Vertigo

I was lucky enough to get a copy of the new Vertigo Encyclopedia from Dorling Kindersley. For those of you who don't know your comics, this is the imprint of DC Comics which not only published 'mature' titles (a general, catch-all term often used in comics publishing, basically it means comics aimed squarely at an adult audience) but contributed much to making them acceptable in mainstream circles, helped not a little by the works of Alan Moore and of course one of my all-time favourites, Neil Gaiman and the Sandman series. If you're familiar with DK books it won't surprise you to learn that its a very well illustrated volume as they have a very good name for visual design in their adult and children's works.

The book has large section on the major Vertigo titles such as Hellblazer, Sandman, Preacher, Lucifer and so on, with a synopsis of the main plot points, character guides and more important information on each series - makes it very browsable and easy to dip into. The one-off titles and mini-series are also pretty well served considering the space restrictions. I started by looking up some of my favourite series, then checking out the smaller entries which gave me a nice little memory rush as they reminded me of quite a few I'd read and enjoyed years ago and which had slipped my mind (I hadn't thought of the gorgeous Moonshadow in ages, for instance). Good Xmas gift if you are looking for ideas in a few weeks. A contact at Dorling Kindersley emailed me at work to say they had made a video about the creation of the book, which they've put up on YouTube:

Like a drug

Going through some old albums recently I came across one I hadn't listened to in ages, one of my favourite bands that no-one else ever seems to have heard of when I mention them, rock band They Eat Their Own, who I picked up years ago in one of the second hand record stores in Edinburgh - must have been the early 90s because I remember the lyrics to one song, Better Now, turned out to be appropriate for a college essay I was working on and I ended up quoting them to add a nice touch to the paper. There isn't a huge amount out there on They Eat Their Own, but there is a YouTube of Like a Drug. Which is, as it happens, the song that reminded me to dig out that album because Fiona Apple who I've been listening to recently does a cover of it. Although her version isn't quite as rude and sadly this video version by the original creators is also slightly censored version - "you consume every thought but if you called me I would tell you to fuck off" becomes "tell you to get lost" which just doesn't have the same raw impact, but it was all I could find.

"I don't buy
Your true life stories
'Cause I've seen
The way you lie
But I don't mind
The things you tell me
Because I know
We'll say anything to get by

But when we're together
Somehow I feel better
My disease always tricks me
I believe you can fix me

You're insane
I love the drama
Tell the truth
You love it too I know you
Reason strikes
We fight and break up
'Cause it seems
The easiest thing to do

But when I don't get your call
I go into withdrawal
You consume every thought
But if you called me I would tell you to fuck off

I need you
I need you like a drug
I need you
I need you like a
I need you
I need you like a drug
I need you
I need you like a
Drug

It turns me on
To say I love you
But deep inside
I know it's lust not love at all
One day we
Will leave each other
But we pretend
The end's not inevitable

I require protection
From my own obsession
In the object of you
One day I will rise above you

I need you
I need you like a drug
I need you
I need you like a
I need you
I need you like a drug
I need you
I need you like a

Until then
We'll stay together
I guess things could be much worse
One day things will be much better
But I don't really want to write another verse

'Cause when we're together
Somehow I feel better
My disease always tricks me

I believe you can fix me

I need you
I need you like a drug
I need you
I need you like a
I need you
I need you like a drug
I need you
I need you like a
I need you
I need you like a drug
I need you
I need you like a
I need you"
I need you like a drug"

Who watches the Watchmen?

For some weeks its been rumoured that Google's camera cars are here in Edinburgh for their Streetmap project, where the existing Google Maps will be supplemented by photos taken at street level. This has already caused complaints from civil liberties groups here and in the US as the teams photograph everything - people with their faces visible, cars with registration often visible, homes, schools, businesses. Google has so far pretty much shrugged this off the same way they shrug off allegations of collaborating with dictatorships such as China. Their only meagre response so far to a barrage of criticism is to say they will try and blur the faces of individuals visible on the photos. Given the number being taken I wonder if that will happen.

