Click for source by Sam Hurcom
We live in uncertain times. The twenty first century has seen a raft of individuals and organisations that could rival the villainous despots of Gotham and the global threat of Hydra. It seemed for many years that the old ways of war had been left in the last millennium, and terrorist cells, not nation states, were the new enemy to face.
But, no sooner did powers in the west think they understood the twenty first century threat, a bygone enemy in the east reared its ugly head. Russia’s recent provocation in eastern Ukraine has brought the world closer to the brink of a second Cold War than any other event since the late eighties. No-one knows how the conflict will play out and whether complex trade deals and sticky political relationships will heighten or alleviate the tensions between the aged superpowers. In the end, the smallest gesture could haul us back, or tip us over, the brink of war in Europe.
We live in uncertain times. The twenty first century has seen a raft of individuals and organisations that could rival the villainous despots of Gotham and the global threat of Hydra. It seemed for many years that the old ways of war had been left in the last millennium, and terrorist cells, not nation states, were the new enemy to face.
But, no sooner did powers in the west think they understood the twenty first century threat, a bygone enemy in the east reared its ugly head. Russia’s recent provocation in eastern Ukraine has brought the world closer to the brink of a second Cold War than any other event since the late eighties. No-one knows how the conflict will play out and whether complex trade deals and sticky political relationships will heighten or alleviate the tensions between the aged superpowers. In the end, the smallest gesture could haul us back, or tip us over, the brink of war in Europe.
Click for source With this, very real, political backdrop in mind, releasing a comic based on Soviet spies infiltrating the U.S. in 1977 seems rather on point. What better way to frame the current political climate than by focusing on a period of our recent history that shares the same tension and uncertainty between Russia and the West. On paper, Red One should be a comic draped in cloak and dagger espionage, Communist fear and highly charged ideological world views.
… In reality, it’s nothing like that at all.
The cover should have been a give away. A rather buxom brunette, with lots of cleavage and a tight red cat suit; from the outset this seems somewhat different from Tinker, Tailor, Soldier, Spy. Xavier Dorisen and the artistic team of Terry and Rachel Dodson have created a comic just about as far removed from the often slow paced, arguably drab, narratives of Cold War spy capers. It’s brightly coloured, filled with action and a story not wholly centred on ‘rooting out a mole’ within the ranks.
Vera Yelnikov is the aforementioned brunette adorned in tight clothes that don’t quite fit properly. She is an elite Soviet spy, highly trained and experienced in covert infiltration and rescue missions. Tough, deadly and wholly irresistible, Vera is tasked with a highly controversial operation, to go undercover in the United States and become… well a superhero. Her mission is to sway popular opinion of the masses away from right wing political bodies, who would seek to ramp up anti Soviet opinions and break down the upcoming SALT talks between the global superpowers.
So far so good; Vera takes on the alias Alabama Jones and heads to the heartland of American decadence and over exuberance – Los Angeles. From there, she meets several undercover contacts and her mission begins.
As I mentioned, this comic is far flung from the traditional Cold War narrative in books and cinema. There is a view of opposing ideologies; the landscape of America against the Soviet Union is very much as you would expect. One is bright, liberal and laden with food, the other is dark, dreary with long queues waiting for tinned potatoes. I mentioned that Vera was extremely irresistible and that was for good purpose. Her rampant sexuality (constantly rammed down readers throats by dangerously over sized breasts and constant sexual liaisons with multiple parties, at home or in plane toilets), is very much key to her role in L.A.
… In reality, it’s nothing like that at all.
The cover should have been a give away. A rather buxom brunette, with lots of cleavage and a tight red cat suit; from the outset this seems somewhat different from Tinker, Tailor, Soldier, Spy. Xavier Dorisen and the artistic team of Terry and Rachel Dodson have created a comic just about as far removed from the often slow paced, arguably drab, narratives of Cold War spy capers. It’s brightly coloured, filled with action and a story not wholly centred on ‘rooting out a mole’ within the ranks.
Vera Yelnikov is the aforementioned brunette adorned in tight clothes that don’t quite fit properly. She is an elite Soviet spy, highly trained and experienced in covert infiltration and rescue missions. Tough, deadly and wholly irresistible, Vera is tasked with a highly controversial operation, to go undercover in the United States and become… well a superhero. Her mission is to sway popular opinion of the masses away from right wing political bodies, who would seek to ramp up anti Soviet opinions and break down the upcoming SALT talks between the global superpowers.
