The Creator of Mind MGMT and DEPT. H is Teaming Up With his Mother, Margie Kraft Kindt, for a Brand-New Whodunit Murder Mystery

Bestselling cartoonist Matt Kindt has shattered crowdfunding records with Keanu Reeves on their blockbuster BRZRKR graphic novels. He’s created acclaimed comics with fellow indie comics darlings Jeff Lemire and David Rubín and his talented studio mate, Brian Hurtt. And now the creator of Mind MGMT and Dept. H. has a new and entirely unexpected writing partner: his mother, Margie Kraft Kindt. Together the two Kindts are creating Gilt Frame, an eccentric and electrifying crime thriller starring the most unlikely detective duo in the history of murder mysteries. The 3-issue whodunit will be published at Dark Horse Comics through Flux House, Kindt’s boutique imprint that features crime, science fiction, and humor stories, all told and presented in startling and untraditional ways. 

“Although it is a privilege and thrill to collaborate with someone of Matthew’s caliber and of his generation, the real joy and value is personal,” said Margie Kraft Kindt. “What a bonus at this time of life, the gift and pleasure of so many hours and days in the company of a grown-up son, sitting across from each other at our partner table, settling into our chairs as we brainstorm plot twists.Each of us takes on the roles of our characters. I develop the energetic persona of the star of Gilt Frame, the take-charge Meredith Pearson — Aunt Merry to her beloved nephew and best buddy, Sammy — while Matt shoots out dialogue for him. We toss around how they would play off each other — so completely immersed in the exhilarating work we are both passionate about, that every once in a while, we stop and ask each other, ‘Are you getting this down?’”

A classic whodunit that spans the globe from Paris to Hawaii to Montenegro, Gilt Frame stars Sam, an orphan in his early twenties, and his well-off Aunt Merry who has an outsized appetite for antiques, travel, and solving crimes. Sam was adopted by his aunt years ago and together they have solved some of the most notorious murders in the world. Now their latest Parisian adventure is cut short when they stumble upon a murder scene so bizarre that only a raging psychopath could have produced it. To solve this crime, Sam and Merry will have to wrestle with jewel thieves, art-forgers, gun-runners, the century-old ghost of the woman in black, a lost puppy, and a master French detective who just might solve the crime before they do.

“Sam, the young nephew in Gilt Frame, is really the star of the show here,” said Kindt. “The voice of reason who generously gives old Aunt Merry just enough screen time” not to embarrass herself. He’s always looking out for her as they solve a real puzzle of a murder. It’s not a locked room murder mystery. It’s more of an unlocked…UNHINGED murder mystery.”

 

For over 20 years, Matt Kindt has been writing and illustrating inventive, independent comics that balance action-packed storytelling with a highly personal creative vision, with titles like BRZRKR (with Keanu Reeves), Apache Delivery Service, BANG! Dept. H, Ether, Fear Case, MIND MGMT, Folklords, Revolver, 3 Story, Super Spy, and Pistolwhip. But he’s never had a collaborator quite like this…

“While we were working on this book it brought back memories of me when I was ten or so…and Mom constructing pretend “crime scenes” at home for me to solve,” said Matt Kindt. “ Follow the fake bloody footprints to figure out what happened. Pay attention to the broken clock. Why is that door open? That childhood memory actually explains a lot. Very formative. So of course it only makes sense for us to build another crime scene together. Brings me back to my roots and to what writing has always been for me – play. We’re having fun.”

The 64-page giant-sized Gilt Frame #1 is due out in comic shops on August 7, and advance copies will be available for sale at the Dark Horse Comics booth at San Diego Comic-Con. Follow Dark Horse Comics on social media for more news, announcements, and updates.

