The second issue of this series brings with it a little more focus and stronger characterization, and now I find I'm really getting into this Big Brother-esque cautionary tale. I have to be honest, though... what really drew me into this issue was the expanded role of Deirdre's gung-ho journalism in the story. As a reporter, I can relate to her thirst for a juicy, world-changing story. The political and corporate allegories here are far from subtle, but they're on point, especially in these days of governments acting as subsidaries of big business. Watkiss's art is quite strong as well, its dark leanings and slender characters really capturing a sort of Blade Runner-esque look.
Deirdre Myers's editor is getting more than a little skittish over her barrage of articles bashing Ethicorp, and he wants to know who her mysterious source is that's leading her to evidence of Ethicorp corruption. Deirdre, of course, refuses to divulge her source, just as she receive a message from someone who's bound to become another: Carter Lennox. Carter, meanwhile, wakes up covered in someone else's blood, and he tries to figure out what happened. He soon discovers that his memory may not be as reliable as he'd like it to be. Elsewhere, a teenage girl struggles to cope with headaches and horrific visions inside her head.
Watkiss's work here reminds me of the styles of such artists as Jim (Tomorrow Stories) Baikie and Shawn (Angeltown) Martinbrough, and his darker approach suits the subject matter incredibly well. I love the 1950s sensibilities in the designs for Deirdre and her colleagues. Watkiss's whole approach to the look of this book seems to be "future noir." I also appreciated the fact that the characters aren't all perfectly shaped visions. Watkiss's characters are skinny, fat and everywhere in between.
Carter's attempts to make sense of the weirdness in his life ring quite true. How he retraces his steps and tries to convince himself that everything is OK, his effort to hide his fear from his wife... it comes off as genuine, even though the circumstances are extreme. There's a natural, sort of accidental feel to the way he's putting the pieces together. Hall doesn't transform this ordinary schlub into Sherlock Holmes in order to advance the plot conveniently.
My favorite scene, though, is the opening one in the editorial office. The banter among Deirdre and her colleagues is fun and down to earth. I also appreciated how Deirdre's left-wing idealism is balanced by her editor's pragmatism. We can't help but cheer Deirdre on as she rails against the establishment, but Lou's position is understandable as well. He knows he has to reign Deirdre in so they can all keep on working. 9/10
