Censored Views

Censored Views:
An evening watching Channel Zero.

Next on WCBC --

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...it's not often that I feel compelled to talk about specific comic books -- though I'll happily admit to anyone who'll listen that I read them. Occasionally, though, I feel the need to make an exception -- and Brian Wood's Channel Zero is just that.

Variously described as everything from "a nasty paranoid dream of a TV nation" to "mind enriching fun", Wood's creation is one of the more intriguing comics around. Set in a near future, where the special interest groups have taken over and the government sanitises the media, Channel Zero looks at an America where the old tenant of "Freedom of the Press" no longer applies.

Unlike other current media related epics, say Warren Ellis' Transmetropolitan, Channel Zero is not as much concerned with the effects upon one another of both the individual and the media as with the effect of media on society as a whole. When the book's 'heroine', Jeannie 2.5, sets out to rebel against the straightjacket on America it seems her greatest enemy is not the tyranny of the government but the apathy of her own audience.

With the almost inevitable -- considering Ellis is quoted on the cover of CZ#2 -- comparison to Transmet aside, Channel Zero is a unique book in a number of ways. Wood, as writer, illustrator and designer, supplies both the script and art with consummate skill.

The 'enemy' is not, as would be expected for this type of story, either the government or the mega-corporations. That it is, instead, the special interest groups makes a refreshing change -- and a somewhat frightening one when you consider just how possible such a future could actually be.

Though Channel Zero has a somewhat slow beginning, once it gets off the ground it is a fast and enjoyably paced comic, building in a crescendo towards its final climax. The report-like narrative style, as if spoken by a person outside the main focus of the comic, is an apt choice and it provides a vehicle for a commentry that would otherwise perhaps be a tad too preaching for my tastes. Similarly, it helps ease the time gap between the first and second issues.

An interesting technique is the use of 'hidden messages', copy added to the pictures in a way I personally haven't seen used before. Rather than being invasive, it provides an almost subliminal comment on the main story and in doing so somehow reflects the use of snappy adverts, quick-cut images and sound-bites in the media itself.

If, like me, you read the mainstream comics often enough to have acquired a filter for the inset advertisements, you may find yourself having to reread the first issue of Channel Zero. Wood includes a 'Subvertisment' -- an advert for "the affordable portable video camera" that is interesting not only as evidence of an unusual writing style but also of the lengths to which Wood's U.S. will go to exert control over the media.

Reproduced from pen and ink, the black and white artwork is a combination of sharp lines, high contrasts, highly realistic backgrounds and almost expressionist figures. Wood's artwork is highly stylised: his characters, and especially their faces, are somewhat reminiscent of Michael McMahon's work on Grant and Wagner's The Last American or on MutoManiac.

The near impressionist use of light and shade -- while perhaps almost forced upon Wood by his choice of medium -- makes for a visually impressive comic while adding a stark quality to the story.

Fortunetly, Channel Zero is more than just eye-candy.

The first issue nicely sets up the background while cleverly introducing the main elements as Jeannie 2.5 takes her first steps towards revolution. With the second issue and six months in the media, she finds the revolution has become another advertisement and like a soap opera racing for the most outrageous plot yet, she devises a plan to really make people sit up and take notice.

The countdown to broadcast at the end of issue two, combined with the running commentry of the narrative builds a crescendo that explodes into the next issue, carrying us along with it. The ending of issue 3 -- and the first miniseries -- is smooth, perhaps a tad too much for my liking, but a satisfying one. Together, these three issues serve as a brilliant introduction to an all too possible future.

Though Jim Valentino's Non-Line has sadly fallen, Channel Zero continues at Image Central with the first in a series of one-shot stories. As Brian intends to "branch out" in the forthcoming issues, it will be interesting to see how this comic evolves as he expands upon the Channel Zero universe.

Don't touch that dial...

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-- for the interruption and now return you to your regularly scheduled programmes.

~Review by Nope Callahan~
Channel Zero is © 1998 Brian Wood and published by Image Comics, Inc.
Quotes and images taken directly (and without permission) from the comics.