First hardcover edition of BILLI 99 coming from Clover Press

Clover Press Presents The First Hardcover Edition of BILLI 99, an Early Creator Owned Comic Drawn by Tim Sale, Now Coloured by José Villarrubia

Tim Sale was one of the most celebrated and beloved comic book artists of his generation. Frequently collaborating with writer Jeph Loeb, Tim illustrated seminal stories featuring Batman, Catwoman, Superman, Spider-Man, Captain America, Hulk, and Daredevil as well as the cult favorite TV series Heroes. Now Clover Press is publishing the first-ever hardcover edition of Sale’s first full-length comic book work, the Eisner Award-nominated BILLI 99, written by Sarah Byam. This new edition, which is being crowdfunded on Kickstarter, features glorious colors by the award-winning and fan-favorite color artist José Villarrubia.  

First published by Dark Horse in 1991 as a four-part mini-series, BILLI 99 is a cautionary tale about corporate greed and a corrupt government. It asks: what is power when everything has been taken away? The book contains 196 pages of breathtaking, lovingly painted, duo-shade art, and the hand lettering that would become Tim Sale’s signature font. The story introduces the teen vigilante hero. Billi Chadam takes up her late father’s sword to bring down the powers of oppression and give the people of her city back their lives. BILLI 99 is a story of hope and inspiration.

“A few years before Tim passed, he, editor Patty Jeres, and I tried to finance a hardcover, color version of BILLI 99 and were repeatedly frustrated, but the idea of printing a definitive version of the book remained steadfast,” said writer and co-creator Sarah Byam. “BILLI 99 was a favorite of Tim's and it's important to us to do it justice, as we introduce this early and important work to a whole new audience.”

“Sarah Byam’s BILLI 99 is a unique perspective on the comic book hero,” writes Tim Sale’s widow, Susan Bailey in her new essay for the book. “It’s as fresh today as it was in 1991 when it was first published. You’ll see why Tim was proud to be part of the telling of this twist on the typical comic book hero, especially if you knew him personally, after reading the book. I hope you enjoy it as much as I did when Tim first introduced me to Billi.”

"Along with everyone else who knew him, worked with him or simply enjoyed his work, I was very saddened by the passing of Tim Sale,” said José Villarrubia. “ I had admired his work for years and had had the opportunity to work with him several times, including in Superman for All Seasons, SOLO, and Batman/Catwoman: The Wedding Album. I missed BILLI 99 when it was first published in black and white. I am very thankful to Sarah for bringing me into this project. I think that readers are going to be very surprised by it. For me, this is a splendid opportunity to rend homage to a great comics artist."

“Tim and Sarah felt like there never was a version of BILLI 99 that fully reflected their final vision,” said Clover Press Publisher Hank Kanalz. “It is a great honour for Clover Press to publish the definitive edition of BILLI 99.”

The Clover Press Edition of BILLI 99 includes multiple extras, including a portrait tribute of Tim Sale by legendary artist Bill Sienkiewicz, an essay by Susan Bailey, and pin-ups by Matt Wagner, Rick Hoberg, Andy Kuhn, and Tomm Coker.

 

Praise for BILLI 99:

“BILLI 99 is a compelling graphic journey; with a must-read story by Sarah Byam and stunning must-see artwork by the late great Tim Sale. In short, this is a must-have collection. Period.”— Bill Sienkiewicz (Stray Toasters, Elektra Assassin)

 

“Before I found my way into the glory of Tim Sale's artwork, an equally talented writer named Sarah Byam had the good fortune of finding Tim. This is the story that launched him into the public eye. Part Zorro, part great female hero, and all incredibly original, BILLI 99 is finally collected here with stunning colors by Jose Villarrubia.  Tim is gone now, but his legacy lives on through his talent and BILLI 99 is a must have for your collection.” 

—Jeph Loeb (Batman: The Long Halloween, Spider-Man Blue)

 

“In BILLI 99, Tim Sale showed the world the sort of epic comics artist for which he would become so renowned, while Sarah Byam delivers a strong, believable and utterly compelling female adventure character. BILLI 99 is at once an irresistible mixture of power and rage, sympathy and grace.”— Matt Wagner, (Grendel, Dracula: The Impaler)

“Atmospheric visuals and a compelling narrative — an inspired vision of America’s future that feels like an observed reality.”—Dave Gibbons (Watchmen, The Originals)

 

To support the project, visit the Kickstarter here. For updates, follow Clover Press on Instagram, X and Facebook. You can subscribe to the Clover Press newsletter here. 

