Even if it wasn't apparent from the art and the credits, one would easily be able to tell this comic book had a movie-star connection. This entire comic book reads like a movie pitch, and a rather familiar one at that. While Rosario Dawson has stated in an interview that OCT is not meant to be in Men in Black vein, it undeniably follows the same formula. There are really only two differences: instead of aliens, the secret police force is dealing with the supernatural, and the farcical tone of the MiB movie isn't to be found here. The main character is incredibly derivative, and the photorealistic art, though engaging in its level of detail, is rather stiff. This would make a fun (though predictable) movie, but the execution here doesn't really feel like it was truly meant to be comic book.
Sophia Ortiz is a young cop with a lot to prove. Her dad is something of a local legend among cops in Manhattan, so she's learned not to take guff from anyone, even some weirdos who show up, usurp her crime scene and arrange for her suspension. Her reinstatement comes none too soon, but she discovers she's being transferred to a new unit, one her father served in for years. But it's not the larceny squad she thought her dad worked with. No, instead, it's the Occult Crimes Taskforce. It turns Manhattan is a supernatural nexus, and there are plenty of ghosts, ghouls and goblins to keep in line.
Shasteen's artwork is certainly impressive, conveying the sort of detail one sees from such artists as John (Astonishing X-Men) Cassaday, Greg (Ultimate Fantastic Four) Land and painter Alex (Justice) Ross. Shasteen is too successful in achieving a realistic look, though, as the characters in most panels appear to be stiff and overly posed. I do like much of the design work, such as the OCT badge and the "Ceteri" ally we meet at the end of the issue. Where the art is strongest is in terms of color. The entire book is bathed in dark, muted, unnatural tones that go a long way to establish a real sense of tension that the script fails to capture.
The premise here is a simple one, and while it's far from novel, it's entertaining despite its familiarity. It's clear from the script itself and the supplementary material provided at the back of the book that the writers have given a great deal of thought to the core premise, building an entire history and mythology around it. It makes for a solid foundation.
What needs to be built up on that foundation, more than plot, is character, and it's in that respect that the book is lacking. Sophia is a stereotypical cop character -- chip on her shoulder, legacy she wants to uphold and an attitude that overrides her intellect. Aside from the familial connection, the writers didn't sell me on what would make Ortiz a good choice for this unusual new assignment. Furthermore, we get to know no other characters save Sophia's new boss, and his main purpose is as a walking, talking source of exposition. 5/10
