Review by Ian Keogh

As introduced, Vega Ulysses is a vainglorious oaf who treats a diplomatic presentation as a comedy routine and at best patronises every alien he meets. There’s little sympathy, then, when he discovers that somewhere on his long mission to many planets he’s lost the keys to his fortress back home. Without them there’s no entry, so he has to retrace his steps revealing the many ways he’s managed to offend every other race in the universe and the way his presence has changed planets. Never for the better, you understand.

Over the course of a graphic novel the common procedure would be to soften the edges of an unlikeable character to create some element of sympathy, but Luke Milton resists that path, relishing in the presentation of Vega as unapologetic, egotistical and appalling. Vega starts as he continues, with not a single thought for anything but his own needs, utterly sure of his misguided opinions and for the most part not realising how offensive he is. Vega genuinely considers himself a funny, genial guy, and is additionally armed with the confidence of humans being superior to any other race. The unfortunately frog-like alien Zax Snaxton is Vega’s sidekick and punchbag, and his initial crew is rounded out by surly computer presence Samantha, completely aware of Vega’s shortcomings

For the opening chapter Lizzy Lang’s visuals for the ill-matched trio are a three person head and shoulders comedy routine, Vega’s emotions from bumptiousness to self-pity well captured. This continues to be the approach for the remainder of the book, Lang only rarely departing from a face-on view, and the insufficient variety impairs what are generally funny slapstick routines. When something can’t be presented in the normal fashion Lang shows imagination, the change from the remaining material very welcome.

As Vega visits more planets the cast expands, with each new character adding something, particularly retrieved second officer Vanessica, well-intentioned and diplomatic with zero tolerance for Vega’s methods. Milton plots to a pattern of revelation of Vega’s insensitive interference followed by his invariably making matters worse by revisiting planets in search of his keys. It’s predictable, but nonetheless funny, with the dialogue often hilarious, and with some sharp commentary about the deviousness of institutions. A peak is hit visiting an alien musician persuaded to stage a Lumpcat musical, with Lumpcat surely very similar to a familiar fat cat cartoon star.

With each culture having different sensibilities it seems there’s just to be a succession of fiascos, but the incidents build a larger plot. If Vega never achieves any self-awareness, the error of his ways is certainly pointed out via a harsh lesson in the randomness of the universe.

Fans of Rick and Morty will surely find much to enjoy about He Lost His Keys in Space as there’s a similar conceptual nihilism, but the art needed to be stronger.