 

How 'Ted Lasso' helped me take a look at myself

Heads up there are a few spoilers for Ted Lasso season two in this blog.

The TV show Ted Lasso is an oddity. The concept isn’t something I should be interested in, and on paper it shouldn’t work. I’m not a fan of football in the slightest, and it being based on a series of comedy commercials, history tells us it should have become a series of shallow jokes about a fish out of water. It should have failed with the first season. However, it has become a phenomenon, and rightfully so. In a world divided, confused, and scared for the future comes a show that is willing to wear its heart on its sleeve and be a positive force.

That’s not to say it’s devoid of conflict or that its saccharine in its chirpy happiness. What makes Ted Lasso special is its honesty. Often when that term is used for a TV show, it’s a hard hitting drama about the worst life has to offer. While I appreciate those shows are important, showing a glimpse of how some people are forced to live, I do believe the incessant grimness has been a contributing factor in the global emotional and psychological decline. Oddly contributing to further despair, without providing suggestions for a solution.

I will acknowledge that Ted Lasso is about a football club and people that earn millions of pounds. However, it doesn’t dwell on rich people problems, or diminish the people that aren’t in the same tax bracket. The football and the money are barely a consideration or a factor in the show. Yes, they inform elements and the framing but at its heart its about people from very different backgrounds working together to raise each other up, and every week it raises me up to.

The show has covered a number of topics and themes, and I think there are great articles to be written about the portrayal of women in business, the complexity of relationships, grieving and creating a positive working environment. What I want to focus on is how it has broken down and helped me address my own toxic masculinity.

As I reach 40, I have taken a look back at my life and, like everyone else, there are things I know I could have done better at or dealt with differently. One of those things is my own relationship with my emotions and mental health. I grew up in the 80’s and 90’s and my fictional role models were action stars and superheroes who dealt in actions rather words. Greif was an opportunity for revenge and lashing out. If a wrong was identified in the world it was an opportunity to blow stuff up. There was no room for emotions. John Rambo starts by exploring his PTSD and trauma to then being dropped back into war for entertainment. Not great therapy, and the way to work through those pesky trauma nightmares was to kill more baddies.

In the 90s, during my teen years, I was swamped by Lad Culture. Get drunk and be loud, with a side of obnoxious. It was an extension of the 80s yuppie culture, work hard, play harder. I was pretty good at that. Over the years I became more worldly, and I like to think more balanced. I have had some hard lessons about how to manage and work with people. I have tried to be better and be a positive influence on people I know and work with.

I grew up with prejudices that I have addressed, and I’m embarrassed I ever held them, but somethings are harder to work on than others. My understanding and acceptance of the wider world, and the wonderful array of people that live In it, has always been tempered by how I have perceived myself and what I feel.

I have trouble with my weight and will often work ridiculous hours to get work done. I take on too much and when I get frustrated, I let it build up into anger. Then when things don’t work out, or I have too many plates spinning I get annoyed at myself for not being able to keep everything moving. This then results in the behaviour that contributes to my weight issues. It becomes a cycle. I know this, and have done for years, but to admit it, to let others know that I know this, would be the biggest failure. To admit that I can’t do any more, or that I have hit my limit when I know that others are under pressure as well is, as far as I have seen it, a sign of weakness, and so I carry on. Not wanting people to think less of me. I’m a man and I should be able to shoulder this burden. Just grab another snickers and knuckle down harder. During the pandemic this behaviour has been worse than ever.

But that may all be in the past.

Ted Lasso season two has made me stop and take a step back. Football clubs are often portrayed as hives of competition and alpha males. Ted Lasso has taken a different tact and shown how this team supports each other. In this season three elements have made me take stock.

