Stephanie Kay
Oct 14, 2007, 11:27 pm
<a href="http://www.comixfan.com/xfan/images/covers/oni/wasteland_06_cover.jpg" target="_blank"><img src="http://www.comixfan.com/xfan/images/covers/oni/issue6coverlg.jpg" hspace=10 align=left alt="Wasteland #6"></a> Reviewer: Kevin Sutton, kevinsutton@cheerful.com
Story Title: “Dying Freedom”
In homeland security the blind lead the blind; while in the desert 'Sandies' prepare to take the fight to the city... too subtle?
Script: Antony Johnston
Illustrations: Christopher Mitten
Cover: Ben Templesmith
Lettering: Doug Sherwood
Editor: James Lucas Jones
Design: Antony Johnston
Created by: Antony Johnston and Christopher Mitten
Published by: Oni Press (http://www.onipress.com/)
Wasteland #6 joins our party in the aftermath of another vicious attack by the Sand-eaters. (Desert dwelling mutants) More desperate and downtrodden than ever, their numbers have been diminished by violence. Though they have reached their destination, the reader will probably look at their exodus as a failure for all their losses. The quasi-psychic (?) guide Micheal seems to have. Wasteland is a story almost as maudlin as its ruined setting.
Wasteland has utilized strong undercurrents to provide a conventional bearing on an otherwise alien world. Religious and cultural oppression is common in the city of Newbegin, and we are invited to sympathize with the Sunners. This plays upon a reader's respect and tolerance for spiritualism, as we know that the Sunners' founding mythology is false, (Well...probably) and yet their endurance and quiet wisdom grants them a strange kind of authority. There are some plausible connections made to the turbulence in the modern world, as I alluded to in my intro, but I think it's purely incidental. Additionally, there's a natural environmental undercurrent, but I think that Johnston is more interested in exploring life and society in his ruined world. In effect, Wasteland is to Y the Last Man what Beyond Thunderdome is to Mad Max. Of particular interest to me, is the descent of Marcus, (popular ruler of Newbegin) from builder-hero to despot-meglomaniac, a trajectory common in many new societies and governments.
Mystery pervades this adventure, with questions being raised about Marcus' past and questions remaining about Michael, and the history of this world. I wonder if Marcus is just nuts, or whether his visions are represented to the reader to indicate some element of truth. I wonder if the Sand-eaters are violent mutants, or just deformed and mean-spirited. Is there something more noble or intelligent that lurks within these monsters? The reader is in the dark as much as the cast is, but we are gifted another narrative kept seperate in the back of the book. I like this addition, as it provides the reader with a more explicit perspective without interfering with the main story. It allows the reader a greater opportunity to explore this strange world, something which many other great comic settings lack.
The artwork is strongly detailed and yet occassionally sketchy, which provides some trouble when attempting to identify or differentiate some characters during closeups, but that is a consequence of a large cast and lack of colour, and generally I have found myself pleased with the illustrations. The layouts are dramatic and full, and the backgrounds are well detailed and evocative --which is especially important in establishing a setting. Overall the artwork is quite good at providing narrative and visual necessities and I consider the primarily white neutral-coloured imagery of the book a strength, enhancing the light-washed atmosphere of the wasteland.
Wasteland is a very good book. It's unique in scope among other books on the shelves, but tackles a familiar genre. Wasteland finds its strength in mystery and in the peril and desperation of a fallen people. It's a book that's very competantly put together and full of potential. I would like to see an even greater focus on the backgounds and relationships of the characters, and perhaps eventually a stronger focus on a single perspective in the main narrative. I say this because it's harder at present to really get into the characters because they've mostly been acting, (and being acted upon) and not donig much reflecting. This book isn't slow moving. In some ways it might be moving a little too fast. I would have expected an exodus to be a little more leisurely, but regardless I think the present plot still wouldn't have left much breathing room for the cast. The latest issue is not the most exciting, but it might be the most foreboding. The main actors, (save one) are on a collision course, and like most good books, there's little indication where this could all end up or who will end up there.... heck, we're not really sure how we got here either.
