind that some simplifications are made to make the story more kid-friendly.

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BOOK REVIEW: The Boys, Vol. 2: Get Some by Garth Ennis

The Boys, Volume 2: Get SomeThe Boys, Volume 2: Get Some by Garth Ennis
My rating: 5 of 5 stars

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This volume continues the Garth Ennis series that takes as its premise that the superheroes are villains and the real heroes are anti-heroes. It consists of two different four-issue stories. The first half (issues 7 – 10 [of the comic series overall]) is the subtitular story “Get Some,” and the back half (issues 11 – 14) is entitled “Glorious Five Year Plan.”

“Get Some” pits the Boys against Tek Knight and SwingWing as the anti-supe team investigates the killing of a young gay man. Tek Knight is a sex-addicted cross between Tony Stark and Bruce Wayne (i.e. wealthy, intellectually-gifted, and without superpowers.) SwingWing was originally Tek Knight’s sidekick, Laddio, but became a marquee character in his own right (á la Dick Grayson’s Robin to Nightwing transformation.) Of course, Butcher and his team, “the Boys,” aren’t social justice warriors out to solve all societal ills, but – instead — are interested in the case mostly for the leverage it will give them over a couple of key members of the superhero group called Payback.

This is a simple story, and perhaps the most thought-provoking part of it is how the characters respond to homosexual individuals. On the one hand, there is Billy Butcher who talks in such un-PC terms that he would certainly be labeled homophobic by anyone hearing him talk, but yet he is both comfortable being around gay people and shows no disrespect in his behavior toward them. On the other hand, one has Hughie, who is very uncomfortable with Butcher’s politically incorrect speech, but is also subtly uncomfortable interacting with gays. As the movie “Get Out” considered whether “soft racism” can be at least as disconcerting as hardcore bigotry, this story considers whether “soft homophobia” isn’t something that presents a more serious long-run threat to better relations.

The second half of the book presents a more intriguing story. In “Glorious Five Year Plan,” the Boys go to Russia to get to the bottom of a case involving an exploding head. [FYI – this has nothing to do with the exploding heads from the second season of the Amazon Prime tv series.] The Boys team up with an old retired superhero from the Soviet days, “Love Sausage,” whose costume is way too tight. The story revolves around a nefarious plot and international intrigue that turns out to be much bigger than was first thought. When Butcher stumbles onto warehouse where about 150 superheroes are hanging out, he knows someone has big plans. The story features an intriguing villain, Little Nina, who is physically tiny but manages to have an outsized menace.

I enjoyed both these stories. It’s nice that each is self-contained. If you like the idea of superhero team-up parodies, this series is worth looking into. If you’ve been watching the tv series, don’t worry that the books will be spoiled, they are very different in many ways.

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BOOK REVIEW: Psi-Lords by Fred Van Lente

Psi-LordsPsi-Lords by Fred Van Lente
My rating: 3 of 5 stars

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Out: December 2, 2020

Four individuals find themselves with autobiographical amnesia and superpowers in an unfamiliar deep-space world. Over the course of the story, they discover that they are a multinational team of Earth astronauts deployed to this location because it’s on a collision course with planet Earth. However, they are instantly caught up in the political and interspecies squabbles of the roving star system on which they’ve found themselves. Even once they figure out their mission, they have to contend with forces that have opposing objectives.

This volume (consisting of eight issues) seemingly suffered from a problem of not being constructed from story foundations upward. Rather, it felt like the author said, “We need these cool happenings to occur. Let’s write /draw them and then at some point we can figure out why they might happen.” If that sounds like devoting all energies to figuring out how to pimp out a penthouse without knowing anything about how the basement and ground floor will be arranged, that’s about the size of it. The central premise doesn’t make much sense, so the things that this book does right don’t matter so much – though they do exist.