Jamie Tart dealing with the pressure to succeed from his Father and supporters has been fascinating to watch. The internalisation of the fear of failure and the constant push for you to the be the sole winner of a team game struck home. The moment he punched out his Dad was stunning. A full stop moment. Yes, it was frustration spilling out, but it was not for him, it was for him as part of the team. A moment to say, ‘no more’ and I am part of this team, and they are there for me. The fact the punch was followed by a hug from Roy Kent was perfect. We often work as a team, in life and in work. within in that team we have responsibilities, but we are not responsible for the whole team. Be good at what you are good at and help the others to do the same and positive results are a lot more likely.

Let’s talk about Roy Kent. He should be the worst offender, but they have under-cut this perfectly and created a new modern role model. The curmudgeonly Roy has a life and reputation built on aggression and machismo. However, his arc has led him to become a great example of the ability and need to adapt and try new things, especially as we move from one stage of life to the next. His desire to change, adapt and learn for the people he loves is an inspiration. They are the people we need to be better for the most. I now stop an ask WWRFD: What Would Roy Fucking Do?

The most important is Ted and his anxiety attacks. His relationship with Dr Fieldstone has also made me question some of my own habits and what may have caused them. I’m not going to delve into my life story here (you can wait for the book J), but Ted discussing how the suicide of his father has shaped his approach to life and the emotional impact this has had, when he is forced to have to give up on things, stopped me in my tracks. The question I asked was, who am I trying to impress? What am I getting from the hours given up and why am I doing this? The waking up at 4am with anxiety isn’t a sign I care about my work, it’s a sign my work is damaging me. This isn’t something that I am going to address overnight, but these questions have started a chain reaction that has allowed me to stop and say, ‘Yes, I am struggling, and I need to take a breath’. What comes next I still need to figure out, but I know that I do need to figure it out.

Everyone behind Ted Lasso should be proud. Not only are they creating a funny show with heart, but they are also creating role models that show young (and some not so young) men, that being a man isn’t about being stoic, bearing the burden and keeping going. It’s not macho to just keep going and wash down the negativity. Being a man is about being a part of the world, being who you are, but knowing that we can all be better and being willing to explore ways of achieving that. It doesn’t mean the world and life will be easier, but it does mean that we don’t have to do it alone.

I’m heading into middle age, and I am scared of it. I am scared I won’t be able to keep up. I am scared that things are getting on top of me. I am scared that I won’t be relevant anymore. Ted Lasso came at the right time and has helped put some things in perspective for me. It’s fine to be sacred of these things, the world can be fucking scary, but its not helpful to keep those fears to myself. WWRFD? he’d begrudgingly talk to Keely, and they would work it out together, whether it’s easy or hard.

I’m about to be 40 and its time to make some changes.

Hellier, synchronicities and the wider weird

I think we can all agree that it’s a funny old world, and I’m fascinated by why it’s so odd and the different ways people perceive it. Recently I watched a documentary series, Hellier. A It follows a paranormal research group after they receive an email about Goblins being spotted in the caves and abandoned mines of a small town in Kentucky, Hellier. Goblins are one thing but after the initial investigation the story starts to spiral; following a series of further emails, findings, and synchronicities they are taken on a mystic journey that may or may not result in a magical rite to open a gate for the god Pan to re-enter the world.

It’s a brilliantly made show and well worth your time if you are interested at all in the weird or wider supernatural. However, whether you believe some of the conclusions that the team, and show, reaches I will leave to you. I’m not sure what I believe, but then I’m not sure the people in the show entirely believe what they are seeing and experiencing either. I’m not going to comment on the larger story that manifests, what I would like to consider is the repeated synchronicities that occur.

Let’s start by trying to explain what a synchronicity is. In essence it’s a coincidence, two or more events that don’t appear to be causally linked but can be considered linked by the person that experiences them. A simple example would be thinking about someone and then bumping into them later in the day. Your thinking of them did not have a causal impact on your chance of seeing that person later in the day. So how do these differ to synchronicities?

