, the tenth volume of Brian Wood's fantastic (anti-)war comic DMZ
, follows the format set out in the first half of book nine
: a series of short vignettes that jump from character to character, setting to setting, each illustrated by different artists,It's a chance for the illustrators who've been captured by Wood's apocalyptic, besieged New York City to play around in his world.
Collective Punishment is the story of a "surge" aimed at breaking the back of the resistance in Manhattan, the titular DMZ in a dirty civil war that has split America. Told from the points of view of traitors, refugees, artists, prisoners, power brokers, radicalized civilians and soldiers, the powerful and the powerless, these stories are particularly poignant today, as bombs fall in Libya and security forces shoot at protesters in Syria and Bahrain.
Wood's version of a war story is all grit, no romance. As always, he's telling the story of people who are the involuntary spectators and participants in someone else's clash of civilizations. It's a perspective that's simultaneously unforgiving and deeply emphatic, and it's why Wood's DMZ is some of the best material written about war in any medium.
DMZ Vol. 10: Collective Punishment
Brian Wood’s Starve, Volume One (collecting issues 1-5) was the best, meanest new graphic novel debut since Transmetropolitan; now, with Starve, Volume Two (issues 6-10), Wood brings the story in for a conclusion that is triumphant and wicked and eminently satisfying, without being pat.
I discovered The 13 Clocks by reading Neil Gaiman’s introduction to the 2008 New York Review of Books edition (which I found in The View from the Cheap Seats, a massive collection of Gaiman’s nonfiction), where he calls it “Probably the best book in the world” — how could I resist?
The View from the Cheap Seats, Neil Gaiman’s mammoth collection of nonfiction essays, introductions, and speeches, is a remarkable explanatory volume in which Gaiman explains not just why he loves the things he loves, but also what makes them great.
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