Shocking to realise that Bitch Planet launched in 2014, yet has only managed ten issues since - and those are years during which its nightmare patriarchal future seems to have come distinctly closer. Obviously one can't hold deConnick and de Landro's workrate entirely responsible for the rise of Trump, but that unkind line of Peter Cook's about the wonderful Weimar cabarets does spring to mind, and it would have been nice if they could have kept up a little more momentum. So, tiding us over, an anthology title set in the same world - five issues, each with (as the title suggests) three stories, from a world where old gender rules have been reasserted with a vengeance, and women who don't like them get labelled Non-Compliant and shipped off to space gaol.
Most of the creators are new to me - the exceptions being Elsa Charretier, Vanesa del Rey, deConnick's husband, and one of John Lewis' collaborators on March. But I think I'm right in saying that there are few, if any, Brits, which is a shame, because whatever else may have gone horribly wrong with this country, in 2000AD's Future Shocks and the like, Britain does have the world's finest academy for short SF comics. Not that they're all winners, by any means - but even at their worst they at least offer some pointers on what to avoid. Whereas here, with everything being set in the same world, the first three issues in particular are prone to story after story where the Surprise! Twist Ending! is 'Aaaah, patriarchy.' Well, yes, we knew that - it is pretty much the premise of the setting, after all. There are exceptions, of course, stories which rather than going for a gotcha use their scant space to weave a claustrophobic vignette; 'Without and Within' and 'Love, Honor & Obey' both sculpt horribly compelling examples of the double bind whereby women are damned if they do and damned if they don't (though the latter then feels the need to add a twist anyway).
The hit rate picks up in the fourth issue; 'Life of a Sportsman' encapsulates the way that sport celebrates and accentuates everything that's most toxic in masculinity, though it's debatable whether it even needs a science fiction setting; the grotesque 'Bodymods', on the other hand, takes full advantage both of that and the comics form. But for me the highlight is the final issue's 'Everyone's Grandma is a Little Bit Feminist', which flips the stereotypical scene of the awkwardly unreconstructed grandparent at Christmas dinner for an era when progress has been thrown into reverse. An excellent piece of satirical science fiction, and here's hoping it stays that way.
(I had this from Edelweiss as an ARC but, as with volume 2 of the parent series, the file simply wouldn't work - I think that, ironically, the deliberately retro and pulp look Bitch Planet uses for the art is very intensive to render digitally. So in the end I read this from the library, but I'm going to do the declaration of interest anyway to be on the safe side)