Even though Copland’s art is better than last issue–he gets really dark here and has a nice panel layout for all the talking heads–Pop has sort of, well, popped. Pires spends more time with not just his supporting cast, but with background characters than he does with his protagonists. He has nothing for them to do here. Except stand around and wait for something to happen.
At one time, it seemed like Pires and Copland were going to explore the mystical with Pop. Instead, now Pires concentrates on making it all realistic and rational, scientifically explained. It’s rather boring. The art’s nice, but the story’s boring.
Worse, there are reminders of when Pires was going to do something more with his protagonists. It’s a concept without anything else to it, which is unfortunate because Copland deserves better and so do the characters Pires created in the first issue.
C
CREDITS
Shot in the Dark; writer, Curt Pires; artist, Jason Copland; colorist, Pete Toms; letterer, Ryan Ferrier; editors, Roxy Polk, Aaron Walker and Dave Marshall; publisher, Dark Horse Comics.
The Stop Button 
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