If you're looking for something different, a grim adventure, or a sci-fi with a down-to-earth feel, Wasteland is worth a look.
RATING:
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FIND this issue at X-WORLD and SAVE! (http://www.x-worldcomics.com)
Story Title: “Dying Freedom”
In homeland security the blind lead the blind; while in the desert 'Sandies' prepare to take the fight to the city... too subtle?
Script: Antony Johnston
Illustrations: Christopher Mitten
Cover: Ben Templesmith
Lettering: Doug Sherwood
Editor: James Lucas Jones
Design: Antony Johnston
Created by: Antony Johnston and Christopher Mitten
Published by: Oni Press (http://www.onipress.com/)
Wasteland #6 joins our party in the aftermath of another vicious attack by the Sand-eaters. (Desert dwelling mutants) More desperate and downtrodden than ever, their numbers have been diminished by violence. Though they have reached their destination, the reader will probably look at their exodus as a failure for all their losses. The quasi-psychic (?) guide Micheal seems to have. Wasteland is a story almost as maudlin as its ruined setting.
Wasteland has utilized strong undercurrents to provide a conventional bearing on an otherwise alien world. Religious and cultural oppression is common in the city of Newbegin, and we are invited to sympathize with the Sunners. This plays upon a reader's respect and tolerance for spiritualism, as we know that the Sunners' founding mythology is false, (Well...probably) and yet their endurance and quiet wisdom grants them a strange kind of authority. There are some plausible connections made to the turbulence in the modern world, as I alluded to in my intro, but I think it's purely incidental. Additionally, there's a natural environmental undercurrent, but I think that Johnston is more interested in exploring life and society in his ruined world. In effect, Wasteland is to Y the Last Man what Beyond Thunderdome is to Mad Max. Of particular interest to me, is the descent of Marcus, (popular ruler of Newbegin) from builder-hero to despot-meglomaniac, a trajectory common in many new societies and governments.
Mystery pervades this adventure, with questions being raised about Marcus' past and questions remaining about Michael, and the history of this world. I wonder if Marcus is just nuts, or whether his visions are represented to the reader to indicate some element of truth. I wonder if the Sand-eaters are violent mutants, or just deformed and mean-spirited. Is there something more noble or intelligent that lurks within these monsters? The reader is in the dark as much as the cast is, but we are gifted another narrative kept seperate in the back of the book. I like this addition, as it provides the reader with a more explicit perspective without interfering with the main story. It allows the reader a greater opportunity to explore this strange world, something which many other great comic settings lack.
The artwork is strongly detailed and yet occassionally sketchy, which provides some trouble when attempting to identify or differentiate some characters during closeups, but that is a consequence of a large cast and lack of colour, and generally I have found myself pleased with the illustrations. The layouts are dramatic and full, and the backgrounds are well detailed and evocative --which is especially important in establishing a setting. Overall the artwork is quite good at providing narrative and visual necessities and I consider the primarily white neutral-coloured imagery of the book a strength, enhancing the light-washed atmosphere of the wasteland.
Wasteland is a very good book. It's unique in scope among other books on the shelves, but tackles a familiar genre. Wasteland finds its strength in mystery and in the peril and desperation of a fallen people. It's a book that's very competantly put together and full of potential. I would like to see an even greater focus on the backgounds and relationships of the characters, and perhaps eventually a stronger focus on a single perspective in the main narrative. I say this because it's harder at present to really get into the characters because they've mostly been acting, (and being acted upon) and not donig much reflecting. This book isn't slow moving. In some ways it might be moving a little too fast. I would have expected an exodus to be a little more leisurely, but regardless I think the present plot still wouldn't have left much breathing room for the cast. The latest issue is not the most exciting, but it might be the most foreboding. The main actors, (save one) are on a collision course, and like most good books, there's little indication where this could all end up or who will end up there.... heck, we're not really sure how we got here either.
If you're looking for something different, a grim adventure, or a sci-fi with a down-to-earth feel, Wasteland is worth a look.
RATING:
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FIND this issue at X-WORLD and SAVE! (http://www.x-worldcomics.com)