Scene of the Crime: back in print at last

The NS comics review

Scene of the Crime
Ed Brubaker (W), Michael Lark (P/I), Sean Phillips (I), James Sinclair (C)
Image, 112pp, £18.99

Scene of the Crime has been long out-of-print, an uncomfortably common state of affairs for comics. Sometimes, that happens for understandable reasons: Alan Moore's Miracleman is unlikely to ever see the light of day because no-body is quite sure who owns the rights, but everyone is happy to sue everyone else over attempts to reprint it; Grant Morrison and Frank Quitely's Flex Mentallo was off the shelves for years due to unpleasantries involving Charles Atlas, whom the main character is a parody of. But many more become unavailable simply because the various collected edition departments of the major publishers seem to be unable to keep track of their backlists. These aren't minor books, either; when a comic published just three years ago, in the process of being adapted into a major Hollywood movie, is unavailable and selling for ten times cover price on Amazon, something's wrong.

So, rejoice! that Image have secured a reprint of Ed Brubaker and Michael Lark's 1999 crime thriller, after more than a decade of unavailability. The book is one of three Brubaker – now returning to creator-owned comics off the back of an extraordinarily well-received eight-year run on Marvel's Captain America – credits with launching his career, and also represents his first collaboration with Sean Phillips, who inks Lark's artwork for the last three of the four issues.

The book tells the story of Jack Herriman, a Californian private eye, who takes a simple missing person case as a favour to an old family friend which, inevitably, turns out to not be so simple after all. Herriman finds himself embroiled in a family feud stretching back through the decades, and bumping heads with a hippy-throwback cult with a dark side.

The plot ticks along at a fair rate, and when the various threads floating around come together with a pleasing, if slightly over-foreshadowed, congruity, you'll find yourself just a few pages ahead of the protagonist.

The same isn't quite so true of Herriman's backstory, which betrays the book's roots. Brubaker drip-feeds information about him: we find out he lives with his uncle, a famous crime scene photographer, and aunt; we learn about his hero-cop-father's untimely end; we meet his ex-girlfriend, and they discuss his junkie past. But while these revelations fit thematically with the main plot, and bring Herriman closer to the family he's investigating, they are dripped out with little logic.

The reason seems to be the expectation, until relatively late in the creative process, that Scene of the Crime was to be an ongoing series; it even had a sequel-baiting subtitle, "A Little Piece of Goodnight". And as Brubaker reveals in the behind-the-scenes essay at the end (which upgrades the book from "hardcover" to "deluxe hardcover", apparently), even when it launched, the plan was that it would be a series of mini-series… "but that never happened".

The end result is a strange sort of character overdevelopment. It's not particularly problematic, but it weakens an otherwise strong stand-alone story.

Brubaker himself, looking back on his early work with the benefit of time, identifies one other glaring flaw, which is the sheer number of words on every page. It reads as though he didn't quite trust his artist to get across Herriman's turmoil – or that he was too caught up in writing hard-boiled P.I. inner monologues to remember that it's a comic, and things need to be played differently.

It's a shame, because Lark – who was frankly the senior member of the partnership at the time – pulls off his role with flourish. In collaborative comics it's always tricky to precisely apportion praise and blame, but some things – particularly an entire strand of plot revolving around mistaken identity, always tricky to do in a visual medium – were definitely his to make or break, and he succeeded every time.

Although Sean Phillips' name is on the cover with equal billing to Lark and Brubaker, his role was comparatively minor. Inking Lark – and not even for the entire book – was a job he was always perfectly capable of doing, and, judging by both the making-of pages in the backmatter and the lack of a noticeable difference from Lark inking himself, a job he carried out in a professional but workmanlike manner. It's pretty clear Image decided to big up his role to ride Scene of the Crime on the coat-tails of the later Brubaker-Phillips books.

