What is the difference between an opportunist and a true believer? Of course, there are similarities between them; both are devoted to some larger goal, but the difference seems to be who that goal is supposed to serve. For the opportunist, the goal is entirely self-serving. This does not suggest that the true believers are altogether altruistic. The significant difference is what guides them to their end goal. It seems that this is a concept that James Tynion IV finds to be interesting about conspiracy theories. Who is involved, and what drove them to be a part of the conspiracy in the first place? In “Department of Truth” #14, Tynion gets to the heart of conspiracies and what happens when those involved begin to change why a conspiracy exists in the first place.
Written by James Tynion IVCover by Martin Simmonds
Illustrated by John J. Pearson
Colored by John J. Pearson
Lettered by Aditya BidikarIn 1946, Scientology founder L. Ron Hubbard and eccentric rocket scientist Jack Parsons performed a series of rituals to summon a divine feminine being. Her name was Babalon. She was dressed all in…RED. Eisner winner JOHN J. PEARSON (BLUE IN GREEN) joins THE DEPARTMENT OF TRUTH for an occult blast from the past.
“Department of Truth” #14 seems to be setting up the pieces of a larger end game. It focuses on Lee Harvey Oswald and another member of the Department of Truth looking for information on the Red Woman and magic in general. What follows is a whole mess of exposition when Harvey and his compatriot find a man in the woods who has built bunkers, preparing for the end of the world, and is intimately familiar with the chain of events responsible for that end of the world. Most of the issue focuses on the relationship of rocket scientist Jim Parsons, sci-fi writer L. Ron Hubbard, and their corruption of the magic of Aleister Crowley. Needless to say, the issue is a lot.The thing is, though, that Tynion does a fantastic job of making it all palatable and, in some cases, even believable. Tynion enjoys learning about conspiracy theories because the script on “Department of Truth” #14 toes the line of actual historic fact clouded by the fantastical or the absurd. What makes this all work is the POV characters of Oswald and his fellow agent. They both toe this fine line of skeptics, having their eyes opened to the broader world. The other agent, especially, is a fascinating contradiction of character traits. He is a lover of science fiction and skeptical about magic and the ability to summon angels, yet he’s still wearing a tinfoil hat. He describes the rant as hooey, but Oswald quickly confirms elements of the story, putting those doubts to rest. That Aleister Crowley did work with British Intelligence and the Soviets, that L. Ron Hubbard’s connection seems to be more than just a passing coincidence. Oswald is fascinating because it appears that he still has all of the trappings of being a skeptic while simultaneously waking up to the weird reality surrounding him. Oswald believes what he sees, so he’s not acting totally on blind faith about the odd and mysterious. It’s just that some of the things he’s seen fall into that subcategory.
Another thing that makes “Department of Truth” stand out as a series is the art that is equal parts conspiracy theory board and fever dream. Like Tynion’s script, John J. Pearson’s art finds the right balance between the factual and the fantastical. There are moments in the art that appear almost photorealistic, others that feel like crude sketches, and some that feel like the kinds of collages you see dotted with thumbtacks and red string. It’s interesting to see how Pearson uses colors or the void of colors to make things feel surreal. Two notable examples are the beard of the conspiracy theorist and the glasses of Oswald’s partner. In both cases, they are not white, necessarily, but simply colorless. It makes the panels with that character feel wrong, like something is missing, which leads you to believe that there might be something missing in other elements of what this character is presenting, be it his story or his grasp on sanity. Pearson also does an excellent job at creating panels that feel closer to fever dreams. Collages of nuclear bombs, spaceships, and images of the occult wrapped in an American flag. Again, it makes you question the history presented by the man in the bunker, but as “Department of Truth” #14 unfolds, you start to see the patterns and question your reality.
That’s honestly the most prominent theme of “Department of Truth” #14, questioning your reality and others’ relationship to that reality. One of the most striking elements of the issue is how the man in the bunker views L. Ron Hubbard and Parsons. To the man, they are nothing more than charlatans, opportunists who are taking advantage of the true believers and creating a corruption of something that could be, if not pure, at the very least, not a threat. Yet, because these men are fueled by magic and the American dream, it seems that all they are capable of is corruption. There are many similarities between “Department of Truth” and American Gods, both primarily deal with the power of collective belief and how that can sometimes be a corrupting force. The issue never goes as far as to say that Crowley’s desire to channel the divine feminine is a good thing, but Hubbard and Parsons’ ability to pull it off is downright evil. Maybe because it was an opportunity to grow their power and challenge the divine, Oswald and his fellow agent searched for the truth. Is it possible they will fall victim to this same corruption? Their attempt to control the very nature of truth itself might lead to more problems like the Red Woman? In any case, it seems that to the world of “Department of Truth,” belief is power, and whoever controls that belief has a lot of responsibility.
Final Verdict: 8.5 With a perfect blend of art and storytelling that makes you question your reality and the power of belief, “Department of Truth” #14 is a fantastic entry in an exceptional series.
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