The Otherside Of Madness : Andrew Zakolodny’s “Deadnauts”


I’ve seen some wild shit in my time as a comics critic, but for sheer conceptual bravado, few things can match Ukrainian cartoonist Andrew Zakolodny’s new Strangers-published surreal mindfuck Deadnauts, a combustible admixture of high-concept science fiction, drug-addled paranoia, black humor, militaristic uber-violence, and gross-out body horror — among other things. If you’re even remotely squeamish, this is a book you want less than zero to do with. But, hey, if you’re not —

Well, if you’re not, one of the first things you’ll learn is that the curious term “otherside” in this review’s title is no misprint — it’s a place beyond death, or maybe that should be the place beyond death, and serves as the extra-dimensional battlefield which much of Zakolodny’s story takes place in. We’ve all heard of suicide bombers who believe they’ll live eternally after death, but the terrorists in this yarn know it because they actually go there — or part of them does, at any rate. They’re in possession, you see, of some sort of largely-unexplained (probably because it’s flat-out inexplicable) occult technology that allows them to project their consciousness over to this “otherside” in hopes of affecting some kind of takeover of the place, which sounds to me like it’d be a pretty tough thing to organize any kind of opposition or resistance to — unless, ya know, people are willing to die to go over there and stop them. Good luck getting volunteers for that.

Still, this is comics — since when does logic apply? So, yeah — if you’re getting the idea that “death is just the beginning” here, you’re getting the right idea. Because the otherside is so fucked up that it’s actually enough to make a person — or any sort of life form — wish they were alive again. Yes, even the members of the special forces (or whatever) team that goes over to stop the dastardly terrorists — a team full of individuals who are all technically suicidal by definition. I told you this book was effing crazy.

What I’ll also tell you is that it’s crazy in the best possible way — you’ll never know what’s coming next because you can barely figure out what’s going on right now, and even when you do get something resembling a kind of metaphorical footing, you’ll find it’s ripped out from under you pretty quickly. Zakolodny is a master at not just keep you off-balance, but keeping you off your rocker — if he were a prize fighter, his first punch would be a TKO and he’d pummel you repeatedly after the bell just to make good and sure you didn’t get up off the mat. Your job, then, as a reader, is to learn to enjoy the beating.

Which, believe it or not, isn’t actually all that tough a task. The art in this comic is arresting and addictive, all inky blacks and squiggly lines and imaginative forms and even more imaginative locations — it looks and feels like your worst-ever acid trip committed to paper, only cool. There’s a lot to decipher — both narratively and, especially, visually — but doing so doesn’t feel like work by any stretch, even if it is exceptionally goddamn challenging. I know my readers, though (at least, I like to think I do), and so I know that if you’re not up for a challenge, chances are you’re not paying any attention to this blog in the first place. I mean, who are we kidding? Getting through one of my reviews can sometimes be challenging enough in and of itself.

Is this a qualified recommendation, then? You bet it is. Most are. There are a lot of perfectly rational, nice, fair-minded people who will take one look at Zakolodny’s ‘zine and give it a hard pass. But for those who revel in the refined pleasures of the heretical, the extreme, the foreboding and forbidden — for those who consider “beyond the pale” to be the starting line rather than the off-ramp — this isn’t just memorable, visceral, mind-bending stuff : it’s the kind of comic you live for. Or should that be the kind of comic you die for?

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Deadnauts is available for $7.00 from Strangers at https://strangerspublishing.com/products/deadnauts-by-andrew-zakolodny

Also, this review is “brought to you” by my Patreon site, where I serve up exclusive thrice-weekly rants and ramblings on the worlds of comics, films, television, literature, and politics for as little as a dollar a month. Subscribing is the best way to support my continuing work, so I’d be very appreciative indeed if you’d take a moment to give it a look by directing your kind attention to https://www.patreon.com/fourcolorapocalypse

Time of the Apes (1974/1987, directed by Kiyosumi Fukazawa and Atsuo Okunaka)


Stop me if you’ve heard this one before.

As a result of a natural disaster, three people are frozen.  By the time that they thaw it, several hundreds of years have passed and Earth is now a very different place.  Humans are now second-class citizens and the planet is ruled by apes, who speak English, live in their own cities, and have their own militaristic society.  The humans go on the run, to avoid being possibly destroyed by the ape leaders who either cannot accept or are trying to cover up the fact that Earth was once dominated by humans.  In fact, it’s almost as if the humans have found themselves on a planet of the…

You get the idea.

Time of the Apes may sound like a blatant Planet of the Apes rip-off but there are a few differences.  First off, instead of Charlton Heston, humanity is represented by Catherine and two children who, for reasons that are not exactly clear, thought it would be a good idea to ride out an earthquake in a cryogenic chamber.  (You science teacher right.  That’s exactly how you accidentally freeze yourself for several centuries.)  Secondly, the apes in Time of the Apes don’t ride horses or wear their leather outfits.  Instead, they were suits and police uniforms and they drive Buicks and station wagons.  Time of the Apes may take place far in the future but the ape way of life is still trapped in 1974.  Catherine and the two brats eventually meet another human named Godo (Tetsuya Ushio).  Unlike the nearly-naked future humans in Planet of the Apes, Godo wears a turtleneck.

To understand Time of the Apes, you have to understand that it was originally a 26-episode Japanese television series that aired in 1974, at the height of Planet of the Apes mania.  13 years later, America producer Sandy Frank got the rights to the series and decided to edit it down from 26 hours to 93 minutes so that he could release it as a movie.  As a result, Time of the Apes is a disjointed movie in which the action seems to frequently repeat itself but it’s never boring.  Between the apes and the sudden appearance of a flying saucer, there’s always something to watch.  It’s never really good either, though.  The ape makeup is terrible.  The dubbing is worse.  If you can watch the movie for five minutes without laughing at the ineptitude of it all, you’re a stronger movie watcher than me.

