Even for the ’60s The Prisoner was a bizarre television series, throwing fistfuls of genre-bending surrealistic concepts in front of a constantly zooming camera. Characters with arched eyebrows delivered even more arched dialogue amidst James Bond-era gadgetry, and the whole thing was edited with a sometimes disorienting series of jump cuts. It was a fun and trippy concept that also delivered a disturbing commentary on the concept of free will in the counter culture era. Fifty years later, the primary currency of “The Prisoner” comic from Titan Books is still information, and in a serendipitous 21st century twist, it’s more far-reaching and valuable than ever. SPOILERS
Written by Peter MilliganCover by Michael Allred
Illustrated by Colin Lorimer
Colored by Joana Lafluente
Lettered by Simon BowlandThe cult TV series comes to life in a brand new comic series by writer Peter Milligan and artist Colin Lorimer! Timed to coincide with the 50th anniversary of the first US transmission, this new series transports readers back to the mysterious village where everyone is a number!
Before diving into the first panel, Titan editors let readers know in the book’s frontispiece that this story takes place in the 21st century. If they hadn’t mentioned it, a phrase like “mental fracking” would leave little doubt. Readers going into this series expecting a period piece or more touchstones from the late 1960s might be disappointed with what feels like a bit of a bait and switch as the solicitation text and Allred’s cover evokes the television series so closely, but it won’t be the last time the book subverts some expectations in this first issue.
Unlike the television show, the premier issue of “The Prisoner” starts conventionally enough. In fact, the entire issue is a reimagining of what the television series distilled into a now iconic expository opening sequence. The comic’s protagonist, Breen, is on the lam and has a bit of a target on his back after he does something rash in the wake of a covert espionage operation that went sideways. The bulk of issue one reads like a straightforward spy story, but Milligan’s script layers some outlandish concepts into the narrative, namely a McGuffin known as Pandora and an illuminati-like organization that is stealing 20th century relics. It’s a welcome development that shows that Milligan is not interested in just rehashing the premise of the original television series. Hell, the protagonist even gets a name.
Colin Lorimer, an artist who is no stranger to licensed properties, also strips away any vestiges of the ’60s in favor of a grittier aesthetic that reminds this reviewer a bit of Sean Phillips’s work with Ed Brubaker. Lorimer’s panels pace the story well as it zooms from the Middle East to London to Scotland to Tuscany before landing Breen in The Village. Joana Lafluente’s coloring also contributes to the less psychedelic tone of the story by utilizing a more muted and moody palette. This is not to say that “The Prisoner” eschews all of its more gonzo mid-century influences, but it does force the stranger elements into sharp relief, particularly the man in a checkerboard suit playing chess in an airport men’s bathroom, the mission to extract Pandora, and Breen’s vehicle from the airport—an ice cream truck. These elements feel like something from David Lynch’s Twin Peaks, but on the page they stick out like sore thumbs instead of changing the tone of an otherwise procedural script. Along with the protagonist’s missing partner, these strange bits do raise the question of reliability for our narrator and could play into a more insidious and subversive plot against Breen by his masters. It will be interesting to see how Milligan weaves these anachronistic elements into this modern take.
Now, let’s go back to that previously mentioned and super-helpful prologue text. In another interesting editorial twist, it actually removes much of the mystery surrounding The Village, describing it as a sovereign headquarters for a shadowy global intelligence community. While the show immediately focused on #6’s escape attempts from an institution he or viewers didn’t really understand, the comic appears to lay all those cards on the table from the onset. After all, we have been conditioned to the existence of powerful cabals in secret locations at this point, and Milligan toys with expectations by letting Breen know exactly where he is too. He’s heard all about The Village. He knows he’s in trouble and why. It’s because of Pandora, and we can safely presume it’s not the music streaming app. By the conclusion of the issue, we can surmise that Breen will likely set out to locate and rescue his old partner before attempting to escape. Of course, that’s also assuming she’s not complicit in a larger plot to frack with his mind. This should be fun.
Final verdict: 7.5 – Milligan and Lorimer offer an intriguing opening salvo for this new series based (perhaps more loosely than first thought) on the short-lived cult classic television show. Only time and more issues will tell how much the comic has in common with the show, but for now, that information is top secret. Don’t worry. We’ll eventually get it out of them.
