VIMANARAMA #3 REVIEW

Kevin Sutton · Jun 16, 2005, 04:15 pm

<a href=" http://www.comixfan.com/xfan/images/previews/dc/0405/VimanaramaCv3.jpg" target="_blank"><img src=" http://www.comixfan.com/xfan/images/previews/dc/0405/VimanaramaCv3T.jpg" hspace=10 align=left alt="Vimanarama #3"></a>Reviewer: Kevin Sutton, kevinsutton@cheerful.com
Story Title: Vimanarama Part 3 of 3

The Maharishi kamikazes the yellow submarine into the Blue meanies.

Writer: Grant Morrison
Artist & Cover: Philip Bond
Colors: Brian Miller
Letters: Todd Klein
Assistant Editor: Pornsak Pichetshote
Editor: Karen Berger
Vimanarama Created by: Morrison & Bond
Publisher: DC Comics

Suggested for Mature Readers

It’s been awhile since the last issue of this miniseries, and I honestly had forgotten of its existence before I saw this on the shipping list. Perhaps a small miniseries running about a month behind schedule just isn’t something you remember too well. Heck, sometimes I forget I’m also following Warren Ellis’ Ocean. But I don’t really think that this indicates something wrong with the story. There’s really nothing like Vimimarana on the shelves right now, and each issue is appropriately overloaded with a greater than average number of pages. That, combined with Morrison’s penchant for large and imaginative plotlines has provided a story which is as expansive in scope as any DC or Marvel crossover event.

It’s a common occurrence that Grant Morrison will craft a story huge in concepts and which pushes the envelope of standard storytelling methods, and his weakness are related to that through the presentation and developement of those concepts. Vaninarama is no exception. (In fact, the flashy tongue twister of a title is a good example of that) There has been some debate as to whether the main characters and the Ultrahadeen are supposed to be of a Hindu or a Muslim faith. I’m not sure if any readers ever resolved that conclusively, but I don’t think it matters. Instead of trying to present an orthodox and realistic portrayal of culture or mythology, Morrison is just trying to present a story with exotic characters and events. Ultimately, creating a mishmash of different faiths is in keeping with Morrison’s own predilections, and away from an orthodox view of the world. (Arguably, Morrison is a trippy hippy) So it’s no surprise to see this sensibility reflected in his story of faith and romance. That is ultimately, what Vininimaranama is about after all; the villains are merely a tool to set up the various personal crisis. Their attacks on earth suitably serve as a backdrop and also provide an urgency to the attacks and worries of Ben Rama, Ali, Sofia, et al.

The story follows the crisis Ali and to a lesser extent other characters including Sofia, Ben Rama, and Ali’s family. This is made clear for the audience with Sofia’s poignant line, “Ali’s dead, don’t they know it’s the end of the world?” From Sofia’s perspective, the villains destroying the planet are not really that important anymore. I guess readers with more human emotions might see such things as pretty romantic too. That’s a strong element of the Bollywood idea Morrison seems to be trying to recreate. (Although I’m not sure if Bollywood films ever got as crazy as Vilmeranarama does)

The conclusion dedicates itself to the resolution of Ali’s predicament and the growth of his relationship with Sofia. (Oddly enough, the fact that they’ve fallen for each other so quickly is not a weakness of the script. Rather, it is fitting with the style Morrison is trying to emulate) The physical plotline is resolved of course, and it does establish some depth to itself before then, but if you didn’t catch yourself up in reading the previous instalments before this one, you may find yourself a bit lost. Morrison doesn’t waste time explaining what will make more sense to the reader with a second reading, but the presentation can be confusing and the resolution still seems a bit too sudden considering many readers would assume that he invasion was the central issue. Of course, there’s not much that beats seeing the ultimate sanction, (I wonder if that’s a reference to modern politicians’ wordplay on going to war.. probably) applied Dr. Strangelove style to the Atlanteans. (If only he’d kept his helmet and waved it about as he plummeted….) I must also admit that I was a little confused as to the sequence of events at first as it seems that Morrison gave us the events outside of their defining chronological order. Though that doesn’t hurt the composition of the story at all once you clue in to that.

