{"id":342638,"date":"2025-12-13T21:21:56","date_gmt":"2025-12-13T21:21:56","guid":{"rendered":"https:\/\/peraltafinancing.com\/uncategorized\/rossums-universal-robots-commons-comics\/"},"modified":"2025-12-13T21:21:56","modified_gmt":"2025-12-13T21:21:56","slug":"rossums-universal-robots-commons-comics","status":"publish","type":"post","link":"https:\/\/fivemor.com\/?p=342638","title":{"rendered":"Rossum\u2019s Universal Robots \u2013 Commons Comics"},"content":{"rendered":"


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\u201cR.U.R.: Rossum\u2019s Universal Robots.\u201d Revised and illustrated by Kate\u0159ina \u010cupov\u00e1. <\/em>Trans. from the Czech by Julie Nov\u00e1kov\u00e1. Written in 1920 by Karel \u010capek. <\/em>Lettering by Damian Duffy. Rosarium. $32.99. December 2024. 264 pages. All ages.<\/em><\/p>\n

Thanks to Fables Books, 215 South Main Street in downtown Goshen, Indiana, for providing Commons Comics with books to review. <\/em><\/p>\n

\"\"<\/p>\n

Check Fables out online at www.fablesbooks.com<\/a>, order over the phone at 574-534-1984, or email them at fablesbooks@gmail.com. <\/em><\/p>\n

Full disclosure: I contributed to the Backerkit campaign to help Rosarium release this book, and Rosarium\u2019s founder, Bill Campbell, is a friend from college.<\/em><\/p>\n

\"\"<\/p>\n

Karel \u010capek is a foundational voice in the literature of the Czech Republic, but not as well known to most of the rest of the world. His main claim to fame is linguistic: he and his brother coined the word \u201crobota\u201d for his 1921 play, \u201cR.U.R.,\u201d or \u201cRossum\u2019s Universal Robots.\u201d The many versions and adaptations of this classic dystopian work include a 1922 Broadway production with young Hollywood film star Spencer Tracy, and a 1938 BBC television series<\/a>, arguably the first science fiction show on television.<\/p>\n

To \u010capek, robots were not giant, clanking tin cans with monotone voices, but more organic beings. In his original vision, robots were much closer to humans, uncanny replacements for workers increasingly dehumanized by assembly lines and other pressures of mass production:<\/p>\n

\"\"<\/p>\n

In Czech artist Katerina \u010cupov\u00e1<\/a>\u2019s graphic novel version of R.U.R.\u2014originally released by Argo<\/a> in the Czech Republic\u2014\u010capek\u2019s robots are also surprisingly colorful. I fell in love with this book when I first saw its cover, and the internal art proves just as stunning, page after page. Visions of ominous mass-anything tend toward the monochrome: black-and-white stills of Hitler\u2019s marching troops, or ranks of all-white stormtroopers in the first \u201cStar Wars\u201d\u2019s reimagining of nightmare fascist history. Yet \u010cupov\u00e1 chose to tell this story of mass mechanized dehumanization with bright watercolor. The effect is like a brilliant dark mirror of Mary Englebright gift-kitsch, or a kaleidoscope version of Fritz Lang\u2019s deco noir classic \u201cMetropolis.\u201d<\/p>\n

The story begins with Harry Domin, the CEO of a global robot factory, presenting his work and mission at a business conference. \u201cWhat do you think makes the best worker?\u201d he asks his audience. Domin oversees the mass production of the robots on which his futuristic world has come to depend. Although \u201cOld Rossum,\u201d the robots\u2019 original inventor, created them with utopian rather than capitalistic goals, Domin\u2019s job is to maximize production and profits. So of course the answer to his rhetorical question is not \u201cloyalty\u201d or \u201chonesty\u201d but \u201cThe lowest cost\u201d and \u201cHaving the fewest needs,\u201d as he further explains to Helena Glory, an idealistic ingenue touring the site:<\/p>\n

\"\"<\/p>\n

\"\"<\/p>\n

Domin theorizes that with his robots taking on more and more \u201cuseful\u201d work, humans will have more time to indulge in \u201cuseless\u201d pursuits, such as \u201cTo go for a walk, or to play the violin,\u201d and even \u201cTo feel joy.\u201d Narrative and visual evidence throughout the book suggests that Domin\u2019s philosophy isn\u2019t working out as intended. Unemployed workers beg for coins on the street, and in an unsettling mystical twist, humans are rendered unable to reproduce.<\/p>\n

