Spoiler warning! I discuss some important elements of Beyond Real #4.
Just like the first three issues, Beyond Real #4 experienced a delay before finally being released by Vault Comics on May 29th. Within, writer Zack Kaplan’s ambitious project continues its journey through multiple layers of a sci-fi reality – brought to life by multiple teams of artists.
In case you forgot, the miniseries follows struggling young artist, June. After she and her physicist boyfriend, Eli, are in a brutal car crash, June becomes aware that reality is actually a vast computer simulation that she can now somewhat control – i.e. The Matrix. She then travels through different layers of reality, searching for the source of the simulation code, where she hopes to gain the administrative rights that could free Eli from his coma. Along the way she’s joined by Rishi and Dawn, who also harbor wishes the creator rights of The Source could fulfill.
At times, Beyond Real has delved into the existential questions of meaning and purpose that naturally arise out of the simulation theory of reality. Sometimes it seems best interpreted as an exploration of life after – or more appropriately life beyond – death. But, as Kaplan has put it, the miniseries is mostly a love letter to creatives, artists and comics. More than the previous issues, Beyond Real #4 is definitely a metaphor for struggles artists often experience.
Vault Comics
As with the last two issues, Beyond Real #4 opens with a one-page flashback, setting up the main theme – once again drawn by the first issue’s wonderful creative team, artist Fabiana Mascolo and colorist Jordie Bellaire (who’s nominated for an Eisner award). The amazing Hassan Otsmane-Elhaou (who’s also nominated for an Eisner award) continues to letter ever page in the miniseries.
After the opening page, Beyond Real #4 breaks from the structure of the previous issues by splitting the comic into two sections set in two different planes of reality. I find this decision curious as it basically squeezes two chapters of the story into one issue. The first section definitely had enough narrative potential to fill this whole issue. I’m not sure the second part could’ve done that, but it certainly could’ve been the first half of the next issue completely set in this latter plane of reality.
I can only imagine Kaplan made this decision in order to emphasize the juxtaposition of the two realms. The first represents a kind of heaven, the second a form of hell. This supports the interpretation that June, Rishi and Dawn are actually dead, moving through the afterlife in search of their creator, The Source.
Vault Comics
And it appears that the three women have finally reached The Source – and maybe even heaven – in the first section. Escorted through a technicolor palace by mysterious, powerful beings – with art by Dennis Menheere – June, Rishi and Dawn are offered eternal life, free of pain, and the possibility to contribute to the great canvas of life.
In these pages, I was impressed by Kaplan’s ability to address major themes and big ideas in short lines of dialogue. For example, he effectively has one character summarize the first three issues’ main themes in just a few lines. And it’s done in a way that isn’t a boring recap, but rather develops these themes further.
In a similarly effective way, Kaplan reiterates each woman’s deepest desire and driving motivation. And I was sure glad to see June’s quest to save her beloved Eli get mentioned directly. At the same time – and again in simple lines of dialogue – the character’s inner insecurities, their personal weaknesses – that which keeps them from achieving their desire – are also revealed.
Vault Comics
Of course, right from the beginning Kaplan and Menheere hint that not everything in this apparent heaven is as it seems. Most of these clues show up in Menheere’s art. Although the beautiful palace glows in technicolor pinks, blues and greens, there is a constant atmosphere of autocratic pressure. The leader of this realm is purposefully drawn as a foreboding, sinister figure. And without revealing too much, it doesn’t take long for his promises of a pain-free existence to show their dark side.
The whole section is actually a metaphor for the pressure artists feel to give up their creative freedom and give in to a more marketable industry in order to escape the struggles (and too often the poverty) of trying to “make it” in the art world. It’s a good metaphor, but for my tastes, the symbolism is just a little too obvious.
Besides, I’m actually more interested in the simulation theory aspect of the story. Unfortunately, there isn’t much said about that in this section. I could interpret it this way: in order for The Source to maintain a simulation of a whole world filled with billions of people, it would need a huge content farm to churn out enough code to keep it all running. But again, this is my theory. Nothing along these lines in directly stated in the comic.
Vault Comics
Moving on, the second half of Beyond Real #4 makes a sudden departure from the wild colors of Menheere’s art, starting with a predominantly black page. Artist Jorge Corona and colorist Mattia Iacono illustrate this new plane of reality as a symbolically dark place – a nighttime hell in contrast to the colorful heaven of the first half.
According to the dialogue, the three women find themselves within June’s heart, where her complete simulation code is stored and could potentially be changed. But they soon encounter an army of evil doppelgänger Junes. It isn’t hard to figure out that these doppelgängers symbolically represent the voices of self-doubt that too often overwhelm and cripple an artist’s creative process.
The symbolism is once again a little too heavy-handed, but the story is well executed, especially in its pacing. You can really feel the weight of self-doubt growing as the accusations cut deeper and deeper emotionally, smothering June, Rishi and Dawn, taking them under. I couldn’t help but relate. After all, who doesn’t struggle every so often with an overwhelming flood of self-doubt.
The accusing voices fit very well within the interpretation of this realm as a kind of hell. If you didn’t know, the Hebrew word translated “Satan” is a general noun that means “the accuser” or “the adversary.” Accordingly, the Corona’s illustrations of the June doppelgängers definitely depicts them as an army of devils.
Vault Comics
Coming to a close, Beyond Real #4 is a solid next chapter – or two chapters – in the miniseries. The symbolic journey through two more planes of reality serves as an interesting metaphor for certain struggles artists face, even if the symbolism is a bit too obvious. Plus, there is definitely some fun action in this issue. The art certainly keeps up the miniseries’ promise to be a love letter to artists. However, this issue’s art just didn’t impress me as much as the fantastic art from issues #1 and #3. Still, I’m looking forward to the forthcoming conclusion in Beyond Real #5 – hopefully without any delays.
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