Page 45 Review by Jonathan
"A psychopathic narcissist and millennial nostalgist who got his mind trapped in the net.
"As soon as we grab one o' his geeks, Davey shuts them down.
"The world's a video game to Davey. He can control anyone with a nanopac in 'em.
"Everyone except me. Straight edge perks."
Rick Remender seems to be on a one-man mission to demonstrate the many possible flavours of speculative and science fiction these days. After his turns doing comedic / weird: BLACK SCIENCE, post-apocalyptic / aquatic: LOW, plus super-heroic: UNCANNY X-FORCE, UNCANNY AVENGERS, and even his CAPTAIN AMERICA: CAST AWAY IN DIMENSION Z involved Steve Rogers being castaway into a dimension where time travelled at a far faster rate to our own (possibly meant metaphorically as well as literally as he did adopt a child whilst there. I feel like I have spent considerable time in Dimension Z, wearing out and aging rapidly, over the last four years since Whackers was born...), he's now crafted something that is straight-up cyberpunk.
The year is 2089, the location the Isles of Los Angeles. Society has most definitely polarised even further between the haves and have-nots, to the degree that the streets are basically one big floating cesspool of humanity, tranquilised on cerebral implants pumping out endless entertainment programmes directly into their vision, and nano-tech continuously adjusting and maintaining their emotional states, and even their physical appearances. All at a punitive financial cost, of course.
That vicious cycle of consumption, addiction and consequent fiscal slavery is not the worst of the population's problems right now, though, at least for the duration of the opening issue. No, that would be Davey Trauma. When Constable Debbie Decay says the world's a video game to him, she's not kidding. To Davey, the Isles Of Los Angeles right now is like his own personal Grand Theft Auto as he goes crashing, smashing and spree-murdering his way to fame and high-score glory. Davey has his own twisted gaming rules, however, such as not taking control of Debbie's police partner and lover, Led, who is practically catatonic in real-world terms, being permanently immersed in the virtual world, plus utterly addicted to - and superjacked up on - steroids, bone growth stimulators, adrenaline and various other physical enhancers. He's not above taunting her about the fact he could, though - or with his theories about why she's involved with Led. Ouch.
This series is as much about Debbie and Led's peculiar relationship of co-dependence as the central conceit of technology warping the behavioural mores of the individual and wider society. In fact our bipolar duo are just about to be given a mission that will take them to the last straight edge country on the planet: The Garden Nation of Tokyo. For Debbie that's her idea of heaven. As for how on earth Led will cope getting back to basics and living the good life like Felicity Kendal, well, going organic is going to be a rather more trying experience for him as the narcotic and technological withdrawals really start kicking in. I can well imagine it would be exactly the same if I turned off the wife's white wine supply and restricted her access to Facebook...
I have commented before that Rick's artist cohort on BLACK SCIENCE, Matteo Scalera, has a style very similar to Sean Murphy. I do wonder if the choice of Sean for this title is based entirely on Rick's personal artistic preferences? Plus I'm sure he saw the speculative fiction gold Sean wrought with his own PUNK ROCK JESUS. Combined with the choice of Greg Tocchini for his aquatic artistic endeavours on LOW, messers. Jerome Opena and Daniel Acuna on the Uncanny X&A material, plus Romita Jr. doing a damn fine and trademark distinctive Cap'n A., I can see Greg really seems to appreciate an artist that stands out from the crowd.
Here Sean's typically dense use of ultra-fine, myriad, parallel black lines and complex yet distinct detailing is perfect for rendering the frenetic hyper-speed streets and angular lunatics of the not so Angelic Isles. Those delicate touches are equally well-employed to produce some astoundingly beautiful and tranquil landscapes in rather more salubriously well swept streets of the Garden Nation of Tokyo. The phenomenal amount of line work Sean puts in to create some of even the apparently more simple panels and sequences is very deceptive. If you allow your eye to linger and start to deconstruct the art you'll realise just how much effort goes into every single panel. No short cuts. Such dedication to the craft is what makes him of outstanding illustrative talents of his generation.