Tales from the Age of the Cobra

Tales from the Age of the Cobra
written and illustrated by Enrique Fernández
published (in English) by EuroComics / IDW Publishing (2017)

A circus dwarf and a petty thief heading up a revolution to overthrow the world’s most fearsome tyrant? Good heavens, I’d sure like to know how all this is going to pan out.

One look at the cover of Tales from the Age of the Cobra and you kind of have a good idea what you’re in for. A swashbuckling hero; his love; a comedic sidekick; and a shadowy, sinister villain.

On the surface, none of that’s necessarily incorrect. But that’s just the surface. Scratch beneath, and there’s a lot more to discover in this decidedly-not-for-kids parable of good versus evil.

Even that – calling it a parable of good versus evil – isn’t entirely accurate. The hero isn’t really a hero; he spends half the book as a literal monster and the other half as a conflicted, tortured character who isn’t above certain unherolike acts and qualities.

The story is presented as a legend told by a traveling storyteller. It’s bookended with scenes of this masked bard on stage, narrating the main events of the book. And on the very first page, we’re clued in to the “moral gray zone” the story inhabits:

Let me bewitch you with my story. It’s very easy to follow, has no moral at the end, and demands no special effort from its audience to be appreciated.

Indeed. The story follows Irvi and Sian, two young lovers separated by fate and doomed to never be together. On the night they plan to escape to be together, Irvi is torn away and Sian is sold to the highest bidder. Consumed by jealousy and hatred, Irvi is thrown in league with a warmongering tyrant and becomes a literal monster who eats the hearts of his enemies.

It isn’t until he eats a poisoned heart (again, literally) that he is able to throw off the shackles of hatred and once again embrace the beauty of the world. But by then, it’s too late. The damage has been done, and his old ally (now enemy) – the Cobra – is the most feared tyrant in the world.

Tales from the Age of the Cobra is worth picking up and reading for Fernández’s art alone. His sumptuous illustrations bring the world he is creating to life and are a joy to get lost in. The story is engaging, if slightly predictable, but the narrative heavily relies on exposition and long-winded descriptions. Which makes sense when you remember that it’s supposed to be told by a traveling storyteller.

Inevitably, comparisons can (and will) be made to the stories of Aladdin and 1,001 Nights. But this is an original story, and let me reiterate – it’s not for kids. Its pages are filled with sex, violence, pedophilia, and wanton destruction. It’s a fairy tale for adults.

Begging forgiveness is a great power which, if used honestly, can erase the most painful of pasts.

The book was originally released in France in two separate volumes, and the translation from the original French is fantastic. It doesn’t feel awkward or stilted in any way.

But it’s Fernández’s art that makes this one worth the price of admission. It’s also his English-language debut, and you’ll definitely want to get in on the ground floor of this remarkable talent. Fernández has published several other books in Spanish and French, and they all look amazing. I’m half inclined to pick them all up on the merits of his art alone.

It’s also worth noting that Fernández was a storyboard artist on a few animated films, including the wonderful Nocturna (which was a highlight of our GKIDS retrospective).

Tales from the Age of the Cobra is a sumptuous visual feast with pages you’ll find yourself lingering over and coming back to. It’s also one you won’t regret adding to your collection. Here’s hoping IDW and EuroComics add more Fernández titles to their lineup. Kudos!