Wild Animals v. 1: Key Trafficker
By Song Yang
Yen Press Manga OT
Although Jiang Wen’s film In the Heat of the Sun received little western distribution, it evidently made quite an impression on those who saw it. Reportedly a favorite of Quentin Tarantino, Sun (trailer here) was considered relatively apolitical by western critics. However, according to Time, Jiang still had the Devil’s own time with the government censor, even offering the bureaucrat a role in the film to divide his attention. Jiang’s film also attracted the attention of Song Yang, who adapted it in Manhua form (the Chinese equivalent of Manga) as Wild Animals, the first volume of which is now available in translation for American audiences.
The great irony of Wild Animals is that Chinese parents’ lives became so regimented during the Cultural Revolution they were largely unable to supervise their children, who ran wild in the streets Lord of the Flies style. At least that is how Ma Xiaojun remembers his childhood in flashback. However, we soon learn he is not a reliable narrator.
Although Ma professes love for his soldier father and a desire to follow in his footsteps, he is a deliberate underachiever in school. His circle of friends could be considered a gang if they were more ambitious. Ma seems a little off, but initially not alarmingly so. Fascinated with keys, he often uses his collection of acquired cast-offs to break into homes—not to steal, simply for the thrill of the invasion. During one such foray, he falls in love with the picture of Mi Lan, a beautiful but somewhat older girl, much like Dana Andrews in Laura. Ma eventually meets the object of his desire, but reality does not seem to live up to his fantasy ideals.
While it might sound like a carefree coming-of-age story, there is a constant menace lurking beneath the surface of Animals. Occasionally, the tenor of the Cultural Revolution peeks through, as when students find themselves berated for the simple act of wearing lipstick. Though ostensibly revered, his father is a severe disciplinarian. In turn, Ma seems capable of shocking acts of violence, which he exaggerates all the more to impress the under whelmed Mi Lan. Perhaps Animals represents the chain of abuse being passed down from Communist Party to soldier and onto son, who eventually lashes out at those weaker than he.
The first volume implies his frustration with Mi Lan will lead Ma to commit a horrendous crime. Indeed, he prefaces the story with the lament: “It wasn’t until I was almost thirty, after a lot of effort, that I was finally able to lead a decent life.” (p. 6) However, it is hard to make hard and fast conclusions about Ma’s story, because his narration is intentionally cryptic.
Song Yang’s art can be striking, particularly when rendering the ethereal beauty of Mi Lan. On the other hand, though it might be a conscious strategy, his depictions of complex events are often difficult to discern. Dreamlike and mysterious is fine, but confusing can be a problem.
Most likely all will be revealed when Volume Two is published in May 2009. Often compelling if imperfectly executed, the first installment opens up some doors to very dark places, during a very dark time.