Lady Windermere's Fan (1892)

Author: Oscar Wilde  |  Page Count: 152*

"In this world there are only two tragedies. One is not getting what one wants, and the other is getting it."

The events in Oscar's play about a 'Good Woman’ occur over a twenty-four hour period in Victorian London. It's a short work, divided into four Acts: the time spent by Lady Windermere and her husband before a coming of age birthday ball hosted by the couple; the party itself; the aftermath; and the resolutions of the following morning/afternoon. That's ample time for drama and scandal to erupt.

The ball is attended by a select gentry, but strip away the mannered social standings and tailored suits and it's like every party everywhere, filled with two-faced gossip, hypocrisy, nonchalance, indignation and unwarranted observations by caustic people who would chide a speaker for doing the same. The self-indulgent concerns of rich-folks could've been a real bore if not for Oscar's piercing wit to spice it up; he made the verbal meanderings of dull people seem exciting. Under attack are the conventions of marriage, among other things.

The juxtapositions and sarcasms that Wilde enjoys so much aren't just decorative flair, they serve a deeper function whereby reversals act as commentary on the characters from which they originate, and as a singularly reflective study of a particular stratum of society as a whole. It highlights that quite often judgements designed to protect us are secretly used to elevate us in status. Within that is also the notion that impressions can (and often do) be wrong.

His skill at both staging and critiquing his own content evolved in later works, but there's no denying that LWF is an excellent piece when viewed in isolation.

It's been said by some critics that in many of his works the 'voice' of the author overshadows all other concerns, and in LWF it's so obvious that you'll spot it without needing any help. Personally, I don't have a problem with it happening.

3½ late lessons out of 5

*Kindle ebook edition, but page count will vary greatly depending on the publisher.  I've seen editions for sale with as little as 52 pages.  As long as you have all four Acts of the play then you're golden.

Dredd: Urban Warfare (2015)

Authors: Arthur Wyatt / Matt Smith  |  Illustrators: Henry Flint / Paul Davidson  |  Page Count: 96

'From the gleaming tower, he watches the sector burn.'

I rated Underbelly (2014) less than average on a comic book Dredd scale, but I was still planning on buying the second tie-in, a two-parter titled Uprise (2014), simply to show support for the franchise and keep hope alive for a second film. However, by the time I was ready to pony up the cash, details of Urban Warfare had already appeared online. Seeing as how it collects both the previously mentioned works and adds a third story, telling of Ma-Ma’s origins, it seemed the more logical choice to go for. Plus, it’s a hardcover. The three stories are:

01. Top of the World, Ma-Ma (2012)
A violent prologue to the Dredd movie (2012) that shows us a little of Ma-Ma's past, most of which was mentioned briefly in the film's script. It foreshadows certain events, too, which was a nice touch. It really is just a prologue, so don't expect anything more than that and it'll deliver the goods.

02. Underbelly (2014)
I read it again, but even with adjusted expectations my feelings towards it are unchanged. You can read the previous post HERE. The page size is returned to what it should've been, not the US comic size, and for that I'm grateful.

03. Uprise (2014)
Yes!  The best of the bunch. The story is less of a rehash of the film and more like something that would fit snugly into the comic. I realise they're two different aspects and should remain as such, but there's nothing wrong with attempting to meet the Megazine's standards.
There's a declaration of ownership from a sector within the Big Meg, a direct defiance of the system that Dredd represents. It's a threat that needs put to rest fast, lest it spread virus-like to other areas, so Dredd rolls in and busts heads.
It uses the 'riot happening alongside clue-uncovering' scenario, but it's done well and it doesn't wimp out. It also places itself firmly after the film by referencing something from it. It feels like an ongoing story, not just an adapted one.

I'm disappointed they chose to reuse the cover art of Underbelly. There’s no shortage of artists waiting in line, willing to draw Dredd. They could've at least used one of the lesser-known variant covers that were featured on the Uprise single issues. Grud knows variants aren't of use for anything else.

3 pacification units out of 5

Dune Messiah (1969)

Author: Frank Herbert  |  Page Count: 222

'Between depriving a man of one hour from his life and depriving him of his life there exists only a difference of degree.'

-Addenda to Orders in Council, The Emperor Paul Muad'dib

The first sequel to Dune (1965) is almost half as thick as the one that came before, but that's not the only difference. When you begin reading you'll discover a significant shift in reader-sympathies. Herbert didn't lay a lengthy groundwork, because he already had the characters where he needed them to be. Instead, he jumped straight into an exploration of what happens after the war is won and the tyrant vanquished. When the new order has replaced the old, what then?

He also studies what happens when a thing is set in motion—a thing that takes on an impetus of its own and branches into other avenues. The one who set the ball rolling from a historic perspective gets blamed for every nuance, more so when the beliefs of the people who act in the name dictate that it be deified and that the religion should spread as far as possible throughout the stars.

