Review by: Nicole D'Andria (Originally posted on June 25th, 2011)
I actually teamed up with another writer, Kevin, to have two viewpoints of this series' first issue. I've reprinted my half of the review below.
A big muscled anti-hero abounds in this issue and he’s packing some serious heat. Henry, this comic’s version of the Terminator, is by far the most entertaining part of the issue, giving us some of the greatest (and not to mention only) action-packed scenes.
The opening of the comic is great, giving some fast-paced action. Then after about a dozen pages of action, slight problems come up with the story. It becomes slow-paced, which is magnified by the fast-paced action that the issue started with. The pacing makes the story feel outrageously disjointed, but has an interesting symbolic meaning—if you squint hard enough. The bulk of the issue is focused on a lieutenant Frank. The pacing differences between panels with Frank and Henry could artistically show how different their personalities are, with Frank thinking deeply about everything and Henry pulling out the literal big guns.
I actually teamed up with another writer, Kevin, to have two viewpoints of this series' first issue. I've reprinted my half of the review below.
A big muscled anti-hero abounds in this issue and he’s packing some serious heat. Henry, this comic’s version of the Terminator, is by far the most entertaining part of the issue, giving us some of the greatest (and not to mention only) action-packed scenes.
The opening of the comic is great, giving some fast-paced action. Then after about a dozen pages of action, slight problems come up with the story. It becomes slow-paced, which is magnified by the fast-paced action that the issue started with. The pacing makes the story feel outrageously disjointed, but has an interesting symbolic meaning—if you squint hard enough. The bulk of the issue is focused on a lieutenant Frank. The pacing differences between panels with Frank and Henry could artistically show how different their personalities are, with Frank thinking deeply about everything and Henry pulling out the literal big guns.
The rest of the story is solid, despite the clichéd police force that cares only about looking good. This corruption in the force is actually written very well and would be more interesting if the comic did not start us off with the monstrous high that was Henry blowing the bad guys away. Another problem is the sound effects the comic insists on using. Seeing the words “Boom!” and “Beep” splayed out on a panel takes the seriousness out of the scene and makes the reader feel disconnected from the story.
A bigger problem with this issue is the artwork. The many close-ups on characters’ faces in this issue, while managing to convey some emotional meaning, are almost completely destroyed by the odd pencil work covering their faces, making it look like blackheads are abundant on their skin. When the art shines, it is only thanks to the colors. There is usually too much shadowing, but also great uses of lighting that remind me of a movie. The colors also stay pretty dark and dull, giving the comic an authentic comic noir feel.
A bigger problem with this issue is the artwork. The many close-ups on characters’ faces in this issue, while managing to convey some emotional meaning, are almost completely destroyed by the odd pencil work covering their faces, making it look like blackheads are abundant on their skin. When the art shines, it is only thanks to the colors. There is usually too much shadowing, but also great uses of lighting that remind me of a movie. The colors also stay pretty dark and dull, giving the comic an authentic comic noir feel.
The comic has a few rough patches, but delivers on almost every level with likable characters, a beautiful assortment of colors that almost manages to distract us from the poor artwork, and an intriguing storyline that has me coming back to read the next issue of Damaged—pick it up for that comic noir feeling or just to watch Henry work his magic with a gun. Either way it’s a win.
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