Most entertainment is relatively easy to give an opinion on. If itís a movie you have the acting, the writing, the cinematography, the direction, and many other aspects of the film to discuss. When it comes to novels, you have the narrative and style. With a graphic novel, you have the look of the drawings and the narrative as well, be images alone or with some dialogue.
But in David B.ís graphic novel Nocturnal Conspiracies, itís his dreams, of which some are clearly nightmares, that are put to paper. How do you critique someoneís dreams put on the printed page? Luckily, the author does a better job giving them meaning in the prologue than anyone else could.
ďAt night my dreams are filled with conspiracies, chases, terrorist attacks, policemen, spies, and bandits meet me for weird shootouts in my sleep. I find once again my liking for gangster stories and dreaming morphs my life into a police investigation. The repitition of these themes made me want to draw those dreams. I love their chaotic and poetic structure. I love their mysterious logic. I love their enigmas without solutions. Each on of these dreams is a chapter in my dark novel.Ē
It couldnít be any better said. The nineteen dreams start from December 1979 and run to September 1994. And each dream, has a title - in order: The Leper, The Cemetery, Eyes, Windows, Paris, The Attic, The Shaft, Massacre, The Eye, The Bed, The Cat, The Serials, Cats & Tigers, Blind, The Fat Cop, The Love Affair, The Heads, The Children, and The Cowboys.
The drawing style itself is not ultra-realistic, so the little sexual content contained within is not really all that titilating. As these are dreams, itís hard to say that all tell a coherent story with a message and a plot. They are just dreams, so you have to take them at face value. Some are bizzare, and some just didnít tickle my fancy.
But some carry more power due to the violent content or the portent of violence. Two that stand out are ďMassacre,Ē for itís blatant depiction in the drawing (some dialogue is written in these dreams like a voiceover in a documentary, but this doeanít need any). The other is ďThe Children,Ē for its powerful theme. Obviously, anyone picking this up isnít looking for sunshine and daisies, so the the themes and depiction contained within suit the audience itís aiming for.
Originally published on Curled Up With A Good Book at www.curledup.com. © Bobby Blades, 2010