“As far as The Discipline is concerned, sex is simply one stage of a much bigger journey…” claims writer Peter Milligan in the introduction to Volume 1, “…It isn’t about sex.” This is echoed by the quasi-Obi-Wan stand-in, Orlando, very early on in the story. Sex, and the ritual of seduction, he tells heroine Melissa, is “simply a means to an end.”
And yet, despite these claims, it is difficult to see that bigger picture because almost everything we see as readers is sex. Let me be clear, I believe it is completely possible to use a story that heavily features sexuality or a specific sexual relationship to say something deeper about the nature of relationships, humanity, or modern culture. Here’s an example: the plot of 2002 comedy 40 Days and 40 Nights revolves almost exclusively around the main character’s attempt NOT to have sex for 40 days, which of course means that almost everything and everyone he encounters makes him think about sex. And yet the film resolves itself being much more about how romantic relationships can be much deeper than sex. After over 150 pages, the first volume of The Discipline is clearly about some kind of secret magic war… that is almost exclusively fought by cryptid creatures having sex. There may be a bigger journey, but we seem to be a bit stuck on this one stage.
Milligan has planted the seeds of other issues; for example, the ancient council of The Discipline, uses an intricate, extensive ritual of seduction in order to recruit and induct new members, with implications that this can be done either in same or opposite sex couples. However, they still do not trust women to carry out important missions or to hold high places in the order. The central themes of open sexual expression and transcendence of human limitations could make for a very interesting contrast as Melissa grows in knowledge and power despite being inducted by an incredibly patriarchal system.
Instead of this, we get a lot- a LOT- of gore and sex. There’s not even enough room between nude scenes to appreciate the implications that The Discipline may or may not be the clear good guys in this conflict, or the anxiety Melissa feels when the council threatens to induct her sister if she doesn’t cooperate. The pacing simply doesn’t find a steady enough rhythm for the deeper issues, the bigger picture to be revealed. While it does more appropriately match the story’s tone- that time is running out on both sides of the fight- it doesn’t lend itself well to being more.
Artist Leandro Fernandez does create a visually interesting world for Melissa, Orlando, and the council to inhabit. With a somewhat noir feel, it reminds me of Kelley Jones’s work on some of the early volumes of Sandman– a dark and somewhat uncomfortable depiction of a darker world where magic is both more possible and much more sinister. Colorist Cris Peter must also be given credit for his work, especially the dramatic shadow effects he employs which give the scenes a highly dramatic air. I would make a criticism that other than in their creature forms, the characters do not make very extreme expressions- nothing that deviates too far from attractive- but this could almost be a deliberate choice, relating to the way that the creature forms are more true to the characters’ inner lives than the human forms.
The Discipline is at the very least fairly original in concept, and if you like your sex and violence with a magical surrealist flair, you’ll probably enjoy yourself. However, I must respectfully disagree and warn the squeamish- it most definitely is about the sex.