The key would be that synchronicities have more meaning, or at least perceived meaning, for the experiencer. Usually driving a personal narrative or purpose forward. Take the same example, if what you were thinking about the person was that you wanted to confront them about something. Bumping into that person has given you the opportunity for confrontation. The event has personal meaning.  

The other thing to note about synchronicities is that they often appear to happen in bursts. This burst, in itself, is noticeable to the experiencer.

After watching Hellier I took more interest in this subject and started reading and listening to other things about synchronicities and some of the wider supernatural elements. I was (and still am) questioning if these synchronicities in the show were of any value or just a manufactured narrative trick to get to the next twist.

So, what happens when you start questioning coincidences and synchronicities? Do you experience more, or are you more likely to notice the things in life that fit the bill but were already likely to happen?

Well in the last week I have experienced three synchronicity type events, but how should they be perceived?

The first noticeable event happened at the start of last week (Monday 21st June). I have been moaning about my job and have discussed with Alex (my wife) about whether I should start looking for other jobs. I hadn’t made any active progress to start looking, no changes to LinkedIn or status updates on social media. However on the Monday and Tuesday I was contacted by two separate agencies about job opportunities that I would be able to apply for and have a strong chance of getting.

The second was about my second vaccine jab. I had my first on May 15th and on Thursday morning I sat in bed thinking that I really needed to follow up and try and book my second jab before I go on holiday. Within 3 hours I received a text message with a link to book my second jab, It’s now booked and I’ll be fine to travel to Scotland.

The final one happened the day after. My bike has been in for repairs for a several weeks, waiting on a part. I talked to Alex about giving the shop a call to chase up the repairs. Again, within a few hours, I was sent a message from the shop letting me know that they had found a way of doing the repair without the part and my bike was ready to pick up.

Yeah, I agree these all pretty mundane, but they have an impact on what happens next in my life, on different levels. They do impact my personal narrative

I could explain that as we exit the lockdown period there are going to be more job opportunities, coming up and therefore agencies reaching out. Or that the timing for the vaccine was a natural body clock, I knew how far it is between the two jabs and it popped into my mind just as it was my time. Each taken on their own is a lucky coincidence, a fortuitous event, but they didn’t happen on their own. They all happened in a 5 day period, while I had started to think about, and research, synchronicities and the wider weird of Hellier.

A part of me could write this off as nothing. My brain filling in gaps between events that have no meaning. Another part however is curious. I asked the question, in my own mind at least. Is something giving me a glimpse of an answer? I’m not expecting, or wanting, a grand journey but I am going to push things a little further.

I’ve ordered a book on Sigil magic and one on the secret cipher of the ufonaughts, the higher beings Aleister Crowley was allegedly in contact with. Over the summer I’m going to conduct a couple of experiments and document them in this blog. Let’s see if there is something more out there and if they are interdimensional Praying Mantis.

Hellier is available on Amazon Prime and on YouTube on the Planet Weird Channel (https://www.youtube.com/channel/UCH2NwCAEpwXKuHIc2v6jgXw )

My Sleep Paralysis Experiences

This blog has been a series of reviews, top 5 lists and think pieces about different parts of pop culture. This is going to the first I have written anything even remotely biographical, which is odd really as I do like talking about myself. Anyway, watching Rodney Ascher’s documentary ‘The Nightmare’ it brought back some memories, that I had not thought about for a long while, of my sleep paralysis experiences.  

The experiences break into two groups, both during my time at University of Leicester (Sept 2001 – May 2003). In my second year I moved into a student house, in Evington, on the Evington road, just up from the Spar. I managed to get the attic room, and all had a good time. The house was an old three-story terrace house, with a basement. We didn’t go in the basement much after the first week. We went done there and it was as creepy as hell, so we left the door covered by a hanging.

