Page 45 Review by Stephen
Spectacular, high-octane Industrial Gothic with snap-shot moments of breath-taking beauty as one man on his motorcycle Insane-Jumps his way through, up and over the vast spires and conduits of a ghostly Pacific Island city in search of a girl called Eon.
The island has been quarantined by order of the Public Health service who have dispatched their ruthless Compulsory Execution Units in order to cleanse it of the staggering, skeletal zombies infected by the N5S virus. But their primary agent there, menacingly masked and strapped in kevlar but with a bloodied butcher's apron hung from his neck, has a mission of his own and his target's the same one as biker Zoichi Kanoe's: seventeen-year-old Eon Green. They have very different plans for her. Eon may look like any other uninfected girl, but she's not. She's a rare Accommodator, infected with the N5S virus but somehow able to transmute it and retain her sense of self. And one by one these Accommodators are being caught and collected into a Maximum Security Containment Facility towards which the regular zombified drones are migrating en masse. Why? And what does all this have to do with the Data Recovery Foundation's visit to Mars six months ago, and what they found in the ruins of their colonies there, abandoned by Earth seven centuries ago?
Tsutomu displays impeccable draughtsmanship, rich, textured detail, a superb sense of movement and, on the painted cover, a style of painting that put me in mind of Ashley Wood's METAL GEAR SOLID. The action is epic, the explosive conflagrations absolutely enormous, and his black, shiny motorcycle (complete with digitalised intelligence) is both sleek and robust. It would have to be robust under the throttling it's given here! Also, some of the more elaborate self-regeneration drones are hideous in the extreme, brain-matter bulging, slimy tendrils whipping around their thirty-foot carcasses and I imagine we're in for further variations down the road.
He does a mean Grizzly Bear too.