Poor Timothy Hunter. His life story is an exercise in wrong place, wrong time. A full 7 years before the introduction of Harry Potter to the masses, 12-year-old magician in training Timothy Hunter debuted in a 4-issue limited series from DC Comics and writer Neil Gaiman. Based on the success of that series, DC later made Tim’s exploit’s a regular monthly occurrence as part of their Vertigo imprint. “Bindings,” the first story arc in the ongoing series collects the first 4 issues, and is detailed below:
After a brief recap over the first couple of pages, where we meet Tim and get to understand a little bit about his life and way of thinking through diary entries, we meet Falconer, a magical being who has the rare ability to see beyond the lie cast by Titania, the queen of Faerie, which is in place to give everyone the illusion that the kingdom is thriving, when in reality it’s on the verge of death. Falconer wakes the Queen from a nap and tells her he’s brought her a gift: Truth. He then takes off, leaving Faerie, as Titania finally sees her land as it really is. It seems she’s been under her own spell for centuries as well, but now that she’s awake, she sees the desolation as well.
Meanwhile back on Earth, Falconer confronts 12-year-old Timothy Hunter with a big surprise.
“Ask Tim. He’s the magician.”
“What did you say?”
“You may know nothing, boy…but you’re no less a magician for all that. Magic is in you.”
But before Falconer can get any further in whatever it is he’s come to Earth to do, he’s summoned back to Faerie under threat of harm to young Tim. After Falconer leaves, Tim is given one last shock.
“Do not worry about your father,” says the man Falconer was talking to in the park. “He’s always been in trouble, and he always will be.”
Confused, hurt, angry, Tim goes home, looking for proof that his father--who rarely even acknowledges the boy’s existence anymore since Tim’s mother’s death--is really his father. Or proof that he’s not, whichever is more convincing. Finally, Tim remembers something else Falconer said, Magic responds to need. Well, Tim decides, he needs to know, now.
Magic flares up and when Tim opens his eyes, he finds himself in an unfamiliar place, in the courtyard of a strange school run by a very dangerous character who strikes a bargain with Tim. Play a game of hide and seek, and if Tim wins, the creature will tell Tim who his father is. If Tim loses, well, Tim has to stay here and take instruction, and eventually get eaten. Tim takes him up on his deal, but uses his time to explore the “school” and look for clues as to the identity of his mysterious host.
The man isn’t a man at all, but a manticore, a dangerous mythological creature. Tim uses his magic to bring to life a unicorn which dispatches the manticore, but not before Tim suffers a scratch on his arm. That’s bad news, because manticore venom, as Falconer laments over the dying body of his son, is incurable.
I found “Bindings” to be a good story, a decent introduction to the Tim Hunter character, but it also acknowledges this isn’t his first adventure. Having never read the original 4-issue Gaiman series, however, I think “Bindings” starts off just right.
Writer John Ney Reiber doesn’t seem as if he wants his series to be all about the magic or all about the wonder. He wants Tim to be as human a character as possible. Hell, in this first story alone, Tim dies. His body is shriveled and mummified due to the venom in his veins. The climax and resolution to that dilemma was a touch cliché, but it was well-played nonetheless and the moment Falconer makes his exit is touching and well-rendered.
The obvious parallels to those books about another young wizard in training crop up in plot points here and there. But of the two THE BOOKS OF MAGIC is the one that relies less heavily on the magic and focuses more on the main character and his struggles with whether or not he wants to pursue these avenues that are now open to him.
Sure it would be awesome to be the world’s most powerful magician (which is one possibility set before our young hero. Naturally he could be the greatest. No one ever tells stories of the mid-level competent magicians or the magicians who are really bad at magic, but have a heart of gold and lots of moxy), but for Tim Hunter, his normal life seems depressing enough, living in London in the early 1990s with an alcoholic absentee father and no mother, does he really need to add even more stress to what is already a less-than-desirable life?
I guess we’ll see just how he handles these new possibilities as the series unfolds. For now, we’ve got “Bindings”, and I for one enjoyed it.
Art is provided by Gary Amaro and Peter Gross who, while not the slickest artists on the page, I think their styles lend themselves well to 1990s London. There’s something very dark in Amaro’s renderings, although I feel at times his storytelling ability may not have been at its strongest back then. As for panel layout, he seems to have a few preferred templates, which he uses over and over. It’s not too noticeable at first, but if you look for it, then you notice it clear as day. This isn’t a bad thing, his layouts work, but I thought since I noticed it just by leafing through the book, I would mention it. Gross’s layout is pretty plain, but his pencils are sharp and very good.
I read THE BOOKS OF MAGIC when it was originally published for a short time back in the early 1990s. The series ran for 75 issues, but I don’t remember how many of those I have, and there’s not one moment of the entire series that I recall from those first readings, so working through these trade paperback editions will be just as new for me as if I’d never picked up the book. But I can safely say with “Bindings” in place, I like what I’ve seen so far and am intrigued enough to keep going. That’s good enough for me.