In my room I had a double bed with the head of the bed against the wall, facing a raised window. You had to climb on a chair to look out of it properly. The room was populated by the usual student stuff, a small desk, a crappy wardrobe and walls adorned with posters. It was a great house and room, shared with some good friends.

I don’t remember having sleep problems before University or often that year, just these few experiences. The first was a typical experience, waking from sleep, not able to move and a sense that someone else was in the room with me. My response was just as usual, trying to move and turnover with little success. The presence was just that, a presence. I didn’t see anything or have any sense of anything interacting me, it was just there. I assume I went back to sleep.

This shook me but didn’t last long, too much fun being a student, however this was soon followed by a more intense second experience. I came back from a lecture and sat on the end of my bed, lying back I fell asleep. I was ‘woken’ by a noise in my room, and once again I couldn’t move. It was getting dark outside but was still light enough to see parts of the room. So, I was able to see just beyond the bed, and in the shadows in the far corner was a shape. It was hidden in shadow but looked like a woman crouched down. I tried to rationalise that it was a pile of clothes or something else I had left in the corner. That was until it stood up.

At that moment my heart could have burst out my chest. It didn’t move towards me though just stood there in the corner. I remember thing about it and telling myself this must be a dream, all I need to do is close my eyes and relax and I’ll pass into my next dream. So I closed my eyes and I woke up in room able to move, but in full darkness. It was several hours since I had retuned from my lecture. I jumped up and put the light on. There wasn’t anything in the corner of the room. I once again convinced myself it was a dream.

I had one last experience in that house. The evening hadn’t been anything special and I went to bed as normal. I was awoken in the middle of the night and it was pitch black. My experience was similar to what had happened previously but this time lying in the bed properly and on my side, I was able to see straight into the corner and the figure was there again, crouched down. I didn’t give it a chance to stand up, I knew I could just drift back into sleep and wake up, which I did. Or at least I thought I did. I woke up in the dark and went to open my bedroom door, which opened on to a very small landing and staircase to the first floor. As I stepped over the threshold of the room on to the landing a female figure with her long hair in a shagging mess came charging up the stairs at me and pushed me back. I re-awoke in my bed and got the nearest light on. I was fucking terrified. To such an extent that I went and got one of my house mates up and told them what had happened. I spent the next few nights at a friend’s house. When I went back nothing else happened. The rest of the year was uneventful.

The following year I moved, with the same house mates, round the corner to Evington Park Rd, once again I managed to get the attic room. I was just lucky I guess. This room was smaller but had a window I could look out of and a small fireplace, which I thought was cool. In this room my bed was tucked into a corner and so I often slept with my face towards the wall.

The events at this house happened over a four-night period and just stopped and was less intense than previous. The first night I woke up facing the wall and could not move. This time I panicked. Mainly because, not only could I not move I couldn’t see anything in the room. I tried so hard to roll over but couldn’t. while I couldn’t see anything, I was convinced something was in the room with me. I was sure I could hear the slight creaking of floorboards. I was scared but once again went back to sleep and woke up able to move. I thought I had this thing licked.

The next two nights were very similar but this time I woke feeling sick. Like I was already full of adrenaline or something like that. The physical sinking in feeling in your stomach, probably the only time in my life I could truly say I felt dread. I managed to go back to sleep but it was harder each night and the dread got deeper, but it eventually worked.

The fourth night I was determined to sleep facing out into the room. So, I moved some clothes and pillows down the side. I remember feeling stupid doing it but did it anyway. That last night I woke up and I was lying on my back. The first thing I remember was that left arm was numb, not too odd, it happens when I sleep in certain positions, but it didn’t help my panic. This escalated when I looked into the room and the darkness was incredibly dense. I had the usual sense of a presence but there wasn’t a figure just an intense darkness. I couldn’t see the far wall, which I had been able to in the past. I lay there staring into the black, trying to see something, anything but seeing nothing. I don’t remember falling asleep that night just waking up in the morning and the room being full of light as it should be.

