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I&N Review: TERRORIST by Henrik Rehr

10 Friday Apr 2015

Posted by dmaxwell in I&N Review

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Archduke Franz Ferdinand, Berlin, Fatherland: A Family History, Frans Masereel, Gavrilo Princip, Graphic Universe, Henrik Rehr, Jason Lutes, Joe Sacco, Nina Bunjevac, Safe Area Gorazde, Terrorist: Gavrilo Princip the Assassin who Ignited World War I, World War I

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By Derek Mainhart

What makes someone become a terrorist? It’s a question with some urgency at this point; one that, given recent events, is particularly resonant with cartoonists. In his new book Terrorist: Gavrilo Princip, the Assassin who Ignited World War I, cartoonist Henrik Rehr explores the mixture of ideology, desperation and political circumstance that are at the root of the phenomenon. Rehr’s vehicle for this exploration is perhaps the most infamous terrorist act in history.

Starting at birth, Rehr traces the forces that shape his subject, Gavrilo Princip: from his grandfather’s nationalistic stories of Serbia’s past glory, through the repression and indignity of daily life under occupation, first by the Turks, then the Austrians. Lacking any real education or prospects due to his second class status, Gavrilo’s idle days are filled at cafes digesting the news of the time with friends whose radicalization slowly, frighteningly, transforms from theoretical braggadocio to cold, irreversible action. As young Gavrilo (he was nineteen when he assassinated the Archduke) and his cohorts engage in ever more dangerous behavior, Rehr pulls off the neat trick of having the reader, fully aware of the historical implications of their actions, still feel anxious for their safety. He accomplishes this by skillfully interspersing telling, personal moments (Gavrilo’s sweetly naive relationship with his girlfriend, the family life of a reluctant co-conspirator), humanizing the principle actors.

As counterpoint, he interpolates scenes from the life of Archduke Franz Ferdinand, revealing him to be, yes, privileged and insulated, but also a loving family man, a reluctant leader, and also an optimist (charmingly naive in his own way) regarding human nature. If anything, he was predisposed, as Rehr portrays him, against exacerbating the tensions that would lead to war; more’s the tragedy.

Rehr’s even-handedness speaks to his humanistic underpinnings: whatever you think of his actions, Gavrilo’s concerns for his people were heartfelt. Whatever the cruelties of the Hapsburg Empire, Franz did not deserve to be gunned down in cold blood. (There is also a fatalistic irony at play as the author traces the combination of incompetence, botched plans and sheer chance that ultimately led to the fateful act.)

The subtlety of Rehr’s approach extends to his art, which is gorgeous throughout: beautifully composed, convincingly researched without being cluttered, the occasionally dense storytelling broken up by poetic vignettes of starkly lyrical black and white. This is especially true in the largely wordless coda, the powerful imagery of which recalls the work of the legendary Frans Masereel.

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In trying to condense a massive amount of complex information, Rehr does occasionally commit the misstep of having his characters narrate history through their dialogue. And as Gavrilo’s coterie grows, it sometimes becomes difficult (to these American eyes at least) to keep track of everyone amongst all those dark moustaches and names with too many consonants.

These are quibbles of course. Terrorist takes an impressive spot amongst the burgeoning field of politically-minded, historical graphic works. In addition to the aforementioned Masereel, Rehr’s exploration of history’s intimate effects on people’s daily existence recalls Jason Lutes’ magisterial Berlin, as well as the works of the incomparable Joe Sacco. (In fact, one could construct a credible primer on the tragic twentieth century of the region by reading a ‘graphic trilogy’ comprised of Rehr’s book, the acclaimed Fatherland: A Family History by Nina Bunjevac, and Sacco’s masterpiece Safe Area Gorazde.) Comprising various approaches and styles, the underlying hope offered by these works is that by attempting to understand how outsize forces affect individual lives (their dreams, their failures, their loved ones, their deaths) we can, on some small level, alter the course of our troubled times, before our own lives become so much grist for some future account of catastrophic history.

Terrorist: Gavrilo Princip, the Assassin who Ignited World War I, published by Graphic Universe, is on sale now. 

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I&N Review: Wild Blue Yonder #6

01 Thursday Jan 2015

Posted by ScottNerd in I&N Review

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Austin Harrison, Battlestar Galactica, Colonial Viper, Cylon Raider, IDW, Mike Raicht, Nelson Daniel, Star Wars, Tie Fighter, Wild Blue Yonder, X-Wing, Zach Howard

This is it, folks: the explosive finale of the soaring spectacle that has been Wild Blue Yonder:

Wild Blue Yonder #6

Wild Blue Yonder #6

And by explosive, I’m not simply talking about all things coming to a head after all the tension that has been built up over five issues is released in a singular climactic burst.  I mean, literally: there are a lot of explosions.  A lot.  It’s clear–well, as clear as it can be for all the smoke and debris: the creative team–the Wild Blue myth masters–comprised of Mike Raicht (story/writer), Zach Howard (story/artist), Austin Harrison (story) and Nelson Daniel (colors) decided to go out with a FaDoom!

