Posted on December 19, 2012 AT 08:55pm
The end of the first act of the prequel series to the upcoming R.I.P.D. title, City Of The Damned, is now here. Roy Pulsipher and his new partner Crispin are working hard to capture the lost souls of those who wish to escape justice, to varying success. The journey has lead the duo to Black Pool, a city that Roy knows pretty well, considering that this is the city in which Roy was mysteriously killed. While Roy and Crispin have their own issues to deal with, the trip takes some wild turns, leading them much deeper, and into much more trouble, than they’d have originally thought.
So far in this series, Roy and Crispin have been through quite a bit, and things have only begun to get figured out. With the exciting end of the first issue, things pick up where they left off, though things only seem to get more complex from there. While Roy is figuring out the limitations of his new position, he’s also figuring out quite a bit more on how being a policeman of the dead works. This issue makes a huge leap in plot, though it doesn’t exactly make it easy for the reader to understand what’s going on.
Writer Jeremy Barlow is working very hard to use only four issues to explain a lot of character and quite a bit of plot. Developing the major character of Roy, whose impact is vast throughout the course of not only the series, but in the upcoming film, seems like quite a task, though Barlow looks up to it. The opening of this issue is a bit murky, but does seem to settle down as the issue continues. Barlow has a firm grip on the supernatural, however, and is working that central theme into the story quite well.
Artist Tony Parker continues his great work from issue one, adapting the typical Dark Horse horror style while still making it a uniquely his own. The emphasis Parker puts on the human form is wonderful, allowing for tons of facial detail for even the most minor of characters. The rest of the detail work is not quite there, but this doesn’t really detract from the overall aesthetic of the title, though in this case, more could be a bit better. The art style itself is something that deserves comment as well, as the coloring style of the book is depicting in an almost oil paint-like style, with layers of blended shadows appearing throughout the issue. This does blur facial features from a distance, but in most cases, this style works wonderfully with the feel of the series.
Summary: With two issues down, the progression of this series is beginning to take shape. While this direction isn’t always entirely clear, it’s definitely a fun trip thus far. Roy is an interesting character that is sure to translate well into film, and the rest of the cast, while not all that developed, still do a solid job of complimenting him. Tony Parker does a great job on artwork once again, creating a rugged, painted style that is both true to the Dark Horse style and all his own at once. With two to go on this series, hopes are high that this will come to an exciting (and quick) conclusion.
- The Good: Strong Character Development, Great Art Style
- The Bad: Art Style Lacks Detail At Times
- The Ugly: Confusing Opening Sequence
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