This brilliant, hefty tome and yet quick read turns the epistolary novel on its head by presenting a researched dossier submitted by the unnamed Illuminae about a sequence of shocking events in the far reaches of space. With a few “researcher notes” amending the files, the dossier contains intercepted memos and emails, dictations of video footage, interviews and AI internal processing.
Indubitably “Young Adult” with two teenaged heroes. Anti-authority, computer hacker Kady and her ex-boyfriend looking for a leader and a romantic reunion, Ezra, play the star-crossing ex-lovers hoping that their story can end less tragically than Romeo and Juliet’s. The tale is also “Sci-fi”, as everything takes place in a far stretch of the universe, first on an illegal mining outpost on an otherwise insignificant planet, and then later on spaceships crossing the void in order to reach a space station. The vastness of space and the loneliness therein are major themes, so too is the breakdown of civilization and order when outside of the view of the rest of humanity.
More interestingly, the subgenres of the novel defy expectation as they morph from one into another. Each holds its own quite convincingly taking the reader on a desperate ride. The first subgenre is militaristic as notions of business, government and military all roil uncleanly together. Then, an unreliable and independent AI abducts the plot. Finally, medical engineering of the nefarious, speculative sort surfaces turning the novel into a full-blown thriller.
The quick pace has the accelerator to the floor the entire time.
I absolutely recommend this is series opener and look forward to the sequels.
Girl-Power, high fantasy comes to vivid realization under Roc Upchurch’s fun, compelling art in Wiebe’s graphic series Rat Queens. The Queens are an irreverent band of mercenaries dealing in death, mayhem and hedonism. With a bounty on their heads.
Betty, the shroom-popping drunken smidgeon [think: hobbit], is busy chasing women when not thieving and skulking. Dee, the atheist healer human, is the daughter of squid-worshiping zealots. Violet, the hipster battle-dwarf, seeks her own destiny despite her male twin’s best efforts. And, finally, Hannah, is the goth-elf mage with the heart of an S&M madame.
Money, vengeance and pleasure guide their lives in what proves to be a romp of a series.
The highly anticipated the sequel to Trees, Vol. 1, again drawn by Jason Howard, arrives with a narrower focus than the premiere volume which showed five different socio-cultural reactions across the world to the phenomenon of massive alien “trees” slamming down onto Earth and then lying dormant for 10 years.
This volume restricts its world view to Manhattan and Britain. The urban landscape of Manhattan remains flooded and decimated from the introduction of its tree. A man raised in its wake with a bone to pick with the police force’s handling of the original event has just been named Mayor-Elect. He leans into his ties to the lower Manhattan Underworld to achieve revenge . . .
Meanwhile, Dr. Joanne Creary barely survived the awakening of the Blindhail Tree on Svalbard. She witnessed the interaction between the alien black “Blindhail Poppies” and the tree and is reassigned to the only tree in Britain. It sits in the desolate Orkneys and her job is to be vigilant, and report what she sees.
Despite the vast differences between the two focal locations, the parallels arise quickly between the disparate scenes aided by Howard’s able art where the scar from a bullet wound may mirror a neolithic stone circle . . .
The development is fascinating, even as the endgame remains a mystery.
Stunning visuals lead the way with this dystopian graphic novel of a sci-fi off-planet society of sheltered “citizens” and starved “fringers” rumored to be barely human cannibals. The State-controlled media keeps a tight rein on its image, its heroes and its enemies of the State. It’s all propaganda with the biggest “hero” being nothing more than a glorified soap opera actor. That is, until his popularity makes him an extinguishable threat, too.
There exists a fantastic Liberty: Deception, Issue 0 showing the bleak life in the fringe. But this 1st issue follows the condemned actor using his fame and subterfuge to make his way out to the fringe. Along the way, he teams up with some of the previously introduced rogue fringers.
A horror graphic novel comes to full creepy realization due to the artwork of Menton3. The idea of skeletons in one’s closet proves quite literal when the secrets from the past refuse to stay in the past.
Jebediah Foster lived a rough and bloody life out in the Dakota Territory. He killed more than a few folks [American Indians, a barmaid, a bartender et al]. Then he married, quit drinking and moved Eastward to escape his past. His very pregnant wife seems unaware of Jeb’s past. Jeb himself barely remembers it through the hazy drunken memories.
They move to Esther’s uncle’s house in Silent Hill which they inherited. Everyone they run into seems to know Jeb and a lot about him. But, he can’t quite put a finger on why they should know him and a past he’d prefer not to acknowledge. But some definitely know him–a crazy Native American woman, the sheriff, the barman, the barman’s wife . . .
With the June release of Genesis IV, I praised the sheer number and intensity of social issues raised about privilege, race, gender and sexuality. Set against the backdrop of 1960’s middle America, the contemporary issues rang clear. The series even provided neutral voices in the form of non-Earth beings. If there was any major complaint to be made about the series that drops 10 simultaneous issues together in the Genesis package, it’s that the confluence of zombie lore, mutant superhero lore and alien lore all melding in a single series was indubitably confusing for a single read-through, or five.
This 5th installment to the series addresses the confusion by providing a helpful recap narrator, Kevin, at the start of each issue. He manages to sum up that title’s major characters and their arcs, while providing clarity on previous ambiguities of which there were plenty. He also pulls the separate titles together contextually.
What doesn’t happen is–anything.
With the series finale coming within the next month or so, all the undead meat has apparently been saved for later. Some of the titles even take a serious step back as they merely provide altered perspectives on events already seen in episode #4. The clarity is welcome, but could also have come throughout the series allowing each issue to grind forward.
Magic is merely science not yet understood–or so the theory goes. This series stems directly from that maxim as in an effort to break new ground in scientific understanding and possibilities, unexplained forces and entities are released into the world. Merging artificial intelligence with the physics-defying lore of the Fae, unleashes new horrors upon the rationalist people of the 21st Century.
A few years prior, a loose round table of 5 geniuses gather to drive innovation into the Modern world. They create The Injection, an artificial intelligence, not mimicking human intelligence, that takes advantage of all cyber possibilities and the connectivity of the modern world along with unknown physics that reflect ancient folklore surrounding megaliths and fairy stones. The Injection is the team’s creation, but not theirs to command . . .
The full breadth of the tale takes a long time to establish, but eventually gets there–wherever that there is. The art by Declan Shalvey gets the job done unevenly. Supernaturally tainted scenes stand out nicely, while real world scenes get a cartoon-y, flat treatment–especially on the interiors. Exterior scenes, both urban and rural are nicely rendered.