In his introduction, Warren Ellis points out that Switchblade Honey isn't exactly his most intellectual piece of fiction, that he's just taking the piss, pointing out the foibles of science-fiction mainstays by flying in the face of them. He advises the reader to just enjoy, not to take things too seriously. He's right... and he's wrong. Switchblade Honey is about rebellion, about how morality and regulations don't go hand in hand, and about doing the right thing doesn't mean one can't have fun and indulge. It's far from the political activitism of Transmetropolitan, but it's far from empty-headed as well.
Earth is at war with a herd-race known as the Chasta. They've got more advanced technology and a shared consciousness. Suffice it to say that mankind's getting its collective ass kicked across the galaxy. In a desperate attempt to prevent the Chasta from invading Earth's solar system, a general assembles a crew of military prisoners -- known for defiance, unconventional thinking and a yen for artificial stimulants -- to man an experimental ship and employ some guerrilla tactics on a stellar level.
I'll admit I was surprised by how clean McKinney's linework is here. I was expecting something raw and gritty and ugly, in keeping with Ellis's usual visions of the future and humanity. The artist's style reminds me of the work of Bob McLeod and Tom Grummett, oddly enough. The slickness of his style suits the outer space/spaceship scenes perfectly. The energy and speed of those scenes shine through.
McKinney's crisp style also manages to convey the raw edges of the main characters nicely as well. His depiction of Susan Nile is particularly interesting. She's appealing, but not in the conventional sense. There's a hard edge to her that one can see in the lines of her face, but her confidence and savvy is what makes her attractive. Visually, there's a wonderful contrast to be found between the grizzled Capt. John Ryder and his clean-cut pilot, Hardwood, as well. One almost gets the impression that the pair represent a before-and-after portrait of the same individual.
At its heart, this story is what Ellis intends it to be: just a load of fun. From the Chasta's awkward phrased propoganda to the computer hacker's unusual battle tactics, the quirky twists to be found in the script had me smiling from start to finish. Just as he did in The Authority, Ellis brings some mad but plausibly presented sci-fi ideas to bear here. The notion of a hacker as a starship bridge officer strikes me as new and different, and the Chasta's war-ending weapon also caught my interest.
I find I come back to message of rebellion in this book. Ellis's timing is impeccable. I don't think world leaders have ever flaunted their lies and power in the faces of their constituents more than they do today. As Bush is questioned about the fallacies that have passed through his lips about Iraq, he's turned his attention to Iran. Tony Blair is pointing an accusatory finger at the BBC for doing its journalistic duty. Ellis points out here that Those in Charge are too busy covering their own asses to be bothered with the Right Thing, so it's up to the troublemakers to do the job. It's just a shame we don't have a Capt. John Ryder in the real world.
