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Sin Titulo by Cameron Stewart review
By Dan Horn
July 30, 2014 - 12:31
Nearing the end of auteur David Lynch's quizzical opus
Mulholland Drive
the viewer is hit with a "twist" that supplants everything that came
before it. In any other filmmaker's hands this might have left the
viewer feeling gypped or duped, but with Lynch at the helm it doesn't
seem like a ruse at all. By the time the rug gets pulled out from under
our feet, Lynch has already helped us realize something so profound
about Los Angeles, about show business, and about the way we perceive
both at various distances that we come away from the experience feeling
enlightened rather than cheated. It's not an easy trick to land. God
knows many have tried, and yet Lynch is the only film director to come
to mind who has succeeded in performing this notoriously dicey
maneuver.
Cameron Stewart, perhaps every bit a
director in his own rite, though in a different kind of visual medium,
succeeds as well with his haunting and hypnogogic graphic novel Sin Titulo. Sin Titulo
is a dizzying thriller about a man, Alex, who attempts to visit his
somewhat estranged grandfather at a nursing home only to discover that his grandfather has
been dead for a month. Amongst his grandfather's personal effects, Alex
finds a photo of a mysterious young woman who had ostensibly been paying
his grandfather visits. Trying to track this woman down, Alex becomes
embroiled in a surreal conspiracy in which dreams are inexplicably
shared and a horrifying past comes rushing back from the dark recesses
of his memory.
Stewart originally published Sin Titulo
online as a free webcomic, but Dark Horse Comics has recently collected
the story in a beautiful "widescreen" hardcover. Each page of Sin Titulo
has a simple layout of eight thumbnail panels. This is an effective,
uncomplicated structure that manages to never become tiresome, because
Stewart is always finding new ways of presenting imagery and visual
progressions even within these confining strictures. Unlike the artwork
he's probably most noted for in his comics career, the dynamic superhero
illustrations that have made him one of DC Comics' most instantly recognizable
talents, for Sin Titulo
Stewart employs a light, minimalistic touch, almost a process of
cartoon story-boarding. His palette is also minimal, using only an
earthen monochrome to accentuate his otherwise black-and-white images.
The combination of all of this makes for a fast-paced, moody, and dreamlike tale
that facilitates getting lost in the book's simple beauty and,
conversely, its horror.
And Sin Titulo
really is frightening, like Mulholland Drive is frightening. Like Lynch, Stewart has a knack for unearthing primal fears that
cut straight to the reader's marrow, whether those scares simply come
from the numinous unknown or instead from the monster that exists on the
fringes of observation. Sin Titulo is a wonderfully dread-inducing experience.
Cameron Stewart's
Sin Titulo
is David Lynch distilled in two dimensions, even moreso than Lynch's
own
The Angriest Dog in the World, which coincidentally was also once
published by Dark Horse through its
Cheval Noir anthology. Much like
Lynch's
Mulholland Drive, by the time the rug-pulling occurs in
Sin Titulo's
case (to be clear,
Sin Titulo's rug-pull isn't so much a "twist" as it is a "reveal and reset," but it still manages to feel true to the Lynchian trope), Stewart has told us something profound about all the flawed
definitions of "man" that were applied to our fathers, about how our
fathers in turn put their sons on the same paths to flawed manhood, and about the ways in which art can absolve us of these flaws. More
than that, he has challenged us, through such spare and alarming imagery
and such evocative text, and perhaps that alone is worth the price of
admission.
Rating: 9.5 /10
Last Updated: August 31, 2023 - 08:12