It’s almost like Wool, the comic book, is meant to inspire the reader to instead go read Wool, the novel, in order to understand the character motivations. Because Gray and Palmiotti try for intense scenes, montage sequences, all sorts of things they can’t get done because they haven’t set up the characters well.
The villain is one dimensional. Even when his big secret gets revealed, it doesn’t offer him any depth because it’s a predictable big secret. As for the protagonist, the issue removes her agency–again–and sort of soft resets with the cliffhanger (and the big reveal).
Broxton’s art helps a lot–he does post-apocalyptic really well and he can pace out the scenes visually–and Wool does configure its derivative and familiar details in a reasonable order… but the series is now half over and there’s not much going on outside sci-fi standards.
Writers, Jimmy Palmiotti and Justin Gray; artist, Jimmy Broxton; letterer, Bill Tortolini; editor, Matt Hoffman; publisher, Jet City Comics.
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