So far so good; Vera takes on the alias Alabama Jones and heads to the heartland of American decadence and over exuberance – Los Angeles. From there, she meets several undercover contacts and her mission begins.
As I mentioned, this comic is far flung from the traditional Cold War narrative in books and cinema. There is a view of opposing ideologies; the landscape of America against the Soviet Union is very much as you would expect. One is bright, liberal and laden with food, the other is dark, dreary with long queues waiting for tinned potatoes. I mentioned that Vera was extremely irresistible and that was for good purpose. Her rampant sexuality (constantly rammed down readers throats by dangerously over sized breasts and constant sexual liaisons with multiple parties, at home or in plane toilets), is very much key to her role in L.A.
Click for source As the opening few pages of the comic show, the burgeoning right wing political movement in the U.S. is based strongly in fundamentalist Christian views. We witness a controversial actress, portraying a homosexual relationship in her latest blockbuster, being faced with a huge protest led by a fundamentalist preacher. Threatened to change her sinful ways or face the consequences, the actress is later brutally killed by a mystery figure known as ‘The Carpenter’ (Red One’s potential first nemesis).
It is this right wing group (who would seek to ramp up aggression against the Soviets) that Vera is tasked with undermining. Whilst her physical and mental attributes make her ideal as a super hero, her sexual freedom is undoubtedly a strong facet of her role to pull back American sympathies from conservative, right wing views. Though it’s unwritten in the comic, Vera’s mission is to fuel liberal minded American decadence and its escapism into the realm of heroes and villains.
It took me quite some time to get my head around this idea. On the first few reads of #1, I simply thought Vera’s appearance and sexuality were tasteless ploys to reel in (primarily) male readers. Inadvertently they are, but I’d also like to think that the comics underpinning focus on sex is integral to the overall narrative. Vera’s overt sexuality is something far more recognisable in nineteen seventies L.A. than Moscow – it’s a reflection of a more un-suppressed, free thinking facet of her character that makes her perfectly adaptable to the U.S. lifestyle. It’s not that Vera isn’t a proud Soviet – far from it – but it does seem highly likely that future issues of Red One will see Vera questioning her own pre-suppositions on her communist government and life. Will we see a defector emerge from the Soviet super spy, or a narrative that self reflexively forces us to re-evaluate our loftily held western ideals? Only time will tell, but if nothing else I’m wholly compelled to read on.
As with just about every comic published by Image in recent years, Red One hasn’t failed to be a highly captivating read,
wonderfully illustrated and carefully thought out. Nevertheless, only a few further issues will really cement whether this is a deeply stimulating discussion on political liberties taken for granted in the modern age, or a tasteless rag with lots of curvy women in very skimpy outfits. I do genuinely hope it’s the former over the latter.
It is this right wing group (who would seek to ramp up aggression against the Soviets) that Vera is tasked with undermining. Whilst her physical and mental attributes make her ideal as a super hero, her sexual freedom is undoubtedly a strong facet of her role to pull back American sympathies from conservative, right wing views. Though it’s unwritten in the comic, Vera’s mission is to fuel liberal minded American decadence and its escapism into the realm of heroes and villains.
It took me quite some time to get my head around this idea. On the first few reads of #1, I simply thought Vera’s appearance and sexuality were tasteless ploys to reel in (primarily) male readers. Inadvertently they are, but I’d also like to think that the comics underpinning focus on sex is integral to the overall narrative. Vera’s overt sexuality is something far more recognisable in nineteen seventies L.A. than Moscow – it’s a reflection of a more un-suppressed, free thinking facet of her character that makes her perfectly adaptable to the U.S. lifestyle. It’s not that Vera isn’t a proud Soviet – far from it – but it does seem highly likely that future issues of Red One will see Vera questioning her own pre-suppositions on her communist government and life. Will we see a defector emerge from the Soviet super spy, or a narrative that self reflexively forces us to re-evaluate our loftily held western ideals? Only time will tell, but if nothing else I’m wholly compelled to read on.
As with just about every comic published by Image in recent years, Red One hasn’t failed to be a highly captivating read,
wonderfully illustrated and carefully thought out. Nevertheless, only a few further issues will really cement whether this is a deeply stimulating discussion on political liberties taken for granted in the modern age, or a tasteless rag with lots of curvy women in very skimpy outfits. I do genuinely hope it’s the former over the latter.
What do you think?
Is Red One a political thriller with a colourful twist, or a tasteless romp with no real substance?
Let us know in the comments below
Let us know in the comments below
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