To the Future of Comics Storytelling

A free Madefire motion book created by Ben Wolstenholme & Liam Sharp

Without going into all the wonderful enhancements (not only frame motion and dramatic juxtapositions, but also musical scoring and sound and flash effects) possible with the Madefire motion books process, it should be emphasized, lest one get lost in all the bells and whistles, that the actual story narrative of Mono is stand–alone worthy of feature film treatment (and every possible multi–platform iteration).

Mono is an alternative warrior in this time of superhero glut. He has no “super power” per se, only the strength of 12 men and a powerful, deadly prehensile tail, for he is a genetic “throwback” of nature — a “man–ape” hybrid. This “animal” essence in his DNA gives him more than an insanely lethal physique. It also reflects in his psyche, lending a purity of thinking in terms of his duties and goals. He exhibits the same constant calm resolve, as focused and unapologetic, as any of the wild’s predators which hunt and kill in order to survive. He simply hunts and kills on behalf of his human half–brethren.

In the initial series of Mono motion books, the setting is Nazi–occupied France during WWII.

Mono, being of a most unusual genetic mash–up, is the quintessential target of Nazi pure-blood ideology and a threat to their master race pretensions. Mono is assigned a suicide mission to infiltrate the enemy lines and ultimately hunt down and kill the Nazi general in charge of the brutal occupation. General Eberbach is a model Aryan “ubermensch” more than capable of meeting Mono in toe–to–toe mortal combat. Ironies powerfully resonate in the comparison of the Nazi general’s self–regard as a guardian of civilized culture and refinement, and his perception of warfare as a noble family vocation — with Mono’s self–regard as being a dutiful servant to Queen and country (and to the wild, natural world untouched by mankind’s “civilization”). His understanding of war is as a hideous exaggeration of force for acquisition of land and resources far beyond the needs of basic survival — his “animal” self knows not to kill beyond what he needs nor damage the Earth that enables all life.

Mono is a welcome alternative take on the superhero character in popular culture that is rapidly exhausting itself.

Seeking “superpowers” from our natural brethren right here on Earth, rather than from super–human aliens from outer space or the bites of irradiated spiders, might just be the jolt of fresh juice to the hero narrative that is long overdue. The personal reveries of this hero are a definite literary notch above standard comics hero philosophizing. Mono as the Queen’s special agent is James Bond pulled inside out. His lethal animal essence is obvious, rather than hidden in tuxedos and sardonic urbanity. It is his unexpected humanity that is hidden, only to emerge in moments of his contemplation of his lot in life.

Not only is Mono a completely satisfying comic book experience in its story alone, it’s also one of the first comics to rise up in the emergent “motion comics” format. Frames of story are drifted over in a cinematic fashion, lending added energy or ennui to narrative moments as needed. Sound cues enhance action and other sequences and add greatly to the storytelling, setting mood and even historic time and place. The ability to subtly direct the casual reader’s eyes through the illustrations as the artist would, seeing the graphic storyline a bit more as the artist intended, makes a world of difference. There looks to be a bright future for comic “motion books” — especially if the storylines themselves continue to evolve to higher heights along with the new “cinematic” motion and sound effects. This is the true achievement of Mono.