\u010cupov\u00e1\u2019s adaptation is an especially powerful read in our current moment. With artificial intelligence scraping the work of creatives and intellectuals for profit, then labeling that same work \u201cuseless\u201d when it comes to fair compensation, Domin\u2019s 100-year-old speech sounds like it could have been delivered by a tech bro.<\/p>\n

It remains unlikely that Silicon Valley\u2019s sunny projections for AI\u2019s effects on society, if allowed free reign, will turn out much better than Domin\u2019s projections for his robot-driven world. This book feels not just prescient, but a testament to the elements of human-powered creative expression that machines simply can\u2019t replicate. \u010cupov\u00e1\u2019s visually explosive style is fueled by its imperfection, especially in the tension between strong architectural lines and a watercolor wash that refuses precision (the alternately pink and purple stairs, for example, in this image):<\/p>\n

\"\"<\/p>\n

Later in the story, as the order within the factory begins to erode, this mid-century modernist visual structure melts into a style closer to Expressionism:<\/p>\n

\"\"<\/p>\n

Flaws and unpredictability make humans both beautiful and maddening. As Elias Rosner observes in his \u201cSolrad<\/a>\u201d review of \u201cR.U.R.,\u201d \u010cupov\u00e1\u2019s choice of difficult-to-contain watercolor as a medium fits with the story\u2019s warning against any too-perfect utopian vision. Neither is this book perfect: \u010cupov\u00e1\u2019s illustrations occasionally prioritize beauty over narrative clarity, and the gender dynamics in a 100-year-old play don\u2019t translate well at times. These are minor details, however, in a work so vibrant, you can almost hear it hum like Domin\u2019s factory.<\/p>\n

Shout out as well to Damian Duffy\u2019s expert and surprisingly delicate lettering. An art in itself, lettering is another area of human expertise too often handed off to clunky technology that misjudges sizing, line breaks, and other elements of comics design, thus drawing attention to the words rather than blending in with and supporting the visuals.<\/p>\n

\u010capek died young, not long before the Nazi regime, which had named him an enemy of the state for his essays warning against encroaching fascism, expanded an earlier territorial breach and took over his whole country (another disturbing detail echoed by today\u2019s headlines).<\/p>\n

Yet when the 1938 Munich Agreement essentially handed Czechoslovakia over to Hitler, \u010capek refused to abandon his faith in humanity. \u201cIt was politicians that did this, not ordinary people,\u201d he wrote, as cited in a biographical piece on Radio Prague International<\/a>. \u201cWhen I think of Germany, I don\u2019t think of Hitler\u2014I think of the small pub where I drank and chatted with the locals.\u201d<\/p>\n

Similarly, \u010capek refuses to give up on individuals in R.U.R.<\/em>, ending on a note of optimism\u2014dark optimism, but optimism nonetheless, as suggested by this surprisingly lush page toward the end of the book:<\/p>\n

\"\"<\/p>\n

Rosarium Press<\/a> holds such a diverse roster of publications, I\u2019m never surprised by a new title. I did wonder, however, how \u201cR.U.R.\u201d made its way there. \u201cArgo hit me up with the project,\u201d said writer, editor, artist, and Rosarium founder Bill Campbell in an email. \u201cI don\u2019t know how they heard about me, but folks do contact us from time to time. Since I lived there [in 1993] and loved \u010capek\u2019s \u2018War with the Newts,\u2019 I checked it out.\u201d<\/p>\n

Here\u2019s hoping that a comics version of \u010capek\u2019s \u201cWar with the Newts,\u201d widely considered his masterpiece, is next on the list for this brilliant creative team. Here\u2019s also hoping that world leaders take warnings like \u010capek\u2019s and other enemies of fascism and authoritarianism more seriously in the twenty-first century than they did in the twentieth.<\/p>\n

\u00a0<\/p>\n

\u00a0<\/p>\n<\/p><\/div>\n\n","protected":false},"excerpt":{"rendered":"

\u201cR.U.R.: Rossum\u2019s Universal Robots.\u201d Revised and illustrated by Kate\u0159ina \u010cupov\u00e1. Trans. from the Czech by Julie Nov\u00e1kov\u00e1. Written in 1920 by Karel \u010capek. Lettering by Damian Duffy. Rosarium. $32.99. December 2024. 264 pages. All ages. Thanks to Fables Books, 215 South Main Street in downtown Goshen, Indiana, for providing Commons Comics with books to review. 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