Told you so.

 

Despite the fact that there’s enough fiery fallout to warrant a a titular turn of the color wheel–from Wild Blue Yonder to Wild Orange Yonder–the biggest blast isn’t the result of offensive or defensive ordinance; instead, it comes from Raicht’s using the structure of the issue to further blow up archetypal conventions by turning the Judge–the story’s antagonist–into an antihero who’s worth rooting for, certainly as we recall his confident assertion in the previous issue: “we will rise above those flames for good” (good to be taken as “forevermore” and, relatively speaking, as “moral righteousness”); and thanks to a bloody flashback, which gives him even more power in the eyes of his people–and, more important, power over us.

Don’t be surprised, then, if you find yourself sympathizing with the Executioner before the axe comes down.  See: even though the world’s propped up on black (the Judge!) and white (Cola!) stanchions, the atmosphere of moral relativism takes on a shade of, well, blue.  It doesn’t take long, however, for our concern to turn back toward Cola and Co.  As the focus of the story switches to the defenders of the Dawn, we’re reminded that they’re the ones who deserve to carry on; they’re the ones who are meant to see a better day.

They are the ones–right?

But a better tomorrow doesn’t come easily.  Howard and Daniel–the former delivering a career-defining achievement and the latter wielding colors of mass destruction–make it look pretty easy, though, with their other-worldly attention to detail, which is showcased during the inevitable issue-spanning, sky-scarring dogfight that drives the narrative to its ultimate conclusion.  Oh, sure, it’s a familiar scene powered, in part, by cinematic urgency: heck, it comes preloaded with the energy of X-Wings vs. Tie Fighters and the desperation of Colonial Vipers vs. Cylon Raiders.  We see in this re-imagining a rag-tag air force–comprised of planes from a bygone era–led by Cola and supplemented by gutsy guns (including the high-caliber–and scene-stealing–Scram) vs. a swarm of Wraiths, this time spearheaded by the Judge, who knows that this is his last opportunity to provide a future for his people.  Undoubtedly–and unapologetically–the myth masters are sticking to a tried and true script; they’re pinning their hopes–and ours–on our familiarity–more, our sacred relationship–with genre tropes.  And it all works; it still feels fresh–thanks to special moments like the gorgeous final double-page splash, which hearkens back to a double-page splash from the past and which leaves us to do some Sol-searching of our own.

The clever fellas at Noble Transmission have left a few questions unanswered–questions that’ll tug at you long after you’ve bagged and boarded the book.  That’s got me thinking, expecting–and hoping–sequel.  Ah, now that will be a beautiful day.

I can’t wait to see what else they’ve got in store for us.

For now, though, you’ve got to wait for this:

Wild Blue Yonder #6 (IDW) is slated to hit the shelf of your favorite comic shop on 1/21.  I’ll be picking up my copy at Android’s Amazing Comics.

Turning pages,

Scott

 

 

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I&N Review: Wynter #1

23 Saturday Aug 2014

Posted by ScottNerd in I&N Review

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Anthem, Aron Elekes, Ayn Rand, Blade Runner, Guy Hasson, Harrison Bergeron, Holden Caulfield, Kurt Vonnegut, New Worlds Comics, Philip K. Dick, Total Recall, Wynter

Here’s something to do on a quiet evening alone, you know, with the kids asleep and the wife snuggled up on the other end of the couch with her iPad, her face aglow with the shiny promise of Pinterest pins: pick a pair of authors and imagine a literary love affair–one that results in some form of fictional offspring, which you’d describe in great detail, of course, to yourself, of course, because the wife is still busy pinning away on her end of the couch.  Let’s try a quick, not-at-all random round: What kind of child would result from the objectively insane coupling of notorious party girl Ayn Rand and futurist Casanova Philip K. Dick?  She’d be special, that’s for sure; and she’d have a hell of a story to tell–one probably a lot like New Worlds Comics’ Wynter #1, a thought-provoking and visually stunning sci-fi spectacle from writer Guy Hasson and artist Aron Elekes.

Wynter #1

Wynter #1

Liz Wynter, the teenaged protagonist of this data-driven dystopian vision, is herself driven by a singular desire: to be an individual–to be special–in a world that is coded to corral such wayward thoughts, with the powers-that-be wielding drugs and ubiquitous technology as means to achieve their soul-crushing end.  She spends the entirety of the issue wandering the city with a Holden-esque compass, wondering where she might find that sliver of self amongst the oppressive numbers spouted out unsympathetically by the voice in her head, the aptly named Liz, a con of a conscience, a rewired superego meant to keep her in check, to keep her thinking she’s like everyone else, thus making her just like everyone else–not unlike the devices heaped upon Harrison Bergeron, the doomed hero of Kurt Vonnegut’s short story of the same name.  Hasson’s hitting familiar notes makes Liz an easy character to root for, even if she is as cold as her name implies.  See: we instinctively know that the thaw will come as the Promethean flame born of an unbridled ego burns through the layers of ice that have frozen her will; and the final reveal–timed just right–clearly provides the spark that’ll set the tinder alight.

