Top Tens – History: Top 10 Wars (Special Mention: Revised) (17) Opium Wars

The East India Company iron steam ship Nemesis, commanded by Lieutenant W. H. Hall, with boats from the Sulphur, Calliope, Larne and Starling, destroying the Chinese war junks in Anson’s Bay, on 7 January 1841 (First Opium War) – painted by Edward Duncan (public domain image – Wikipedia “Opium Wars”)

 

 

(17) OPIUM WARS (1839-1842 & 1859-1860)

 

Two wars in which China got pawned by European powers – the first Opium War in 1839-1842 saw China defeated by Britain (resulting in Hong Kong being ceded to Britain among other things) and the second Opium War in 1859-1860 was slightly less humiliating for China as at least it got defeated by Britain and France rather than a solo British effort.

The nineteenth century was…not a good century for China, as the commencement of what later became known as the Century of Humiliation by foreign powers. The Qing dynasty, formerly one of the most powerful states in the world and used to styling itself as the Middle Kingdom of the world, now became the punching bag of the new European world powers. Qing China was humbled and humiliated as it was easily defeated by European modern military technology and techniques. Ultimately that dealt the death knell to the Qing dynasty, which crumbled amidst a revolution and civil war that spanned decades.

And it was all pretty sordid by the European powers as well, with the Opium Wars being fought by Britain for free trade – its free trade of opium to China, that is. The Opium Wars saw the first of the so-called Unequal Treaties between China and Western powers – as an impotent China was forced to concede territory, privileges, concessions and reparations to one European power after another in a form of de facto colonization.

De facto colonization, that is, because China was too big for actual colonization by any one European power, particularly as rival European powers were concerned with maintaining a balance between themselves in China. Indeed, the European powers were remarkably cooperative between themselves when it came to their common purpose of pawning China.

Ironically, it was a newly admitted Asian power to the European circle of world power that upset this balance and came closest to colonizing China in the twentieth century – Japan. Although of course this was the final straw of humiliation for China. It was one thing to be humbled by European powers with their new industrial and military technology. It was quite another to be humbled by an upstart smaller Asian neighbor, particularly a former tributary state.

The Opium Wars earn their special mention particularly for my fascination with the interconnection between drugs and war, also reflected in my slightly tongue-in-cheek special mention for pharmacological warfare for types of war. The Opium Wars are the closest thing to wars fought over drugs like the modern stereotype of wars fought for oil – in this case, wars fought over Britain smuggling opium into China.

Of course, modern drug smugglers or cartels tend not to have the force of the world’s largest maritime empire behind them, but often play a role in more low-level war or insurgency as in Colombia. And notoriously, drug smuggling – particularly in cocaine and opium – has often laid beneath the surface of larger modern conflicts.

Top Tens – Comics: Top 10 Comics (Special Mention) (10) Frank Miller – Sin City

Iconic panel from the comic, showcasing Miller’s mastery of black and white line art (fair use)

 

 

(10) FRANK MILLER –

SIN CITY (1991-2000)

 

Frank Miller’s finest artwork apart from blood splatter, something (both finest artwork and blood splatter) which recurs frequently in Miller’s “absurdly macho” comic noir (or neo noir) Sin City. Its black and white line art is matched only by its black and grey morality. And we’re talking a pretty dark grey! It’s a mystery how the city of the title, Basin City, isn’t completely depopulated, as its economy seems to consist entirely of sociopathy and of course “wh0reswh0reswh0res”.

“Sin City reads like an Affectionate Parody of Film Noir turned Up to Eleven: every hero is a mentally or physically scarred bruiser and every woman is a beautiful dame with a heaving bosom”

Shoutout to Frank Miller’s 300, which is even more absurdly macho (Rated M for Manly according to TV Tropes), because THIS! IS! SPARTA!

Top Tens – History: Top 10 Types of War (Special Mention) (16) Space Warfare

 

 

(16) SPACE WARFARE

 

Less Star Wars, more Sputnik – that is, space warfare is more about ballistic missiles and satellites, for now at least.

And yes, Star Wars is essentially WW2 dogfights, bomber runs, and naval battles in space, where they wouldn’t work or make no sense as depicted.

But seriously, while we tend to think of space warfare as SF “space opera” battles between spaceships, we’ve been fighting space warfare in various degrees since WW2, just in more mundane forms (to the extent that you count ballistic missiles and satellites as mundane).

