"The action movie on paper." It's one of those phrases that gets bandied about in comics reviews (including my own), but it really is the best way to describe Losers #1. Diggle and Jock serve up not one, not two but three caper/action sequences here, all tying together into one narrative but standing apart as three discrete acts in a first issue, and I'm pleased not only by how much fun each sequence is but by how much story these creators fit into a single issue. Too many books these days, either by design or necessity, deliver first issues that are good but that are little more than foundation. Diggle and Jock hit the ground running (and shooting, and flying) and make a promise that Losers is going to be fast-paced, smart and fun action.
While the focus here is on the action, Diggle has not forgotten to include interesting and sympathetic characters. This could easily have been a book about a bunch of generic badasses, and probably been pretty solid, but instead he's already laying the groundwork for a team of specialists, each with their own abilities and personality quirks. I'm not entirely certain which is my favorite: the exotic and dangerous Aisha, the somber and determined Clay or the cocky hot dog Jensen. Everybody gets a little bit of distinction this issue, and so what we have are six individuals who make a great team, rather than a team of faceless soldiers.
You can't entirely leave aside the personalities of the characters when talking about the action, because their dialogue and reactions are a big part of what make the sequences work, but either way, the action sequences here are terrific. Well-executed, clearly planned action that makes it clear these guys are not just brawn but brains, masters of timing and planning as well as execution. I'm reminded of a good heist movie, of things like The Italian Job and The Usual Suspects, in these operations.
Jock's artwork is more abstract than I usually like, bearing a strong resemblance to Danijel Zezelj, but for some reason it works for me here. Perhaps it's because he isn't quite so abstract that he can't do details, such as the gorgeously-designed helicopter, which gets an impressive splash page at the climax of the third act, or perhaps it's because he doesn't hide everything in a wash of color and shadow, but instead lets each character or piece of equipment pop from the background as necessary. At any rate, it's impressive artwork, with strong and unusual "camera angles" and a look that sets the book apart while also pleasantly reminding readers of noir fare like 100 Bullets.
Really, the only losers here are the folks who miss out on the chance to get in on the ground floor. I could reference recent Vertigo hits like Y: The Last Man and Fables or less recent ones like 100 Bullets and Preacher as evidence, but really this book is unlike anything else Vertigo is offering, and in fact it's something of a rarity in the medium of comics as a whole these days. Fans of action movies should also definitely check this one out, but don't check your brain at the door; this is smart action storytelling, and the potential is clear and well-realized.
