Review by Karl Verhoven
Like much of Paul Pope’s work, Heavy Liquid remains contemporary, resulting in a hardcover reissue almost two decades on from the original serialisation. However, the timeless nature is about the only connection to Pope’s other work and anyone expecting a narrative structure of start, middle and ending won’t find it here as Heavy Liquid is a freeform dip into an unconventional life in unexpected times.
Echoing literary nods, the protagonist is known only as S, except to those referring to him as the Stooge. He’s stolen a fair quantity of heavy liquid, a rare substance to which he’s addicted, from a dangerous man who wants it back, and has thugs searching the city for him. S’ clients have a second task for him, wanting him to find an artist. There are a few twists, including a great ending, but that’s really all the plot there is. We follow S as he’s thrown into a series of strange encounters immersing us in the possibilities of Pope’s strange new world.
The strangeness is sparingly supplied, though, as most of what’s seen is familiar artistic territory for Pope, who wallows in deprivation delivered in great detail and a miasma of lines. The people reflect their surroundings, loose and always interestingly posed, especially when moving, and distinctively embedded, such as the trio chasing S hiding behind carnival masks. When there is an intrusion of futuristic technology the design is even more imaginative, scratchy mechanics updating the arms of Doctor Octopus or an oddly shaped processing device. Pope’s colours further define a unique world, their limited and faded nature bringing to mind both pulp adventure and manga, while the use of bright red for flashbacks is distinctive and innovative.
Greatly contributing to a timeless feel is Pope’s naturalistic dialogue. Information is released when necessary, not in great lumps and there’s a lot of thought to the way people speak, Pope conceiving new phrases to imply intent or circumstances. “He’ll be Sunday soup when we’re done with him” threatens a gangster, while S’s contemplation drops pearls such as “They killed art years ago. They killed it then replaced it with a simulation”. S’s trip is punctuated by memorable characters, some only needed for a single scene, yet presented in a way that everything necessary about them is understood. It’s a real talent.
Along the way there are several further pointed comments about art, and those who covet it, and everything leads to two satisfying bombshells. The first is a short sharp shock ending the penultimate chapter, and the second has a slower release opening up new possibilities. Imaginative, innovative and intelligent, Heavy Liquid is also memorable and satisfying, so an essential purchase.