While the usual flightpath of German V-2 rockets to their targets in WW2 was not through space, they could on vertical launch traverse the edge of space when that was defined as 100 kilometers – hence the vertical launch of V-2 rocket MW18014 on 20 June 1944 retroactively became the first artificial object to travel into space by that definition.

After that, ballistic missiles have routinely had flight paths which transit the upper atmosphere or space. As such, nuclear warfare is space warfare, at least as represented by ballistic missiles, so not surprisingly defensive measures for nuclear warfare have also been planned to operate in space – most famously the Strategic Defense Initiative or SDI by the US, dubbed Star Wars.

However, ballistic missiles used in combat with conventional warheads have also operated in space, mostly in conflicts in the Middle East, along with the defensive measures against them. “In November 2023, Israel claimed an interception of a Houthi ballistic missile as the the first combat in space”.

It’s in the deployment of (or against) satellites, originating in the Cold War, that space warfare really comes into its own.

“The Cold War prompted the start of the militarization of space. Military satellites have been launched since the later 1950s for communications, navigation, reconnaissance, and munitions guidance. The Gulf War is sometimes called the “first space war” because of the use of these capabilities by the US.”

Intriguingly (to me at least), space warfare is occasionally broken down into components of ground-to-space warfare (such as targeting satellites from Earth), space-to-space warfare (such as satellites targeting other satellites), and space-to-ground warfare (such as satellites attacking targets on Earth).

Even more intriguingly, there is ground-to-space warfare that involves weapons capable of being deployed by a single soldier for satellites or other targets in space – with the amusing acronym of MANPASTA. I’m feeling the urge to take out the International Space Station with one of those babies – it blocks my view of Venus.

There have even been nukes in space, although international treaties prohibit the permanent basing of weapons of mass destruction in space or the military use of celestial bodies – but do not prohibit the military use of orbital space or military space spaces. I suppose there goes my dreams of moon buggy battles (or where opposing forces lob asteroids at each other). However, back to the nukes, “the US and Soviet Union carried out nine nuclear explosions in space from 1958 to 1962, which damaged satellites”.

Even without nuclear weapons in space, the logic of mutually assured destruction in space – as the accumulation or creation of space debris can endanger your own satellites or spacecraft, particularly in the scenario of Kessler Syndrome in which we effectively paint ourselves into a planetary corner with our own space junk. It’s a pity that the term, coined at almost the same time as the first Star Wars film, was not adapted by the latter – it would have put a whole new spin on it as the Kessler Run instead of the Kessel Run.

Top Tens – Comics: Top 10 Comics (Special Mention) (9) Peter Milligan – Shade the Changing Man

Cover of the collected edition (of the first six issues) with art by Chris Baccalo (fair use)

 

 

(9) PETER MILLIGAN –

SHADE THE CHANGING MAN (1990-1996)

 

“Sometimes I think that if I wasn’t crazy…I’d go crazy”

Peter Milligan is another British comics writer that started as writing for 2000 AD, most notably with Bad Company – a future war story in which a bizarre company of soldiers fight humanity’s bizarre war against the alien Krool.

However, contrary to my characteristic preference for 2000 AD, my favorite is his work for DC Comic’s Vertigo imprint label for more mature graphic novels outside the publishing restrictions of mainstream comics. Milligan came to Vertigo towards the end of the first wave of the so-called British invasion or ‘Britwave’ of British writers into American comics – and like his fellow British writers for Vertigo, he revamped an obscure DC Comics character, Shade the Changing Man.

The focus of the series is Shade, an interdimensional traveler to Earth from the parallel world of Meta, with the reality-warping ‘power of madness’ (which seems to be part of Metan technology) – he resembles another of my favorites, Neil Gaiman’s Sandman, but with power born of madness instead of dreams. But then, what are dreams if not a little madness in our lives?

In other words, it starts off weird and gets weirder – a psychedelic fantasy and odyssey. The initial narrative has the most defined plot structure, as Shade was sent to Earth to defeat a dangerous manifestation of madness and the American psyche or collective unconscious, the American Scream. After that, it is the personifications from Shade’s own psyche that are dangerous, as well as other beings born from the Area of Madness – which after all extends to the land of dreams and the dead, angels and the Devil. Shade himself dies, but is reborn through the power of madness – jumping bodies and on one occasion gender as Shade the Changing Woman (anticipating the more recent reboot of a female Shade).

