R.E.M. by Marc Alan Fishman – Snarky Synopsis | @MDWorld

February 17, 2014 Marc Fishman 0 Comments

I feel compelled to tell you, given last week’s review, the PR firm of Beverly Bambury should get all the credit in the world for my eyes coming upon this book. “R.E.M.” is an original graphic novel put out by Spokelane Entertainment and Mike the Pike Productions. Ms. Bambury reached out to me (and I assume a crap ton of other, better reviewers) and offered up a copy of the book if I’d review it. I feel compelled to be honest; I have done no research on the creators of this tome. I believe based on the “589 of 1500” inscribed in the front cover that I am receiving a short-run indie graphic novel. As a member of the illustrious Indie Scene, I felt it was in the best interest of Mr. Colucci and Huszka to read the book cold, and then review it even colder. Well boys? Prepare for winter. It’s going to get freezing here soon enough.

Suffice to say, the actual physical product they deliver? Is beautiful. A great hardcover, well bound, with a crisp and clean white stock that elevates the contrast of the black and white artwork as great as one might hope. When one gets to the actual story and artwork? Well, let us say that Spokelane and Mike the Pike must have high hopes, but not discerning taste.

Before I start with the cold condescending snark let me at least give you the elevator pitch. “R.E.M.” tells the story of one Michael Letto. Michael used to be in love. Michael used to be a scientist. Michael loves Yoga. Michael lost the love of his life. R.E.M. picks up with Letto unveiling (to himself, mostly) a machine that allows the user to trick their brain into believing they’ve enjoyed a full nights sleep in only a matter of half an hour.

Shortly after perfecting his yoga-inspired chakram-busting wunderchair, Michael’s world becomes a never ending, slow-building chase as the military and the church each make a move to take possession of Letto’s invention. Meanwhile, Michael discovers with each treatment in his chair, he’s able to make contact – via dreaming – with his lost love. All in all? It’s a great pitch.

But a great pitch is only that – the notion or idea of something interesting. “R.E.M.” simply fails to deliver in it’s scripting and in the art. The story itself is novel, but Colucci fails to find pacing. Within the 100+ pages of plot, we circle the drain in a handful of locales – a miserable diner, a bookstore  (how hip!), Letto’s apartment, and a few similarly cramped and odd spaces. Letto never seems to share space with more than one or two people per scene. Every scene plays out in the same quasi-frenetic “I know something bad is going to happen soon” tone. By the time we reach the actual climax though… it’s too little too late. The fact that we’re lead by the hand like school children to the obvious conclusion only makes me sad; Colucci has the foundation to complete something amazing, but opts instead for cheap thriller tactics, and angsty new-age filler.

Artistically, Huszka is at best schizophrenic. His Frank Miller-esque layouts, panels, and tone work comes at times pitch perfect. Other times? He’s hasty, rushed, scribbled, or digitally cheating his way through a spread. Characters share the same batch of mismatched cartoonish features. While it’s easy enough to tell everyone apart, Huszka’s style bounces between influences of manga, street art, and whatever his actual style is. Flipping through the book, to almost any block of pages will deliver a panel rendered beautifully besides 3-4 others completed half-assed. When the art turns to the cerebral, the moody, and the angsty? It’s never better. But all of the more basic elements… walking through a park, eating, sharing a ‘talking-head’ conversation? Phoned-in entirely.

Upon first (and second, and third) inspection, the best I could muster in opinion was ‘This feels like the first attempt at a book’. It very well may be. I vow not to look it up until after I submit this review. Why? Simple. The fact is a piece of art is better enjoyed at times when you know more about the artist yes, but a reaction to a work of art devoid of extraneous information allows you to see the merits and faults of the work without prejudice. Ignorance, in this case, is bliss. “R.E.M.” shines in some parts – in creating a frantic tone amidst sloppily piled scenes, and in bits and pieces of the artwork. Sadly, the good does not outweigh the bad. Or perhaps to say… the not as good as it could be. Colucci and Huszka have the chuptzpah to produce a full story from start to finish. As a finished product though… The short-sighted nature of Letto and his cramped world make the quick page turns not worth while.

For those looking for the short-review? Stop here. Suffice to say: I wanted to like this book. I appreciate the moxie of the creators. But “R.E.M.” doesn’t add up to a complete piece for me. For those willing to stay a bit longer… I offer you the SPOILS of snark.

The idea that a man can physically survive, via technology or alignment of chakram, on 30 minutes of sleep per day is a wonderful hook to hang a hat on. The unlimited potential of that device could – as Michael admits early-on – would be world-changing. Yet, the remainder of the book deals with Letto’s continual closed-off nature, and selfish abuse of his machine. We are to believe that ultimately he feels humanity isn’t worth his gift. Spoiler alert…. In true indie-splendor… he commits suicide. It’s a cheap ending that makes me feel like Colucci wrote himself into a corner. A great idea, a great chase, and no resolve beyond cheap death, and grand posturing. Kevin Smith once thought “Clerks” could have ended with Dante getting mugged and shot to death outside the Quick Stop. Lucky for him, he had a guiding hand to slap him upside the head. “R.E.M.” has no such hand.

In addition, Colucci peppers the prose with references to the bible, to God, and to other Judeo-Christian references. Call me a purist, but I’m left for a loop. Michael clearly leaves this mortal coil of his own volition. Upon doing so, we exit on him in a fantasy (OR IS IT!?) walking on the beaches of Bali, his lost love in hand. Behind them, their steps form the phrase “He who believes in me shall never taste death.” I believe these to be the words of Jesus. I should note, I’m a Jew, and a bad one at that. And I’m lazy, so Google be damned. One thing I do know: Suicide is a big no-no. To imply that Letto’s belief in the Father, Son, and Holy Spirit doesn’t grant him a happy ending… even if he’s doing it in part to destroy his machine (perhaps? Dun dun dun….), suicide will not allow Letto to not taste death, nor rekindle his spiritual love.

I felt after completing the book that Colucci simply didn’t spend enough time thinking through his story. Those that come after Michael Letto, and his mystery machine, operate on the level of cartoon villainy. Through odd scare tactics, fake smiles, and outstretched hands, they all try to sway Letto. Here the art makes it wonderful and clear: Don’t trust them. And because we never for a second do that? Each scene we return to each suitor of the machine, brings us wasted space. Tack this onto the sub-plot of Michael, his brother, and their ill mother, and we get plenty of passages that do nothing to complete the story. Instead, we get drifting, world-building, mock-sermons, and new-age hoojoo. Every scene needs meaning to the overall plot. Too many times, I saw the strings of the puppet master. Sometimes being cryptic only makes one look foolish. “R.E.M.” revels in it.

At the end of the day, “R.E.M.” exists as a great rough draft to something that could be wonderful. With rushed art sitting squarely next to wonderful renderings… with a plot that doubles-back over itself one time too many… with a resolve that feels cheap instead of cathartic: the creators might do well to consider another pass. Sleep on that.