Alright! It’s just after noon on Friday morning and time for a little Factory freakiness. Factory #2 was released on April 25, 2018 and leads us further along the twisted path that artists Elgo and Alejandro Jodorowsky set us upon in the previous issue. So without further ado…
Things just got a whole lot darker. I suspected cannibalism in the last issue but now it’s all laid out on the table (no pun intended). I’m betting you can guess just what the ‘factory’ produces, right? It’s not clear who, aside from Gucco and his men, is the target market for this product but a factory inspector has arrived on the scene so there must be other factories in other cities somewhere.
In addition to this, the story of the pig-men appears to be unfolding. Raul, the pig-man that the fetus-oracle warned of, stumbles into another group of pig-men that he doesn’t recognize. They know him pretty well, though. A little later, the only normal-looking man in the story thus far wanders into a human camp where a group is trying to kidnap a woman’s baby for dinner. He then produces a severed pig’s head and tells them of the existence of the pig-men who they could exploit for food instead of each other.
By the way, the talking monkey is now dead. The pig-men killed it because they were excited to see what kind of animal it was. Shoot first and ask questions later—that just how pig-men roll, folks.
Like the last issue of Factory, the artwork continues to evoke a visceral feeling of unease. This makes sense, though, given the subject matter.
I mean, we’re talking about a dystopian world where everything has become a giant desert with poisonous air. People are desperate. Everyone except the ruling elite is starving and hopeless. The air that they breathe burns their lungs. Many of them are deformed. And the cause of all this suffering? Human greed. Consumption. The utter decimation of resources to satisfy a voracious appetite for things, whether food or possessions. This insatiability has led humans to fall so far down the ladder that they are now consuming each other.
The imagery that Elgo has chosen to communicate that message is brutal. The characters, and even the landscape, are drawn to illicit a reaction of disgust. Simply put, the artists are trying to keep you off-balance, to make you experience a particular reaction. The line art and coloring does just that. If the colors were bright and happy and the characters and landscape drawn differently, it would have a completely different effect—one that is incongruous to the story.
Seriously, I gotta tell ya that even though I suspected what was going on in the factory from the start, I was still taken aback by some of the scenes—and I’m pretty desensitized. What that means, though, is that Elgo and Jodorowsky accomplished exactly what they set out to do and they did it well.
Despite how stomach-churning the imagery can be, this is a pretty thought-provoking series. Many people tend to dismiss comics as fluff but as a Speculative Fiction writer myself, we are constantly taught to look for the hidden meanings in our work; to find the deeper messages (most of which, in all honesty, lie within the mind of the reader). We carefully select archetypes, themes, and symbolism to communicate our core ideas. I am genuinely impressed by the deeper meaning embedded into this work.
Of course, not everyone is going to like this, especially if they’re used to something more along the lines of a Marvel superhero comic or really even horror comics in general. This is a different breed, to be sure. But if you have a mind to tackle something disturbing yet meaningful, definitely give this series a read.
Writer: Yacine “Elgo” Elghorri
Artwork: Yacine “Elgo” Elghorri
Translation: Marc Bourbon-Crook
Editor: Johnathan Stevenson
Source – Titan Comics
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