NAMELESS No. 6, December 2015 |
Containing a seemingly superfluous opening scene depicting
the “Zed” television show interviewing Paul Darius’ flying drone, a
tediously tiresome tarot reading sequence involving the titular character and a
hooded misshapen Sofia, whose face has been partially infested by a squidgy
multi-dimensional extra-terrestrial, and a rather fortuitous ending which
depicts Jin Zhao somehow surviving the Serenity Base massacre in order to
single-handedly deflect the asteroid Xibalba into the moon using the spacecraft
White Valiant Two, this concluding issue of “Nameless” must doubtless have
proved to be utterly unfollowable nonsense to the vast majority of its 15,894 readers
in December 2015. Indeed Grant Morrison’s unfathomable writing creates so
difficult a nonlinear narrative to follow that at times it seems as if the
Scottish playwright must actually have wanted his audience to struggle and
strain with the book’s countercultural concepts; certainly this is arguably not
a magazine one can comprehend in just a single sitting… if ever.
The biggest flaw of this twenty-four page periodical is
undoubtedly the Glasgow-born writer’s inability to make it in any way clear just
which events are real and which are taking place within the occultist’s
evidently badly broken mind. To begin with it seems as if the adventurer has
never actually left the abode of the mysterious female fortune teller first
seen in this mini-series’ first instalment. But having rather long-windedly informed any perusing bibliophile as to the “fifteen thousand
years of savage and deranged conflict” between the Titans and Outsiders, the
action quite brusquely then returns to the present-day space mission with the
troubled astronaut discovering that he is still in the grip of his ‘infected’
colleagues.
Or at least that is what seems to be occurring until Morrison
flips the action back again and the publication’s shocked, slightly panicky hero murmurs “there
is no space mission, is there? Where are we really?” Several further setting switches
later, including a return to Serenity Base and its homicidal occupants, as well
as a genuinely disturbing portrayal of Nameless literally tearing off Darius’ face
in front of the entrepreneur’s daughter, and it is impossible to understand
what has and hasn’t really happened; especially as the author’s ending suggests
that the moon has been partially destroyed by the gigantic space prison crashing
in to it. Yet simultaneously the book’s protagonist has been shot dead by “Milady” on Earth!?!
Far less indecipherable, though easily as nauseating as the
storyline in places, is Chris Burnham’s wonderfully detailed pencils. The
American artist’s panels which illustrate numerous acts of bodily mutilation and
sexual depravity are as worrisome as they are finely drawn. Yet it is the “Batman
Incorporated” sketcher’s incredibly vivid rendering of the Titan’s capturing “their
one and only prisoner of war” which is perhaps the only reason why this comic
is worth buying.
Words: Grant Morrison, Art: Chris Burnham, and Colors: Nathan Fairbairn |
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