Which is rather the elephant in the room. Since Scene of the Crime, Brubaker and Phillips have gone on to revolutionise crime comics with their creator-owned series Criminal (the second deluxe edition of which came out last April). Scene of the Crime is a perfectly good book, and contains moments of greatness, but there's little reason to read it now that its natural successor is available. By surpassing it so thoroughly, Brubaker and Phillips have consigned their (sort-of) first collaboration to the realm of "for completists only". That's a shame, because Scene of the Crime is a far better book than that label makes it sound; but given what it's naturally being compared to, it could never be anything but.

Photograph: Sean Phillips/Image Comics

Alex Hern is a technology reporter for the Guardian. He was formerly staff writer at the New Statesman. You should follow Alex on Twitter.

Photo: NRK
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Skam, interrupted: why is the phenomenally popular teen drama ending before its peak?

The show has been building towards high school graduation – but now it’s ending before its lead characters finish school.

“Have you heard they started their bus already?”
“No!”
“One month into high school – and they started their bus.”

This Skype conversation between Eva and Isak comes early in the first episode of Skam. The phenomenally internationally successful series follows teenagers at a high school in Oslo. The “bus” they're discussing is a key plot point and concern of the students' lives. That’s because, in Norway, graduating high school students participate in “russefeiring” – it’s a rite of passage into adulthood, a celebration of completing high school, and a farewell to friends departing for university or jobs around the country.

Students gather into groups, give their gang a name, wear matching coloured overalls, rent a big car or a van, and spend late April to mid May (17 May – Norwegian Constitution Day) continuously partying. They call it the “three week binge”. It’s a big fucking deal. 

Skam, with its focus on teens in high school, has therefore spent a lot of time thinking about “russ”. The show, which is set at the exact same time it airs, has followed its four main characters Eva, Noora, Isak and Sana (who each have a season of the show written from their perspective, a la Skins), as well as all their friends, from their first few weeks at school in September 2015. In other words, preparations take years, and we’ve heard a lot about the plans for their russ bus.

In season one, Eva has fallen out with her best friend, and is hurt when she hears she is moving on and has formed a new bus, with new friends, called Pepsi Max.

We meet one of the show’s most prominent characters, Vilde, when we see her trying to get a bus of girls together. The show’s five main girl characters, Eva, Noora, Vilde, Chris and Sana, become friends because of her efforts: they bond during their “bus meetings” and fundraising attempts. They flirt with a group of boys on a bus calling themselves “The Penetrators”.

The latest season follows Sana’s struggles to ensure the bus doesn’t fall apart, and an attempt to join buses with rivals Pepsi Max. The joyful climax of season four comes when they finally buy their own bus and stop social-climbing, naming themselves “Los Losers”. Bus drama is the glue that keeps the show together.

But now, in June 2017, a whole year before the characters graduate, Skam is ending. The architect of the girls’ bus, Vilde, has never had her own season, unlike most of her friends. Many assumed that Vilde would have had her own season during her final year at school. Fans insist the show’s creator Julie Andem planned nine seasons in total, yet Skam is ending after just four.

The news that Skam would stop after season four came during the announcement that Sana, a Muslim member of the “girl squad”, would be the next main character. The show’s intense fandom were delighted by the character choice, but devastated at the news that there would only be one more season. “I can’t accept that this is the last season,” one wrote on Reddit.

“I'm so shocked and sad. It’s honestly just...weird. It doesn’t make sense, and it’s not fair. It’s not fair that we’re not getting a Vilde season. Most importantly, it’s not fair that we’ll never get to see them on their russ, see them graduating, nothing. It seems like such an abrupt decision. It doesn’t serve the storyline at all.”

No one has given a concrete reason about why the show ended prematurely. Ina, who plays Chris, said in an interview that “we all need a break”.

Some fans went into denial, starting petitions to encourage Andem to continue with the show, while rumours abound suggesting it will return. 

Many speculated that the show simply became too popular to continue. “I think that the show would have had six seasons and a Vilde season if the show didn’t become popular outside of Scandinavia,” one wrote. “I think the pressure and the large amount of cringy fans (not saying that some Scandinavian fans aren’t cringy) has made making the show less enjoyable for the actors and creators.”

