Review by Frank Plowright

This is a second appearance for Johnny Cannon’s inventive take on superheroes in the UK, but can be read entirely almost entirely separately from the introduction of some characters in Welcome to the Shitshow. Some minor moments could do with greater explanation earlier, such as the use of British telephone boxes as teleportation devices, but what matters is eventually spelled out.

At heart Going Underground is a police procedural mystery, except with the complication of superheroes, the murder of one of them setting events in motion, while the investigator was also a member of noted superhero team the United back in day. It’s set in a no longer United Kingdom dealing with the fallout of that along with the removal of the monarchy, where disenfranchised people who were part of the establishment resent their change of circumstances and find unlikely allies. Along the way there’s consideration of what super teams are, Cannon supplying the interesting view of them representing different ideas at different times.

Going Underground is told in small snippets set in England and an independent Scotland, and takes the unusual route of not bothering to name some characters, their relevance apparent from what they do and who they associate with. As before, divisive real world issues are raised, with no doubt as to where Cannon’s sympathies lie.

More so than the previous book, at the beginning London and its surroundings provide the locations, drawn by Cannon as distressed grandeur covered in graffiti, but he has a tidy line in drawing recognisable locations in other cities. Cannon’s art is constantly improving, with some really imaginative visuals alongside the solid storytelling. The only slight lapses are when Cannon tries experimental stylistic changes, such as a few pages drawn for no apparent reason in newspaper strip format requiring the book to be turned ninety degrees. It could be taken as a metaphor for the reflection of the real world, but possibly not.

Cannon has a surprising lack of sentimentality about a large cast, which makes for surprises, and while they’re not always the priority, the use of superhero abilities is creative, and sometimes funny. It’s only right at the abrupt ending that Going Underground falls short. Readers may want some greater closure, and a stronger resolution of the political situation. However, there’s considerably more ambition, invention, and inspiration here than in many a mainstream superhero graphic novel.

A faked magazine profile and a couple of abstruse short stories end the collection, one drawn by Steven Ingram in his naturalistic style. Make of them what you will.

Online bookshop listings are non-existent, but Going Underground can be bought directly from Cannon here.