We saw the crushing blow that Sofia’s rejection dealt to Ben Rama in the previous issue, and the obvious physical ramifications should make the emotions expressed all the more real to the reader even though it didn’t get the attention of some of the other relationships in the story. It also makes Rama’s actions, (and posthumous actions) all the more the heroic, which is appropriate given that he’s a superhero from heaven. (Or something…) I also appreciated how Morrison even injected some form of environmental politics and humour into this backdrop crisis. (How many writers would make a demonic Atlantean invasion a backdrop in a story?) The Atlanteans stand in contrast to the Ultrahadeen as a dark force which appreciates the pollution that humans have put into their own atmosphere, and digs through the earth for valuables; while the Ultrahadeen technology is portrayed leading humanity into a bright, clean future. Also, when you consider how the Atlanteans continually mock god, it seems also as if Morrison is aligning capitalism with a lack of faith, perhaps to emphasize the inherent callousness of capitalism. I also like how the Atlantean’s indigent status is played up for some humour; hell a concept like that could have been played out for an entire story rather than just a joke. But no one’s stopping anyone else from doing that, and this story has other more important concerns. (As I’ve already mentioned)

Vaminarana is a story which finds strength not just in the internal conflicts of the characters, but also in its aesthetic qualities. It may come as a surprise to those unfamiliar with Bond’s work or Morrison’s visual flair, that the artwork here is only deceptively simplistic. Much like the more well known Mike Mignolia, Bond has a particular visual flair and an eye for detail, but unlike the aforementioned Mignolia, Bond’s work here provides bright and fun sci-fi instead of studies in shadow and noir. It just further goes to show how the value of photo realism can often be overrated. No doubt Brian Millar’s excellent colouring has something to do with this presentation, and so I’d be interested in viewing their work again, either together or separately.

While the great ascetics are present throughout the series, the conclusion is a feast for your mind. I’m not going to list everything that Morrison included or Bond and Millar drew, because there’s something cool on every other page. Usually many somethings. I can’t associate a literary purpose with everything, (Could the words in heaven indicate the beauty of literature or just that Morrison can’t trust pictures to appropriately convey the beauty of heaven?) and I can’t be sure there is a purpose beyond pure aesthetics. But there doesn’t need to be. It’s trippy by nature and exciting as a result. This comic is bursting with surprises and will stimulate the reader with the variety of what they will see and read. Any depth that the audience wants to associate with some of this exciting material will probably be only in the eye of the beholder, but that doesn’t make it any less valid artistically. Sometimes its fun to let the audience decide what things mean for themselves. Even if simply taken at face value; angel wasps, musical detonation, neon artificial hearts, (among others) are all fun. This comic is far more fun and exciting than other comics on the shelves.

Despite the mature readers recommendation, I find this book seems to be almost child appropriate, (Although, I still remember what Morrison did to the British parliament in the last issue…) and it harnesses mostly positive vibes of faith, love, and fun in spite of the violence of the villains.

So if you haven’t been reading this title, I’d advise you to buy the three issues off the shelf, or failing that, buy the inevitable collected edition. Bananarama is not to be missed.

…wait, no--

ART:

STORY:

OVERALL:

'Buy this issue online now from X-WORLD and save!’

Erika Santiago · Jun 16, 2005, 04:25 pm

Quote:

Originally Posted by Kevin Sutton

So if you haven’t been reading this title, I’d advise you to buy the three issues off the shelf, or failing that, buy the inevitable collected edition. Bananarama is not to be missed.

…wait, no--

Hee.

Great review, Kevin. Unfortunately, I won't be able to pick up this issue until next week and your review has made me all the more impatient for it. This mini has definitely been an enjoyable ride so far.