To be fair, the most glaring point of incredulity in the book is later explained more adequately as part of the resolution, but by that time one is so soured to the book that it doesn’t matter [plus, it’s only one of several points of incredulity.] The issue in questions revolves around the fact that we are led to believe that these four have superpowers because they were given them in order to guard some dangerous (but ill-defined) prison population. Imagine you are a tourist traveling in a foreign country and people from the government hand you a machine-gun and rocket launcher, and say, “Please guard our most dangerous prisoners.” The reader is presented with a premise like this as the rationale for these four lead characters having superpowers. It seems like the author wanted to make a superhero story, but he didn’t want to waste a lot of energy thinking of why or how this team of people would have superpowers. [Yes, I know that, from radioactivity to murdered mothers, superhero origins are notoriously tenuous, but this one is so bad that it actively captures one’s attention, hindering one’s capacity to stick with what is going on in the story.] As I said, explanation is revised at the end, and the revision is a bit better, but by that time the sins of story have piled up so high that it doesn’t free the book of the stench of story failure. (I think the author wanted to keep origin information secret till the end, and that killed the story. He either could have made an earlier strategic reveal or thought up a more logical explanation.)

Because the lead characters are from Earth (i.e. in a universe where we know how physics work) there are some huge issues on the science front as well. I’m neither a science major nor one to nit-pick all the little physics violations that sci-fi stories are rife with, but I think if one so much as passed eighth grade science, one will find all the glaring impossibilities of this book annoying. [And if you really know anything about science, you’ll be mortified by how ridiculous it is at every turn.] You may have caught the biggest of these in that it’s supposed to be a star flying through space. There seems to be a lack of understanding that a star that gets relatively small becomes even more immensely dense, such that gravitational effects are still in effect. Setting the story in another world would eliminate this, but then one wouldn’t have the emotional appeal of characters from Earth. [Quite frankly, I also don’t think anyone (but the biggest science sticklers) would notice or care if they were engaged in the story, but because motivation is unclear and undercut from the start, it’s impossible to become lost in the story (and easy to find faults.)]

I found the art a bit odd and frenetic at first, but it grew on me. I can’t say that if there was nothing wrong with the story, I would have been troubled by the graphics at all. There were a number of little things that were not great, e.g. quips that didn’t land, etc. that wouldn’t have detracted from my enjoyment if there weren’t so many major story elements that didn’t make any sense. As I said, even huge science problems probably would have gone unnoticed if the story wasn’t a flaming train wreck by the time that I had the free cognitive capacity to notice those errors (i.e. because I wasn’t intrigued or emotionally engaged in the story.)

I think there are some interesting ideas in the book — such as the Scion character backstory. With different execution, e.g. revealing information differently and building more sound and logical motivations, this book could have worked. Despite being intrigued by the blurb, I wasn’t thrilled with this book, but your results may vary.

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BOOK REVIEW: Manga Classics Frankenstein Adapted by M Chandler

Manga Classics FrankensteinManga Classics Frankenstein by Mary Shelly
My rating: 5 of 5 stars

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Out: November 10, 2020

 

This is Mary Shelly’s story adapted into a manga-style graphic novel. It’s the story of an ambitious young scientist, Victor Frankenstein, who races to create a human-like living being, but faced with the horror of seeing the creature alive and in the flesh, Victor flees, abandoning his “monster” to its own resources. Shelly’s story is considered one of the first (if not The first) science fiction novel and is also one of the great works of horror. But it’s not just a piece of cross-genre pop fiction. Because it artfully deals with a number of issues central to the human experience, such as the potential for monstrosity in ambition and question of whether evil is made or birthed, the book is frequently studied as literary fiction and is one of the preeminent works of the Romantic movement.

The manga adaptation follows the beats of Shelly’s story. The story opens in media res with a Captain Walton seeing Victor out on the ice. Victor is giving chase to his creature. Walton brings the haggard scientist aboard. Thus, the tale is told through this device of a story within a story. The manga adaptation even begins with an epistolary (told through letters) entry and revisits that form briefly at the end. However, the story is largely conveyed as a shipboard Victor introduces flashbacks by directly speaking to the Captain. Shelly wrote the novel in epistolary form, which was popular in those days, but it isn’t the most conducive to a graphic vehicle. The epistolary dialogue bubbles are given their own distinct font, and so it’s not hard to distinguish them.

The major points of the story will be familiar to many, even if one hasn’t read the book. [While the most famous of the movies are quite different and less philosophical, elements of the story appear throughout various pop culture media.] In a nutshell, Victor Frankenstein goes off to university, learns to animate a pile of stitched up animal and human parts, and goes deadbeat dad when his creature comes to life. A while later, Victor returns to his home to find that his young brother William has been murdered, and that a beloved family servant, Justine, is to be tried for the killing. Nobody in the family believes Justine is responsible, and Victor (in particular) has reason to believe his sins have come back to haunt him. (However, Victor’s ongoing lack of capacity to truly see what his sins are and to address them is the source of virtually all the suffering in the book – not only his own. While the creature does the killing, Victor often comes off more monstrously. Conversely, the creature explains himself in a way that invites empathy in the reader.)

