Sometimes my friends won't leave me alone. "Have you read Leland Purvis's Vox yet?" they asked me over and over again. "You really should try Vox. It's really good. I think you'd like it." Eventually, one of two things happens—they wear me down enough that I'll try the book just to shut them up, or I snap and start throwing things at them. Fortunately for both me and my friends, the former happened with Vox.

Vox is a one-man anthology of Purvis's own work. Each issue contains several stories, some prose, and little factoids. At 48 pages an issue and being magazine sized, you certainly get your bang for your buck. What's especially nice is that each issue has a wide variety of material; some pieces are introspective, some are straight fiction, and some look at the world around us. It's a really strong mix of material, a little something for everyone.

Vox #1 opens with an essay on what it's like to be a creator; a friend of mine once said that to create material for the public, you need at least a small piece of arrogance within you to think that other people will actually like the end product. "Mindhammer" understands that perfectly, showing the balance of arrogance and humility that most creators have, as well as looking at the difference between conception and realization of an idea. That leads in quite nicely to "Tacit", a story about dreaming of being underwater, and then waking up and rediscovering reality. There's a wonderful dreamlike quality to this silent story, as the lead character moves through his submerged house. By way of comparison, "Manos" is a humorous look at a man who wakes up without hands. It's short and to the point, but it's also a little disturbing, as the main character finds himself unsure of where to go next, and the story ends as abruptly as it began. Vox #1 also contains several pentads, each being a series of five wordless panels where the narrative is by the juxtaposition of images. It's a fun mental game to try and follow Purvis's train of thought, trying to see the connection of one image to the next. There's no "right" or "wrong" answer, which to me was half the fun.

"Winter's Kings" is, in many ways, the most accessible story in Vox #1. In what looks to be a Bronze Age civilization, three older tribesmen are left behind on a mountain, in order to keep the rest of the tribe from being slowed down as winter approaches. As the three sit on the mountain, alone, they come up with a greeting for the tribe the following year, as they pass by the mountain a second time in the spring. It's got a strong look at the feeling of abandonment and no longer being needed, and the emotions that soon follow. By way of comparison, "The Oracle of Now" is a modern day telling of Odysseus once more encountering Polyphemus, the Cyclops that he blinded in Homer's ancient poem "The Odyssey". It's a look at names and identity, both internal and those that society gives to us. It's a remarkably powerful piece on many different levels; every time I read it I get something else out of it.

Vox #2 is, in some ways, a little more opening to a casual reader. The pentads are gone, although #2 has, like #1, small factual illustrations with spot illustrations (logging techniques, greek fire, snails) that both stand on their own and seem to be saying something more to the reader who's looking for that extra kick, so to speak. The majority of #2 is taken up with "Brothers Dundee", as retired high-up government officials are placed into a secured nursing home. Rather than dwelling on the secrets that these men must carry, however, it instead looks more at the banter of two men who decide to break out and hang out in a bar. It's an entertaining enough story, as the two trade jibes with each other and talk about life in general. Even more light-hearted, though, is "Pubo", where a hunter attempts to catch a fish for his dinner, as the two attempt to out maneuver each other. It's a short but fun story, if lacking the sort of punch that the similar "Manos" had in #1.

The strongest story in #2, for me, was "Enemies of Glass", as a scientist fights for her disease cure project to stay alive, even as management wants to temporarily shut it down. It's a depressing look at how big businesses in terms of profit margin, if perhaps a tad bit unrealistic. The ending, however, was a nice twist of events, and I found myself really impressed with how well it all tied together. Also tied into the theme of life and death is the short "Plywood exterior, No interior" which is a montage of people and their selections of coffins. It's sobering on a number of levels, both in terms of the amount of money being paid by some... and the lack thereof from others.

Purvis's art in both issues of Vox is a real treat. His inks are very thin and textured, giving his people a wrinkled yet detailed look. I love the way that Purvis's people move; it's a smooth, almost liquid way about them as they gracefully sprawl across the pages. His panel layouts are very strong, saving tricks like inset panels for special close-ups on people at just the right moment. It's a very accomplished look, and when I first got my hands on Vox, I just spent time flipping through the pages without even reading the story, basking in the look of the art.

If you haven't read Vox yet, now's the time to act. Vox #3 has been solicited in the March Previews for May release on page 283; its Diamond order code is MAR012133. Diamond reorder codes for the first two issues are: #1 - SEP002093, #2 - DEC002121. Don't let Vox vanish because no one's heard about it! You can also order Vox from Mars Import.

Reviews by:
Greg McElhatton
PO Box 3164
Falls Church, VA 22043
Help Greg raise money to fight AIDS: MarathonGreg.com
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