Category: Image Comics

Comics: Delayed Gratification for the ‘Now’ Generation

The concept of delayed gratification seems an antiquated idea from a former decade, but it’s something that comics are uniquely placed to provide us, and they’re all the better for it. They also perfectly span technologies. They are digitally and immediately available everywhere, yet you still have to wait a month for the next issue to be drawn, inked and colored by hand.

You can, of course, binge issues previously released, but if you’re reading a title as the single issues are released you have a month to wait; even TV shows (which take many more man-hours to create per episode) come out weekly. Comics enforce a delay on people like no other medium, and with this greater delay comes greater engagement. To draw on personal experience for an example of this, I’ve had this greater engagement with Nick Spencer and Joe Eisma‘s Morning Glories.

Morning Glories is set in a prestigious prep school where, once enrolled, students are unable to escape. The faculty torture and murder students in their relentless pursuit of some unknown supernatural or scientific goal; Morning Glories is ‘Runaways meet Lost’. The first 40 issues have covered, at a breathtaking pace, time travel, altered realities, religious conspiracy, mind control, family, loyalty, paternal loss and astral projection, to touch on just a few of the themes. Morning Glories is pretty deep.

I picked up the first trade paperback of Morning Glories thanks to a handwritten ‘Staff Recommended’ in Harvard Bookstore. After that I tore through the next four trades and, once caught up, started reading the single issues. And that’s when things got really interesting.

Being forced to read each new arc slowly meant I re-read and analysed every panel. Events in each issue are discussed and given context a Morning Glories Academy Study Hall, something I would have only skimmed while reading the trades even if I’d known about it. I was now taking time to consider the philosophy and physics driving the plot; the anticipation and speculation became an intrinsic part of the medium.

Issue #40 included a lecture on quanta theory and the various paradox involved; the question of ‘What is reality?’ raised the question of whether multiple parallel universes mean we exist in just one reality or all of them. The issue was an enlightening insight into what may truly be happening at the academy, and it was only though having four weeks to wait until the next issue that I was able to think over these concepts and analyse how they applied to what had happened previously.

Technology allows us immediate access to the new, but comics have adopted that immediacy while still manage to balance it with the slower pace of the creative process.

Is That a Game of Thrones Easter Egg in Saga?


I’ve been trying to decipher the venues listed on the back of Ginny’s “Galactic Prison Tour” t-shirt in issue 23 of Brian K. Vaughan and Fiona Staples’ brilliant Saga. Is that first one a Game of Thrones reference?

As best as I can make out, they are:

Westeros (?)
Capitol City

A More Subtle Apocalypse

In an era where special effects have made the end of the world so common as to be an everyday event, it takes something special to make an apocalypse stand out. In HBO series The Leftovers and the Image Comics’ Trees we are presented with subtler, slower, end of the world scenarios that re ultimately just as devastating.
In Damon Lindelof and Tom Perrotta’s The Leftovers, the first episode opens three years after a rapture-like event in which two percent of the world’s population vanished, presumably taken by whatever higher power exists. There is, however, no discernible pattern as to how those who vanished were selected. If it was the ‘Rapture’ then who was taken was not determined by any traditional moral or religious code. People seem to have been taken randomly; firefighters, police, drug dealers, rapists. The Pope was taken along with Gary Busey.
In a similar vein, Warren Ellis and Jason Howard‘s comic series Trees begins ten years after alien life arrives on Earth. These alien ‘trees’, enormous living structures that reach high into the atmosphere, have taken root in the earth, planting themselves in populated cities and remote deserts alike. Their arrival signifies to mankind that we are not alone in the universe, but unlike other alien invasion stories they are (seemingly) not here to conquer. These tress are, in fact, completely oblivious to mankind; we are not alone in the universe, but the life form we have encountered doesn’t even consider mankind to be intelligent life.
In both The Leftovers and Trees, fundamental questions of our existence are answered, but in both the answer leaves the protagonists more lost than did the questions. In Trees, we are given a near future world where alien life exists on Earth, but it’s only interaction with mankind is to cause collateral casualties as they periodically spew toxic waste. The cast includes a botanical researcher in Svalbard, the mayor of New York and a young Chinese artist, all of who are trying to make sense of a universe where our understanding of the universe has moved the importance of our existence from the center to the very periphery.
In The Leftovers Lindelof gives us, through the focus of one small town, a world that is suffering deeply from post traumatic shock. The majority of mankind on the planet, the ‘leftovers’ of the title, feel they have been abandoned; they are nihilistic and morally adrift. If there is a higher power but the standards by which it judges us do not correspond to our concepts of ‘good’ and ‘evil’, how are we to govern our lives? What is the point of existence for those who have been left behind, and what awaits them after death?
In both stories, people’s lives have been stripped of any sense of purpose; we, as a species and as individuals, have no meaning. Characters search for patterns in the world around them, try to find meaning to events.
With traditional ‘end of civilization’ narratives, something catastrophic happens to a large portion of humanity and those remaining are left to adjust, survive and try to carry on. With the narratives presented to us in The Leftovers and Trees, however, the humanitarian impact is small and society continues largely uninterrupted. The psychological damage to the species is, however, just as brutal. These are more cerebral apocalyptic scenarios where mankind is left to face the darkness of our insignificance alone.
These stories light a slow burning fuse on a world where we ultimately, individually and collectively, do not matter. And that is a more devastating a blow than any zombie outbreak, asteroid impact or alien army that Hollywood can visualize.