Comic Bookshelf: Royal Blood (2014)

Knights of Christendom making a Prince & the Pauper style switch (page 10).

The sword-and-sorcery fantasy comic book is far from dead. In fact, it has seen something of a revival thanks to the re-emergence of old stars Conan and Red Sonja in series from Dark Horse Comics, combined with newer independent titles such Image Comics' Rat Queens and Helheim from Oni Press, not too forget an ongoing adaptation of George R. R. Martin's Game of Thrones from Dynamite Publishing.

While not the first graphic novel I've read by ionic Chilean-French filmmaker, and frequent dabbler in the sequential art medium, Alejandro Jodorowsky, Royal Blood is the first that was purchased and consumed immediately following it's American release. Very different in tone from my previous Jodorowsky reading experience, the neo-western Bouncer: Cain's Eye (reviewed here), Royal Blood also offers a decidedly different visual take, thanks primarily to the artwork from Chinese artist Dongzi Liu.

The "eccentric" storytelling most film fans are familiar with from the avant-garde Jodorowsky remains. Having seen his "acid Western" El Topo (1970), I knew to expect a level of philosophical and sexual subtext and Royal Blood delivers though with some inconsistency. No taboo is safe. As rendered by Lui's fantastic artwork and editorial choices as to what to depict visually, and that which is better left off-panel, the gritty tale of royal betrayal, amnesia, and incest is as elegantly portrayed as could be expected given the content. There was quite a bit to take in visually, due to Liu's beautifully rendered panels, but as a narrative, I had difficulty finding a character with which to empathize for more than 3-4 pages at a time.

In Joffrey-esque fashion young Prince Rador is revealed to be knd of a jerk (page 27).

In a story that is not nearly as taboo as it might have seemed prior to the mainstream success of the aforementioned Game of Thrones novels and cable show, Royal Blood follows King Alvar's loss of his kingdom and eventual quest to regain his stolen throne. It is a weird place in fantasy literature when incest (thanks to GoT?) is somehow so old-hat that a writer needs to up the ante to such extremes as Jodorowsky does here, in an effort to shock. Of course, Jodorowsky does "shock" as well as anyone, so if one incestuous relationship doesn't surprise, how about the suggestion of two?

Jodorwosky seems to have an awareness of this, as he includes a throwaway line in a ghostly monologue that ameliorates the impact of the on-panel incestuous pairing, while the second is merely suggested. Perhaps mutilation is the new taboo. Jodorowsky raises the stakes by putting his character through no less than three individual acts of mutilation., ranging from the commonplace (guess what happens to those whop talk too much?) to an act of self-mutilation on the part of the "protagonist" intended to ensure he has no more children.

Royal Blood is most definitely not an all-ages book and certainly not for the squeamish, though the art is so darn lovely...

It really is much easier to validate a marriage to your daughter if her bear agrees to serve
as the maid-of-honor when your king (page 49).

Despite the handsome artwork, and execution of fairly common narrative tropes, the challenge continues to be actually caring about any of the characters involved. As the primary character, noble King Aldar is just about to receive a level of sympathy from the reader, his characterization takes a turn for the worse by belittling and humiliating the woman who saved him. As one begins to empathize with her plight she reveals information that lessens her morel character too. And so it goes, each character throwing away any empathy afforded them by the reader until there is no one left to root for. I'll be darned though if I didn't find a level of an enjoyment in reading Royal Blood, enough so that I read it again a few days later.

Rador's sadism takes a very unnerving turn (page 63).

Coming in at 112 pages, the quality of the hard cover packaging of this novel, published by Titan Comics is impressive. As, for all intent and purpose, a stand-alone comic book issue, the paper quality, and binding are top notch. I've come to learn when purchasing graphic novels of this nature that the $16.99 price tag is very reasonable, especially given the high level of re-readability of the story. And that artwork... wow. Whereas, the 16 year-old fanboy in me would have balked at such a price for a single issue, the 45 year-old reader ordered it from his local comic shop sight unseen. Though I felt the storytelling and characterization was inconsistent, on Jodorowsky's name alone, and based on a few preview pages online was a no-brainer that, in terms of entertainment value, paid off.

While Alvar is not haunted by his wife/daughter's mother, Batia,
 she does appear frequently to laugh at his (many) misfortunes (page 86).

Comic Bookshelf: Queen Crab (2012)

Part horror, part romance and part sci-fi, Queen Crab by Palmiotti and
artist Artiz Eiguren is an all-engaging mature graphic novel.

With crab-handed characters making a comeback of sorts with the popularity of actor Evan Peters' Jimmy Darling on American Horror Story: Freak Show, now seems like a good time to briefly revisit the awesomeness of Jimmy Palmiotti's 2012 offering, Queen Crab.

Released as a slim, hard-covered graphic novel in 2012 by Image Comics, Queen Crab represents long time collaborative writer Palmiotti's initial foray into solo writing. After having been a long time fan of his work on the two most recent Jonah Hex series from DC (among other titles on which he's written), investing on a very reasonably priced $12.99 graphic novel was not much of a leap.

With thematic beats from sources ranging from Kafka's Metamorphosis to any number of jilted-lover romance novels, Queen Crab tells of the figurative and very literal transformation of protagonist Ginger. If the premise rings of your standard comic book origin story, the execution reflects a much more grounded and mature introduction to a promising character. While adjectives "grounded" and "mature" as comic book/movie descriptors have lost their luster in a time when nearly every such product attempts to be more grounded, and mature and financially successful than Christopher Nolan's Dark Knight trilogy, here the smaller, more personal scope of the conflict keeps the story from being overwrought with its own sense of self-importance.

The suggestive cover and titillating pin-ups included as extras by other artists not withstanding, Artiz Eiguren's artwork stays away from the cheesecake. Employing a visual style that veers away from a more traditional comic-book characterization of both Ginger's figure and transformation, Eiguren's art effectively evokes a horror vibe. With a color palette reminiscent of Richard Corben's recent Poe adaptations for Dark Horse Publishing, and with an overall style similar to that of Avatar Press star Jacen Burrows (The Courtyard and Neonomicon), the artwork blends three genres (romance/horror/sci-fi) into a single well-constructed tale.

The story is familiar: Ginger is getting married, and (surprise, surprise!) she is marrying the wrong guy. So wrong, in fact, that on their honeymoon, he attempts to murder Ginger by casting her overboard the cruise ship they are celebrating on. As her body sinks to the briny depths, something happens...

Beware blue underwater light shows!

The result of Ginger's underwater face-to-face with a blue light show are some impressive and unusual body modifications, as well as a desire for revenge. Soon after catching up with her husband the story jumps two years ahead when Ginger's former best friend and romantic friend-with-benefits from early on finally catch up with her in Florida. Rather than going the superhero route with her new talents, Ginger chooses to blend in, joining an aquatic show, in an effort to lead a semi-regular life. While not quite in a freak show, Ginger's occupation does seem permissible in the real world setting, as one that would allow her to exist without drawing undue attention to her situation.

I've reread Queen Crab a number of times since it found it's way to my comic bookshelf, and, as mentioned earlier, as a character worthy of further exploration, Ginger has promise. I also hope Palmiotti does not write a sequel. Not because I wouldn't buy, and very likely enjoy, it, but the themes and open-ended possibilities are better reflected by a natural next step for the character that remains only inn our imagination. We, the reader, don't know what comes next, though we do realize that Ginger has embarked on a great adventure. It would be just too obvious (and traditional) for us to be privy to where that adventure takes her. Sometimes a single experience with a strong character who's arc is completed by being incomplete just rings truer than the over the top explanations that would come along with more background and a sequel.