Ministry of Space

This is the future that you wish had happened. When the seeds of the modern world germinated into something quite different, something glorious, but tainted. Warren Ellis and Chris Weston take a simple 'What If?' premis, What if the Peenamunde Rocket Scientists had been taken by the British at the end of the 2nd World War. From that they create a spectacular ( seemingly naive )confection of British technological derring do, a beautiful homage to Frank Hampsons Dan Dare and a ripping yarn that waits until it's very last pages to pull the rug from under us. A small perfect jewel of a comic.

What's your number one complaint about Warren Ellis? Mine is that he doesn't know how to pace his stories to adequately cover all the ideas be brings to the table. As a result, ripe plot points are glossed over, and the conclusion comes from nowhere, seemingly tacked on, and barely receiving enough space to explain it. MINISTRY OF SPACE is yet another victim of this approach, but unlike Orbiter or Ocean, it works a bit better. That's because this story is not a beat-the-clock adventure, but an alternate history overview, told in flashbacks that begin in World War II. So I guess as long as everything that Ellis writes from here on is in this genre, I have nothing to worry about. In MINISTRY OF SPACE, the British reached Peenemunde ahead of the US Army and smuggled the German rocket scientists and technology to England, thereby expanding the British Empire into space. Now you may be asking: how could a Britain nearly bankrupted by WWII have funded this massive project? That's exactly what the British government is asking itself 60 years later, and the answer is just one of several historical twists that put a shadow on the glorious empire. The framing sequence of Ellis' story is set in 2001, focusing on Sir John Dashwood, one of the ministry's architects. Flashbacks highlight everything from putting the first man into Earth orbit to landing on Mars, with a few disasters thrown in for good measure. These are well-written segments, in the quick, high-adventure style of The Right Stuff. The final revelation and accompanying twists show that while this Britain certainly is a more industrious and effective explorer of space, there are downsides. Many other historical issues are briefly touched upon, especially in the final chapter, and I would have preferred some expansion here. It would have served the story well. And let's not forget artist Chris Weston, who ably brings the "Dan Dare" style mentioned in Ellis' afterword to the page. His blending of fighter plane design with rocket science leads to the production of some original and beautiful spacecraft. Weston is the perfect artist for this story... I just wish we could have seen more of it! So buy this book, enjoy its three issues worth of material, and try not to mope too much when you finish it in an hour or so.

I thought "ministry of Space" was excellent, both the story and the artwork. The premise is simple - at the end of WWII, the British raided Peenemunde before the Americans got there, and spirited the German scientists out of that facility, and back to England. The British then begin an aggressive space program (which contrasts with America's lackluster effort in our own world - virtually no funding for NASA, and no real government support.) The British put men on Mars by 1969 (the same year the USA reached the moon.) There's a very nice suprise ending as well (which I won't give away here.) It answers the question of 'what's the downside of this marvellous space program?'

Ever wonder what kind of world we would be living in if the American War for Independence failed? Perhaps ponder what would modern music sound like had Elvis Presley never walked into Sun Record Studios? We are only limited by our imagination when we conceive about such possibilities. With Ministry Of Space, Ellis invites the reader to an alternate reality where England employs Nazi rocket scientists to secure its prosperity and empire. The scenario is credible as to why The United States and The Soviet Union's achievements in space flight is in full lag when compared to Britain's. The reason is mainly due to the protagonist of the story, Sir John Dashwood, who lacks moral values and is as ruthless as the empire he serves. There is a revelation that should not be too surprising since it is hinted within the first issue that Dashwood is in the same category as Bayer, Mercedes, Hugo Boss, Ford and Switzerland. Ellis shifts the story's timeline effectively throughout the script. The reader is given the backdrop in doses instead of the usual diarrhoea method that most writers employ when relating past events that led to the current outcome of the story. The flashback sequences does not affect the pacing whatsoever but rather enhances its drama. While the science-fiction aspect reminds me of what can be found in a Buck Rogers or Flash Gordon comic strip, I appreciate that Ellis bothered to make (fictional) reference to the men and their science behind the technology to make the fantastic plausible in our eyes. I also admire at how he manages to lend a sense of authenticity and regard to what presently appears to be out of man's grasp; Colonising other planets in our solar system. The story may appear to be a wish fulfilment about Britain retaining its past glory but Ellis hammers the point that while England is enjoying the fruits of space travel and the establishment of off-world colonies, a segment of its empire will always be categorised as second class citizens. You may be the daughter of one of the first men to land on Mars as well as a qualified space pilot but if you are not male and (especially) Caucasian, rest assured that you will be segregated. The ethical ambiguity that is at the foundation of Dashwood's vision is really what makes Ellis' story a compelling one since it really emphasises the following question; Does the end justify the means? The art work and overall production is the literal definition of drop dead gorgeous. Chris Weston's retro-futuristic designs of the uniforms, travelling devices and rocket ships is so highly intricate that one cannot help but think that the technology may be accurate (!). Weston's realistic style is definitely on par with that of Brian Bolland. The background work is beautifully detailed but it is the sense of perception and depth with the forefront that makes this series a true artistic vision. The Mars landing scenario is totally breathtaking with its cinematic vision that I

This is compelling storytelling above all else, with no cobbled-together drama; nothing except the intrinsic drama driving the story. How unlike the slugfest hokum which propels too many of today's comics. Ellis tells a uniquely well thought-out story. His afterward, wherein he shares the story of MOS's primal Dan Dare DNA, is more touching than he might realize. And Weston's art is breathtaking. He's uniquely suited for such a task. My highest recommendation.