K is for Klaus

K is for Klaus

A review of Grant Morrison and Dan Mora’s Klaus (Boom Studios, 2016).

By Derek Newman-Stille

klaus

This isn’t your regular right jolly old elf. Instead, this Santa Claus is a warrior, hunter, and rebel. Playing with the story of Santa Claus from the 1970 stop motion animated film Santa Claus is Comin’ to Town, Grant Morrison and Dan Mora’s Klaus is a warrior who shows up in the village of Grimsvig, where children have been forbidden to have toys. Even rocks used as playthings are taken away with severe punishment threatened. Grimsvig is a town where all joy has been removed. It is a nightmare of labour without reward where only the wealthy are allowed the pleasure of escape and imagination. Klaus returns to Grimsvig and is disgusted with what the town has become, and after being expelled from the town, encounters otherworldly beings who inspire him to create toys that he then brings back to the community.

 

In this comic, Morrison and Mora play with images of rebellion, having Klaus modify posters of the royalty around the town of Grimsvig with stylistic similarities to V for Vendetta, yet the poster of the baron has the rune for joy written on his chin instead of a beard. Klaus combines joy with rebellion, playing with the idea that joy can be a rebellious act. Klaus attacks guards and disrupts the monotony of the town.

 

Klaus takes on the role of Julernisse, the Yuletime Spirit, operating between myth and reality. Even within the comic, he is discussed as myth, disbelieved because of his stealth and ability to resist the perceived natural control of the baron. Klaus is described by various people as a man-wolf, a ghost, and a spirit, taking on the status of legend while alive.

 

Morrison and Mora create a story where play is an act of rebellion, a means of resistance and a way to assert change. They illustrate that play is not just a means to escape, but to creatively inspire transformation. Capitalism and joy clash in a world where anything that doesn’t generate profit is seen as suspect.

 

Klaus comes into conflict with the destructive, greedy impulse of humanity and battles for a better humanity that he imagines is possible. Drawing on Norse mythology, popular narratives about Santa Claus, and the rich folkloric imagery about Father Christmas, Morrison and Mora create a new fairy tale about Santa Claus to expand new possibilities for imagination and wonder.

 

To discover more about the work of Grant Morrison, visit http://www.grant-morrison.com/

To find out more about Klaus, visit Boom Studios at https://shop.boom-studios.com/series/detail/458/klaus

 

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Orwellian Uprising

Orwellian Uprising
A review of Bill Willingham, Mark Buckingham, and Steve Leialoha’s “Fables: Animal Farm” (Vertigo, 2003)
By Derek Newman-Stille


The second volume in in the “Fables” comic book series, “Fables: Animal Farm” introduces us to the fairy tale characters that can’t pass in the human world. Whether giants, talking pigs, Puss in Boots, flying monkeys, or trolls, the fairy tale characters who passed into the human world and are unable to pass as human are confined to a small village away from human civilization, deprived of common rights of movement, and limited in the activities they can participate in. 

Feeling treated as second class citizens, many of the residents of The Farm want to challenge a system that divides characters by appearance. But, these beings from fairy tales of the past are integrated into a tale of the present as George Orwell’s “Animal Farm” becomes a modern text that weaves into this tale of exploitation and class difference. Like in Orwell’s tale, certain residents of The Farm decide that they can exploit the anger that the residents all have over being treated as second class citizens in order to take over their society. 

“Fables: Animal Farm” explores ideas of class conflict, but it also interrogates ideas of segregation of certain populations, and the residents of The Farm remind the reader (and the human-looking fairy tale characters) that no matter how good the buildings are in a segregated community, it is still a prison when you are unable to leave. There is a commentary here on other institutions that segregate disabled populations or aged populations from an able-bodied population that consistently expresses a desire not to see people with disabilities or the aged. The residents of The Farm are similarly hidden from sight, removed from social interaction, and isolated. Indeed, they represent their isolation by playing on William Golding’s Lord of the Flies by slaughtering one of the Three Little Pigs and placing his head on a pike. The characters use this symbolism to illustrate that their isolation, rather than their bodies, have transformed them into animals and monsters. 

In “Fables: Animal Farm” Willingham, Buckingham, and Leialoha illustrate that texts have power, and, particularly, that they ask social questions. Mixing fairy tales with some of the social commentary from Orwell and Golding’s tales, “Fables: Animal Farm” reminds readers that fairy tales and other stories that we tell ourselves are our way to understand our place in the world and that tales should be revisited because every time we revisit them, we observe something new and relevant.

To find out more about the Fables series, visit Vertigo at http://www.vertigocomics.com/graphic-novels/fables-vol-2-animal-farm