Eric's Image Comics Reviews: Last Mortal #1, Drums #1, Science Dog Special #2, The Darkness: Four Horsemen #4

Image brings readers two new #1s with a dark tale of urban squalor and voodoo shenanigans. They also offer a canine superhero and a conclusion to a biblical apocalypse.

Last Mortal #1

Last Mortal #1 is a promising introduction to the new series by Top Cow editor Filip Sablik and John Mahoney. This issue serves as a prologue of sorts for upcoming events. As this, the apparent aim is to inform the reader of the protagonist's backstory and intrigue one into further reading. On both accounts, it works very well. From the beginning, the desperation is palpable with an retrospective narrative that tries to deduct how everything went wrong. It provides excellent context for the plot, which delves into why the main character is committing suicide. The result is a Taxi Driver-like squalor noir story in which one's environment is a personal hell fraught with nothing but loss and sullied ambitions.

At surface it seems that this might be too depressing, but like the film from which I draw comparison there is always a sliver of hope, even if that glimmer lies within illegal activities. This is the case for this issue and the driving force for the actual plot. It helps that the characters are interesting as well. Portrayed as well meaning con men, the two friends share charm and conversation that shows two people set for the same course whether good or ill. Even when manipulation is at hand, it's done in the real way that human relationships are basically reciprocal emotional symbiosis. The writers do well to have characters that are sympathetic and victims of circumstance.

Also included is a fine use of Keats. Using classic literature in comics can threaten to come off as pompous, but it can also inform a reader, heighten an already good script, and encourage literature in all its forms. This is the case here.

The art style used by Thomas Nachlik is at first off-putting with a kind of bleak black and white, high contrast counter-pop art. It is well detailed, but objects tend to blend together with the monochromatic palette. This was foreboding for the project until the realization that urban anonymity was a central theme of the piece. There is a great and subtle visual symbolism here that immerses one into the tone and setting of the story. By the tale's end, the choice made perfect sense. There is one page in particular that shows talent not only in putting pictures on glossy paper, but in also telling the fiction in a visually arresting and unique way. If done well, a signature style can do nothing but help a title.

Story: Filip Sablik & John Mahoney
Art: Thomas Nachlik
Cover: Thomas Nachlik & Dave McCaig
32 Pages/FC
$3.99
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Drums #1

Drums #1 has a lot a things going for it except a sagging middle, which holds it back from being completely great. Dealing with an investigation involving a hodgepodge of Afro-Caribbean religions, El Torres does what is necessary in explaining their ins and outs to inform readers unfamiliar with the practice. For one whose experience with Santeria involves a Sublime song and an episode of Law & Order: SVU, it was welcome, but the writer goes a bit too far with a large info dump consisting of a bevy of foreign terms and deities. He, also, implores the main character and, thus, the audience to accept these as one would any other Western belief. While this is a noble and respectable aim, it muddies the pace to a snails crawl and alienates readers not looking for a theological lesson. There is a glossary at the book's end, which is the best way by which to disseminate the information at hand.

This is especially noticeable because of all the things done well within the book. The dialog is tight and procedural. The main characters take to situations in a way that befits their realistic personalities and there is good interplay between each. The horror is excellent as well with heightened tension through use of environment (i.e. storms) and mystery. Recently, there has been a renaissance of scares in the medium and this has the potential grab a piece of that. Torres is brimming with talent and hopefully, with the information shared in this edition, he can focus on the many strengths found in the book.

The art by Abe Hernando and Kwaichang Kraneo is solid and benefits all the good listed above. The capture of light is probably the best example of this. The dark exteriors are deep, ominous, and eery; a morgue has the sharp, sterile brightness of fluorescent light. Doing this, they capture mood and scope. There is some contention, however, between the script's reverent portrayal of religion and the visuals.

