March 17th, 2014
Über #0-10, by Kieron Gillen, Caanan White, Joseph Silver, Kurt Hathaway and Digicore Studios
Kieron Gillen let the mask slip a little at the start, when he positioned this comic as the anti-ASS, as a refutation of Superman’s central place in 20th Century history, in a spiel designed to mark Über out as being a comic free of the sort of self-commentary that defines so many modern superhero comics. “It’s probably the least ironic book I’ve ever written,” he said:
It has nothing to say about superhero comics. In fact, its utter negation of that genre-criticism may be the closest it comes to commentary. I’ve read many books which seem to labour under the delusion that the conception of Superman was the most important moment in the 1930s. This isn’t one of them. My only interest is in how I can use this genre’s conceit to create metaphors to explores aspects of WW2…
This comment, buried as it was in the mix of metatextual soul searching and historical gamesmanship of Über #0′s backmatter, provides the key to understanding the uncanny dynamics of this comic. In attempting to ward off irony and meta-commentary, Gillen negated any possibility of this comic escaping the superhero meta-conversation. Which, it turns out, is actually quite fitting in the end. Carefully researched as Über might be, with everything from troop movements to weather conditions having been taken into account, this WW2 with superheroes fantasy is still a superhero fantasy, and as such it manages the odd trick of destroying both history and genre conventions and reinforcing them at the same time.
In contrast to the carefully composed alternate reality of All Star Superman – with its suggestion of a world where greed, imperialism and mortal panic exist but are never the only options – Gillen and White present an alt-modernity in which the foundational horrors of the mid 20th Century era are all there but louder.
July 11th, 2013
EXPOSITION: From the first few pages onwards it’s clear that this is one of those LA stories, an everyday apocalypse in which a strung out and savvy cast of screenwriters, rappers, astronauts, agents and cultists collide against a genre-mashed backdrop; the prophetic screenplay that drives the story is modeled on The Last Boy Scout, but Richard Kelly’s media-frazzled sci-fi meltdown Southland Tales seems the more fitting tonal counterpoint for this story of a city stuck on an apparently endless cycle of destruction.
The main characters in CHANGE are lost and ambitious souls, tilting after people and projects like a set of modern day Don Quixotes, struggling to find their way to an imaginary elsewhere that might just resemble home if they can stick the landing.
If there’s a criticism to be raised here it’s perhaps that the women in this comic tend to be framed at the centre of the madness, while the men are given more active roles as explorers. Richard Doublehead (“the Virginia Woolf of screenwriters”) and rapper turned movie producer W-2 and find themselves instigating the plot and exploring it respectively, and in their dueling roles both men are spurred on by the loss of their partners. Charlie Kaufman style maverick screenwriter and surprisingly competent car thief Sonia has a more active role than either of the female love interests, but her ability to write what’s about to happen still positions her as being somehow in tune with the madness where her fellow protagonists affect and are affected by it:
Thinking about Sonia’s character, I keep coming back to Angela Carter talking about her experience with the surrealists:
…I had to give them up in the end. They were, with a few patronized exceptions, all men and they told me that I was the source of all mystery, beauty, and otherness, because I was a woman – and I knew that was not true. I knew I wanted my fair share of the imagination, too. Not an excessive amount, mind; I wasn’t greedy. Just an equal share in the right to vision.
If Sonia has anything, it’s vision, but somehow her goals seem less tangible those of her male counterparts; for all that her voice is the most purely entertaining one in the comic, I still can’t help but feel that her arc is also the least satisfying. Even the astronaut, who spends most of his page time cut off from the other characters, finds himself on a journey to be reunited with them and with himself:
December 12th, 2012
CHANGE is… coming soon! In fact, it’s possible that it’s already here. Perhaps you’ve already read the comic, and are looking for more information on the people who made it. Or maybe you’ve been here before, and have found yourself stuck in a loop, struggling to get out. Regardless of your circumstances, I’m glad you’re here.
CHANGE is… a bracingly modern pulp adventure comic, set in Los Angeles, in which an astronaut, a screen writer/car thief, and a rapper caught midway through a transition into a Hollywood afterlife find themselves entangled in the tendrils of a plot that mixes showbiz horror with Lovecraftian glamour. Or is that the other way round?
CHANGE is… a stylish, ambitious comic that makes perfect sense as part of of Image’s attempt to make popular genre comics that aren’t totally stylistically and thematically inert. Comics that read like they were made with care, energy, enthusiasm, and maybe even that earth element you call… love.
As such, I’m happy to present to you with a “Choose Your Own Adventure” style interview with two of the creators involved in this comic, Ales Kot and Morgan Jeske.
If you don’t think you’ve got the heart for this sort of postmodern gambit, you can click here to read the interview straight.