James Groves · Jun 16, 2005, 04:39 pm

Fantastic issue. Nice finish to the mini-series. I've loved each of these 3-issue mini-series that Morrison's done. I think Bond's underutilised in the industry. The issue was packed full of interesting moments. Very enjoyable!

Great review, Kevin. Nice touch

Dylan McKay · Jun 16, 2005, 04:57 pm

That was so Grant Morrison. Great read, perfect conclussion, but so a Grant Morrison book...

Anand Khatri · Jun 16, 2005, 10:39 pm

Quote:

Originally Posted by Dylan McKay

That was so Grant Morrison. Great read, perfect conclussion, but so a Grant Morrison book...

Indeed. His books do have a certain air to them.

Well, I enjoyed this issue a lot. It was very fun, colorful, and splashy. Simply loved it.

Great Review Kevin.

Ovid · Jun 17, 2005, 08:04 am

This was a wonderful end to a wonderful mini. Better than We3, IMO. I laughed out loud when SPOILER! Ali, his dad and his brother were still arguing in the garden of death, welled up when SPOILER! Ali died and laughed and cheered at the ending.

Quote:

Originally Posted by Kevin Sutton

How many writers would make a demonic Atlantean invasion a backdrop in a story?

This is so true. It was the family dynamic and the love story that did it for me. Even Ben Rama's love story touched me in the end. And the art...

Everything was awe-inspiring. Simply awe-inspiring.

Paul Shinn · Jun 17, 2005, 05:33 pm

Great issue, and a great conclusion to a great mini-series. Um...great!

With Sea-guy, We3 and now Vimanarama, Grant Morrison has really proven what can be done in a 3-issue mini series. Concise, without being simplified, any of these series' have more of a story than your standard 6-issue "arc".

And Phillip Bond's art really fitted the Kirby-esque, Bollywood influenced feel of the book. What else can I say: Great!

Jon Hancock · Jun 17, 2005, 08:44 pm

wasn't sea guy 4 issues?

Enjoyed it. I think issue 1 was the best of the three but this issue was a nice finish. Liked the relationships between the menfolk of the family. Very human

Anand Khatri · Jun 17, 2005, 08:48 pm

Quote:

Originally Posted by Jon Hancock

wasn't sea guy 4 issues?

Nope it was 3 issues, like the others.

