Rus-Wooton

Last time we considered Hickman’s use of the themes of love, family, and fatherhood as well as introducing the world, plot, and art. The title of this third trade is “There is No Us” and on the surface, it is about the dissolution of the tenuous peace between the Seven Nations North America. But the deeper themes of this volume are that of free will vs predestination and deception. The first two issues of this volume overlap with the twelve issues I examined last time, but I will include their plot elements as I provide a quick overview of the plot. Xiaolian calls a conference of the Seven Nations at the neutral territory of Armistice. Finally in a position of power, she seeks revenge on The Chosen for kidnapping the son she had with Death. As I mentioned before, many of the Seven Nations are not run by The Chosen (although they hold positions of power) and so they attempt to avert war. A situation I will detail momentarily leads to Xiaolian getting the war she wants. The Ranger finally finds his target and kills Cheveyo. After a confrontation with Death, he agrees to take Death to the facility housing The Beast (his son). The Three Horesemen decide they’re sick of following along with The Word and will go kill The Beast. They leave Ezra in a crumbling Armistice building and head to the facility housing The Beast. As I mentioned last time, The Beast has been plotting his escape with his computing device. He defeats the Conquest and affirms his dominance. He renames himself Babylon, names his computer Balloon and the book ends on a huge “OH SHIT” moment.

Last week we explored the major themes in Jonathan Hickman’s East of West. This week we continue with another Hickman series, The Manhattan Projects, and this time the main theme is deception. Hickman does also include his usual themes of hubris, love, and family relationships (particularly the paternal), but deception is the engine that drives this story. Last week I made the superficial comparison between East of West and The Manhattan Projects in that they both deal with alternate histories. The main difference at this level is that the former diverges after the Civil War while the latter diverges during World War II. But that’s where the similarities end. East of West is self-serious and the pencils and colors reflect that seriousness. The Manhattan Projects is, in a way, dark slapstick and the caricature pencils that mirror some of the Underground Comix looks of the 70s and 80s along with a light palette reflects the comedy. Nick Pitarra, on pencil and ink duties, does a wonderful job setting the tone with all the little details in his work. Last week, I compared East of West to Kill Bill. The Manhattan Projects is like Stanley Kubrick’s Dr Strangelove. In fact, the comparison is spot on (including an ex-Nazi with a mechanical arm) - if you liked the tone of Dr Strangelove you’ll enjoy The Manhattan Projects. (And in issue #20 there’s a reference to Kubrick’s 2001: A Space Odyssey) In the first scene General Leslie Grove’s office is littered with weapons everywhere. His desk even has bullet holes and he wears a grenade on his chest

Surprisingly there isn’t much sex in Sex #1. I say surprisingly because this book wasn’t called Armored Saint and then advertised as a mature book with sex. It’s like having a book called Batman in which hero doesn’t make an appearance. If sex isn’t the driving force of the book, it’s a weird name. It appears that, perhaps, the title is just the ultimate experiment in determining if sex sells. But let’s put the title aside for now. ...