The practitioners at the beginning of the issue are devoid of pupils making the look possessed and a tight focus is given to a brutally beheaded chicken. While it adds to the horror, it combats the writer's pleas to accept this faith system. Notwithstanding, the images are evocative. Again, this is an issue that can possibly be quickly negated with a second outing that requires less exposition. Overall, this is definitely a title to keep an eye on in anticipation of what the creative team can do as it moves on. There's a wealth of ability underneath the surface.

Story: El Torres
Art: Abe Hernando & Kwaichang Kraneo
Cover: Raul Allen
32 Pages/FC
$2.99
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Science Dog Special #2

Excuse the pun, but Science Dog is an odd animal. At one point, it is a bittersweet, melancholy tale of loss and sacrifice, which contains some of Robert Kirkman's more extensive and quality writing. At another, it is the story of a anthropomorphic doggy with a name only a celebrity could love. During some sweeping dramatic dialog, it is hard to keep a straight face when a character is referred to as simply “Science.” It's solid all too, but people might get a sense of imbalance with the Invincible spin-off. The fun pulp sensibilities are there, but mainly serves as a backdrop to some pretty dark goings on. Science is portrayed as coldly determined and callus individual trying to right wrongs even while the world is crumbling around him. His reward is the bleak loneliness of the eternal vacuum that is space. What's surprising is that it is better than it should be based upon premise alone with Kirkman utilizing his considerable drama writing chops to the table. His style can be minimal at times, but there is quite a bit of dialog here, which is almost all good. He allows the characters to come into their own with believable reactions to each plot point and a slight comedic jab at mainstream superhero comics.

Amidst this is some excellent art that captures the turn of emotions with a great amount of power. Cory Walker seems more concerned about dramatic effect than photorealism in this piece, which is a good thing. Given the subject matter, this is completely appropriate as it captures the juxtaposition of solid drama against cartoon premise. This isn't to say, however, that the art is without its technical skill, yet there is more of a focus on mood setting environments and painfully emotive faces. The underlying sadness throughout the comic is brilliantly conveyed. Within this book, the artist is also a co-storyteller, which should be true of most work in the medium. Kirkman provides a great script here and the images work to get it across in the best possible way.

Story: Robert Kirkman
Art: Cory Walker, Dave Stewart, & Chris Chuckry
Cover: Cory Walker
32 Pages/FC
$3.50
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The Darkness: Four Horsemen #4

In time for the weekend rapture, The Darkness: Four Horsemen #4 is an adequate, yet anti-climatic conclusion to the four part apocalyptic mini. The ultimate downfall of this comic is the lack of a sense of danger. Part of this is beyond David Hine's control. As a limited series, the main character isn't going to die and, thus, the threatened universal doom won't be had.

While this is true of most long running comics, it is readily apparent here and devoid of surprise. This will give the reader an pretty apathetic read with little feeling of effect to the regular series. In the comic's favor, though, Jackie and others are given some good dialog, but the Darklings and their characteristic humor is underutilized in this issue. They are basically portrayed as demonic attack dogs. There are a couple of big fights, but they're over too quickly. That's the case with most elements in the book. Every time something potentially entertaining is introduced, it never is explored. The plot holds together, but is nothing excessively special. An apocalypse needs to be averted because the world is where we keep all our stuff (Tick reference) and Jackie has to battle one of two entities to stop the manifestation of the cataclysmic Four Horsemen. It works to its purpose, no more no less.

The art by Jeff Wamester does an excellent job all around, but doesn't help the unambitious script by keeping things framed in close. To bring across the idea that the situation is to be the end of all things, it would have been nice to see a certain amount of destruction on a massive scale. There's a good use of shadow for the dark material. There are also some good creature designs to be enjoyed by all with a use of sharp angles and deep detail lines. Despite the quality, it never lifts the comic above mediocrity.

Story: David Hines
Art: Jeff Wamester & Felix Sarrano
Cover: Jeff Wamester & Arif Prianto
32 Pages/FC
$3.99
On Sale Now!