Ocean boasts all of the promise of a Warren Ellis limited series. A cool premise, badass characters, intelligent speculative fiction and, of course, stunningly beautiful artwork. What this initial issue seems to be lacking, though, is a clear plot. This is all about setup. Ellis is starting things off surprisingly slowly, given his usual proclivity for in-your-face storytelling. This is entertaining, but I can't wait to get to the real meat of the story. I love the notion here of two kinds of exploration merged into one. Ellis takes us into outer space to explore the inner space -- the ocean -- of another planet, science fiction and submarine adventure all rolled up into one.
Nathan Kane is the best weapons inspector the world has ever seen, but he's just received word that he's needed somewhere other than the world. He's summoned to Jupiter, where an exploratory survey team has made an amazing and gruesome discovery beneath the surface of Europa, an ocean moon orbiting the solar system's largest planet. The trip to Europa proves to be an eventful one, as Kane is targeted by an unknown faction, which has grisly and painful goals in mind when it comes to the UN inspector.
I first became familiar with Chris Sprouse's work on Legionnaires. His style seemed to suit the teenage title characters quite well; there was a cuteness to his depiction of those characters that was appealing. Later, on such titles as Starman and Tom Strong, it became clear he was capable for a more mature tone in his art, and that shines through here as well. The computer coloring brings some real credibility to the spacescapes here, and I like Sprouse's cityscape and tech designs, which combine real-world and futuristic feels. My one qualm with the art at this point is the design for the main character. Nathan Kane could be StormWatch's Weatherman, or The Ultimates's Nick Fury or Samuel L. Jackson's take on Shaft. The bald, badass African American has become such a familiar fallback design in recent years that I'm beginning to tire of it. Why not an Asian? An East Indian? Inuit?
If there's one thing Warren Ellis does better than anything else, it's incorporating real science, over-the-top theory and a sense of wonder into his science fiction. He uses terms that bring the impossible and amazing tech of his fictional setting down to earth. We don't see a flying saucer heading to an orbital station, but a "ferry." There's a natural plausibility and impressive intelligence to be found in his script.
Little happens in this issue, and it's clear that Ellis setting the scene. He doesn't tell us much about the story's hero either, just that he's a tough guy who can keep the ladies happy (he's one bad mother -- shut your mouth! -- he is Shaft). Instead, Ellis sets up where we are, the context and the main setting. It's sharp and engaging, but I'm surprised the plot hasn't gotten underway yet. 8/10
