Parker plays fast and loose with the logic for the conclusion. Not for the flashbacks–which is careful not to overlap the previous Gorilla-Man origin–but for the modern stuff. It ends on a strange note, showing Ken to maybe be Parker’s strongest Agent of Atlas. He’s able to make profound statements and tell crude jokes and have it work.

The looseness is to get the story done quickly. The pacing is good, but Parker could have used another issue. The flashback material is compelling and begs for more attention. Some questions frustratingly go unanswered–even in the modern part, a side effect of the loose logic.

There’s a lot of brief action too. Caracuzzo has a great scene with Ken knocking people around with a giant log.

I can’t believe I forgot–it opens with Ken talking to a gorilla. For some reason, it’s a beautiful, quiet scene.

Parker does a fine job.

There’s a little bit of action (in the modern story) at the open of the issue, then it’s a trip down memory lane.

Parker makes the connection between Ken, his past and his current mission rather quickly; I’m glad he didn’t try to keep it for a surprise. He’s able to cover a lot of history here—even though the origin of Gorilla-Man (as a gorilla man) probably won’t be part of it. It’s interesting to see how Parker deals with Ken’s timeline. It seems like if Parker had more issues, he might have just told the story without the frames. It’s solid stuff, the flashback to the thirties and forties.

The issue ends on a soft cliffhanger but it’s a good one.

The Caracuzzo continues to work (it might be better this issue). Though, since it’s Tom Fowler style, why not just get Tom Fowler on the book?

Parker sets the series (presumably, at least the first issue implies) in modernity. It’s in between Atlas titles, with Ken on an Atlas mission to Africa to stop some bad guy. That part of the story isn’t the most interesting, of course. The most interesting is the flashbacks to Ken’s childhood Parker peppers the issue with. It gives a look at his early history—and some part of it will likely tie in to the modern story because it’s a comic book limited series, after all.

The drawing factor isn’t the plot, but the charm Parker brings. Ken’s not an absurd character— Parker plays the idea of a Gorilla-Man against the content. Even if the opening is some fantastical art thief with a bunch of beautiful henchwomen (Ken recruits a few for Atlas, of course).

Caracuzzo’s art is decent and a fine match.

It’s off to a good start.