Infinite Dark #2
Top Cow Productions 2018
Written by Ryan Cady
Illustrated by Andrea Mutti
Coloured by K. Michael Russell
Lettered by Troy Peteri of a Larger World
Unrest on the Orpheus, an entity from beyond reality itself, and a therapy session gone horribly awry—Security Director Deva Karrell’s investigation turns up few clues but many fresh horrors.
Last issue impressed the heck out of me so I was worried that this might have that so-called sophomoric slump. I needn’t have worried however since Ryan is an extremely capable writer and this one not only picks up after recent events, not directly but that’s okay, and expands the story in some new and surprising ways. I am actually continually impressed with what we see here and the fact that what is left of the human civilisation has set up shop in this station that functions more like a world than a floating pile of metal parts.
What doesn’t surprise me is that as the population decreases and living quarters or inhabitable regions of the station become more packed that people would begin to display some psychological problems would be inevitable. Only that’s not the only thing we have to contend with here as there are some who like we saw last issue have gone apparently stark raving violently bonkers. There is something happening on this station that no one is prepared for or willing to admit is real. That alone is going to be one of the more interesting aspects of the story to see unfold.
The way that this issue is structured is extremely well done. I love that the characterisation is so strong and that we, alongside everyone who knows her, sees her handling what has happened as poorly as can be imagined. She does put up a brave front and is trying with all her might, tell me are you a Christian child—I said ma’am I am tonight, to appear as functional as she can and there’s definitely something to be said for that kind of willpower, determination and tenacity. That we see her reactions throughout the whole book be what they are you have to admire the way she’s coping.
I love Andrea and his ability to tell a story visually. The way he can create and use the linework to show off such delicate work and make it seem as strong as a steel cable is amazing to me. His talent and skill to bring his imagination to life and make the environments seem so realistic is sensational. Then to see the simulated therapy session and how different that looks and the way the pixelation is utilised to denote it’s glitches and such is superb. Then there is the Dark Sector and how we see that and honestly it’s creepy as hell and you could do a whole horror story slasher/survival type of deal in there and we’d eat it up. The utilisation of the page layouts and how we see the angles and perspective in the panels shows off a masters eye for storytelling. The way that backgrounds are utilised really complete the way we see what is happening and experiencing with a sense of size and scope that’s almost genius.
I love that while ever one has secrets we don’t always get to see them but they are hinted at and some exposed. This is the natural flow of storytelling to get revelations and information alongside the main character as they dig deeper into what is going on around them. Ryan is bringing us a stellar example of stupendous storytelling by hitting all the right notes without us seeing them ahead of time. That there is no score to accompany the writing we don’t get any advance notice when something is about to happen and that means we get the kind of attention that is integral to this type of storytelling.
This happens to be one of the strongest books that you’ll find on stands from concept through execution this is one you need not miss!
Top Cow Productions 2018
Written by Ryan Cady
Illustrated by Andrea Mutti
Coloured by K. Michael Russell
Lettered by Troy Peteri of a Larger World
Unrest on the Orpheus, an entity from beyond reality itself, and a therapy session gone horribly awry—Security Director Deva Karrell’s investigation turns up few clues but many fresh horrors.
Last issue impressed the heck out of me so I was worried that this might have that so-called sophomoric slump. I needn’t have worried however since Ryan is an extremely capable writer and this one not only picks up after recent events, not directly but that’s okay, and expands the story in some new and surprising ways. I am actually continually impressed with what we see here and the fact that what is left of the human civilisation has set up shop in this station that functions more like a world than a floating pile of metal parts.
What doesn’t surprise me is that as the population decreases and living quarters or inhabitable regions of the station become more packed that people would begin to display some psychological problems would be inevitable. Only that’s not the only thing we have to contend with here as there are some who like we saw last issue have gone apparently stark raving violently bonkers. There is something happening on this station that no one is prepared for or willing to admit is real. That alone is going to be one of the more interesting aspects of the story to see unfold.
The way that this issue is structured is extremely well done. I love that the characterisation is so strong and that we, alongside everyone who knows her, sees her handling what has happened as poorly as can be imagined. She does put up a brave front and is trying with all her might, tell me are you a Christian child—I said ma’am I am tonight, to appear as functional as she can and there’s definitely something to be said for that kind of willpower, determination and tenacity. That we see her reactions throughout the whole book be what they are you have to admire the way she’s coping.
I love Andrea and his ability to tell a story visually. The way he can create and use the linework to show off such delicate work and make it seem as strong as a steel cable is amazing to me. His talent and skill to bring his imagination to life and make the environments seem so realistic is sensational. Then to see the simulated therapy session and how different that looks and the way the pixelation is utilised to denote it’s glitches and such is superb. Then there is the Dark Sector and how we see that and honestly it’s creepy as hell and you could do a whole horror story slasher/survival type of deal in there and we’d eat it up. The utilisation of the page layouts and how we see the angles and perspective in the panels shows off a masters eye for storytelling. The way that backgrounds are utilised really complete the way we see what is happening and experiencing with a sense of size and scope that’s almost genius.
I love that while ever one has secrets we don’t always get to see them but they are hinted at and some exposed. This is the natural flow of storytelling to get revelations and information alongside the main character as they dig deeper into what is going on around them. Ryan is bringing us a stellar example of stupendous storytelling by hitting all the right notes without us seeing them ahead of time. That there is no score to accompany the writing we don’t get any advance notice when something is about to happen and that means we get the kind of attention that is integral to this type of storytelling.
This happens to be one of the strongest books that you’ll find on stands from concept through execution this is one you need not miss!
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