Top Tens – History: Top 10 Wars (Special Mention: Revised) (16) Barbary Wars

Decatur Boarding the Tripolitan Gunboat during the bombardment of Tripoli, 3 August 1804. Lieutenant Stephen Decatur (lower right center) in mortal combat with the Tripolitan Captain – oil painting by Dennis Malone Carter, 1850 (public domain image – Wikipedia “First Barbary War”)

 

 

(16) BARBARY WARS (1801-1805 & 1815)

 

Marines vs pirates – what’s not to love?

The Barbary Wars would be worthy of special mention if only as wars by the US Navy and Marines, newly created for this purpose, fighting the pirates of the Mediterranean – and not just any pirates, but the most famous and feared pirates in history or at least those with the coolest name, the Barbary Corsairs based in north Africa.

And if you were not entertained already, the Americans fought the Barbary Wars because they were simply done with the crap of paying tribute – to the tune of a fifth of its government budget – as a protection racket for piracy and slavery, all while European nations were stuffing around with a little thing called the Napoleonic Wars, except for Sweden and Sicily which joined the Americans as allies in the First Barbary War.

They are also precursors for American expeditionary warfare of subsequent history, particularly the distinctive American style of punitive expeditionary warfare, as well as the robust defense of American shipping or trade – even more notable as occurring at a time usually characterized as the zenith of American isolationism.

Of course, that American style of punitive expeditionary warfare tended (and tends) to be averse to boots on the ground – unless those boots are of Marines – albeit it has evolved from naval power or “gunboat diplomacy” to air power, bomber or drone diplomacy as it were.

And yet the Barbary Wars are up there with the American wars in history that are most overlooked, even perhaps among the so-called forgotten wars, at least in popular culture and imagination – despite being commemorated by the second line of the US Marines’ Hymn “to the shores of Tripoli” and by the Mameluke sword worn by Marine officers.

And despite, as I said, being the genesis of the US Navy and Marines. Yes, there had been a Continental Navy as well as Continental Marines during the American Revolution, but they had been disbanded. Not to mention three badass post-Revolutionary War American military heroes – US naval commander Stephen Decatur, ex-consul William Eaton, and Marine Corps Lieutenant Presley O’Bannon.

The First Barbary War was fought from 10 May 1801 to 10 June 1805 (albeit American ally Sweden had been fighting the corsairs since 1800). The Second Barbary War was classic gunboat diplomacy, lasting only three days and ending on 19 June 1815.

“The wars were largely a reaction to slavery by the Barbary states” – with slaves taken from raiding European coastal areas or captured ships from piracy, shifting to the latter as kidnapping for ransom over time. The Europeans tended to shrug it off and just cough up ransom or tribute to the Barbary states. The Americans under President Thomas Jefferson decided they were having none of that and went to war to enforce safe conduct or passage for American ships instead – “millions for defense but not once cent for tribute”.

Hence the First Barbary War, with its turning point as the Battle of Derna – in which Eaton promoted himself to general and led a small force of Marines under O’Bannon as well as foreign mercenaries on a march across the desert from Egypt to capture the Tripolitan city of Derna. That gave American negotiators the leverage they needed for the release of American hostages and the end of the war, although they still wimped out by paying a reduced ransom for the captives – much to Eaton’s chagrin.

During the War of 1812, the Barbary corsairs resumed their attacks on American shipping, characteristically encouraged by the perfidious British. Hence the Second Barbary War, when the Americans (this time under President James Madison) once again rolled up in their navy, with Barbary War veteran Decatur returning as Commodore for a little gunboat diplomacy to persuade the Algerian corsairs to sue for peace – ending “the need for further tribute from the United States”, granting “the US full shipping rights in the Mediterranean”, and significantly reducing “incidents of piracy in the region”.

Of course, it didn’t entirely stamp out the piracy or slavery by Barbary corsairs, who tended to lay low until any opposing naval ships had sailed back over the horizon – that came with the French colonization of north Africa.

Top Tens – Comics: Top 10 Comics (Special Mention) (8) Hellblazer

Classic Hellblazer art by Phil Hale depicting the character in his signature trenchcoat and smoking pose (fair use)

 

 

(8) HELLBLAZER (1988-2013, 2019-2020, 2024)

 

“I’m the one who steps from the shadows, all trenchcoat and cigarette and arrogance, ready to deal with the madness. Oh, I’ve got it all sewn up. I can save you. If it takes the last drop of your blood, I’ll drive your demons away. I’ll kick them in the bollocks and spit on them when they’re down and then I’ll be gone back into darkness, leaving only a nod and a wink and a wisecrack. I walk my path alone… who would walk with me?”