The monster appears to Victor and tells him the whole story of what happened after Victor fled. The creature wandered off and prodigiously learned how to be human [including how to speak and read classic literature,] largely by watching the De Lacey family from a distance. In his loneliness, the creature introduces himself to the blind old man De Lacey, and the meeting is going swimmingly until De Lacey’s [sighted] children come home and freak out upon seeing the monstrous (if articulate) being before them. This is when, twice spurned, the monster goes to Victor’s home, kills William, and frames Justine.

The monster offers Victor a deal, if Victor will build the creature a companion, it will stop its deadly rampage. Victor travels to England and Scotland, mostly with a friend Clerval, but leaves solo to a remote island to construct and animate the creature’s companion. The creature follows him. With Frankenstein’s bride stitched together, Victor has a change of heart and destroys it as the creature watches. Instead of killing Victor as the self-obsessed scientist expects it to, the creature retreats after delivering an ominous threat. A pair of dire tragedies follow. It is the second of these that results in Victor’s chase of the monster toward the Arctic pole.

Soon, we are back to the point that Victor is on the ship. The crew are petitioning Captain Walton to return toward home even though Victor has already begged the Captain to assume the scientist’s obligation to kill the creature [if the beaten-down scientist is unable to.] Ultimately, Walton agrees to turn back because he is at risk of getting his crew killed. Victor is in poor shape. We see the creature once more, when he comes to ask forgiveness of his creator. The creature explains to Walton that it isn’t the only monster, nor is it the one whose actions really created the tragedy.

I thought the art, which was drawn and shaded in monochrome, was well-done. The artist took efforts to capture the descriptions conveyed in the book. They chose to stick with the convention of reading as one would a Japanese manga (right to left, not left to right,) but there is a handy explainer page up front to make this clear from the start. Also, there are visual cues to help remind one as one reads, e.g. how the bubbles are positioned and angled, etc., and so I can’t say I had any problem reading it that way. It just seemed a bit odd, but I don’t know whether there is a Japanese edition. If there isn’t, it seems like it would have been just as easy to put it together in the manner of an English language comic book, but – like I say – it was no great reading challenge.

I thought this adaptation was well done. I think one gets a very good sense of the story through the combination of selected text and graphics, as well as the varied styles of text and thought bubbles used to suggest who is speaking or thinking.

I’d highly recommend this book for those wishing to revisit the story in a compact and / or visual form, or even for those who have trouble following the writing style of early 19th century epistolary novels, which can be a bit formal.

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BOOK REVIEW: The Boys, Vol. 1: The Name of the Game by Garth Ennis

The Boys, Volume 1: The Name of the GameThe Boys, Volume 1: The Name of the Game by Garth Ennis
My rating: 5 of 5 stars

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If you weren’t familiar with this comic book, you’ve probably at least seen promos for the streaming series adaptation available on Amazon Prime Video. After watched season one, and as season two is currently in release, I decided to give the source material a read. As with “Preacher,” this presents its own challenges in keeping the comic book and series straight. This is because (as with “Preacher”) there is a common cast of major characters, but significant differences in the story and details. That said, the book and series both open in a similar way with Hughie being drawn into the action by a tragic event involving a superhero (A-Train, this team’s version of the DC character, Flash) and Hughie’s girlfriend.

If the description of A-Train as – essentially – the same as the Flash makes the book sound derivative, it is intentionally so. In a nutshell, “The Boys” takes the Justice League and gives the characters nasty personality traits, ranging from pettiness to madness, and then centers the story not on the superheroes but on a group that works to check those “heroes’” power from the shadows (i.e. the titular “Boys.”) So, A-Train is fast like the Flash, but he lacks Barry Allen’s intellect and soft-spoken mannerism, and so – conversely – A-Train is a high school jock dialed up to his most vain and brash form. The other members similarly have unappealing personality traits, and even full-blown dark sides. This divergence between is most intensely seen in Homelander (the Superman of this series, but without the Man of Steel’s perfect moral compass and stoic Midwestern calm,) but even Noir (the Batman of the group) is intended to make Bruce Wayne seem like a well-adapted beacon of light by comparison.