Jun 16, 2005, 04:15 pm	#1
Kevin Sutton Slayer Join Date: Mar 2003 Location: Toronto, Ontario Country: Posts: 1,711	VIMANARAMA #3 REVIEW <a href=" http://www.comixfan.com/xfan/images/previews/dc/0405/VimanaramaCv3.jpg" target="_blank"><img src=" http://www.comixfan.com/xfan/images/previews/dc/0405/VimanaramaCv3T.jpg" hspace=10 align=left alt="Vimanarama #3"></a>Reviewer: Kevin Sutton, kevinsutton@cheerful.com Story Title: Vimanarama Part 3 of 3 The Maharishi kamikazes the yellow submarine into the Blue meanies. Writer: Grant Morrison Artist & Cover: Philip Bond Colors: Brian Miller Letters: Todd Klein Assistant Editor: Pornsak Pichetshote Editor: Karen Berger Vimanarama Created by: Morrison & Bond Publisher: DC Comics Suggested for Mature Readers It’s been awhile since the last issue of this miniseries, and I honestly had forgotten of its existence before I saw this on the shipping list. Perhaps a small miniseries running about a month behind schedule just isn’t something you remember too well. Heck, sometimes I forget I’m also following Warren Ellis’ Ocean. But I don’t really think that this indicates something wrong with the story. There’s really nothing like Vimimarana on the shelves right now, and each issue is appropriately overloaded with a greater than average number of pages. That, combined with Morrison’s penchant for large and imaginative plotlines has provided a story which is as expansive in scope as any DC or Marvel crossover event. It’s a common occurrence that Grant Morrison will craft a story huge in concepts and which pushes the envelope of standard storytelling methods, and his weakness are related to that through the presentation and developement of those concepts. Vaninarama is no exception. (In fact, the flashy tongue twister of a title is a good example of that) There has been some debate as to whether the main characters and the Ultrahadeen are supposed to be of a Hindu or a Muslim faith. I’m not sure if any readers ever resolved that conclusively, but I don’t think it matters. Instead of trying to present an orthodox and realistic portrayal of culture or mythology, Morrison is just trying to present a story with exotic characters and events. Ultimately, creating a mishmash of different faiths is in keeping with Morrison’s own predilections, and away from an orthodox view of the world. (Arguably, Morrison is a trippy hippy) So it’s no surprise to see this sensibility reflected in his story of faith and romance. That is ultimately, what Vininimaranama is about after all; the villains are merely a tool to set up the various personal crisis. Their attacks on earth suitably serve as a backdrop and also provide an urgency to the attacks and worries of Ben Rama, Ali, Sofia, et al. The story follows the crisis Ali and to a lesser extent other characters including Sofia, Ben Rama, and Ali’s family. This is made clear for the audience with Sofia’s poignant line, “Ali’s dead, don’t they know it’s the end of the world?” From Sofia’s perspective, the villains destroying the planet are not really that important anymore. I guess readers with more human emotions might see such things as pretty romantic too. That’s a strong element of the Bollywood idea Morrison seems to be trying to recreate. (Although I’m not sure if Bollywood films ever got as crazy as Vilmeranarama does) The conclusion dedicates itself to the resolution of Ali’s predicament and the growth of his relationship with Sofia. (Oddly enough, the fact that they’ve fallen for each other so quickly is not a weakness of the script. Rather, it is fitting with the style Morrison is trying to emulate) The physical plotline is resolved of course, and it does establish some depth to itself before then, but if you didn’t catch yourself up in reading the previous instalments before this one, you may find yourself a bit lost. Morrison doesn’t waste time explaining what will make more sense to the reader with a second reading, but the presentation can be confusing and the resolution still seems a bit too sudden considering many readers would assume that he invasion was the central issue. Of course, there’s not much that beats seeing the ultimate sanction, (I wonder if that’s a reference to modern politicians’ wordplay on going to war.. probably) applied Dr. Strangelove style to the Atlanteans. (If only he’d kept his helmet and waved it about as he plummeted….) I must also admit that I was a little confused as to the sequence of events at first as it seems that Morrison gave us the events outside of their defining chronological order. Though that doesn’t hurt the composition of the story at all once you clue in to that. We saw the crushing blow that Sofia’s rejection dealt to Ben Rama in the previous issue, and the obvious physical ramifications should make the emotions expressed all the more real to the reader even though it didn’t get the attention of some of the other relationships in the story. It also makes Rama’s actions, (and posthumous actions) all the more the heroic, which is appropriate given that he’s a superhero from heaven. (Or something…) I also appreciated how Morrison even injected some form of environmental politics and humour into this backdrop crisis. (How many writers would make a demonic Atlantean invasion a backdrop in a story?) The Atlanteans stand in contrast to the Ultrahadeen as a dark force which appreciates the pollution that humans have put into their own atmosphere, and digs through the earth for valuables; while the Ultrahadeen technology is portrayed leading humanity into a bright, clean future. Also, when you consider how the Atlanteans continually mock god, it seems also as if Morrison is aligning capitalism with a lack of faith, perhaps to emphasize the inherent callousness of capitalism. I also like how the Atlantean’s indigent status is played up for some humour; hell a concept like that could have been played out for an entire story rather than just a joke. But no one’s stopping anyone else from doing that, and this story has other more important concerns. (As I’ve already mentioned) Vaminarana is a story which finds strength not just in the internal conflicts of the characters, but also in its aesthetic qualities. It may come as a surprise to those unfamiliar with Bond’s work or Morrison’s visual flair, that the artwork here is only deceptively simplistic. Much like the more well known Mike Mignolia, Bond has a particular visual flair and an eye for detail, but unlike the aforementioned Mignolia, Bond’s work here provides bright and fun sci-fi instead of studies in shadow and noir. It just further goes to show how the value of photo realism can often be overrated. No doubt Brian Millar’s excellent colouring has something to do with this presentation, and so I’d be interested in viewing their work again, either together or separately. While the great ascetics are present throughout the series, the conclusion is a feast for your mind. I’m not going to list everything that Morrison included or Bond and Millar drew, because there’s something cool on every other page. Usually many somethings. I can’t associate a literary purpose with everything, (Could the words in heaven indicate the beauty of literature or just that Morrison can’t trust pictures to appropriately convey the beauty of heaven?) and I can’t be sure there is a purpose beyond pure aesthetics. But there doesn’t need to be. It’s trippy by nature and exciting as a result. This comic is bursting with surprises and will stimulate the reader with the variety of what they will see and read. Any depth that the audience wants to associate with some of this exciting material will probably be only in the eye of the beholder, but that doesn’t make it any less valid artistically. Sometimes its fun to let the audience decide what things mean for themselves. Even if simply taken at face value; angel wasps, musical detonation, neon artificial hearts, (among others) are all fun. This comic is far more fun and exciting than other comics on the shelves. Despite the mature readers recommendation, I find this book seems to be almost child appropriate, (Although, I still remember what Morrison did to the British parliament in the last issue…) and it harnesses mostly positive vibes of faith, love, and fun in spite of the violence of the villains. So if you haven’t been reading this title, I’d advise you to buy the three issues off the shelf, or failing that, buy the inevitable collected edition. Bananarama is not to be missed. …wait, no-- ART: STORY: OVERALL: 'Buy this issue online now from X-WORLD and save!’

