Though it boasts a political catalyst, this is a personal story, allowing the reader to get to know a person who is unknowable. We know that behind the headlines and the on-the-spot speculation of CNN, there are those who do unpleasant things on our behalf, who protect us from dangerous people by being even more dangerous than they are. Ellis tells the story of one such person with a script that boasts sharp, genuine dialogue. Red is a simple story that makes room for down-to-earth humanity and over-the-top action and skill that would make Matrix characters jealous.
When CIA agents don't die or get promoted, they retire, and that's true of Paul Moses. He lives alone, enjoying a quiet retirement and the frequent check-ins with his agency case handler. He gives her a call and reports that all is "green," that everything is fine with the inactive agent. But unbeknownst to Moses, the arrival and indoctrination of a new agency director threatens the peace that he has earned after a dark but important career.
Cully Hamner is a wonderfully talented artist who has gone unnoticed by far too many comics readers. His work on DC's Green Lantern: Mosaic and Malibu's Firearm a decade or so ago made it clear right away that he had a unique, dark style that really stood out when compared to the standard super-hero visuals that dominate the industry. Unfortunately, regular assignments since that time seemed to have eluded him, so I'm thrilled to see him handling a Warren Ellis storyline. It should provide the high profile he so deserves.
One can see a Brian Stelfreeze influence in Hamner's work here, but that makes sense, given that the pair are studio-mates. His thick-lined style is sharply detailed, and there's an angular quality to it that makes the characters -- especially the central figure in the story -- seem far more dynamic. At its heart, this is an emotional story about a good man tortured by his past, and Hamner conveys those emotions clearly. There's a kindness in Paul Moses's face when he speaks with his case handler, and a look of horror when he's left alone with the trauma of what he is and what he's done. The colors add to the dramatic mood. Self plays with primary colors -- red, blue and green -- to achieve a surprisingly tense atmosphere.
The most interesting aspect of this opening chapter is Ellis's commentary on the notion of small minds stepping into worlds that are far too big for them. The catalyst for this story is a political appointee and his inability to see the big picture when it comes to the business of espionage. The image of George W. Bush is not only conjured in the reader's mind, but makes a brief appearance, and the spotlight on ineffectual leadership and thinking is clear.
