A vast and desolate wasteland, suitable for any action or exploitation movie, serves as the magnificent backdrop for REVENGER & THE FOG, the second collected volume of the ongoing Revenger comic book series by Charles Forsman. What I readily come away with is this: a horror schlock genre opens up a wide field for comics but it’s not so easy to get it right. You need a strong narrative backbone to keep all the flesh and blood moving along. Forsman jiggles it all into place with a masterful touch.
Quentin Tarantino easily comes to mind as a practitioner of the type of movie terror that Forsman is channeling. Everything and everyone is cast in a pale yellow light of sheer desperation. We know from the get-go that the characters that dwell within mostly, or exclusively, eat raw meat…perhaps drink blood too. It is nothing to them to humiliate, mutilate,…well, you get the picture. A little goes a long way. Not my preferred cup of tea but, then again, it all depends upon the writing. Forsman is sensitive to those proper modulations of gore.
As I understand it, Reggie, aka Revenger, is a one-woman force of nature, easily the lone wolf but open to companionship from time to time. For this collection, we follow Revenger when she belonged to a vigilante gang known as The Fog in Los Angeles in the late ’70s. This is a most unlikely assembling of brute force and cunning not seen since the A-Team. Revenger has fallen head over heels for Jenny, aka Dynarat. It is a love affair fraught with danger and ill-fated beyond words. Billy, aka Slim, offers some crude technical skill. Tara, aka Scalpel, is a martial arts guru.
The basic story here is a goofy nihilist joy ride. Dynarat is kidnapped by her abusive movie mogul father. Revenger must find a way to rescue her. The story dares you to take it seriously. Within context, it works its magic, much in the same way as other forms of parody and good obsessive autobio can sway the reader. The intriguing thing about this comic is that Forsman, like Tarantino, is intimately involved with his subject matter, both playfully satirizing it as well as paying it respect. There is irony but it’s not all irony. It’s a joke but it’s not all a joke. Essentially, Forsman works from a platform that provides exhilarating freedom for a cartoonist to take big risks: the arena of pure artifice, pure entertainment.
Forsman has an admirable control over some pretty weird proceedings and keeps to a steady pace, mindful of the distinct journey each character is on. It is one thing to create a scene with some impressive slicing and dicing of body parts. But your story will never truly succeed if no one cares. We care about all the characters in this story, even the most repulsive ones. We don’t wish the villains well but we do get caught up in them.
Well, you get caught up in everyone’s business as much as you please. This is a deliciously artificial world we are navigating through. No wonder this gritty pumped up terrain, this hyperreal wasteland, attracts some of the most creative minds. You can mix and match an endless sea of possibilities: the inane headbutts the profound.
Forsman, much like his contemporary Michel Fiffe (COPRA), has the admirable distinction of tackling all aspects of his work: the writing, the drawing, and even the coloring. While pretty common in indie circles, this kind of involvement is nearly unheard of within corporate comic book publishers. In the case of Forsman, he does quite well in serving his cryptic vision alone. His wiry characters get bathed in just the right quirky color schemes. Tongues can stick out and be painted a bright fire engine red! It all makes sense: perfectly oddball and compelling story, art, and colors.
The world of action B-movies, it turns out, is just another world, with as much to offer as any wonderland or netherworld. And, as I suggested early, it is a satisfying and quite apt playground for comics. There is a thread from Herriman’s Krazy Kat to Kaz’s Underworld to Forsman’s Revenger comics. A final thought: After you complete the main story, you have an extra feature which is Revenger lost, appropriately enough, in a hell hole. It is a fitting end to a most intriguing collection of work.
REVENGER & THE FOG, the second volume of Revenger comics, is a 160-page full color trade paperback, published by Bergen Street Press. For more details, and how to purchase the work of both Charles Forsman and Michel Fiffe, visit Bergen Street Press right here. Visit Charles Forsman right here. And be sure to stop by and consider becoming a patron of Charles Forsman at his Patreon right here.