So. I’m not keen on hard sells. The concept of foisting product(s) on someone is tremendously bothersome to me; I’m reluctant, even, to accept suggestions from my friends. With all of that said, I picked up A God Somewhere because someone recommended it [shout out to Rich at Earth-2]. Call me hypocrite if you must, but I’d politely declined previous suggestions, and I couldn’t keep doing that.
In four chapters, writer John Arcudi [The Mask, B.P.R.D. (Dark Horse); Major Bummer (DC Comics)] and artist Peter Snejbjerg [The Light Brigade; The Mighty (DC Comics)] present the story of Eric Forster, his friend Sam, and Eric’s brother Hugh. These three maintain a close friendship until a strange explosion empowers Eric with supernatural abilities. Initially, Eric uses these powers for good; he assists in the rescue of several of his neighbors, achieving “in minutes what would have taken the fire department hours” (39). Hugh’s wife Alma declares Eric’s survival a “miracle” (30), and Eric justifies his later acts of heroism upon this presumption: “God didn’t give me these gifts to be afraid” (57). Despite Sam’s attempt at pragmatism, Eric concludes a call to righteous example. Of his new powers, he says, “Nothing but the hand of God makes sense” (58). It’s this seemingly unquestioned determination that anchors the conflict of the book.
A God Somewhere opens with its trio discussing the purchase of a boat as an attempt to recreate weekends they spent with their father as children (7). After Eric’s transformation, however, this plan is quickly forgotten. Eric attempts to parlay his newfound celebrity into helping Hugh and Alma move into a “nice neighborhood,” but Hugh rejects the offer (69). By this point, I’d accepted the narrative at its face value; it seemed to concern the fluctuations of fraternal relationships. Instead, the story takes a decisive turn when Hugh, in a moment of frustration, punches Eric, the blow merely glancing off his older brother’s chin (84).
Hugh, surprisingly, exhibits no jealously toward his brother; indeed, he wants no part in the “circus” of Eric’s celebrity, and he notices a growing distance in their relationship. Eric recognizes Hugh’s rejection of his help as a rejection of Eric himself, and Eric expresses misplaced anger upon the President (and staff) in a scene meant also to demonstrate the lengths to which Sam enjoys the reflective glory of his association with Eric.
If this story seems disjointed by way of summary, it’s because it read that way. Sam is the thread that runs throughout this story, and yet he doesn’t assume narrative prominence until a third of the way into the book. Eric’s brutal act at the close of chapter two draws Sam into the role of passive observer, if only because Sam is literally powerless to stop Eric. When he asks Eric to explain his behavior (“How could you do something so wrong?”), Eric flippantly responds, “Wrong is just a word people made up. It has nothing to do with the real world” (101).
Much of the last half of the book concerns the escalating means by which the world attempts to stop Eric, and Sam records it all as a journalist. He retains some measure of dignity, though; he “can’t stomach the idea of turning a profit writing” a book about the phenomenon (176). By then, the damage is done: Eric’s divine example inspires a grotesque cult of personality.
I’m of a mind that Story can work in many ways. It can challenge its readers to accept a worldview previously unknown or inspire them to create fresh perspective. This is story that deserves to be read more than once. It possesses nuances of character that might go missed with a casual reading. My first reaction was to dismiss A God Somewhere. Why would a character act this way? I asked myself. The answer, it seems, must be based in a personal, rather than a literary reading. As a story, the book struggles to sustain its premise, but as a graphic novel it succeeds in elevating the form.
A God Somewhere is available from WildStorm Comics. ($24.99)