Sometimes I submit comics for CBA (the international comics anthology from CBK) or other anthologies that are actually chapters from Piracy is Liberation. Usually, I rewrite or otherwise modify them a bit to make sure they can stand on their own, without the context they were originally made for. Right now, I have two such stories, in the latest and in the upcoming issues of CBA.
CBA vol 61: SPYWARE
This one is pretty old. I made it originally for the Morning International comics competition in Japan in 2010, where it actually came in among the top 8. Which is super cool and better than I had expected. It also somehow validates my manga-esque storytelling even though my visuals don’t really fit into what is regularly seen as the manga style…
Since it was set in the world of Piracy is Liberation, I included it in book 009 and actually built the rest of that book around this story, at least in part.
Then, when Caroline Ulvros (main editor of CBA vol 61) chose the theme FINGERS AND TEETH, I realized that this story would fit. There’s a scene in the story where the main character takes a rock and bashes out her own teeth, which was in turn inspired by a scene in 12 Monkeys, where Bruce Willis’ character locks himself in a bathroom with a hammer to take care of surveillance equipment he believes have been planted in his teeth. As I recall, he looks happy and satisfied more than anything else when he comes out with the bloody smile of a successful operation.
CBA vol 62|63: UNTIL DEATH
Oskar Aspman‘s theme for this issue was LIMINAL SPACE. I had just written a chapter for the new Piracy book where I tried to get into the mind of an AI smart-missile and follow it on its short lifespan from being fired to its final detonation. Which made perfect sense for a cyberpunk concept, but I also tried to model it after phases in a human life, from birth/youth to self-discovery, through a philosophical phase, interpersonal interactions and so on, until death.
For the version in the Piracy book, I had to make some tiny adjustments in the text as well as adding a few pages to integrate it into the story in rest of the book. I also changed the title to DEATHDRIVE SENTIENCE.
Ignoring any parallels to real life (Sweden joining NATO, Israel bombing Gaza again), there were some external inspirations behind this story as well. In Karin Boye‘s Kallocain, a Swedish sci fi novel from 1940 (same era and dystopian subgenre as George Orwell‘s 1984 and Aldous Huxley‘s Brave New World), the main character lives in one of a few megastates that seem to have divided the world amongst each other and who wage endless war against each other. It’s actually much the same setting as in 1984 and in Katsuhiro Otomo‘s short story CANNON FODDER (not included in the manga collection Memories as I first misremembered, but it’s in the anime of the same name).
That image stuck with me since reading these stories some 20-30 years ago, of a nation waging a never-ending war, routinely and perpetually firing rockets from cannons operated by peoplo who don’t really know who the enemy is, they just know that they’re at war and have a job to do. And since the current storyline, started in Piracy book 012, is about the City going to war against an unknown enemy, it was something I couldn’t help but include. Both as a reference to those great works of dystopian sci fi from the mid-1900s and to the feeling of living in a world where there’s always some war going on, performed by people who have no say in how the war is waged, or why, or when it might end.
CBA vol 61 came a couple of month ago and CBA vol 62|63 will arrive a few weeks from now, together with Piracy 013. They can all be found at Hybriden.se…