Page 45 Review by Jonathan
you wanna see something?"
Be warned. You won't be able to unsee it once you have.
It's like a fortuitously lightning-quick psychedelic DMT flash taking you pell-mell through a very strange version of heaven before promptly then being dragged back to reality through a hell which I think Box AN ENTITY OBSERVES ALL THINGS Brown would be pretty proud of, design-wise, all very straight symmetrical lines and perfectly rounded smooth curves. The uber-harsh palette of bright mustard yellow, ketchup red and classic fountain pen ink blue only serves to disrupt the mental balance and heat up 'n' melt down the synapses even further past the point of repair. But given it's the 'bad kids' being exhorted to take a peek and paying the brain-crushingly heavy mental price in 'Worthless', the third of three equally crazy tales in this collection, rather than me, meant I just found it all rather amusing, if a tad disturbing
'Rabbit', the second tale, is even more surreal, believe it or not. I would be amazed to discover that George Wylesol doesn't adore Michael LOSE DeForge, because probably the highest compliment I can give this work, is that if you had told me it was Michael DeForge, I would have completely believed it. The distinct contrast in illustration styles between 'Worthless' and here, with its intense, deliberately dense pseudo-random patterning lines, well, I guess technically it is shading, though perhaps texturing would probably be a better choice of word, shows our George has got several strings to his artistic bow, nay, harp!
The palette for 'Rabbit' is even more subconsciously intrusive on the eyes, particularly for his not infrequent plonking blocks of intense colours deliberately a few millimetres to the right or left of where they are supposed to go. In terms on engendering mild unease, it works extremely well as your brain is telling you something really isn't quite right here... The story itself is of a lonely human portrayed as a ghost-like white sack with a wooden mask for a face wandering through a watchful forest, encountering a most peculiar rabbit with sticks for legs, and the human's ill-advised attempts at taking it beyond the confines of the trees.
Since we're working backwards, I have no idea what the odd photograph of pink roses that looks like it has been printed on an inkjet printer running out of one of the colours in the colour cartridge is all about, nor indeed the odd hand drawn couple in the flowery frame on the opposite pages. Maybe some strange exhortation of love to person(s) unknown by the author? That peculiar double-page spread sits immediately before 'Rabbit' and just after 'Ghost', the lead story which gets top billing as well as naming rights on the collection.
'Ghost' tells the story of a night porter wandering the ten of miles of tunnels below a hospital, never encountering a soul, but certainly having some strange supernatural encounters which may or may not be due to his equally odd imagination. Then, our night errand boy somehow turns a corner into a previously undiscovered part of the tunnel network and has a mild existential crisis which is only ameliorated by utilizing his own particular mantra of mild murmuring madness to get through the experience. 'Ghost' is actually the least obtuse of the three stories, and visually is far less intimidating than the others, though still with its own wonderful peculiarities, both in terms of the writing and artistically. It reminded me to a degree of Nick Drnaso's BEVERLY.
A very accomplished trio of stories that showcases someone who is seemingly without any fear whatsoever when it comes to the arduous artistic process of making comics. Bravo George Wylesol.