The Global Frequency #9

The Global Frequency, summarized in 20 words or less is the comic book equivalent of a 10 million dollar episode HBO miniseries directed by the world’s greatest directors. Think of the internet based BMW shorts, and add some ultra violence and explosions. The Global Frequency is high concept at it’s best; a mix of world class professionals, nerds and various odd and ends form an international rescue team connected via a net work of highly specialized cell phones. Each issue begins with an emergency and Miranda Zero, with the help of the Frequency’s operator, Aleph, acts on it. They don’t deal with pissant problems, like fires or robberies. The Global Frequency come in when the stakes are always highest and the lives of billions are on the line.

The first two issues of the Global Frequency really set a high bar for the series. The first issue being a Bay actioner with a Cold War spy with a malfunctioning brain that can teleport a nuclear bomb. The second being a claustrophobic Ridley Scott film with the world’s deadliest cyborg. Unfortunately, despite the initial high concepts, the subsequent issues weren’t up to par. Sure, one had a Tykwer inspired run though England and another one was about the affects of an angel, written to the tune of Sigur Ros, but the end rest lacked the impact of the initial first two issues. That is, until issue #9.

Like the other issues of the Global Frequency, #9 has the feel of being directed by a famous international director. As this issue is in Japan, it reminds me of the work of the director of Tetsuo and Tokyo Fist, Shinya Tsukamoto. Like the director’s films, #9 deals with the visceral subgenre of film called body horror. Being a fan of the genre as well as the new wave of Japanese horror films, Ellis peppers the issue with nods to the newest crop of Japanese shockers like Battle Royale and Suicide Club. Fans, like myself, will appreciate the ending, which is reminiscent of any of Beat Takeshi’s yakuza films.

If you’re not a fan of Japanese film, pick up the issue for the brilliant artword of Lee Bermejob with David Baron’s colours. The two as a team work incredibly well together, making for the most visiably stunning issue of the Global Frequency. If you’re looking for a manic pop thrill, I buy the issue. Compared to Ellis’ other recent work, it’s a surefire hit.