The Girl Who Kicked The Hornets Nest

I don't know what there is for me to say about The Girl Who Kicked The Hornets Nest that I haven't already said about ...Played With Fire. But here's my biggest problem.

I've never visited Sweden, let alone lived there. I am completely uneducated in it's politics or social customs. But here's the thing; I refuse to believe that it is anything at all as Stieg Larsson describes it in these books.

I'm not talking about the organised crime or the shady government agencies; that stuff happens everywhere, to a lesser or greater extent, and this is fiction after all so exaggeration for dramatic effect is to be expected. I'm talking about the fact that 2 out of every 3 male characters is a misogynistic pig of the vilest sort. We aren't talking sexist, 'put the kettle on love' or 'get em out for the lads' which would be bad enough but believable; we're talking vile woman hating scumbags.

 Not a chapter goes by without one character or another; be they Private Eye, Cop, Politician, Spy, Doctor, Social Worker or Drug Dealing Mass Murdering Psychopath; spout off about whores, bitches and cunts, and it just gets ridiculous. When everyone is as hateful as that, what possible impact can your 'main' villains have?

Of course it's always possible that Larsson made virtually every male character behave in that fashion because he understood that it was the only way to make his hero look good by comparison. Don't get me wrong, I like Mikael Blomkvist; when he's being a capable reporter and/or a doggedly pursuing proof of Salanders innocence. It's when he's doing anything else that he pisses me off big style. This is not giving your lead 'foibles' or having him be 'difficult'. This is having your lead be a total shit. Seriously, how does this man have friends? His sexual attitudes alone... I'm no prude, I once read a Jackie Collins novel, but I just want to punch this man whenever his attitude to sex, or monogamy, came up.

What of Lisbeth Salander though? Well for a start off she barely registers. Huge swathes of the book are people sitting around talking about her; take a drink every time someone uses the phrase 'lesbian satanist' and you won't live through the first 100 pages; but we don't see her actually do anything much of note until probably the last 50 pages or so. At which point Larsson realises she doesn't have her 'big scene' of the book; and other people have pretty much resolved her plot for her; so he contrives to give her one last 'kick-ass' fight scene against the unstoppable man mountain killing machine who feels no pain. Yeah.

And that's where it ends. We go from the title character in mortal danger, to the book being over and her (spoiler)  perfectly safe in the space of about 3 pages. Then she forgives a man she should by rights have been slapping the face of and the book's over. A far cry from the 'when will this bloody thing end?' feeling that the last 100 pages of book one engendered, but still far from perfect. Never did find that middle ground, this series.

So yeah, this book is one big bundle of flaws. Which is a crying shame, because it has a really intriguing plot at it's core, if you can forgive the horrible convenience of everyone in the world seemingly being connected to Salander in some way. He just never quite manages to dig the plot out from under the exposition and 'gritty' sex talk.

Anyway, that's the end of the Millennium trilogy. I didn't hate it, but I can't say it particularly blew me away either. Onwards and upwards though, because next week I talk about the 2nd trade paperback collection of The Boys. Good times.

Stieg Larsson

Fables: Animal Farm

Comics again this week, and I continue my reading of story lines everyone else read 10 years ago with Fables: Animal Farm, the second collection of the ongoing Fables series.

After introducing us to the likes of, among others, Snow White, King Cole, Prince Charming and Beauty and her Beast in first volume Fables in Exile it's now time to meet those Fables who can't really be expected to blend in to a normal New York setting. Yes, it's off to The Farm, to meet giants, dragons, a certain 3 pigs, and of course some porridge loving bears; one of whom has a more than platonic friendship going on with a certain blonde haired petty thief. Yes, they go there.

Following her actions in the first volume, Snow White decides that Rose Red needs straightening out, so it's family outing time as she drags her wayward sister along for the ride on her annual inspection of The Farm. Before they ever arrive though, Snow is convinced that something is wrong, and when they are greeted by a populace acting very strangely indeed her suspicions would seem to be confirmed. But just what is going on with the non-human fables? And will Snow and Rose be able to set aside their differences long enough to sort things out?