Jun 16, 2005, 04:57 pm	#4
Dylan McKay Jedi Join Date: Aug 2003 Location: British Columbia Country: Posts: 2,591	Re: VIMANARAMA #3 REVIEW That was so Grant Morrison. Great read, perfect conclussion, but so a Grant Morrison book...

Jun 17, 2005, 05:33 pm	#7
Paul Shinn Slayer Join Date: Mar 2002 Location: London Country: Posts: 1,002	Re: VIMANARAMA #3 REVIEW Great issue, and a great conclusion to a great mini-series. Um...great! With Sea-guy, We3 and now Vimanarama, Grant Morrison has really proven what can be done in a 3-issue mini series. Concise, without being simplified, any of these series' have more of a story than your standard 6-issue "arc". And Phillip Bond's art really fitted the Kirby-esque, Bollywood influenced feel of the book. What else can I say: Great! __________________ "The only time we ever get to be happy in life--like, one hundred pecent blissful--is when we're little kids. Because we're too stupid to know how worried we should be." Runaways (vol. 2) #14

Jun 17, 2005, 08:44 pm	#8
Jon Hancock Jedi Join Date: Aug 2002 Location: Merry Old England Country: Posts: 2,108	Re: VIMANARAMA #3 REVIEW wasn't sea guy 4 issues? Enjoyed it. I think issue 1 was the best of the three but this issue was a nice finish. Liked the relationships between the menfolk of the family. Very human __________________ The greatest Youtube clip you will ever see "X-Force already answered the question of whether I can deliver or not. Case closed." - Rob Liefield "The world loves a bastard!" - Second Technician Arnold J Rimmer BSC SSC

Jun 16, 2005, 04:39 pm	#3
James Groves Jedi Join Date: Apr 2004 Location: England Country: Posts: 3,777	Re: VIMANARAMA #3 REVIEW Fantastic issue. Nice finish to the mini-series. I've loved each of these 3-issue mini-series that Morrison's done. I think Bond's underutilised in the industry. The issue was packed full of interesting moments. Very enjoyable! Great review, Kevin. Nice touch

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