The six issues contained in volume one both tell the tale of Hughie’s reluctant entrance into “The Boys,” and follows him through his first mission as the newly reassembled Boys take on “Teenage Kix.” (A youth superhero group which is to “The Seven” as the Teen Titans are to the Justice League.) Having Hughie in the role of the group’s “everyman” would be an odd choice in real life because it puts a rank amateur on a team of professionals who are already outgunned. From a narrative point of view, however, the appeal is clear. It creates emotional stakes within a group that is otherwise stone-cold killers (if with some positive personality traits to subvert expectations.) Hughie’s naivete and raw fear is particularly necessary in the book because the stakes are somewhat lessened by the fact that the Boys are not as severely outmatched as they are in the series (in the series “The Female” is the only superpowered member of the “Boys.”) The decision to recruit Hughie is explained both by the desperation of the team’s leader, Butcher, and his desire to include someone who is personally driven. There are not a lot of people willing to sign on to take on a two-faced lunatic with the powers of Superman (i.e. Homelander,) and Hughie is uniquely motivated by the tragedy of his girlfriend’s death to go after superheroes who’ve been corporately levered above the law.

The comic is a bit more sexually graphic than the series, though in some ways the series is more viscerally horrifying. (As I mentioned, in the series the Boys – excepting one – are in no way capable of going toe-to-toe with the enemy.)

The art is well drawn and colored and I didn’t have any problems following the happenings conveyed graphically.

I enjoyed this comic as I have with other Garth Ennis works. At least this volume was a bit more lighthearted and not as visceral as the series, but I don’t count that as a good or bad thing. Just different and just appealing to different states of mind. The comic is funny in places and action-packed in others. If you are interested in the concept of neurotic to psychotic superheroes and what it would take to keep them under control, it’s worth giving this book a read.

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BOOK REVIEW: Dracula, Motherf**ker by Alex de Campi

Dracula, Motherf**ker!Dracula, Motherf**ker! by Alex de Campi
My rating: 4 of 5 stars

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This short story in graphic novelized form imagines a Dracula who has been trapped in his coffin since the post-Bram Stoker story time period coming back into action in 1970’s Los Angeles. (While there is a nod to the Bram Stoker novel in starting the story in late-1890’s Central / Eastern Europe, the book doesn’t present itself as a sequel — and purposefully tries to avoid some of the old [and new] vampire clichés.) The book taps into the feel of 1970’s noir crime drama. The main character, Quincy Harker, is a photographer whose work appeals to a macabre impulse of those who like to see snuff shots of beautiful people. As such, he goes around to scenes reminiscent of the Manson family slaughter of Sharon Tate and friends to snap his pictures. [Note: While in Bram Stoker’s book Quincy Harker was the child of Mina Harker, in this book that’s just an Easter Egg-style reference without any intended continuity to the book’s characters.] Because Harker is always going out at night to capture images of the recently deceased, he his easily drawn into the family feud between Dracula and his brides.

The artwork is interesting. There is not a single color palette used throughout, but rather different scenes are in different palettes. In the back-matter written by the artist, there is a statement about this being meant to influence the reader’s emotional inflection. It’s also pointed out in the back-matter that all scenes are set at night, which might not be otherwise apparent. Some panels are colored brightly and colorfully while others are in black and dark blues.

The story is simple and quick. Between drawing on the vampire mythology and on the noir crime cinema imagery, there’s not much that’s particularly novel about this book. That said, the fact that it puts Dracula’s brides at the fore does give it a bit of niche.

As mentioned, there is a writeup at the back by both the author (de Campi) and the artist (Henderson,) along with some draft drawings and scripts for those intrigued by how the sausage is made.

I enjoyed this enough to get caught up in reading it in a single sitting. (That said, it’s very short — even for the 80-ish pages — given sprawling panels and sparse / terse dialogue.) If you enjoy vampire fiction, it’s worth checking out.

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BOOK REVIEW: Frankenstein Alive, Alive! by Steve Niles

Frankenstein Alive, Alive: The Complete Collection (Frankenstein Alive, Alive!)Frankenstein Alive, Alive: The Complete Collection by Steve Niles
My rating: 5 of 5 stars

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This graphic novella collects four issues together with some ancillary matter (e.g. draft sketches.) It not only draws upon the Shelley Frankenstein world; it picks up from it as if it were a sequel. That is, it begins on the Artic ice, with Frankenstein’s monster intent upon finding peace – if not an end — frozen in the glacial mass. The story is about the monster coming to grips with its humanity, its monstrosity, and its immortality.

