4 out of 5

In the wake of 9-11, we got some cautiously released comics that spoke to / about the tragedy in some ways; then, perhaps inevitably, we saw a spike in slightly nationalist stuff, and copaganda-esque works like The Call series. As the final part of the cycle, we wanted a return to peace – theme of “can’t we all get along?” circulated. I always ignored the ‘411’ series as a part of this; “message” comics can sometimes contribute to worthy causes, but, for better or worse, are generally pretty frail, content-wise.

For various reasons, I found myself reading this issue, the first of three in a series. While it doesn’t encourage me to check out the rest, I was really surprised by the contents: there is the usual idealistic overreach of such things, but at the same time, more measured responses than I was expecting. With the three stories paired with amazing artists, it turned out to be a (for me) surprisingly compelling read.

We open with a statement of intent from then-president Bill Jemas, and perhaps his presence is suggestive of what kept the book on the rails: his intro is, itself, measured, and sets out a kind of realistic template for the stories: of recognizing the humanity in who might otherwise be called your enemy. Thereafter, the cofounder of the M.K. Gandhi Institute for Nonviolence, Dr. Arun Gandhi, is given a couple pages to talk more at length about his institute and the nonviolence movement. I appreciate the importance of giving Dr. Gandhi this space, but the text is, unfortunately, pretty dry and more along the lines of what someone who’s already convinced of the pitch would be interested in. It’s hard to dress up serious matters for your “average” reader (including myself in that bucket); it’s easy text to skip, which… shouldn’t be the intention, I’d guess.

But on to the comics.

Jemas and Chuck Austen team up on the Phil Winslade-illustrated Blow Up. This is the most Hollywood entry of the bunch, and thus the most unrealistic, though we’ve certainly had versions of its take on “combative” peaceful protest – and this is where you tell me this was actually based on a real story; maybe! Either way, it being “the most Hollywood” also means it has the most direct impact, and Austen / Jemas really pace this well to nail its beats and tonal twist.

Next, Mark Millar and Frank Quitely give us an (autobiographical?) tale from the narrator’s grandfather’s past, finding a funny way to stick it to the British Protestants in North Ireland. This is Millar during his prime years, having built up The Authority and The Ultimates, and clearly having something to say about sticking it to oppressive authorities. Quitely’s intimate art adds liveliness to the talking heads and scenery, and Millar soberly tells his story. Its snarky ending feels a bit off, but is a good balance for the different takes in the book overall.

Finally, David Rees and artist Tony Salmons tell a quiet tale of personal revolution, with an Afghani man having to decide whether he fights as per his grandfather’s demands, or “fights” by being at home with his son, and being a role model who doesn’t raise a fist or a gun. Rees, to me, really nails a sense of character and culture in this one, and keeps the tone balanced so the struggle (and resolution) feel realistic.