THE DC Vertigo series – and certainly longest running series – and virtual anthology of the best writers in comics, all writing the titular character, including my favorite writers from ‘British Invasion’ of American comics (and from 2000 AD).

The titular Hellblazer, John Constantine, originated with one such writer, Alan Moore, in his Swamp Thing – with the intended appearance and British nationality of Sting. TV Tropes sums him up best – a “con man, occult detective, gambler and magician of ill repute” who “tangled with Hell, Heaven, the police and the criminal underworld”. John Constantine may not have been the origin of the occult detective trope, but he codified it, particularly of the trenchcoat variety, and various other figures of contemporary fantasy have followed in his occult detective footsteps – Harry Dresden, John Taylor and Sandman Slim amongst others.

What more do you need to know? Read the damned thing, already!

Top Tens – History: Top 10 Types of War (Special Mention) (15) Electronic Warfare & Cyberwarfare

United States Space Force personnel operating a satellite antenna during an electromagnetic warfare military exercise – photograph by Tech. Sgt. Luke Kitterman in California on 20 September 2022 and released released by the United States Space Force with the ID 220920-X-VE588-1004 (public domain image used in Wikipedia “Electronic Warfare”)

 

 

(15) ELECTRONIC WARFARE & CYBERWARFARE

 

Electronic warfare – evocatively defined as “warfare involving the use of the electromagnetic spectrum” or “directed energy to control the spectrum, attack an enemy, or impede enemy operations”.

In other words – intercepting, jamming or targeting modern communication, radar, “or other military or civilian assets” such as electronic guidance systems for drones, missiles or planes. Or the less destructive way of “sending them back to the Stone Age”.

Interestingly, electronic warfare dates back further than you’d think, albeit still at the dawn of the twentieth century – with Morse code in the Boer War, followed closely by radio interception or jamming elsewhere, including in the Russo-Japanese War. Churchill colorfully called the electronic warfare of WW2 as the “Battle of the Beams”.

Cyberwarfare on the other hand is the use of cyberattacks or the various means of “technological force within computer networks” against an enemy state, “causing comparable harm to traditional warfare” – “espionage, sabotage, propaganda, manipulation, and economic warfare” – or deploying defensive measures against the former.

In other words – essentially war by hacking (and counter-hacking).

Top Tens – Comics: Top 10 Comics (Special Mention) (7) Junji Ito – Tomie

Tomie complete hardcover deluxe edition published by VIZ Media LLC 10 January 2017 (fair use)

 

 

(7) JUNJI ITO –

TOMIE

 

Yes, I’m including manga in special mentions otherwise of American or European comics – just because of Junji motherfreaking Ito!

You never forget horror manga artist and writer Junji Ito once you’ve seen his work, either in their original form or in their screen adaptations. It’s horror that operates as horror because it is weird and disturbing.

“Ito’s work consists of many subgenres of horror, mainly being host to the subgenres of body horror and cosmic horror. Much of his work is based solely in them, with other themes including a relationship of predator to prey, a loss of humanity, apocalyptic scenarios, and obsession being common. The universe Ito depicts is cruel and capricious; his characters often find themselves victims of malevolent unnatural circumstances for no discernible reason or punished out of proportion for minor infractions against an unknown and incomprehensible natural order.”

If I am to pick one Ito work above all others, it has to be Tomie – the recurring immortal girl that drives men to madness and keeps coming back even if you kill her.

Top Tens – History: Top 10 Wars (Special Mention: Revised) (15) British Colonial Wars – Anglo-Zulu & Anglo-Zanzibar Wars

 

The defense of Rorke’s Drift 1879 – painting by Alphonse de Neuville 1880

 

(15) BRITISH COLONIAL WARS –
ANGLO-ZULU & ANGLO-ZANZIBAR WARS (1879 & 1896)

 

The Battle of Rorke’s Drift.

That’s it – that’s the entry. Well that and the 1964 film Zulu which depicted it.

Also not quite, as British colonial wars are the archetypal wars fought by European maritime empires as they carved up the world, with the British Empire coming out in the top spot. Don’t worry – we’ll get back to Rorke’s Drift, but Britain fought numerous colonial wars.

Arguably, the most decisive colonial war or wars fought by Britain were the Napoleonic Wars. For one thing, with all the focus on their European theaters, we forget how much of the Napoleonic Wars were fought beyond Europe – and just how much of those were in essence colonial wars, with Britain coming out on top. For another, Britain’s victory in the Napoleonic Wars laid the foundations for its naval supremacy, Pax Britannica and what is sometimes called the second British Empire (to distinguish it from the first British empire until American independence).

