Amazon.com Review
Mind- and reality-bending drugs factor again and again in Philip K. Dick's hugely influential SF stories. A Scanner Darkly cuts closest to the bone, drawing on Dick's own experience with illicit chemicals and on his many friends who died from drug abuse. Nevertheless, it's blackly farcical, full of comic-surreal conversations between people whose synapses are partly fried, sudden flights of paranoid logic, and bad trips like the one whose victim spends a subjective eternity having all his sins read to him, in shifts, by compound-eyed aliens. (It takes 11,000 years of this to reach the time when as a boy he discovered masturbation.) The antihero Bob Arctor is forced by his double life into warring double personalities: as futuristic narcotics agent ''Fred,'' face blurred by a high-tech scrambler, he must spy on and entrap suspected drug dealer Bob Arctor. His disintegration under the influence of the insidious Substance D is genuine tragicomedy. For Arctor there's no way off the addict's downward escalator, but what awaits at the bottom is a kind of redemption--there are more wheels within wheels than we suspected, and his life is not entirely wasted. --David Langford, Amazon.co.uk
From Publishers Weekly
Described as being ''like a graphic novel come to life,'' the 2006 film version of Dick's classic 1977 novel A Scanner Darkly is a full-length animated feature directed by Richard Linklater using rotoscope visual technique. In rotoscoping, filmed actors are digitally transformed into drawings. The graphic novel version of the film consists mostly of direct screen grabs from the animated version. Harvey Pekar has added some narration that has been adapted from the novel. The books and film tell the story of a futuristic Southern California in which drugs are rampant and identity mutable. Keanu Reeves plays an undercover cop who has to spy on and understand the druggy circles around him. The film looks intriguing, but the graphic novel version falls asleep instead of coming to life. Simply arranging film stills on a page to resemble comic book panels does not a narrative make. And while the dialogue seems mostly drawn from the film, the narration, intended to bridge the gap between watching action unfold and reading it, is incongruous and sometimes nonsensical in this setting. This bizarre hybrid is no substitute for Dick's original and will serve best as a reminder of the film. (Feb.)
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