Evolution is an end of the world (as we know it) story. It’s happening all over the world, though with a predominately American bent. People are turning into monsters, but not mean monsters, just monstrosities. Because it turns out lots of people are evolving rather quickly and it’s happening all over and only one man can stop it.
Well, one man, a nun, and two twentysomething women who happen upon it.
Evolution has four writers and one artist. There’s back matter, which I haven’t read, and it might delineate who is writing what. I prefer not to know. I want to see how it all fits together. Is consistent art enough?
So far it seems like yes. In fact, so far, Evolution seems like a fine exercise in collaboration. It’s not an anthology. In fact, an anthology might have more similarities between stories–besides the overarching threat, the plotlines have little in common.
Other than Joe Infurnari’s horrific art. Horrific in a good way. It’d be in an even better way without Jordan Boyd’s colors (Image had a black and white sample version and the art’s much better without the distraction).
Anyway. Good stuff.
Evolution is an end of the world (as we know it) story. It’s happening all over the world, though with a predominately American bent. People are turning into monsters, but not mean monsters, just monstrosities. Because it turns out lots of people are evolving rather quickly and it’s happening all over and only one man can stop it.
This issue reads distressingly fast. Without even establishing the character he’s focusing on, Fialkov skips to the future. He might just open in the future. He definitely doesn’t establish the letter from the future angle well enough. Something about how he’s telling the story, it just doesn’t seem like a letter. Maybe because every couple pages he’s jumping a year into the future.
In this issue, Fialkov gives the first sustained look at life in the post-apocalyptic world the main cast creates. There’s not a lot, mostly because Fialkov wants to keep a big reveal (but it’s not really important so far) for the last scene. So there are bits and pieces and Infurnari does something really cool with how he transitions through time. He goes from lots of detail to a sketch, then into the new time period. It’s neat.
For the second issue, which is really mostly flashbacks structured around one of the character’s letter from her future self and talking heads scenes, Fialkov goes really dark. The flashback is darker than the present day stuff, but the present day stuff has these moments of intense, unexpected violence.
Where to start with The Bunker. First, I guess Joe Infurnari’s art. It’s a really neat mix of comedic and post-apocalyptic. Wonderful ink washes. And Infurnari really uses the “widescreen” format well (it’s a digital exclusive so he’s drawing for tablet proportions).