Although its naval supremacy was the primary instrument of its empire, Britain was surprisingly versatile with a colonial army that tended to punch above its weight in numbers, which were surprisingly small, in part of course due to superior firepower (and plain old firing drill) over its colonial adversaries.

In the words of Hillaire Belloc –
“Whatever happens, we have got
The Maxim gun, and they have not”

So which of Britain’s prolific colonial wars to pick for this entry? As you can see, I’ve gone with the Anglo-Zulu and Anglo-Zanzibar Wars, firstly because I like the alliterative effect, but also because they are aptly representative of Britain’s colonial wars.

The Anglo-Zanzibar War is, however, the archetypal British colonial victory through superior firepower. Not coincidentally, it also holds the title of the shortest war in history – 38 minutes to 45 minutes, depending on which record you go by.

It was proverbial gunboat diplomacy – bonus points for involving actual gunboats, two craft with that designation, among the five British ships. Essentially, the wrong sultan succeeded to the Zanzibar Sultanate. Wrong, that is, from the perspective of the British, who preferred another one – so they simply rolled up in their ships and shelled the palace until they got the right one. Yes – they also stormed the palace with a contingent of marines or sailors and pro-British Zanzibaris. The British suffered one casualty – a wounded sailor – to about 500 Zanzibari casualties.

And with remarkably wry humor, the British billed Zanzibar for the shells the British used, among the other terms of surrender, because the British built their empire on a budget. With its puppet sultan, Zanzibar continued to be absorbed into the British Empire, and was subsequently merged with the former German colony of Tanganyika to become British Tanzania.

Now back to Rorke’s Drift, if you’re a fan of the Battle of Helm’s Deep in The Lord of The Rings film (The Two Towers), then you’re a fan of the Battle of Rorke’s Drift, as the former was filmed in a manner deliberately reminiscent of the film Zulu according to Jackson.

Indeed, Rorke’s Drift was seen at the time as the Helm’s Deep of the British Empire, a victory snatched from the jaws of the crushing defeat by the Zulus at the Battle of Isandlwana (as well as the seedy origins of the Anglo-Zulu War).

Even if contemporary observers might see Britain and its empire more as Mordor (or Isengard to America’s Mordor) rather than the Shire as Tolkien did.

If anything, Rorke’s Drift was even more epic than Helm’s Deep – as a small company of less than 150 soldiers attached to the Royal Engineers (including a substantial number of sick and wounded) fought off a force of about 3-4,000 Zulus.

Taking a step back, Rorke’s Drift was a small albeit highly celebrated part of the Anglo-Zulu War, with the British soldiers finding themselves in the path of a Zulu force in the aftermath of the opening Zulu victory at Isandlwana.

The Anglo-Zulu War itself might be seen as the last of a series of Zulu wars, from the foundation of the Zulu Kingdom as a formidable military power under Shaka. Unfortunately for his successors, the Zulu Kingdom found itself against a bigger and even more aggressive tribe – the Anglo tribe of the British Empire – and Isandlwana proved itself to be the Zulu high point of the war.

Back to Rorke’s Drift, I tend to default to its depiction in the film Zulu, which while generally accurate to the historical battle, does of course have inaccuracies (with perhaps the most egregious involving the depiction of Private Hook, a model soldier, as a rogue redeemed in the battle). The film may also be seen as somewhat problematic in these times given its celebration of British imperial victory – I don’t care.

Indeed the film tends to glamorize both sides in the battle – with the Zulus depicted as a brave, intelligent, capable, resourceful and ultimately honorable adversary. And if anyone can resist the stirring orchestral theme by John Barry, I don’t know what to say.

The British soldiers were led by Lieutenant Chard, portrayed by Stanley Baker, and his second in command Lieutenant Bromhead, portrayed by a young Michael Caine in his breakthrough film role. Deciding that retreat isn’t an option as they will move too slowly with their sick or wounded and the Zulus will catch them out in the open, they have no option but to stand and fight behind improvised barricade defenses.

Throughout the day and night (into the following day) after the Zulu force surrounds them, wave after wave of Zulu attackers are desperately and narrowly repelled by the British defenders. At one point, the Zulus succeed in setting fire to the field hospital, leading to tense scenes of the evacuation of patients under fierce attack by Zulu warriors – and British Surgeon-Major James Henry Reynolds calmly continues his surgery on a wounded soldier with fighting all around him. And yes – he got a Victoria Cross.

