I find I don't pay that much attention to Previews these days, at least not to the the larger publishers' sections. Oh, I have a good idea of what's coming down the line and who's doing it, but aside from that, I prefer to be a bit surprised. So, suffice it to say that I knew absolutely nothing about Enginehead other than the names and reputations of the writer and artist. From the cover, this looked like a cross between cyberpunk and super-heroes, and to be honest, my interest was rather low. Instead, I found something truly odd and unique, set in DC's super-hero continuity but boasting an edge and attitude more consistent with Wildstorm's Authority. This first issue is a bit low on plot, but there's enough going on so as to pique my curiosity about what's in store.
Ford Corrado doesn't much care for his life. Those around him use him for his abilities, the same abilities that made him a low-level super-thug named Jackhammer, a member of the third-rate villain team known as the Toolbox. No, his life has not turned out as he imagined, and he takes steps to change that. Unbeknownst to him, though, there are those with similar abilities and pasts who have even bigger changes in mind for Jackhammer, changes that will enable him to make a difference.
Anyone who's familiar with McKeever's past efforts won't be surprised to find distorted figures and sharp edges coming together to tell a story. The thing is that it works incredibly well. His work here reminds me of the style of Bill (Stray Toasters) Sienkiewicz, and to a lesser extent, Frank (The Dark Knight Strikes Again) Miller. I absolutely love the design for the Grease Monkey. McKeever captures an ugliness in a setting that is usually dominated by bright colors, energy and hope. Chris Chuckry's colors -- muted oranges, browns and greys -- reinforce the depressed tone of the story, and by association, of the main character as well.
I'll admit it... I'm a sucker for stories that make use of obscure super-hero characters, especially ones in the DC Universe. The references will likely be lost on those who didn't read Who's Who cover-to-cover in the 1980s, but for an old fan such as myself, it's a nice bit of fun. The book's not inaccessible, mind you, though there's a vagueness that fosters an air of mystery, not confusion. Still, the book seems a little light on plot, at least when it comes to establishing exactly what the plot is.
There's a surreal tone to this book that elicits a comparison to one of Joe Kelly's previous endeavors: Steampunk. That book, created with Chris Bachalo, showed promise but it was impossible to follow. This book still offers weird characters, but the dialogue and visuals flow much more smoothly.
