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COMIC BOOK REVIEW: Klaus #1

 
Klaus 1 cover
Klaus 1 cover
Klaus 1 cover

 
Overview
 

Story by: Grant Morrison
 
Art by: Dan Mora
 
Publisher:
 
FG RATING
 
 
 
 
 
3.5/ 5


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To sum it all up..

OH MY MEMORIES Grant Morrison attempts to revise the beginnings of one of the most iconic figures of Western civilizations, Santa Claus, in his another independent mini-comic series, KLAUS. Independent comic publisher, BOOM! Studios, unleashes the premier issue that has the subtitle How Santa Claus Began? Intriguing at first glance, but the Scottish writes in […]

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Posted November 4, 2015 by

 
FULL REVIEW
 
 

Klaus 1 cover

OH MY MEMORIES

Grant Morrison attempts to revise the beginnings of one of the most iconic figures of Western civilizations, Santa Claus, in his another independent mini-comic series, KLAUS. Independent comic publisher, BOOM! Studios, unleashes the premier issue that has the subtitle How Santa Claus Began? Intriguing at first glance, but the Scottish writes in a surprisingly highly accessible narrative storytelling actually makes this more wondering than most of his psychedelic and out-of-the-box narratives so far. Klaus #1 is a solid 32-page introductory tale of his other so-called possibility of the forces and circumstances on the molding and transformation of the beloved myth. But like most comic narratives that dwell on historical and cultural figures, KLAUS should be seen as one of many interpretations on that figurehead.

Unlike most of Grant’s opening salvos, this one starts on a traditional storytelling trope and ends with a bewildering state of astonishment that shifts nicely to the second chapter sooner or later. If you expect a tale about the traditional Christian tale of Saint Nicklaus as the paradigm, think again for Grant loves to subservient the mundane, the accepted, the trivial and anything taken for granted, especially the institutionalized/structured/imagery. However, even his reputation as a comic scribe is virtually unparallel nowadays; he still applies some conventional narrative spices to present this Yuletide revisionist tale more palatable to the modern comic readers—oppression, hardships, medieval, fantasy. The first one is apparent for the classic tyrant-subjects relationship is present, making Klaus a quasi-Robin Hood tale during the Christmas season. The second feel is quite obvious due to the existence of the former, this kind of master-slave socio-economic interactions, which is still a bit relevant actually to get the readers’ attention.  With the rage of almost anything Middle Ages in popular culture right now, like Game of Thrones, Vikings, the Tudors, etc., I would be unsurprised if the comic shaman also jumps into this bandwagon which focused on the Scandinavian regions, though the main character here is rather Caucasian, not the Mediterranean type as historical records suggest. Plus, we are witnessing a bratty inheritor, a clueless or lobotomized of sort lady, and a powerless enforcer—similar to many morality plays around.  And the elements of magic and the supernatural are present in replacement of Christian values of charity and compassion, though we must be aware that any religion practice is not entirely pure but a mixture, a product of acculturation of different cultures. And, diminishing the spirit of the Yuletide season is nothing novel actually. History of England presents us the case during the Commonwealth regime of Oliver Cromwell in the 17th century, and even some socialist and communist countries in the 20th that outlawed Christmas (if done secretly, then that’s another matter). In other words, this is the Grant Morrison we are reading, but in more accessible and a bit progressive right now.

Klaus’ illustrator, Dan Mora, performs well in articulating the Scot’s thoughts. There are neither over-the-top paneling nor bombastic angular perspectives to be dazzled right here, but virtually pure conventional sequences for the most part. Mora’s illustrations of the town are more detailed and even captured the historical touch of the Scandinavian outlook. Even the forests and the backgrounds are well-drawn, almost feeling the cold winter nights of the said region. His most artistic takes are the supernatural beings the character unleashes in the latter part of the story and the toys in the near end, recapturing the essential Santa Claus we know so well. Even his facial portrayals are authentic, especially in tackling the oppressive manner of the overlord to the domain itself.

If this initial revisionist take has any asterisk worth pinpointing here aside from above, there is nothing sort of revolutionary at all since his epic Multiversity run in DC. Historical revisionism is a norm for every generation, particularly in a free environs/societies/atmosphere where new credible evidences can supplant dominant thoughts and old-cherished beliefs. Well, Christmas celebrations came from pagan practices during the Roman times, right? Plus, if this is a six-issue series, why release right now? How long will it last, next Yuletide season next year (considering Grant Morrison’s penchant of lateness, this may be possible)? Seriously, I feel no BOOM here. Probably in the next issues I might experience this one.

Klaus #1 starts off Grant Morrison’s subversive view on the origins of the popular iconic figure. Unlike most of his works, this is highly accessible to read, similar to his We3 and All-Star Superman series. He indeed incorporates several cultural and historical themes into this iconoclastic mix, though this one feels nothing historical at all, just for entertainment reading purposes only. Dan Mora’s illustrations carry the burden actually. He draws as authentically as possible, especially in respect to anything Norse or Viking stuff. If readers want to know the historical connectivity of Santa Claus to the medieval and ancient times, they can just Google or better yet, read some serious historical and cultural books done by the specialists and experts of the fields. If one wants a plain comic reading pleasure, this series is a good choice.

 


Paul Ramos

 


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