The sects and orders that Muad'Dib subjugated were forced to publicly shuffle to their respective corners with their heads bowed, but pride demands redress, so the enemy of my enemy scenario becomes an option. Of course, when you consider that the most powerful players in that wounded collective include the likes of the Bene Gesserit and the Spacing Guild, then you have to also factor in the secret goals of each and acknowledge them in every decision made.

For Muad'Dib there's compensation for the hard choices he must make, but the balance is cruel. Being aware that the crutch of prescience his every waking hour relies upon is both what he needs and what he fears doesn't help. Life is hard.

In some ways Messiah feels like a belated epilogue to the first book set twelve years after. Likewise, the second half feels like a lengthy prelude to the third book, Children of Dune (1976). Knowing that doesn't lessen the enjoyment of a reading, but it could help prepare you for being assailed by an overpowering need to go direct to the following volume upon reaching the final page.

5 honest answers to difficult questions out of 5

The Sandman Presents: Thessaly - Witch for Hire (2005)

Author: Bill Willingham | Illustrator: Shawn McManus | Page Count:  96

"I refuse to be destroyed by something I've never heard of."

WFH picks up the story of the last of the Thessalian witches two years after the end of The Thessaliad (2002), a four issue miniseries that you can also find collected together in the Taller Tales (2003) TPB.  If you haven’t read it there’s some catch-up text at the beginning to get you up to speed.  If you have read it you’ll maybe remember the big unanswered question surrounding the supporting character.  Bill Willingham remembers it and expands upon it.

Fetch is back, like a bad smell carried by an ill-wind, with a complement of ideas above his station (his station being that he’s dead—that's not a spoiler for The Thessaliad).  He’s still lusting after the aeons-old witch, but his courtship methods are far from traditional.  Nevertheless, he persists, undeterred by the fact that what they both want from the ‘relationship’ differs greatly.

The ending could just as easily be seen as another beginning leading into a regular series, but that didn't happen.  Maybe the readership had grown tired of the Sandman spin-offs, or the writers had?  I don't know, but if the Dead Boy Detectives can make a comeback then there’s hope for Thessaly.

The book collects together all issues (1-4) of the second miniseries, The Sandman Presents: Thessaly - Witch for Hire.

3½ client confidentialities out of 5

Silent Hill — Past Life (2010)

Author: Tom Waltz  | Artist: Menton3  |  Page Count: 88

"Postmaster? But…you’re a negro."

"Ha! I am that, ain't no lie. Funny thing about Silent Hill…it don’t worry much ‘bout what’s on the outside of folks."

The four issue Past Life miniseries is a prequel of sorts to Silent Hill Downpour, but its intrinsic value is somewhat questionable. One of the game’s writers (Tom Waltz, who also penned Anne’s Story) sets this particular tale in a time close to the origins of the town, and while this is something I have often wished would occur, its focus only treads lightly on the periphery of its digital descendent.

Past Life’s story structure is unquestionably the most basic I've borne witness to in the franchise. Jebediah Foster and his wife Esther have come to Silent Hill to begin afresh, cut all ties with their pasts. I'm not claiming that some of the games aren't predictable, but even when they are they’re still a good deal more subtle in pacing and execution and there is enough doubt present in the set-up and unravelling of the thread to make them compelling. That’s not so, here.

To Anne’s Story’s credit, it at least brought something to the table significantly relevant to the incarnation of Silent Hill that houses Downpour’s narrative. Even if its events can be inferred, they’re still presented well in terms of art and dialogue flowing from legitimate ancillary characters. Rather than simplistically spotlighting Jebediah, a better use of resources could have been a miniseries about Howard Blackwood, the town’s postmaster, who appears here, in the game itself, and later in Book of Memories on the Vita. Regrettably, one fact worth knowing is revealed for fans of the game. To save those respectable folks time and money, I will gladly share that information HERE.

If there’s anything overly positive worth noting it’s that Menton J. Matthews III’s artwork is systematically inconsistent, veering between sloppiness and startling precision. In this framework, I do see that as a strength, especially the nearly scrawled lettering and mystic-flavored HUD that surrounds certain panel-esque areas. A worn, zealot-inscribed Jarvis for a witch-powered Iron Man.

If you’re looking for a diaphanous jaunt into Silent Hill you can admittedly do worse when it comes to comics. In perspective, the level of connection to Downpour could easily be considered finespun and appropriately vague if Jebediah’s story was handled with nuance. It isn't and I feel justified in criticizing it for falling short in both of its intended purposes.

2 Unsuccessful Henshins out of 5

Nutted by NEG.

Note: You can find spoiler-free, mini-reviews of some of the Silent Hill games, including Downpour, at our sister site, Nut Load.