Bringing it all together, lifting the story from the effectively familiar to the level of something special, is Elekes’ digitally painted art, which, from page one, captures the prevailing tone of shadowy dissatisfaction and, at the same time, serves up a certain sensuousness, with specially affected textures–seen specifically in the folds of Liz’s loyal red scarf–that transcend the page.  If I’m comparing–and I most assuredly am–Elekes’ figures remind of Fiona Staples’ (Saga), just with considerably more depth; and I can’t help but think of Clayton Crain’s fully-painted work on Rai, which, while unquestionably beautiful, suffers–as Wynter does–from being much too static, a shade too stiff.  Ekeles’ makes up for it, though, with his layouts, which inject some energy into the narrative, especially as he, at times, emphatically eschews traditional paneling and, by doing so, puts a premium on every page turn.

One page turn, however, left me shaking my head in disappointment.  I mean, I don’t want to make a federal case out of it, but I was immediately taken out of the story during a brief courtroom scene in which the well-rendered countenance of a celebrity judge makes an unexpected–and unwelcome–appearance.  No, really: it’s quite shocking!  I’m sure it’s meant to be silly, to bring some levity to an otherwise dour story; but considering the effectiveness of the dourness, in particular, I have to object!

What I can’t object to is what Wynter as a whole brings to the table–err, tablet: a compelling main character, who is both familiar and relatable, and a unique visual experience that isn’t too soon forgotten.  With that as my takeaway, I’m definitely down for another issue.  In fact, if I had a Pinterest account, I’d pin the damn thing, without hesitation, to a board dedicated to independent comics that happen to get it right.

And my wife, who just so happens to be under a blanket at the other end of the couch, her face very much blanched by the bright light of her iPad, is undoubtedly pinning another recipe that she’ll never bother to attempt to her “Too Foodilicious for Ya Babe” board.

Want to read Wynter #1?  Find it on Comixology here.

Visit newworldscomics.com for more information.

Turning pages,

Scott

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I&N Review: WILD BLUE YONDER #5

20 Sunday Jul 2014

Posted by ScottNerd in I&N Review

≈ 1 Comment

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Austin Harrison, Firefly, IDW, Mike Raicht, Nelson Daniel, The Road Warrior, The Rocketeer, Wild Blue Yonder, Zach Howard

From the beginning, Wild Blue Yonder (published by IDW) has been the comic book equivalent of a Summer Blockbuster: non-stop, high-octane (literally!) action, larger than life characters and, thanks to the stunning visuals of Zach Howard and Nelson Daniel, special effects like you wouldn’t believe. The story involves the ragtag crew of The Dawn, a giant airship permanently flying over the earth, which (for reasons barely touched upon) is a scorched ruin. On their heels is the relentless Judge, who is after both their ship and their seemingly endless fuel supply. It’s like Firefly meets The Rocketeer meets The Road Warrior.

Previous issues, have–in between all the dogfights–explored life on The Dawn, and the interpersonal relationships of the cast including: Cola (the headstrong, daredevil pilot), Tug (the newbie and love interest of Cola), The Commander (tough, seemingly unfeeling and, oh yeah, Cola’s mom) and sure-to-be-fan-favorite Scram (a combustible, gregarious combination of Woody Harrelson and Hulk Hogan; easily the stand-out). The writers–Mike Raicht, Austin Harrison, and the aforementioned Mr. Howard–have done a nice job sketching in just enough telling dialogue and spare, quiet moments to make these characters compelling. Particularly well-handled is the mother/daughter dynamic between The Commander and Cola, as the former has to balance the needs of The Dawn with her daughter’s struggle to become her own woman. It’s great to see women take a primary role in a story like this, while leaving plenty of butt-kicking for the men, as well.

Speaking of butt-kicking: issue 5. It’s pretty much cover-to-cover action, as the Judge’s forces engage the woefully outnumbered inhabitants of The Dawn. Extended battle sequences like this can be difficult to orchestrate in a comprehensible manner (just ask Michael Bay). This can be even more challenging in comics, where the images are necessarily static; but Howard and Daniel handle it with aplomb. Through clean layout and bold composition, they expertly control the pacing so that the fast moments whizz by, while the big moments are allowed to be, well, big (though the biggest, involving a fateful decision by Tug, you could see a mile coming). In the midst of all of this they still manage some human moments, most affectingly with the Judge himself, transforming what had been a heavy, Darth Vader-type into a relatable, almost sympathetic human being.

In fact, my biggest complaint is that I’d like to spend more time with these characters, exploring their backgrounds, motivations and interactions in this harrowing, fantastic world. Ah well, if this is a Summer Blockbuster, I can only hope for the Inevitable Sequel.

Wild Blue Yonder #5 hits the shelves on 7/23.

Turning pages,

Derek Mainhart

–Wild Blue Yonder #5

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