It seems that some of the fables confined to the farm are a little fed up of their lot; if they can't live openly in this world, then they want to return to their homelands. The Fable government won't allow this, at least not yet, so there is only one thing for it; armed revolution.

Having the 3 pigs; or 2 of them at least; as revolutionary ring leaders is, one suspects, one of the easier choices Bill Willingham had to make in the writing of this story but his choices of who else to include within the rebel party may surprise. While some are already villains in their original tales, such as Shere Kahn of Jungle Book fame; or, as in the case of the monkey king from that same tale, at the very least mischievous; others are very much the heroes and/or heroines of their stories. Indeed, one such 'heroine' is portrayed as the biggest psychopath of the entire tale, and it is glorious. She comes this close to stealing the show.

For a story that features the 3 little pigs as major players and has Chicken Little as it's comedy relief, this is pretty dark stuff. The revolutionaries are not messing about, with one minor character from the first book being dealt a nasty death early on, to reinforce that fact, and a truly shocking moment at the climax of the penultimate issue contained in this collection that I guarantee will make you sit up and swear at the page. Not to mention the aftermath; we get a reminder that the worlds these characters come from are not the sanitised, whitewashed, Disney-fied worlds of today's fairy tales when the heroes flat out execute the captured rebels. This is harsh reading.

Snow learns the truth. Or some of it.

One of the major villains gets away at the end; and it's my favourite, so I look forward to their future mis-deeds with some glee; but for the most part we see the status quo restored. One suspects this is a temporary measure however, because many seeds are sown that would seem to indicate troubled times ahead.

More to the point, we get a conversation that would indicate that a Fables immortality may well be linked to how powerful a hold they have over the public consciousness; so if your name is on every pre-schoolers lips and Disney are prepping a blu-ray of your animated classic, you can pretty much rest easy but if not... don't go getting into any duels any time soon. This conversation seems designed, at least to my tired and easily confused brain, to let us know someone major is going to die soon, and set us to guessing as to which major characters within the series are 'famous' enough to be safe. We'll see.

All told, this is another fabulous run of issues from the Fables team, and its easy to see from this just why the series has proven so massively popular over the years since; I for one am looking forward to seeing what new avenues will be explored, now that all of the characters, both human and non-human, have been introduced.

Join me here next week for, in a slight change of pace, The Girl Who Kicked The Hornets Nest. No pigs, bears, or beautiful princesses in that one.

Horus Heresy: The Outcast Dead/Deliverance Lost

Since last I spoke of the Horus Heresy series, I have read not one, but two further novels in the series; The Outcast Dead, by Graham McNeill and Deliverance Lost by Gav Thorpe. And now I shall make discussion of them, as is traditional. 

It's been a while since I read them though, and I've read a few other things since then, so I'll not do a full analysis (hahahaha shut up, you know what I mean) but rather just a quick comparison between the two, and why they are, taken back to back, such a good example of why I enjoy this series so much, even after having read almost 20 books. 

Which is not to say that they are good books, necessarily. 

In fact, Deliverance Lost is pretty much the definition of a poor book, and The Outcast Dead, while better; as you'd expect from Graham McNeill; is far from without it's flaws. 

It's in their subject matter, rather than the quality of the work involved, that they serve as good examples of the Horus Heresy series' current charm; namely, it's versatility. In the early days of the series it ran the risk of, and often succumbed to, repetition; so many novels, by so many authors, all recounting this Space Marine battle or that one, but the wider ramifications of the great betrayal at the heart of the series, and the intricacies of how this Universe actually functioned, were never explored; or  if they were it was in a perfunctory manner designed to give you just enough information to herd you to the next gunfight. 

Of late, things have changed.

We'd had hints of a new direction for a while; notably, but not exclusively, in the 13th book, Nemesis. It was with book 16 though; novella collection Age of Darkness; that they fully embarked on their new direction. These two books embrace that change wholeheartedly, with TOD dealing with events among the 'little people' on Earth for the first time, and DL, while it does deal with Space Marines and has a couple of battles, has as it's main focus a story of obsession, genetic engineering and espionage. As I said above, neither book is entirely successful and DL falls apart completely at the end but it's pleasing to see these new avenues being explored, and new story telling roads being traveled. 

