Writer: Douglas Rushkoff
Artist: Liam Sharp
Colorist: Jamie Grant
Publisher: Vertigo/DC Comics
Testament is a provocative, ably-written tale that boasts some of the most beautiful illustrations I have seen in a comic book this year. This is one comic book that, though polarizing in subject matter, utilizes all the bells and whistles of traditional hero comic books to tell a tale unlike anything we have seen before. Sure, there are instances when the momentum of the story feels forced or gimmicky, but this is a title that is guaranteed to make you think and ponder long after you’ve finished reading it. While not as complex as Joyce’s Ulysses, it possesses a lot of the same characteristics, as Douglas Rushkoff uses the format of the Bible to construct this parallel fable of a future that is not farfetched, which makes it all the more frightening. Rushkoff hypothesizes that the Bible, a document we have canonized and effectively neutered, is a living document that is recurring over and over again throughout history. If you watch the History Channel, this fits with the concept of the Bible Code, which holds that the ancient Aramaic of the original text acts as a prognosticator of future events. What Rushkoff presents in this fictional tale is that history is actually a continually spinning circle, and the key events that occur at any period of time have already occurred and will recur again. Robert Jordan anyone? While this idea may not be that original, the religious/societal parallels that Rushkoff draws with the classical Bible are, and readers will either be enthralled or repelled by the product that he and Liam Sharp have produced, though the open-minded will find a unique treasure among the sea of ordinary comics.
There are a lot of intriguing plot lines within this tome, but I think one of my favorites is the relationship triangle between Jake, Dinah, and Astarte. First of all, I have to commend Rushkoff for including a pantheon of gods in his story, rather than the typical two that we see in any Biblical tale. This shows, in no uncertain terms, that this is a literal translation of the text, rather than the sanitized version we normally receive in Sunday school. Anyway, one of the main gods in Akedah is the goddess Astarte, who represents lust and the pleasures of the flesh. Two of her first appearances in the story are in conjunction with fantasies that Jake experiences concerning a physical desire for the younger Dinah, who he used to tutor (in fact, his dream sequence is like a scene out of a Spice TV movie). Obviously, Astarte has a lot of interest in the connection between these two young adults and, about halfway through the trade, we learn why. Dinah is actually the modern manifestation of Lot’s daughter, who was a priestess of Astarte during their life in Sodom. Various images show that this daughter offered herself sexually to the men that worshiped at the feet of Astarte, and she also sleeps with her father, Lot, to continue his line, “for his god and for ours.” Therefore, the seed that Lot and his daughter produced are, by birth, servants of God and the flesh, which is a very fitting description for the human race. Getting back to Dinah, she definitely starts to have physical feelings for Jake after this flashback, and we know it is because Jake is the modern Lot (Bravo to Sharp for making the parallel characters look similar, which really aids the reader’s understanding). They eventually consummate their mutual desires, just like the father and daughter of old (A small quote that is really telling is Jake saying, “God, I’ve wanted you...”). As they are involved in the sexual act, Dinah says, “Can’t you feel it? Like something else is working through us.” Jake replies, “I can feel it, Dinah. Something bigger than both of us.” It’s never made completely clear what will come of the physical coupling of Jake and Dinah (or if they even had intercourse at all), but there are some interesting concepts surrounding this act. First off, Astarte saves both Jake (twice) and Dinah from certain death, which shows that she clearly doesn’t want anything to happen to these two agents of humanity. Could she be protecting the seed that will be produced from their coupling? Would this seed be the next evolution of humanity, the modern Ammonites? Or, is this simply Astarte protecting her servant from danger, as well as protecting her object of desire? I’m sure all of this will come to light within the series, but in the meantime, this three-way relationship is meaningfully complex and involving. I love how Rushkoff and Sharp make Dinah into a busty, sexy teenager, which corresponds to the desire that Astarte represents, as well as physically displaying her motherly assets for the (possible) future. It’s cheesecake, but it’s biblically meaningful cheesecake, and that makes it okay in my book.
I literally could go on and on with the many details and plot developments in Akedah, because this trade paperback is packed to the brim with ideas and story devices. But, this title is so unlike anything you could possibly be reading right now, looking into all of the mysteries inherent in Testament is the fun part, so I won’t spoil it for you. Is Fallow the Anti-Christ? How did Miriam overcome the curse of Lot’s Wife? What other gods are gonna mix it up with the living Bible? These are all questions that you will be asking yourself after you finish this wonderful volume. Also, like me, you’ll be rushing out to pick up the more current issues you have missed. Testament is the kind of book you want to be reading monthly, though only after you have read this collection. If I had read this first story arc in the intended monthly fashion, I really think I would have been frustrated through the first two issues, though I wouldn’t have given up on it due to the fascinating premise and Sharp’s art. This is a comic that takes its time in developing the big story, but Rushkoff also understands that you have to have some monthly hooks to bring readers back. Barring the first issue, I think he handles that job ably, and you have to commend Rushkoff for his exceptional work in an art-form he was basically unfamiliar with before Testament. As for Liam Sharp, what can I say? He took my breath away with some of the spreads he drew up throughout these first five issues. The last two pages of Issue #4 were mind-blowing in execution, as your eyes take in the fire and mists that surround a battlefield filled with soldiers new and old, facing giant golems or arachnid-looking rejects from War of the Worlds. However, Sharp’s work is not only consumed with flash. The knowing looks that are passed between Jake, Dinah, and Miriam are very appropriate and involving, as well as the looks of shock, awe, and despair shared by everyone else. Every page is used to full effect, clearly stating that Sharp is the right man for this kind of dense work.
Sure, I noticed echoes of the Matrix (no pills, but a sensory deprivation tank to learn the truth), the Kent State massacre (tell me the end of Issue #2 didn’t make you think of it), and Ken Russell’s the Devils (sex, religion, politics, and freaky imagery, though a lot more camp than Rushkoff will allow). However, while some artists would use these influences as a crutch, Rushkoff is creatively building on the media theories he has espoused in his other works, as well as the current political situations in the world today. This is a brilliant mind writing a comic book that will cause you to question your perceptions and opinions, making it a must read for those brave enough to meet the challenge.
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