The Prisoner: Titan Comics Mini-Series


The only decent art in the series

Delayed from its original July date, the fourth and final part of Titan Comics’ The Prisoner mini-series is now available and it confirms what I’d long since surmised: it’s a piece of shit and anyone who thinks this remotely worthy of the original series hasn’t got a clue about the original series.

I am, admittedly, a very harsh taskmaster about such things, but I am old enough to recall the series going out and this has been a ridiculous piece of work on all levels, starting from the rough and inconsistent art by Colin Lorimar and going up to the nonsensical story by Peter Milligan, who is talented enough to do better. Beyond the superficial trappings borrowed for the look of it, there is nothing that Patrick MacGoohan would recognise as being related to his vision, and the final issue introduction of a Number One of sorts is an insult to the original. Even Deam Motter’s ‘Shattered Visage’ of thirty years ago did better with its empty philosophic of “Does the presence of a Number Two necessarily require a Number One?”

What we did get was a penny-plain spy story that mistook convolution for complexity. Breen, an Agent of the Unit, under section, loses fellow and temporary lover Agent Carey in the Middle East, believed taken by The Village, defined as a completely independent organisation beholden to no-one. Breen is ordered to steal a vital but undefined secret (named Pandora, fairly banally but you could have just said The MacGuffin for all the real importance it has) in order to attract extraction to The Village.

He undergoes interrogation, finds Carey has first defected to The Village, then she’s assisting his escape, then she’s the new Number Two by murdering her predecessor, then she’s electrocuted then she’s a Unit Agent with no hostility to him who’s never even seen The Village. Which one do you believe? Unfortunately, to believe you have to care and I didn’t.

The great revelation, which I’d leave out if I could, is that Number One is a punch-card driven old supercomputer acting totally at random. You can tell that Milligan is just punching the clock because he pretends to offer randomness as a Political system of serious merit.

The climax features Breen accepting employment as the new Number Two and having section kidnapped and installed as Number Six. Very witty.

The problem is that Breen’s a cypher, Carey’s a cypher, and Section’s a silly ass cypher. Lorimar finds it difficult to make people look the same two panels running – his Carey is a different woman every single time you see her – and the minimal plot is weighed down with so much faux reality that it chokes any effort to equate it to a series that was the complete antithesis of reality: surreal, glittery, absurd, constructed out of iconic imagery and above all clean. A twenty-first century grim’n’gritty Prisoner is a contradiction in terms, and if there’s a sequel series, I shalln’t be acknowledging it without a complete change of every creative person associated. The editor and original plot provider is David Leach: I’m sentimental enough to hope he isn’t the one I used to know in UK fandom in the Eighties because I liked him.

You may bid for the set on eBay as from Sunday, though I can’t in all conscience recommend you do, unless you feel sorry enough for me to want to help me recoup the money I spent on this, or maybe even turn a small profit. A large profit would be even better.

 

The New Prisoner Comic 2


In which we see that Peter Milligan and especially Colin Lorimer do not have “have the chops to create the feel essential to making (Titan’s new¬†The Prisoner comic) a success.”

All issue 2 is is 21st century ultra-cynical espionage without any new ideas or individuality, wrapped loosely in the clothes of the Village, and a piped blazer. Any resemblance to The Prisoner is a name.

The New Prisoner Comic


I am extremely protective about certain things, as my commentary about Doomsday Clock demonstrates. You cannot get away with doing them unless you do them exactly the way I want them to be. On that basis, Titan’s new The Prisoner comic, written by Peter Milligan and drawn by Colin Lorimer, is on an AI, triple-decker, double-secret hiding to nothing.

It’s a six-issue limited series of which issue 1 has been published with no less than six different covers. I chose cover 3, which is an image taken from the legendary unpublished Jack Kirby Marvel version in the mid-Seventies.

This is the third attempt at a Prisoner comic, after Marvel’s two failed efforts (the other was by Steve Engelhart and Gil Kane) and DC’s mid-Eighties ‘Shattered Visage’ by Dean Motter. The first were attempts to adapt the series’ opening episode, ‘Arrival’, the second a deeply inadequate attempt to bring the Village into contemporary times which tied it to British Intelligence.

That introduced a new, female central character, whose name was coyly revealed to be Drake, who was led to the location of The Village, where Number Six had chosen to remain after it was opened up. That story was a mess but it’s greatest crime was turning Number Six into nothing more than a cantankerous contrarian.

On the strength of issue 1 alone, ‘The Uncertainty Machine’ takes a similar approach to ‘Shattered Image’: contemporary setting, new central character, Breen, an espionage milieu pertinent to the Twenty-First Century, and by the last couple of pages, Breen is in the Village.

There’s not enough to go on to decide whether this is going to be any good or not. If anything, issue 1 reminds me more of Person of Interest, and John Reece’s black ops background, for all that Breen in part of MI5 (in a section called The Unit). Breen and his (female) partner Carey are caught in a trap, he gets out, she dosn’t, he wants to rescue her, refuses orders to terminate her.

This time, the concept of The Village is that of an ultra-mysterious independent organisation, whereabouts unknown, ‘loyalties’ random. Whether they have a physical location seems to be in doubt. Nothing is known about their controller, Number One. It’s suggested that they may have taken Carey, whose knowledge is vital, hence the orders to kill her.

Instead, Breen steals Pandora, an unknown, highly-guarded object, to attract the attention of The Village, and he gets it. He is gassed, wakes up in piped blazer, polo neck and slacks and In The Village.

The true test is going to be next issue, when we’ll see if writer Milligan and Lorimer have the chops to create the feel essential to making this a success. Milligan certainly the ability but this is my first exposure to Lorimer and I’m not impressed. His art is functional, rough-edged, unexceptional. But I’ll give him the benefit of the doubt for now.

There’s not enough even to guess at yet, especially not as to whether Number Six will appear. I’d prefer it if he didn’t: I have a sneaking suspicion that if he does, he will appear as Number Two, or even Number One. That’s iconoclastic enough for Milligan, but it would kill the whole thing stone dead if that’s what he’s got up his sleeve. We shall see.

So no rush to judgement on this issue alone because it’s all set up, and the all-action C21 running, jumping and shooting espionage stuff need not pertain to the hopefully archaic times inside The Village. That’s what I’m hoping to see. Time will tell.

Fifty Years After The Prisoner


Titan Comics have announced a publication date for the first issue of their new comics series of Patrick McGoohan’s The Prisoner. The series – apparently open-ended – will debut on April 25, written by Peter Milligan, who’s smart enough to maybe pull it off, and drawn by Colin Lorimer, about whom I know nothing (a quick Google art search suggests he might also pull it off).

I’ll be there to but it and here to comment about it. I’m not exactly looking forward to it: the only other Prisoner comics series was an unmitigated disaster. And it is neither McGoohan himself nor 1967.

But we’ll see when the time comes. At least I’ll be fairer to it than I ever will to Doomsday Clock