The Circus Infinitus

In 1890, where new mechanistic technologies vie with the stronghold of Victorian morality, the Circus Infinitus travels mysteriously from place to place, bringing wonders and grotesque entertainments to the general public. The Circus has arcane powers and technology it should not have, and it also has several powerful enemies and a unique set of problems. Most of the performers appear to have found some sort of sanctuary here, but are they under the protection of the Ringmaster, or does he ultimately have his own agenda for what he does?

Issue #1

This opening set of stories introduces the main characters in the Circus; the charismatic Ringmaster, the gruff Professor, the fiery tiger-woman, the Elephant Man, Jack the Ripper and Victoria-7, a beautiful woman cursed with a shape-changing necklace that she can never take off. There are also a collection of supporting characters that we catch glimpses of, and which give complexity to the Circus.

There are three stories of varying length in this issue, and one short comic vignette to cap it off. The first story, drawn by Tanya Nicholls, welcomes the reader into the audience of the Circus and then, through the illness of one of the characters, shows you a little of what is going on behind the curtain. There are little hints and clues that several of these people have strange powers, but nothing is overtly revealed and the suggestion works well. The pen and ink style has printed a little harshly in some of the panels, obscuring some of the action, but the drawing is of a good, consistant quality.

The second story is illustrated by Travis Hendrix. It's beautifully done, and the minutely detailed style suits the outlandish distortions that might be seen when something goes horribly wrong with a hall of mirrors. The brooding image of the steaming, bandage-wrapped Professor Abbacus is particularly effective.

The third story tells us how the tiger-woman Felina comes to join the Circus. Again illustrated by Tanya Nicholls, this is a softer pencil style than the first story, and the detail shows much more clearly. Tanya's style has an anime flavour to it - her characters have beautifully rounded and expressive eyes - and the composition of each drawing reflects the changing pace of the story very well. There is also an adult's only version of this tale available for those who like their feline lesbian relationships to be displayed in detail...

The last (very short) story, also drawn by Tanya, is more of in the way of a tongue-in-decayed-cheek vignette about the perils of caffeine deficiency, called 'the attack of the office zombies'. It could happen to us all...

Overall, this is a good introduction to the Circus Infinitus. The tension is good and much of the drawing excellent, though perhaps each story is resolved a little too completely, leaving the reader satisfied but missing some opportunities to set them wondering about what some of the issues raised in each of the narratives might explode into.

I'm looking forward to seeing the next one!

Issue #2

And here it is:

To begin with, the cover art sets a nicely sinister tone. Painted by Eric Flaxman, it shows X the Strong Man and the four clowns Warpo, Freako, Kinko and Shirley. The clowns get some dirty jobs to do, but there are some very good reasons for this...

The first story is an introductory one, having consequences which carry over into the next piece. Drawn by Tanya Nicholls and Tony Newton, it begins naturally enough with a young couple visiting the circus. They are engaged, however we soon discover that neither one of them is marrying for love. A trip to the fortune teller sets the scene, but just who is playing who?

The second story ties up a loose end from the first and in the process shows how useful the clowns can be. A sinister secret is revealed, and there is the interesting juxtaposition of pure evil and young innocence that demonstrates how ruthless people aren't necessarily heartless. Written by Tanya Nicholls, this one is drawn in a style of stark contrasts by Lee Gracie. Jagged, angular and garish, it suits perfectly the expression of a young boy's nightmare, the emergance from the cleansing hypnotism of the Ringmaster in particular appearing like the bursting of the bubble of a dream.

The final story is the strongest one in the issue. Comfortably handling both the story and the illustration, Tanya introduces us to some new and important characters, and does so with a subtle thread of humour that makes this a really interesting read. The degree of interest shown by Queen Victoria and by some shady ancient authorites indicates how powerful the circus must be to have made such enemies - though they too have their weaknesses, one of which almost brings them undone. Once again the clowns make use of their unique skills in an attempt to repair the damage, but unfortunately an accident of timing sees the vampiress crossing the path of an influential priest, and the episode is beautifully left up in the air - poised for the witchhunt to begin...

Special Issue: Rose and Thorn

Rose and Thorn, or the foetus strikes back - this story comes to us courtesy of Gavin Wee. Rather than a set of shorts, the special issue is one story divided into 6 chapters. The story art is by Tanya Nicholls and heading each chapter is a detailed frontispiece by Gavin Wee.

This issue deals with the power of life through the medium of reproduction, healing and control, a potency channelled through a medium of power that offers unlimited potential but also immense danger. This is also a work of connections and relationships, the links people make with others, the bonds they forge with kindred souls, whether these are human, animal or supernatural. It could slot anywhere into the the circus story timeline, so it isn't critical to know exactly where it fits in - which is a good thing, as we aren't told. Here we are introduced to a beautiful woman with an ancient ability, a kind man with an open mind and an affinity for animals, and the secret life of Dr Tumblety.

Tanya's drawing of the main body of the story is a good choice; her action scenes are compelling and her persepctives are always interesting. The cross-hatch style of shading prevents the panels from having too harsh an edge. Then there is Gavin Wee's delicate pencil work on the chapter titles; the brooding face of Tumblety and the moth, the soft fur of the tiger, the rough skin of the rhinocerous. This studied portrature makes an effective contrastwith the story itself.

This special issue fleshes out some of the characters we have really only begun to glimpse through the little of Circus Infinitus that has been released so far, and could be considered an essential part of the collection.

This page updated by C.A.L. 19th May 2009