However it seems their staff are also hypocritical - when the Edinburgh Evening News photographer saw them prepping their camera cars in Edinburgh and snapped them for the paper they approached him and told him to stop or he would be sued. Since he was on public land and there is now law which gives Google staff the right to come to another country, parade around it taking pictures of everyone and everything they want while gagging the press from taking legitimate pictures for a legitimate story with legitimate public interest concerns they were clearly talking cobblers.

"It would be interesting to see just what legal grounds they think they have to stop their picture being used that wouldn't also apply to the pictures they are taking, and I think they would be on pretty treacherous ground." Guy Herbert, No2ID.

yes, it would be...

Google has now said they have no problem with people taking pictures of their camera cars, but this seems to be at odds with their staff's actions. Hypocritical? Surely not. I do hope I see one of these when I am out and about Edinburgh with my camera because I'd delight in taking a photo and sticking it all over Flickr and my blog. As was noted in the article this isn't entirely disimilar to when large protests and demos are held and the police and other security try to video and photograph everyone taking part, even in peaceful, legitimate demonstations, but get rather antsy if those activists then take pictures of them in return.

Flyboy

Prince William wants to be a full time helicopter pilot with the RAF's search and rescue service. Well, I suppose it means he would have a helicopter handy for further trips to land on his girlfriend's family estate.. I think she likes a man with a big chopper.

Sorry, I am contractually obliged to go for the bloody obvious double entendre.

Reviews from the past: Jekyll & Hyde

This review originally dates from 2003 and is another of the many I wrote for The Alien Online. Robert Louis Stevenson, a fellow dweller of Edinburgh, has long been one of my very favourite writers and it delights me no end that I can walk around some of his old haunts here. The Strange Case of Dr Jekyll and Mr Hyde is also a landmark tale, dating from the late 19th century it is a horror tale which is a splendid example of early internalised horror (the body itself becomes the source of the horror) and of the use of the then fairly new science/art of psychology. Its a tale which, like its near contemporary Dracula, has infected the cultural bloodstream of humanity ever since, to the extent that even people who have never read the tale will use the phrase Jekyll and Hyde personality to describe someone who switches from one extreme to the other.

And if you haven't read the original I highly recommend it as one of the finest tales every spun and a story which has far more layers and meaning than the simplistic versions seen in movies and TV which usually opt for simple good versus evil motif, which is exactly what the book is not about. Most adaptations in other media I have found miss the point of Stevenson's tale, but Kramsky and Mattotti clearly understood the way vice and virtue, shame and desire were intertwined in Jekyll and Hyde, not separated. And this was also my first real exposure to Lorenzo Mattotti, a remarkable European comics artist who has since become one of my favourites:

Dr. Jekyll and Mr. Hyde
By Jerry Kramsky and Lorenzo Mattotti,
Published by NBM



A gorgeously painted incarnation of Stevenson’s tale


Lorenzo Mattotti and Jerry Kramsky have collaborated to create a beautifully painted take on Stevenson’s tale of fractured humanity. Obviously somewhat shorter than the original novel, this is really more of an adaptation than an abridgement. As with Stevenson’s original classic, Doctor Henry Jekyll is not a complete saint, depraved and corrupted by Edward Hyde’s malevolent spirit. Rather Jekyll is the embodiment of his own theories on the duality of human nature. By all public appearances he is the distinguished and respected scientist, well known in society. However, Jekyll feels the tug of his darker desires. He sees the depravity around him in drinking dens, dark dancing halls and shady alleyways where ladies of the night ply their trade. And he wants it so much… Ah, but the shame of it all! Despairing of having his darker nature revealed and yet increasingly desirous of releasing his animal wants and needs to be satisfied Jekyll uses his scientific genius to free himself.

At first the transformation is reasonably controlled. Hyde is a distillation of all of Jekyll’s dark impulses, unfettered by conscience – but it is Jekyll’s fantasies that he is living out. Like a masque in long-ago Venice he has found a way to move through the shadows of night and desire without ruining his public persona. The trouble comes as Hyde’s violent nature asserts itself and Jekyll is left with the remorse, shaking and shuddering like a junkie on withdrawal and guilt. The transformation back to Jekyll is increasingly difficult as Hyde beings to assert his own existence, preying on the darkest fringes of human iniquity and sexual deviance… Playing on Jekyll’s darkest dreams, his most sordid fantasies made flesh with no restraint.

