Writer: Ed Brisson

Artist: Adam Gorham

Colorist: Michael Garland

As I am being more experienced as a comic reader, I am always on the lookout for different types of stories in terms of subject and characters. Just like last week with Sheriff of Babylon, I wanted to go out of my way this week to find something branching out from the usual superhero books we think of when comics come up. With that in mind, I was drawn to The Violent from Image, most notably from the cover. When you incorporate highlight and shadow that effectively, you’ve got me.

Right off the bat, we are introduced to Mason and Becky, a young married couple, who we later find out to be an ex con/addict and former addict respectively, arguing over Mason essentially being reckless with their daughter. The issue then goes down the dark spiral that is human life, especially being the people they are. They struggle to more or less stay afloat in a world that’s seemingly out to get them. In a lot of cases, this book is painfully real. Even though it’s not a direct comparison on the surface (as I am thankfully not an ex con), the feeling of the world coming down heavy on your shoulders is apparent and all too relatable in this book. Whether it be Mason having to decide what to do about a best friend in dire need, or Becky being reintroduced to a harmful figure from her past, you are begging these characters to make the right decision. That just goes to show how effective Brisson was in his character development in this issue. The introduction to these two lives stick with you. While it sometimes takes a full arc for you to fully invest in a character, this book instantly draws you into each and every decision. This is a great example of what I was talking about earlier, a different type of comic. This is so steeped in the real world, it occasionally gets painful. The end of this issue doesn’t make the future look too bright for these two either, but I feel myself drawn back. Also, anytime you put a father son/daughter relationship in a comic, like we get in this issue, I’m pretty much sold.

If you thought the story is a kick to the gut, wait until you see some of these page sequences. Adam Gorham really makes a silent set of panels powerful here. To me, the most effective and lasting comics and comics sequences are told through expression in the art, i.e. the final sequence in The Death of Speedy Ortiz. Specifically, we watch Becky grapple with dabbling back into her past in a page here, that is just crushing. I know this doesn’t necessarily sound like something you’d necessarily be looking for in your entertainment, you need to check this out for the craft. The storytelling is really strong panel to panel, and, as already said, the cartooning is lasting even beyond the final page. Additionally, Michael Garland’s colors just sing. He puts us solidly in the world with a grounded, earthy color palette, but also occasionally breaks out a crazy wash of two colors that makes the art pop.

The more I think about it, the more I love this issue. I would urge literally anyone to read this comic. This has the makings of a really enticing episodic story, and, needless to say, I cannot wait for issue 2.

 

5 Dimebags out of 5