Lane Milburn’s Lure is a fantastic start

Image of the article titled Lure by Lane Milburn is a fantastic graphic novel about environmental anxiety

Drawing: Milburn Way

The start of Lure depicts an unnamed deity coming from the stars to an alternate universe Earth in the Hadean Aeon, his first stage. The deity then creates a nearby oceanic planet, Lure, from volcanic Earth. Billions of Years Later: Jo Sparta is a struggling holograph artist looking for a fresh start after a breakup. She decides to accept an offer to produce a large-scale art project for a company named P, which begins to prepare the alien planet Lure to house the rich and powerful, as this alternate Earth is besieged by the same climatic issues as the ours.

Beautiful up to the model and even the use of the niné–grid of panels, Lure artistically explores the concept of beginnings. It can be understood as an allegorical tale that criticizes the current tendency of billionaires to fantasize about flight from Earth.‘s climatic disasters in space. But it’s much more than that: he crudely captures the desolation of climate terror deep within his characters.

With signs reminding An Andalusian dog by Luis Buñuel, Salvador Dali and 2001: A Space Odyssey, Lure can perhaps best be considered surreal science fiction. This surrealism is felt in the deepest sense of the mystery that runs through the book: key plot details are intentionally only suggested, and several theories are presented across the universe as to what is going on, but none are never validated. This mystery, and this general aura of uncertainty, resonates both narratively and as an allegory for the suppression of climate science. by various oil and gas companies.

Lane Milburn’s picturesque and unnatural settings are particularly evocative of Moebius’ work. While there are many technological marvels littered with the book, the star attraction is holography. Jo’s love for holography, and its tension with P’s larger corporate purpose, is one of the book’s main narrative threads. Lure aesthetically links the holography to the comic book, as Milburn uses the nine–grid of panels to explore how an actual three-dimensional laser hologram, compared to currently available two-dimensional illusions, would move in a given space. In addition, images of starfish litter the pages of Lure. Just as a starfish can regenerate itself from any cut piece, any part of a hologram contains all of the information of the image represented.

Corn Lure also teaches the reader to learn from its very structure. Milburn repeats the comedic rhythm of his opening pages over and over again throughout the book’s pivotal moments. Usually start pages give way to pages with more and more panels, until a new one.the grid of the panel is reached and the pattern starts again in reverse. Regarding the present moment of frequent climatic disasters, a cynical interpretation of Lure would declare it fatalistic.

This may be an overly optimistic reading, but it’s not ridiculous to suggest that Lure—Even in its basic comic elements — is obsessed with beginnings. Not to describe the disaster as inevitable, but to stress that immediate action must be taken against those who wish to destroy the environment. Like a Giacómetti quote included in Lure says, “It’s never about finishing anything, it’s about really knowing how to start, because if I could ever start something right, the job would be almost done.

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About Glenn Gosselin

Glenn Gosselin

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