The past couple of Hip Flask one-shots from Active images really blew me away, and it was in part because the nature of the property leads one to expect comedy. The creative team didn't go that route, and the readership knows that going in here. A real plot begins t take shape in Mystery City, and there's a nice blend of a lofty European sci-fi riff with a Sin City-esque noir pretension that's a lot of fun. The opening sequence is full of atmosphere, but it doesn't provide the information it's meant to, and that makes for an inaccesible story. But man, it hard to take issue with points such as that when the book looks as good as this. Those who are enjoying his covers on DC's The OMAC Project have no idea what the artist is really capable of. Those of us reading Hip Flask, though, do.
A crew of science mucketymucks toys around with a time tunnel, and disaster strikes when something comes out of it: a flying car, which is not unusual in the 23rd century city that Hiop Flask calls home. What is weird is that the car seems to be in two places at once, as Hip Flask discovers its registration signal emanates not only from the bloody wreck he's examined but from a parking lot across town. Meanwhile, in the barren heart of the Mojave Desert, the man who created Hip Flask and the other Elephantmen waits patiently for his imprisonment to come to an end.
Ladronn's imagination is somehow, impossibly matched by his eye for detail and texture that bring these surreal creatures and characters to life. European influences such as Moebius shine through in his work, but ultimately, one can see the foundation of his storytelling stems from the inspiration of the late Jack Kirby. The colors are rich and reinforce the odd and unsettling atmosphere of the story. The colors are alive and they glow, but I wouldn't call them vibrant. There's an eerie quality that adds to the tension.
The prologue is a recap of the origins of the key players in the story, but the narration delves more into the feelings and mood of those past moments rather than the nitty gritty of the details themselves. It's interesting, especially for those of us who read the earlier work, but the sequence seems designed to bring the readers, new and old alike, up to speed. It doesn't accomplish that goal. Even I was a little lost at times later in the comic as a result of that disconnect between the scenes and the narration.
The striking designs of the characters are matched only by the hugeness of their personalities, and it makes for delightful reading. I wish I knew more about their background, yes, but Starkings has insured these larger-than-life "Elephantmen" would be that way with or without the bestial frames. 7/10
