In the first issue, readers were introduced to policemen Cain Duluth who lost his wife and daughter during an explosion that decimated 90% of the Australian population. With his partner Akimi, they investigate a murder where the clues point to Drexler Nanotech HQ. In the second issue, Carnouche reveals more back story, as well as additional characters that are powerful and influential, but have been in the shadows in issue one. This second issue provides transition and quite a bit of action to ramp up the strain between the various groups that represent the law, business, and religion. Like in the first issue, themes and tension between tradition and modernism continue in this issue.
The aboriginal plight is not a narrative often read in comic books, much less films (Walkabout or Ground Zero are exceptions.) or television shows that give “screen time" to the aborigines. Providing a familiar mise-en-scene, such as the near-future, science-oriented world with a detective as a main character, such as in Blade Runner, gives readers the opportunity to become invested with Cain and his hero’s journey. Carnouche’s exploration of tradition and modernism is a fascinating one and, in this issue, he moves that dynamic from Cain and Akimi to a situation where Cain suddenly finds himself associated with the modern. It is an intriguing shift that will hopefully develop further in the next issue. Erica Schultz’s editing expertise resulted in a balanced delivery of narrative and visuals, without either overshadowing the other.
Artist Crizam Zamora and colorist Salvatore Aiala have returned, as well as letterer Cardinal Rae. Zamora’s illustrations were consistent with the first issue; however, with the additional action scenes, it was nice to see a large, two-page spread to showcase a fight sequence which delivered a quick pace. The two-page flashback layout was particularly well choreographed across the pages. Aiala’s color palette continued the earthy (tradition) and blues (modern) theme well. The use of orange and red could be interpreted as denoting danger relating to Cain’s internal struggle, and Rae’s lettering was balanced and concise. Hence, it blended in and did not call attention to itself.
If there is one downside to the series, it is the wait time. One has to have patience when it comes to independent titles that depend on either crowdfunding and/or personal financing. While future/detective stories are done often, Carnouche and his creative team deliver an engaging story in The Resurrected. His exploration via an aboriginal lens is ripe with socio-political issues, and Carnouche can draw upon and explore many themes, especially when paired with the moral cost of technology. It will be interesting to see what happens in the next issue.
Creative Team: Christian Carnouche (writer/creator); Crizam Zamora (artist); Salvatore Aiala (colorist); Cardinal Rae (letterer); Erica Schultz (editor); Crizam Zamore and Anna-Maria Chernigovshaya (cover artists)
Publisher: Carnouche Production
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