When the monster’s attempt to freeze himself in the ice fails to bring eternal rest, as well as a second attempt of a similar nature, the monster realizes there is no respite to be had in hiding out in suspended animation. It will simply result in a string of rebirths like the one that began his torment. The monster must go about the business of living.

Wandering back to civilization, the monster finds a rare friend among a wealthy doctor, and takes up residence in the doctor’s mansion. At first, this doctor, Dr. Simon Ingles, seems quite unlike the monster’s creator, Dr. Victor Frankenstein. Ingles isn’t repulsed by the creature’s existence and has a nurturing manner that wasn’t to be found in Victor. However, eventually we see that Ingles shares with Victor an ambition to be free from the shackles of mortality.

Ingles wants to harness the power of life to keep his terminally ill wife from dying. The price that must be paid to extend his wife’s life is even more foul than that paid by Dr. Frankenstein. When the monster recognizes this monstrous ambition in Ingles, he is torn about what to do. On the one hand, Ingles has been kind to him, is in many ways a good person, and the monster thinks that it is far be it for him to enforce morality given his own great crimes. On the other hand, the monster is uniquely attuned to the darkness of this desire shared by the two doctors, the desire to be master over life and death, and the sight of this ambition brings out a desire to end Ingles’ life and his despicable plan.

This is a smart story built around the humanity in a monster and the monstrosity in humans. It’s a quick read, being less than one-hundred pages. Bernie Wrightson’s artwork is appropriately gothic, and – except for a few plates between issues, is black-and-white. I’d highly recommend it for those who like classic horror and science fiction, particularly if you enjoy graphic works.

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BOOK REVIEW: Dracula: Son of the Dragon by Mark Sable

Dracula: Son of the Dragon (comiXology Originals)Dracula: Son of the Dragon by Mark Sable
My rating: 5 of 5 stars

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There is a vast amount of vampiric fiction available today, and no small amount of it focuses on the character of Dracula. This graphic novel sets itself apart by building the story on real world events (such as they are known, and with dramatic license to make the story exciting and the imagery evocative.) At the risk of turning people off (but not intending to,) I would go as far as to say this book leads with history, and makes the supernatural secondary. I actually liked that about it. When I say the supernatural is secondary, it’s not like its eliminated from existence or that it’s purely garnish. There are dragons and vampires, but a story exists with or without those elements.

A story of war and political intrigue in what is now Romania is bookended by the depiction of a meeting between Vlad Dracula and three clergymen. In the opening, Vlad is telling the priests that he is about to let them in on the truth of his story, which they have no doubt heard in mythologized form. At the end, he asks the clergymen to tell him whether he will be allowed into heaven. The body of the story is a flashback from the meeting with the priests. It splits focus between Vlad’s father, who is working to keep his domain under his control by playing the ends against the middle vis-à-vis his Roman Catholic neighbors (notably Hungary) and the Ottoman Empire, and the story oft Vlad, himself. Vlad is a young man. He and his brother are sent to Scholomance (a kind of Slavic Dark Arts Hogwarts) and later become prisoners of the Ottomans.

I thought the artwork was easy to follow and stylistically appealing enough. Some of the frames in the ancillary material at the back were truly beautiful. I often disregard the back-matter in comics because it usually amounts to little more than discussion of how the drafts changed over time – i.e. offering insight into the sausage-making of the book. However, this book had an extensive Notes section that I found fascinating and useful because it explained how points in the book compared with known history. Some of the points that I assumed were pure fiction had a factual basis. Sable also related points to Bram Stoker’s “Dracula.” The creators tried to be consistent with Stoker’s book, as well as with history, when they could. The former wasn’t so hard because readers of Bram Stoker’s will recognize that the titular character is kept largely a mystery, particularly with regard to his backstory.

If you are interested at all in the historical and mythological basis of the Dracula vampire, I’d recommend this book. As I said, the notes will give you a good idea of what was known to be true, what is complete fiction, and what is a kernel of truth enveloped in story sensationalism. Obviously, all the supernatural elements are pure fiction, and also there is a lot that remains unknown, but this graphic novel provides an interesting take on the origins of Vlad Dracula.

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