If we let ourselves be swept away by conspiracy theories for a moment, we would all claim without a shadow of a doubt that the world is on the brink of a Third World War. The growing tensions between Syria, Russia, and the United States have escalated to unprecedented levels. It’s not hard to imagine the worst case scenario: the technological developments of these strong global powers would turn our world to ashes. Still, we keep on ruling out this possibility as much as possible. Humanity has already been there and done that. It would be absurd to engage in another pointless war. We are already familiar with its devastating consequences, why would we make the same mistakes again?
The following illustrations by Italian artist and historian Milo Manara give a blunt answer to this question. He renders a brief outline of humanity’s history, and with each century or millennia that passes we continue to see the same behaviors carried out over and over. What is the driving force of humanity?
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For Milo Manara, humanity was born from violence, where eroticism and culture merge seamlessly. In these watercolor illustrations, he revisits the history of mankind and unflinchingly shows the best and worst of our nature. Here we see royalty rubbing shoulders with the mob and with each intricate costume, we are reminded of the inequalities that have prevailed throughout the ages.
At a first glance, we may marvel at the keen insight of Manara and the universality of human history where conflict and sexuality are shared in all cultures. However, with each panel we begin to notice a troubling pattern: men are depicted as brutal and savage machines whose sole objective is to kill and find a willing or unwilling partner to carry their offsprings and ensure the continuation of their lineage. Women, on the other hand, are passive and viewed only as objects of desire, like trophies that are carried from era to era to commemorate the power and prestige of the victorious.
There is no such thing as a golden era, and no matter how hard we try to romanticize and emulate the great civilizations, which we consider to be the cradle of the western world, we are immediately reminded of the same brutal and violent narrative. So what is the message of this comic strip? Is to drag our feet down to earth and admit our animalistic nature, or is it a pessimistic take on life, where the same patterns and behaviors are repeated ad infinitum?
Milo Manara’s unique style is unmistakable, for he is a great exponent of the Italian comic genre and is known for his brand of eroticism. However, as you move from tableau and tableau and gawk at the overt copulation, you cannot help but feel a tiny bit uncomfortable when it comes to the portrayal of women. Manara has come under fire precisely for this narrow perception.
For instance, in 2014, Manara revealed an alternate cover for Spider Woman and it immediately drew scathing reviews. It showed her on all fours, in a skin tight outfit that resembled more body paint than a useful costume to fight villains. Comic book expert Laura Sneddon was quick to point out that perhaps Manara’s style of work should be left to the field of eroticism and not venture into the comic book realm. “There’s a time and a place for Milo Manara’s style of work, but it’s in erotic comics rather than superhero comics, or at least he could be asked to reduce the sexualized lens for this very different audience.” Speaking of lenses, as we go back and see these illustrations, perhaps the same thing should have been applied here. To capture the whole breadth of history is an impossible feat, and we fully concede to this, but perhaps it shouldn’t have been so reductionist when it came to the role of women.
Another important point to consider can be easily summed up in one word: eurocentrism. Of the 23 strips, 16 mainly depict European cultures and the rest either make an allusion to ancient civilizations or showcase cultures that were touched by the brutal hand of Empire. This is a Eurocentric narrative that makes us wonder about the histories and stories that occur beyond the limits of the sketches. Initially I thought the reason most characters were facing one direction was to allude to the linear evolution diagrams we are taught in school, where time and progress is sequential. However, once we take into account all of these elements and deficiencies, perhaps this linear nature is an admittance to the reductionist and linear point of view of the artist. Just like the artist who has one single vision, his view on history must therefore be the same.
Now, when will all those years of horror finally come to an end? This is a question we all ask ourselves. In this digital age it appears redundant the vast amounts of information we have at our disposal, since in Manara’s eyes, violence will always prevail. Violence, ambition, and power struggles are the bread and butter of human nature. Since the dawn of civilization, humanity has killed for sex and power and will do so until it becomes extinct. But history repeats itself over and over again for one main reason: mankind has never learned to control its greed for power. It doesn’t matter how much power a person attains, they are never satisfied.
Wars will never cease and there is no point in covering our eyes with wool. Violence is an innate part of our nature and only with time can it be truly managed. So, what is left to do? Must we wait patiently for our total self-destruction?
Only time will tell.
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You can learn more about Milo Manara’s work in his website.
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Sources:
Milo Manara
EggWhiteLab
Harvard
Translated by Andrea Valle Gracia