Andem has stayed mostly quiet on her reasons for ending the show, except for a statement made via her Instagram. She recalls how very early on, during a season one shoot, someone first asked her how long the show would last:

“We were standing in the schoolyard at Nissen High School, a small, low-budget production crew, one photographer, the sound engineer and me. ‘Who knows, but I think we should aim for world domination,’ I said. We all laughed, ‘cause I was obviously joking. None of us understood then how big Skam would turn out to be. This experience has been completely unreal, and a joy to be a part of.”

Skam has been a 24/7 job,” she continues. “We recently decided that we won’t be making a new season this fall. I know many of you out there will be upset and disappointed to hear this, but I’m confident this is the right decision.”

Many fans feel that season four has struggled under the burden of ending the show – and divisions and cracks have appeared in the fandom as a result.

Some feel that Sana’s season has been overshadowed by other characters and plotlines, something that is particularly frustrating for those who were keen to see greater Muslim representation in the show. Of a moment in season four involving Noora, the main character from season two, one fan account wrote, “I LOVE season tw- I mean four. That’s Noora’s season right? No wait, is it Willhell’s season??? What’s a Sana.”

Others feel that the subject of Islam hasn’t been tackled well in this season. Some viewers felt one scene, which sees Sana and her white, non-Muslim friend, Isak, discuss Islamophobia, was whitesplainy. 

One popular translation account, that provides a version of the show with English subtitles, wrote of the scene: “A lot of you guys have been disappointed by the latest clip and you’re not the only ones. We do want to finish this project for the fans but we are disappointed with how this season has gone.” They announced they would be translating less as a result.

The final week of the show has been light on Sana. Instead, each character who never received a full season has had a few minutes devoted to their perspective. These are the other girls from the girl squad, Vilde and Chris, and the boyfriends of each main character: Eva’s ex Jonas, Isak’s boyfriend Even, Eva’s current fling “Penetrator Chris” and Noora’s on-off boyfriend William.

It’s understandable to want to cover key perspectives in the show’s final week, but it can feel teasing – we get a short glimpse into characters' home lives, like Vilde struggling to care for her depressed mother, but the scene ends before we can really get into it. And, of course, it takes precious time away from Sana in the show’s final minutes.

Some were frustrated by the characters focused on. “Penetrator Chris” is a particularly minor character – one fan account wrote of his scene: “This is absolutely irrelevant. 1) It sidelines Sana 2) It asks more questions 3) It doesn’t answer shit. This isn’t even Sana’s season anymore and that’s absolutely disgusting. She didn’t even get closure or ten episodes or anything.

“Sana has been disrespected and disregarded and erased and sidelined and that is fucking gross. She deserved better. Yet here we are watching a Penetrator Chris clip. How ironic that it’s not even called just “Christopher” because that’s all he is. “Penetrator Chris”.

It’s been a dramatic close for a usually warm and tight-knit fan community. Of course, many fans are delighted with the final season: their only sadness is there won’t be more. One of the largest fan accounts tried to keep things positive. “I know people have mixed feelings about Skam and who deserves what in terms of screentime this season (etc),” they wrote, “which I totally understand.

"However, everything has already been filmed, so there is nothing we can do about it. I think this last week of Skam will be much more enjoyable for everyone if we focus on the positives in the clips ahead. Skam isn’t perfect. People are allowed to disagree. But let’s go into this week being grateful for everything Skam has given us.”

Some fans choose to look to what the future holds for the show – an American remake. It will keep the same characters and plotlines as the original, and Andem may be involved.

Few think it will be a patch on the current show, but some are excited to have the chance to watch it teasingly as a group regardless. It seems unlikely that the US remake will compare in terms of quality – not least because the original was so heavily researched and tied to Norwegian culture. But for fans struggling to let go of Skam, it can’t come soon enough.

Anna Leszkiewicz is a pop culture writer at the New Statesman.

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