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FELON #2
Recommended (8/10)
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Image Comics
Writer: Greg Rucka
Pencils: Matthew Clark
Inks: Ray Snyder & Jay Leisten
Colors: Matt Nelson & Steve Firchow
Letters: Dreamer Designs
Editor: Renae Geerlings
Price: $2.95 US |
While my enthusiasm for this book has been dampened by the delays and the shameful mishandling by Top Cow, the end result of these two talented collaborators is still worth getting excited about. A few years back, thanks to Hollywood's interest, I became a fan of Elmore Leonard and Richard Stark, and Rucka's Felon fits right into that type of storytelling. His protagonist is not likeable, not admirable, but she's undeniably interesting, and as a look into the mindset of professional criminals, Felon is top notch.
What I really enjoy about the book is the atmosphere of barely-restrained violence. While I'm certainly OK with the over-the-top action of John Woo or John McTiernan, there's something quite different in the hint of danger that permeates the world of Felon, the same kind of feeling you get from mob films.
These people live in a world where the wrong word gets you killed, and it's a
lot different from the dangers of open combat or even high-tension criminal
situations like bank robberies. The opening sequence is an excellent example of
this kind of tension, with back-and-forth dialogue and the impending sense of
violence that finally culminates in an impressive bit of action.
Last issue, I had
considerable problems following Clark's artwork, in particular the garage scene.
There were a couple minor hiccups this issue as well, but in general the work
this issue is much stronger. I particularly appreciated the subtlety of the
opening sequence, and I love the harsh expression that seems permanently grafted
onto the lead character's face.
Even more interesting this
issue is the shift in story from the almost too-focused "I want my money" into
the next score. Rucka does an excellent job conveying the feeling of not quite
trusting your partners, but being stuck with them, and of the quality of
planning that goes into professional crimes. The way our lead character and
Garvey go back and forth about details of the carnival job, each one asking
questions and knowing the answers to a variety of esoteric details.
There's no doubt in my mind
that I would have enjoyed this more if I didn't know that the structure has been
affected by miscommunication and mishandling by the publisher, or if the books
hadn't had a long gap between one and two, but this second issue has convinced
me to stick around for the ride, while I wasn't quite as sure about the first
one.
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