Mattotti and Kramsky have created a most unusual graphic version of this tale. The painted artwork is alive with unusual angles, distorted images of people and buildings, echoing the out-of-control spiral of Jekyll and his alter ego Hyde. The colours and shapes eschew realism and embrace a style that draws heavily on the Surrealist painters of the 1920s, 30s and 40s. The colours remind me of a Kandinsky painting while the grotesque images of people owe much to Picasso and even Edvard Munch. The warped angles of the city’s architecture echo the Expressionist films of the same period, such as the Cabinet of Doctor Caligari. Appropriately, the tale has been moved from the Victorian era to sometime in the 20s or 30s. All flappers and Weimar-era decadence – hidden by day, seeping out at night to parade its sinful flesh, just as Hyde does. The old social order crumbling at the seams while the new one emerges from it’s straight-laced and barely restrained desires, an illegitimate offspring born in darkness.

The tale is wonderfully told, ignoring the simplicity of most film adaptations, where Jekyll is a saintly character and Hyde a devil. Instead, as Stevenson intended, it dwells more on humanity’s inherent duplicity of desires, between our goodness and our darkness, something we all have deep within. What happens when a man tries to act out those desires by freeing himself of the consequences by becoming someone else? This is no accident – Jekyll wants, at least in the beginning, to free himself to enjoy these depravities this decadent new age offer. This is an unusual and often disturbing take on Stevenson – who wanted it do disturb after all – but wonderfully crafted and painted in the most gorgeous manner. It is almost worth buying simply for the fantastic artwork alone and NBM (who brought us Far, Far West and Boneyard amongst others – see earlier reviews) have employed their normal larger scale book, allowing the artwork more room to breathe. Deep, dark, disturbing – nightmare images to haunt you in the night, lying alone with your desires.

Reviews from the past: 5 is a Perfect Number

This is an old review of an English translation of a European graphic novel by Igort - we're still not seeing as many translations of some excellent (and bestselling) graphic novels (or bandes dessinées) of European works as I'd like, which is a great shame as there are some wonderful books, both for adults and younger readers, but they just aren't being picked up and translated in great numbers. Still, it has improved a little in the last few years and was probably less common when I first reviwed 5 is a Perfect Number for The Alien Online back in 2004:

5 is the Perfect Number,
Written & illustrated by Igort,
Published by Jonathan Cape



A Mafia graphic novel with Giallo undertones

Peppi is a retired Guappo, a Mafia gunman from the old school. The story opens with him making coffee for his son Nino, who has followed in his footsteps and is about to embark upon a hit. Nino is clearly disturbed about something, so his father makes him sit down for a chat and is soon reminiscing about ‘the good old days’. Nino confesses that he has been feeling out of sorts lately and that he isn’t sure the job of a Mafia killer is really for him anymore; Nino has been having disturbing dreams. Peppi produces a box wrapped in a bow and presents it to the depressed Nino, telling him that although his birthday isn’t for a few days tonight feels like the right time. Opening it up Nino’s mood changes instantly to joy as he beholds the top-of-the-line new handgun his father has bought him and decides to take it with him on his job. As the rain starts to come down Nino leaves his father’s home; it is the last time Peppi will see him alive.

