Norwegian comicker Jason has carved an impressive reputation among lovers of Indy comics over recent years, and deservedly so, consistently offering up some truly wonderful comics with lovely, (deceptively simple) clear-line art, stories that can offer both humour and tragedy (often in the same tale) and which, with a fairly minimal sequence of panels, totally engage the reader. He’s also one of those great creators who “collaborates” with his readers, offering just enough intimation of the narrative (often wordless, or at least with very little dialogue) and respecting his readers enough to trust them to fill in what happens between those panels, or to draw their own conclusions from a “silent” sequence, which I find hugely satisfying.
If You Steal is a collection of short stories by Jason, covering a variety of topics and emotions, from drama and tragedy to gleefully humorous homages to other artforms and cultural pursuits. Some, like the eponymous If You Steal, which opens the collection, are melancholy in tone, allowing the reader to observe a man on a downward slide – gambling his money away, owing more to criminals, having to commit crimes to pay his debts, trying to earn enough to clear himself, to treat his girlfriend who he loves and yet who he also turns against in his rage and sense of helplessness as his life spirals out of control and everything he tries to make it better simply makes it worse and worse.
Again we have that very minimal approach, Jason using mostly three or four panels a page, like excerpts from the story – for instance, in just four panels we see the man leaving a card game, having lost a lot of money, walking down the stairs to the street, then suddenly running round the corner to be physically ill at what he has done. The whole sequence is only four panels, only one of which has dialogue (a whole two lines at that). Masterfully done and a perfect example of the skill of Jason as a cartoonist.
While the despair and desperation and loss permeates that opening story, this collection is no gloom-fest, it is in fact quite a nice mixture, from outright humour to fun-loving homages to delightfully surreal elements. In Karma Chameleon, for example, Jason is clearly having fun paying homage (and poking fun – lovingly though) at the great 1950s sci-fi B movie creature feature. We start in fairly traditional B-movie mode with people going around their everyday lives before looking up startled, only to be dragged off by an unseen menace, before the authorities step in, the local sheriff, the eccentric academic called in as expert (complete with attractive young daughter for the small town hero to fall for), the reveal of a giant version of a regular creature (here a chameleon) wreaking havoc and, of course, threatening the scientist’s daughter and leading to a showdown in the desert with the US Army. Being Jason though he can’t help but add in some cheeky humour of his own, not least the professorial expert having a strange compulsion to talk about masturbation to everyone.
There’s more delightful homage work with Night of the Vampire Hunter, which mixes up the Gothic vampire slaying holy man with (classic film fans will be unsurprised to hear) Robert Mitchum’s Night of the Hunter film (right down to the preacher having “love” and “hate” tattooed on his knuckles). Lorena Velazquez pays tribute to another form of film, those wonderfully bonkers Mexican horror movies in which a masked Lucha Libre wrestler is the hero taking on staples of the horror genre instead of a Van Helsing character. Of course Jason starts this one like so many of those generic (yet fun) Mexican horrors, the masked wrestler hero breaking into the grim castle to rescue the beautiful maiden from the scheming, hooded villains. Except Jason then turns the dial up to eleven – as soon as he beats the robed, hooded villains he is attacked again before he can free Lorena, this time by a Dracula figure. Defeating him again he finds the Frankenstein monster, werewolves, mummies, aliens and… Well, you get the picture. It’s a brilliantly mad overload of an already fairly mad (in the good way) sub-genre and left me with a huge, huge grin (it may have been my favourite in the collection)
We veer back to crime fiction with Polly Wants a Cracker, following a female assassin, seemingly a quiet, unassuming lady but on a job a ruthless and deadly killer, albeit one who adores and loves her parrot. Ask Not takes an entirely different tack, starting with druids at Stonehenge sacrificing animals for a glimpse into the future, then seeing that future evolve, leaping to Nostradamus dreaming a prophecy of a young president shot down in his prime in an open top car as his wife screams, through to the Twin Towers, a few minimal panels taking us from pre-history through to the modern day but all of it controlled and manipulated by a shadowy group of conspirators in a nice twist on all those tales of the Illuminati and other secret societies who are supposedly behind every big historic event. It’s funny but also a thoughtful piece.
Jason changes gears again for the final story, Nothing, where we see an elderly lady, Emma, struggling – as she tries to eat her food a very creepy black-eyed character snatches her fork from her hand. As she looks on perplexed a nurse asks her what’s wrong. “They took the… to eat with.” “A fork?” “Ah, yes. A fork,” Emma replies and suddenly the fork is in her hand again. As the story progresses we see these same disturbing, black-eyed characters trying to remove other items – they take a painting from the wall, Emma confused points to what to her is now a blank wall, only for her son to ask if she is looking at the painting. As soon as she hears the word the painting re-appears, and slowly it dawns on us that she has Alzheimer’s or a similar degenerative disease, the dark-eyed characters are her mind’s way of seeing the disease slowly robbing her of her senses and faculties and memories. It’s incredibly clever and also terribly poignant, not least when her daughter comes to visit and the dark-eyed character holds his hand in front of her face – now Emma can’t recognise her own daughter, although there are small victories such as the black-eyed characters attempting to carry off something else, but she looks them in the face and names it, and Jason imparts such a sense of triumph on her face as he realises one small victory.
If you haven’t read Jason yet then this new collection of short stories from Fantagraphics is an ideal introduction, while for those of us who are already fans it is a welcome addition to Jason’s oeuvre, offered up in a handsome small hardback volume. There are some sad, touching moment, some very emotional scenes, but also some brilliantly funny scenes, to make you sad, to make you laugh, to make you think, and all with just a few brief panels and hardly any dialogue, the accomplished work of an absolute master of the comics form. Superb.