That was my last experience, almost 20 years ago. I don’t pretend to have a full explanation for any of it. It was mostly likely all a figment of my mind and the stress of uni work at the time but there is always a part of me that isn’t sure.

Writing this now, I feel a bit sick. I haven’t thought about this for so long, yet I can picture that room and now the wall I couldn’t see. I’m not looking forward to going to bed tonight. It sounds, and feels, childish to be fearful after writing this. It’s funny how these things affect us. Regardless, I have written it now and put it out there.

If you have had any similar experiences or any thoughts on what I have written, leave a comment or contact me through social media or this website.

Advanced Review of the BBC's The City and The City adaptation

I recently had the opportunity to watch the first two episode of the BBC Two adaptation of China Miéville's novel The City And The City which will start on April 6th.

In the last year we have had some amazing high concept sci-fi shows come our way. I’m a big fan of WestWorld, Altered Carbon and Black Mirror. All the American shows have a gloss and sheen but we brits like to have a grimier cynical take, which is why Black Mirror always stands out. This same approach is taken with The City and The City. This is a European noir murder mystery wrapped in a high concept sci-fi world.

The high concept in The City and The City is that two cities, Besźel and Ul Qoma, exist in the same space but in different phases of existence. Citizens of both cities can travel to the other across a heavily guarded boarder. Each city has its own history and social structures, as well as a heated rivalry.

The press release describes the series as:

The body of a foreign student is discovered in the streets of the down at heel city of Besźel. Cases like this are run of the mill for Inspector Tyador Borlú (David Morrissey) of the Extreme Crime Squad - until his investigations uncover evidence that the dead girl had come from another city called Ul Qoma. But the relationship between the two cities defies comprehension and will challenge everything Borlú holds dear.

The show plays with this concept brilliantly in its use of design, colour pallet and cinematography. The city of Besźel is established as a 1980s Eastern European former communist state, all drab concrete and crap cars. The city of Ul Qoma on the other hand is a modern cityscape of steel and glass. Establishing this concept and the world quickly is useful because you are dropped into this world and expected to keep up with what is going on.

The police procedural element is standard enough and easy to follow. Confusion creeps in as you’re escorted around Besźel and its complex political and social structure. While they are talking English for the most part non-English words and phrases are used, to highlight that this is a different world, with little to no explanation. Further to this, the story moves along the dank corrupt corridors of power in the city of Besźel and the viewer needs to keep up to understand who has authority over whom.

Half way through the first episode I was a little lost, however by the end I was so absorbed by the world and the details that were being presented that it didn’t matter. I understood that the show was making me part of the investigation. I didn’t need to know everything at the start because enough information will be parceled out as the story progressed. It’s up to me to be quick enough to pick it up and keep it straight in my head.

This world and story is brought to life by a great cast. David Morrissey brings a gravelly gravitas to the core of the show, which is what I would expect from him. The rest of the cast is led by Mandeep Dhillon as the fun and sweary Besźel Constable Corwi. She and Morrissey are great foils for each other, an anchor for the viewer and representations of a culture that is changing over generations. They are joined in the second episode by Maria Schrader as Senior Detective Dhatt of the Ul Qoma police force. She is more than a match for Morrissey, carrying a level and air of authority with ease. Having German born Schrader representing Ul Qoma is a great move; she brings a modern European sensibility and energy as the story progresses.

What I have seen so far is strong; it pulled me into the mystery and the world. I’m itching to watch the rest of the series. The second episode ends on a cliff hanger that will take the story in a different direction and if it is as textured and well thought out as the start, it’s going to be ace. I have also purchased a copy of China Miéville's novel so I can enjoy the source material as well, but won’t be reading it until I have watched the full series. There is so much depth and detail to this world that I’m expecting to get very different experiences from the different mediums.

In summary, this is a strong show that I really hope finds an audience on the BBC. It will have you talking about it the next day. The concept and the ideas that have been fleshed out deserve discussion and attention. The City and The City showed me that British Sci-fi can compete and I hope you try it out.