It transpires that Nino has been set up for reasons which never really become clear. Obviously whoever ordered the hit is nervous about Peppi’s reaction – he may be old but he has a formidable reputation – and two corpulent gunmen are dispatched to ensure the old man meets his son in the afterlife swiftly. Relaxing with his fishing rod Peppi is oblivious to his son’s fate and his own approaching danger; just another old, retired man fishing happily. Until he is blinded by a vision of the Madonna and realises what this portent means – his son is probably dead and he is next. His old instincts kick in and he soon finds the two fat gunmen looking for him and dispatches them with great violence. Calling on some very old friends for help Peppi find that his son has indeed been killed on orders from the top of the Family. Girding his old loins, Peppi vows to wage war…

The story here is one of classical simplicity – wrongful family death and a mission of retribution. However the way in which Igort takes us through this tale is the beauty of the piece. Dreams and portents play a significant role in the book; Peppi’s vision of the Madonna saving his life, his own disturbed dreams of being chased, Nino’s troubled soul coming out in his dreams. They serve to give us insight into the mind of the protagonists, but do so in a wonderfully stylised manner. Instead of giving us direct access to their thoughts and fears we share the metaphorical imagery of their dreams and visions and, like them, must interpret them for ourselves (which I found to be both a clever and engaging move – it draws you into the character far more than if the author simply spoon-fed the reader the character’s thoughts directly).

Flashbacks are also a major component of the story, from Peppi’s cherished tale of how he met his late wife to his days of glory as a great Guappo. Indeed the whole story is infused with a loving (but never cloying) nostalgia for the 40s and 50s (classic Noir period). The artwork moves from a much stylised but not too unrealistic form to increasingly odd-looking art for the dream sequences. The detail helps to fill out the period feeling, with movie posters and, in one scene, a fabulously stark silhouette of a 50s garage which sets the scene and period perfectly. Films, especially the old crime and Noirs, are obviously a huge influence in this tale and the style of it’s telling, giving it a very expressive imagery.

As with the finest Noirs or the old Giallos there are rarely any truly innocent or good characters as we would understand them. Peppi is the central character and we are encouraged to sympathise with his quest for vengeance, but Peppi is also a stone-cold killer who has taken many lives. Of course, he sees himself – and his son – differently, as men of honour; their moral outlook in life is, like that of most heroes (or anti-heroes) in a Noir is flexible and somewhat different to the norm for society. Peppi, disparaging the modern hitmen, exclaims at one point that you can tell a man by the way he kills and adds proudly, “My son, thank God, kills the right way.” His reminiscences of the good old days are also laced with violence he finds acceptable – he talks happily about how “people killed one another by the rules” as if this makes everything alright (in his moral outlook it does). It is to Igort’s credit that he does not whitewash his characters into simple good and bad but presents them to us in this manner and yet still he manages to win the reader’s sympathy for Peppi.

This is an unusual graphic novel by English-language standards (although not for European BD), laced with nostalgia for the old films of the 40s and 50s and featuring some lovely and incredibly expressive artwork. It is not afraid to show us the violent past (and present) of our characters; it makes no judgment on them and leaves it very much to the reader. Igort even manages to slide a little humour into such a bleak tale, notably when Nino tells his father he is running late for a job and Peppi tells him that’s fine – it gives the soon-to-be deceased a few more minutes of life and so shows the hitman has style and class. I thoroughly enjoyed reading this and found it is one of those books that demand a re-reading to look for little pieces of dialogue and artwork that you may have missed first time around. This will appeal to anyone who enjoys a Raymond Chandler novel or even Altered Carbon (or indeed any Noirs).

Lippygate

Barack Obama is being accused of sexism and attacking Sarah Palin with his comment "You can put lipstick on a pig. It's still a pig. You can wrap up an old fish in a piece of paper and call it change. It's still going to stink after eight years. We've had enough." Some took it to be a reference to right-wing Palin's recent and oh so charming 'the difference between a hockey mom and a rottweiler is lipstick' speech. The whole thing has been taken out of context though and it seems now he might have meant to say "you can give a pig an assault rifle and let it shoot up a family planning clinic but its still a pig." Which is completely different.

Actually I've been watching in vain for someone to post a follow-up to a recent but not confirmed report that VP hopeful Palin, at the start of her political career as the mayor in small town Alaska, called in the local librarian to ask how she went about having books she didn't approve of removed from the library, a pretty serious and heavy-handed bit of interference if true and an action which would speak volumes of her character, but sadly beyond the original report none of the major news agencies seem to be following it up. You can give a pig a library card but at the end of the day it might remain a close-minded, ignorant pig...