I've gone about this a little backwards, as I've read the last few issues of Lone Wolf 2100 before I actually read the first four issues in this trade. As it turns out, that was the way to go, because while Shadows on Saplings is a solid enough read, the story is short on answers and long on atmosphere, and some of the newer stories seem to be stronger overall. Of course, one thing hasn't changed on Lone Wolf 2100, and that's Francisco Ruiz Velasco's artwork, which is simply gorgeous to look at, distinctive and detailed and perfectly suited to Kennedy's blend of samurai action and post-apocalyptic atmosphere.
Kennedy is chintzy with the details in this first story arc, relating backstory in little factoids of narration or by implication rather than giving any flashbacks or long exposition. This does give the book a strong sense of atmosphere, as the reader gets the information through snippets of book excerpts and flashes of encounters, much like they would if they were trying to put together a story from watching modern news reports or if they were trying to figure out context in the information-light post-apocalyptic world of Lone Wolf 2100. It also provides a little frustration, as the story of what happened to set Itto and Daisy on this path, and what they're actually seeking, is left maddeningly unresolved.
However, it is fairly easy to work out the rough shape of the story from what we are told, especially when it's clear that we're listening to unreliable narrators. Kennedy's ability to write characters who are clearly lying, and to reveal the truth through the lies that are being told, is impressive. In particular, the reality that Daisy holds not a deadly new virus but the cure for the "War Spore" that was unleashed on the world is quite clear, and thus the true interests of both the Coalition and Cygnat Owari are called into question. The only thing that we can tell for sure is that Itto's devotion to Daisy is true, and despite his taciturn demeanor, it's clear that he's the Clint Eastwood meets Chow Yun-Fat good guy of the piece.
Lone Wolf 2100 is inspired by Lone Wolf and Cub (obviously), but other influences are clear as well, from the spaghetti westerns of Sergio Leone (themselves influenced by Japanese cinema) to the Road Warrior trilogy, and blending these different traditions is a tough thing to do for a writer. It's even tougher for an artist, but fortunately Francisco Ruiz Velasco is more than up to it. Velasco's Battlegods for Dark Horse was a shot of pure imagination and adrenaline, and he brings that same imagination and beautiful style to his work on Lone Wolf 2100. There's a definite manga influence to his work, and he has a notable resemblance to Kia Asamiya, but his style is more controlled than most manga, with a European edge as well, blending the sometimes cartoony and exaggerated elements of the script with tight controlled facial expressions and highly detailed technology. That's not to mention the coloring, which is no kidding the best in the industry, a combination of talent from Velasco and friends at Studio F, bringing the dark world of Lone Wolf 2100 to life with the right mood and eye-popping color at the same time.
Shadows on Saplings is a book that's beautiful to look at and very engaging, a promising debut for a series that has proven to be more interesting as it goes along. It's a little short on answers and background, focusing more on mood and some kickass action, but it's definitely enjoyable, and those who write this off as a money grab on Dark Horse's part thanks to the success of Lone Wolf and Cub are both missing the point and missing a potentially great action-adventure read.