The British defenders retreat to the shortened lines of their inner barricades. One tactic you see through the film is the use of multiple ranks of soldiers to maintain a nearly continuous volley of fire with their bolt-action rifles. None more so than the climactic scene with three such ranks used (after falling back from desperate hand-to-hand combat at an outer barricade) to defend a massive assault by Zulu warriors. And as the camera pans back, you see the fallen Zulu warriors mere inches away from the front rank of breathless British soldiers – an impressive feat of holding the line.

That’s when you start to think from the preceding sense of overwhelming doom that hangs over the British soldiers – holy crap, they’re actually going to make it! And then – no, holy crap, they’re not…as the Zulu force masses on the hill overlooking Rorke’s Drift, seemingly barely diminished, while the British are exhausted and running low on ammunition. Lieutenant van den Burgh, their Afrikaaner advisor serving with the Natal Native Contingent, sinks to his knees and rebukes the British officers (and arguably their imperialism as well) – “Haven’t you had enough? We’re all dead!”

And then, holy crap again – as the Zulus chant, raising their spears. “They’re taunting us!” Michael Caine’s character exclaims. Van den Burgh laughs – “You couldn’t be more wrong – they’re saluting us as fellow braves!”. And then the Zulus slowly turn and walk away, still chanting, until a lone warrior is left, before he too turns and leaves.

Sadly, the historical battle ended in a more prosaic way, without the Zulus saluting the British (but more withdrawing from strategic sense and an advancing British relief column). I prefer to think it ended the way it did in the film.

11 Victoria Crosses were awarded to the defenders of Rorke’s Drift, with 17 killed and 11 wounded from their number in the battle – having inflicted 20 casualties for every one of theirs, with 351 confirmed killed from the Zulu forces (and about 500 wounded).

Britain’s colonial wars – and European colonial wars in general – exemplified the less gallant but undeniably effective side of the art of war, picking curb stomp battles, albeit usually through superior firepower rather than superior numbers. All nations would like wars like the Anglo side of the Anglo-Zanzibar War, whether or not they like to admit it – they just usually lack the means. And even if the British occasionally got stomped rather than doing the stomping, as in the Anglo-Zulu War (although they ultimately won that too).

 

RATING:
A-TIER (TOP TIER)

Top Tens – Comics: Top 10 Comics (Special Mention) (6) Morning Glories

 

 

(6) NICK SPENCER –

MORNING GLORIES (Image Comics 2010 – ?!)

 

“What did you see when your eyes were opened?”

Well, for one thing, I saw Morning Glories, an ongoing series from Image Comics that had me enraptured from the first issue I read. In the tagline of its writer Nick Spencer, it’s Runaways meets Lost (without the ending of the latter, or indeed any ending at present).

In my eyes, it’s as if the Illuminati had a high school – or perhaps more aptly, since it is referenced by name, as if Grant Morrison’s Invisibles had a high school. Or if Night Vale WAS a high school, given that it has one. Indeed, Nick Spencer shows a positively Morrisonesque flair for twists and turns of storyline, at times even coming close to Morrison’s unrivalled hand at those fabulous comics one-liners or that juxtaposition of word and image.

The Morning Glories (or just Glories) is the nickname for the protagonist group of six new students, selected for the prestigious Morning Glory Academy – selected, that is, for a very particular and peculiar set of selection criteria. Which may or may not explain that they all seem to manifest mysterious abilities or future selves, and that they all seem to have dark or strange pasts (including – perhaps – the occasional homicide).

It doesn’t explain why the location of the school is kept mysterious by drugging each new student before arrival – or why their parents don’t even seem to remember their very existence when they call them from the school (with one notable exception, which necessitates the most unfortunate consequences). It certainly doesn’t explain the “mysterious and shadowy purpose of this dizzying boarding school of horrors”, which remains mysterious and shadowy except only that it seems to be the tip of a global conspiracy – or conspiracies.

Not to mention the other paranormal phenomena or time travel within and without its walls. (In one of my favorite Morrisonesque one-liners from the series, a student enquires as to the trippy design of a time machine – “Who built it?” “You did” is the reply).

Nor does it explain the sadistic faculty staff, led by the unseen headmaster behind the scenes – who don’t hesitate to resort to progressive mind control techniques, extreme physical discipline and the occasional sacrifice.

After all, it’s “for a better future” and we all have to make sacrifices. Literally.

 

RATING: 

A-TIER (TOP TIER)