Songs of Innocence and of Experience: Shewing the Two Contrary States of the Human Soul (1789-1794)

Author: William Blake  |  Page Count: approx 50 

“Love seeketh not itself to please, nor for itself hath any care, but for another gives its ease, and builds a Heaven in Hell's despair.” 

The book, as it’s collected here, was originally written in two parts: Songs of Innocence was published in 1789, with Songs of Experience following in full five years later.  The first is closely tied with the conventions of Romanticism; the second is dependent upon the same but for very different reasons.

It’s unknown if Blake always planned to have Experience follow Innocence, or if it was a result of Innocence failing to sufficiently shake the system, heightening his need to push further buttons.  Either way, the two books work in tandem to express an opposition to each other and to cement an idea.

The relationship between the unity and harmony that’s evident in Innocence is contrasted with a breaking away from unity in Experience.  The resultant fall from grace and abandonment of harmony giving rise to the social inequalities and human injustices of the day.  The contrast is evident not just in the poems’ titles but also in the imagery depicted within them and the illustrations that accompany each one.*  A reader wanting to attempt an understanding of the work needs to appreciate all of those aspects, and be aware that it'll require repeated readings before you're versed enough in the antithetical devices to give a proper critique.

The poet remarks on the things that used to connect us, saying they've become the very tools that others use in order to control us.  In that respect, you can’t fail to notice the political stance he took in regards to work practices of the era, highlighted by his use of children, themselves often cited in literature as an enduring epitome of innocence.   Indeed, the concerns of the first book seem initially childlike, the presentation simplified, but within it are darker moments telling what could happen should the state be abandoned.  Likewise, the second book has moments of beauty reminding us of what we've lost.

You could argue that Innocence is nothing but idealism and self-sustaining naivety; its opposite being Experience, with the woollen blanket pulled back the harsh truth of the world is revealed.  You're free to make that choice.

It seems there are some benefits to being perceived as a madman.  You can give a voice to a way of thinking that others fear to even admit to, lest they attract the attention of the very men responsible for the cruelty that Blake condemns.

4 immortal hands out of 5

*If you want an example, The Ecchoing Green [sic] is positioned third in Innocence, whereas The Clod and the Pebble takes that same spot in Experience.  There are many, many more examples with varying degrees of opacity.  Discovering them for yourself is part of the fun.

Dune (1965)

Author: Frank Herbert  |  Page Count: 562 (605 inc. Appendices)

"What do you despise? By this are you truly known."

-From 'Manual of Muad’Dib' by the Princess Irulan

Frank Herbert's Dune Saga is the story of the planet Arrakis, also known as Dune, upon which is found a rare and valuable resource that every Great House in existence depends upon. Without it, interstellar trade would end. Even the Emperor of the Known Universe would be rendered mostly powerless in all but name. Whosoever controls the retrieval and distribution of that specific resource will be a formidable foe in a never-ending, far-reaching power struggle.

The first book concentrates on the rise of a reluctant messianic figure from not-quite-humble beginnings towards something he never expected to be.

The two things are connected but are each only a small part of what the novel contains. There's a staggering amount of depth beneath the surface, exploring everything from petty feuds and familial concerns to the basic needs of evolution, ecology, society, and the intersection of religion, politics and power.

Don't expect to find what’s great about Dune solely by reading the words on the page. Doing so may lead to disappointment, especially in the early stages when the descriptive language is sometimes stiff and the dialogue unnatural. No, the real treasure only reveals itself if you delve between the lines and identify the nuances and implications of the situations that Frank engineers.

He calls upon the reader to recognise what's required of them, to engage with the layers of meaning. Character responses are tailored to the person making the enquiry, dictated by the speaker's relationship to the recipient and the calculated balancing of full or limited disclosure. How they behave in different situations or in the presence of different people is itself a guide that teaches how we as readers ought to be analysing it. New ways of seeing are gradually revealed to the protagonists and we must adopt the same approach or be left behind.

It eases you into the concept slowly. The structured opening sets the base level and then builds upon it until you're second-guessing every action and wondering at more than just the moral implications of every decision. If you're able to get into that mindset then reality can get swept away; nothing exists except the book and its world. Texts are supposed to do that, but Dune consumes me, utterly.

A word of caution if you have the 40th Anniversary Edition: Frank's son Brian mentions in his afterword that he's aware for some people the book they're holding is their first experience with Dune, and yet he deems it acceptable to put in spoilers for Books II and III. If you want to avoid those, either don't read the afterword at all, or wait until after you've read Children of Dune (1976).

5 plans within plans within plans out of 5

Note: The book was adapted into a feature film and a TV miniseries, neither of which were wholly successful but deserve praise for making the attempt. You can read about the miniseries HERE on one of our sister sites, Nut Box.