Time of the Apes is pretty much impossible to see unless you’re watching the Mystery Science Theater version.  The MST 3K gang liked the film so much that they actually did it twice, once during the show’s later disowned first season (when it was basically just a cable access program in Minnesota) and once more after the show started to air nationally.  It’s rightfully considered to be one of MST 3K’s best episodes and it’s probably the best possible way to watch Time of the Apes.  You need Joel and the Bots there to assure you that you did actually just see and hear what you think you saw and heard.  Sandy Frank was apparently not amused by the show’s lampooning of Time of the Apes but he really should lighten up.  MST 3K brought Time of the Apes to an entirely new and appreciative audience.

Film Review: Fistful of Vengeance (dir by Roel Reiné)


I just finished watching Fistful of Vengeance on Netflix.  The film has a running time of 95 minutes and I have to admit that I spent a good deal of the film in a state of confusion.  While some of that was undoubtedly due to my ADD, there are two other factors to consider:

First off, Fistful of Vengeance is based on a show called Wu Assassins.  (Wu Assassins is also available on Netflix.)  The movie takes place immediately after the end of the show’s first season.  At this point, I should go ahead and admit that I have never seen the show.  The movie does start with a quick recap of who everyone is and why they’re running around the world and fighting supernatural warriors and, from what I’ve read, the film itself is meant to be stand-alone work of entertainment.  That said, I’m sure it can be argued that my lack of knowledge of Wu Assassins effected my ability to actually follow the plot of Fistful of Vengeance.  If you’re a fan of the show, you should probably just watch the movie and ignore my review.

The second thing to consider about Fistful of Vengeance is that the plot really didn’t matter.  Yes, there’s a lot of people conspiring against each other.  Yes, there’s a lot of talk of talismans and spirits and monsters and ancient powers.  And, yes, there’s international cartels and magical warriors.  There’s a mystery to be solved, as Tommy (Lawrence Kao) and his friends try to track down the person or persons responsible for the death of Tommy’s sister.  New allies are found and a few surprisingly enthusiastic sex scenes are staged.  Enemies are fought and I assume that there’s a reason for it all.  However, when watching the film, it soon becomes obvious that all of that plot is just there as an excuse for the action and the glossy images.  Fistful of Vengeance is not plot-driven.  Instead, Fistful of Vengeance is driven by style.

And you know what?

There’s not a damn thing wrong with that.

Seriously, you don’t watch a film like this because you’re searching for the meaning of life or because you’re hoping for some form of greater enlightenment.  You watch a movie like Fistful of Vengeance because you want to see good-looking people wearing nice clothes and kicking ass.  One fight follows another and all you really need to know is that you want Kai Jin (played by action specialist Iko Uwais), Tommy, and their team to win.  You don’t really need to know who they’re fighting or why they’re fighting.  Instead, the appeal is watching the artistry of the kicks and the punches and the tossing of weapons.  Add in some monsters and some magical powers and a nice propulsive soundtrack and the movie pretty much has everything that an audience needs to be entertained.  It’s a big, glossy, colorful, and rather silly movie.  I had no idea what was going on for most of it but I still found myself watching.  It’s fun, it’s entertaining, and it really doesn’t demand much.  It’s not really a film that’s going to stick with you but watching it is also not terrible way to spend 95 minutes of your day.

Music Video of the Day: High by The Chainsmokers (2022, dir by Kid. Studio)


I have a long-standing fear of heights so the video for this song kind of freaks me out.

Whenever I’m on a plane, I find myself wondering what would happen if I somehow found myself plunging through the clouds.  I would hope that I would achieve a state of grace during the experience but …. well, it probably wouldn’t happen.  I’ve seen any number of shows that featured people skydiving.  Usually, it’s presented as being this great experience but it’s definitely something that I could go without.

James Bond, I will say, was a good sky driver.  Seriously, Bond could do just about anything back in the day.  That was before he got all whiny.  Oh well.

Don’t fall out of planes, everyone.  D.B. Cooper was a cool guy and he made a lot of money but he’s not a role model that one needs to emulate.

Enjoy!

Why? You only say you love me when you’re high
It’s like we go through the same shit every night
Oh why, oh why?
You always swear that it’s gonna change, but it never does
Why? You’ll only say you love me when you’re high
It’s like we go through the same shit every night
Oh why, oh why?
You always swear that shit’s gonna change, but it never does

Tell me that you’re gonna change
Then act like this instead
I’m too old to want somebody who’s always switching up their friends
I can’t make you love me but at least you could pretend
Scripts gonna leads to fifths until I’m fucked out of my head
You play the same old songs I know that you’re different in your Air Force Ones
Filling my prescription I could bite your tongue
Like I got an addiction yeah
You always say this shit’s gonna change, but it never does

Why? You only say you love me when you’re high
It’s like we go through the same shit every night
Oh why, oh why?
You always swear that it’s gonna change, but it never does
Why? You’ll only say you love me when you’re high
It’s like we go through the same shit every night
Oh why, oh why?
You always swear that shit’s gonna change, but it never does

I know it’s my fault I pick up your phone call
When it’s half past one and you’re halfway drunk
You say you love me and it sounds so dumb
But you’re the only one I can run away from the same old songs
I know that you’re different in your Air Force Ones
Filling my prescription I could bite your tongue
Like I got an addiction yeah
You always say this shit’s gonna change, but it never does

Why? You only say you love me when you’re high
It’s like we go through the same shit every night
Oh why, oh why?
You always swear that it’s gonna change, but it never does
Why? You’ll only say you love me when you’re high
It’s like we go through the same shit every night
Oh why, oh why?
You always swear that shit’s gonna change, but it never does