I'm not suggesting for one second that Space Marine battles should be excised completely from the series; it's entirely based on a tabletop game involving Space Marines shooting each other; but it's nice that they're acknowledging that they have created, perhaps by accident, a Universe ripe for exploration. Some very good writers ply their trade in the Warhammer/Warhammer 40,000 tie-in range; as well as some very bad ones of course; and it should be interesting to see what they come up with now that they're free to spread their wings. Mistakes will be made, like Deliverance Lost, but when they find their rhythm I predict some excellent space opera could be forthcoming. Can't wait.

100 Bullets: Split Second Chances

Finally time to start writing up my thoughts on the second volumes of the various comic series I'm reading in collected trade paperback form. First up, as before, it's 100 Bullets. (Book one is here)

It's hard when you're reading something as old as 100 Bullets; the issues in this collection are well over a decade old; to avoid spoilers but I've pretty much managed not to find out any specifics of plot. I don't know, for example, what anyone's motivations are, or when major characters are going to get killed off, or anything like that. What I do know, though, is that this series does not adhere to it's seeming anthology format for the duration of it's run. There is a lot going on under the surface, and many clues are being laid. Even knowing this, though, I didn't expect the major background story to erupt as early as this 2nd book.

Chucky Spinks

Of course, at first glance this collection seems much like the first. We open on a two issue arc about ex con Chucky Spinks who learns from Agent Graves; he of the irrefutable proof against those who wronged you and 100 untraceable bullets to do with that information what you will; that he had been set up, and just who exactly had done the framing.  After some soul searching, we see what he does about it. Just as with Dizzy Cordova and Lee Dolan in the first book, things refuse to play out how you'd expect.

After a brief one issue stop over in which Graves sits down for a coffee with an old colleague and we learn a hell of a lot about the world he inhabits, although one suspects not nearly enough to so much as scratch the surface of what's really going on, it's back to business as usual. Someone has been wronged, and Graves is here to help.

Recipient this time is Cole Burns, ice cream man and seller of knock off cigarettes who is given evidence of a certain local mob bosses culpability in the death of a loved one.

Cole Burns

Whatever will he do? I'm not telling, except to say that, well, it doesn't go well for him and things are looking bad. Until...

Lilly Roach

Lilly Roach is up next and her story is perhaps the darkest we've seen so far. Her daughter ran away from home, and Lilly doesn't know why. Or maybe she doesn't want to know. But Graves is going to make sure she can't hide from the truth forever. Lilly begins and ends her story in one issue.

It's at this point that the series takes the turn that I knew was coming but didn't expect anywhere near this early. We meet a reporter who has been investigating the shady figures behind Graves, and previous recipients of his 'help' start showing up again; at least, those who survived the events of their opening stories; Dizzy is back, just in time to receive a dire warning, Cole Burns seems to be taking to his new circumstances rather well, and Graves' adversary, who may not be quite so much of an adversary as we were led to believe, is beginning to show his hand.

All told, I have absolutely no idea where things are going to go from here. With one character going through some very weird Manchurian Candidate/Bourne style mind altering freakery, and the growing idea that some kind of uber-conspiracy may be essentially running everything, this could go anywhere. I'm definitely along for the ride.

Mr Branch. May have uncovered more than is healthy.

As is customary in my comics posts I shall now make my perfunctory 'I don't understand art but I know what I like' comment. I like this art. There, done. Eduardo Risso has, as you can see from the character panels above, a style which you couldn't really describe as 'realistic', but it complements Brian Azzarello's dark, twisty scripts, with their dark, twisty, tragic characters, to perfection. I wouldn't have thought it would, which shows what I know.

Next week; assuming I write a post, which lets be honest is never exactly a done deal; I shall be discussing The Outcast Dead, from the Horus Heresy series. Something for you to look forward to there.