I’m a proper skeptic by nature.
Which turns out to be quite the important trait when reviewing High Strangeness, a new series of one-and-done paranormal stories co-written and “curated” by film producer Daniel Noah (A Girl Walks Home Alone At Night). Issue #1 sees Noah joined by co-writer Chris Condon and artist Dave Chisholm for a story about a journalist investigating alien abductions and the Men in Black in 1967 Indiana.
But it ain’t exactly little gray men that has me feeling quite so skeptical.
Variant cover by Dave Chisholm. Courtesy of Oni Press.
Rather, it was the innate gimmickry of this project — namely that 1) we’d have yet another anthology about aliens/the supernatural as well 2) the backup matter in each issue. (Having “experts” pen essays seems cool, but I lack absolute interest and also somewhat question the overlap between comics fans and the alien investigation community.) That, and some of these extra layers might also limit the work of Condon and Chisholm, both of whom are doing some truly great work right now (see the former’s Green Arrow and the latter’s Spectrum).
Admittedly, some of those concerns are manifested in that this debut does present a rather novel alien story. It’s basically how one reporter (Harry Kean) doesn’t believe in all of this malarkey, and is forced to investigate a missing young girl who may or may not have seen aliens and the aforementioned Men in Black. But you better believe Jack learns the error of his ways by the story’s end. It’s thrilling, yeah, but even little tidbits (who’s really controlling who in this scenario?) don’t resonate enough to feel utterly effective.
So, yes, it’s a touch predictable, but mostly it feels like this whole “experiment” is actively trying to justify its own existence by basically declaring the reality of aliens and the foolishness of doubters. Which, hey, do your thing to garner hype and move books, but it sets this whole High Strangeness “product” in a weird context — one where the flash and circumstance may be more valuable than the actual stories that foster tension and a back-and-forth momentum. Knowing that this story is a conveyor belt from non-belief to belief in aliens/the supernatural just strips away some of the agency of our characters.
Courtesy of Oni Press.
Now, don’t get me wrong: The debut of High Strangeness is still a great read. Chisholm’s work is decidedly amazing here. He nails the ‘60s aesthetic brilliantly, and you feel immersed in not only the aesthetic of this era, but its shifting cultural norms and how it seemed as if history itself was about to bust wide open. He also treats moments of, say, emotional duress with a similarly bold intensity as an alien abduction — in that way, it feels like everything about this story is dark and strange and ready to crawl inside your brain to lay eggs.
Which is sort of what you want (not the actual egg laying, of course) — it’s that fear and paranoia across the board that imbues this story with an otherworldly energy that makes it feel odd and physically affective. Plus, it fosters this kind of alternate timeline (at least just enough so) where maybe little gray men really do exist (and want to play around with your organs or whatever). The art situates us into the story with a grace and power that’s disarming, and I found myself wanting to spend even more time with Jack wading through the sheer insanity of it all.
And as slightly predictable as the overarching storyline proved to be, Condon and Noah managed to meet the strange vibes of the art with a similar gusto. Jack is a sturdy enough character, a true journalist who approaches this assignment with the grit and uncertainty as is demanded. Add in that he’s got some other issues going on (marriage woes, a dwindling professional reputation, etc.), and he’s organic, real, and just the kind of guide we need for this story.
Courtesy of Oni Press.
Similarly, the narration here — which we eventually find out is from a written piece that’s part of a semi-twist ending — further extends the mood while adding a dash of theatricality. (Plus, the way the MiB speak here also works really well and proves extra novel for their characterization.) It’s a way to push beyond a more “direct” storyline and make the narrative more compelling via added sparkle as opposed to being something we’ve mostly seen before in some variation or another. It’s a case of the little touches having so much power because they come from a place of great heart and intellect.
Yet my own skepticism regarding High Strangeness can’t be truly conquered even with these standout elements. Because try as this book might to be generally great, it can only be pretty darn good. The details and flourishes just can’t make up for the inherent nature of being a story that seems to be ripped from Alien Fiction 101. Plus, we don’t even get all that much more from the MiB in this issue, and that thread’s persistence would’ve been a little more thrilling. (Especially because I’d love to see Jack grapple with them more directly in a game of space cat and human mouse.)
If anything, Jack doesn’t really come that close to the alien “energies” until the aforementioned twist ending, and that really feels like a shame. Rather, it tries to spin a familiar alien story into some journalism thriller, and the end result is only mostly entertaining. (Again, Jack’s belief is almost a foregone conclusion.) It’s not a bad experience at all, but it feels like it’s forged by and occasionally hampered by the nature of its own development and story foundations. Creativity and novelty are cool, but they have to operate in a way that drives the story above all else. And here, I just feel a certain kind of lacking, or a space between the execution and creative promise.
Courtesy of Oni Press.
But there’s more to it, of course. In recent months, Oni Press has really doubled down with the anthology series. (See the entire EC Comics line, basically.) And so yet another entry, even one that feels impressive in some important areas, still feels a touch formulaic and also a wee bit of an overly commercial effort. You can’t truly judge a book solely by the nature of its release, but you can just enough so that this “background radiation” seeps its way in and forces you to reconcile with more than a single story.
Admittedly, this book will reportedly do something different by having each issue (with different creators joining Noah) interconnected in some as-yet-unseen form or function. Still, even that might not be enough to give these stories what they truly needed: A little more time and space to develop; more background and context; and a sense of dedication and focus. (Plus, that approach limits the work of each creative team to maintain control over their stories.) The end result likely means only good and enjoyable stories as opposed to the sheer promise of High Strangeness #1 —there’s so many elements working really well, but the sum could never truly outshine its parts.
Courtesy of Oni Press.
That said, please still fully give yourself to High Strangeness — it’s creepy and unnerving; alien and yet deeply human; and thoughtful and action-packed. It being just pretty good instead of genuinely great is actually just a lesson in how much context matters in these instances, and how these aren’t just stories but rather these cultural artifacts that are complicated (and occasionally uplifted) by their corresponding context.
So come in with a skeptical but open heart, and maybe this one will truly be out-of-this-world storytelling instead of just a fun and alien experience.
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