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Booga, Tank Girl's marsupial husband, is being wooed by Hollywood
producers, and without his wife around, his resolve is crumbling.
Tele, their TV-headed son, realises he must contact his mother...
But this sets off a chain of events that sees Tank Girl facing
death itself on a bizarre odyssey...
The presence of a new writer to this series, Peter Milligan
(who previously worked with Jamie Hewlett on 2000AD's
Hewligan's Haircut) is immediately apparent. Milligan's
script is more literate and literary than those penned by
Hewlett and/or his former collaborator Alan Martin. Quite
apart from the improvements in spelling and punctuation (!),
this is evident in the fact that the entire story is based
upon Homer's Odyssey and James Joyce's Ulysses.
The
more coherent structure of the narrative is also a consequence
of the material's original published format. Whereas the three
previous volumes comprised several short strips from Deadline
magazine, this one contains material originally presented
in four issues of Tank Girl's own comic-book miniseries.
Interestingly,
Sub Girl, a character who was pronounced dead during one of
the later Deadline strips (recently reprinted by Titan
in Tank Girl 3) has apparently come back to life some
time prior to this tale. However, it was Tank Girl herself
who did the pronouncing, so perhaps she simply made a mistake,
since she is not a qualified medical doctor as far as I'm
aware! As it happens, shed-loads of resurrections of dead
characters take place in the context of the story, so one
more won't hurt anyway.
In addition to the main narrative, this volume also contains
the script to an un-drawn Tank Girl strip written by
Alan Martin.
Milligan's take on this concept does not seem quite as naturally
anarchic as it was previously, but that is only a relative
assessment. This is still Tank Girl, and it's still
wonderfully inane!
Richard
McGinlay
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