The Tomorrows #1
Story: Curt Pires
Art: Jason Copland
Colors: Adam Metcalfe
Lettering: Colin Bell
Bowie, Lichtenstein, Otomo, Warhol, Pires and Copland.
The Tomorrows, Curt Pires’ (POP, Mayday) new brainchild over at Dark Horse and its first issue drawn by Jason Copland (POP), wears its influences on its sleeve. It’s a good thing, too, because those influences are carefully chosen, honed and repurposed things that make this comic both interesting and, refreshing despite its occasional forays into bluntness.
Equal parts Pop culture reference, Warholian influenced art and, Akira-like action scenes The Tomorrows is a high fueled, smart look at a world without art under the rule of a Thin White Duke-esque megalomaniac.
There’s corporate greed, impartial robot-men and, a brave group of heroes called The Tomorrows who choose to fight on behalf of freedom and expression.
It’s hardly a new idea, a team of miscreants and degenerates who are, together, more than the sum of their parts taking on a largely impartial and unimaginative world that doesn’t realize the control it’s under. But, with Pires smart direction and scripting and Copland’s refreshing take on surrealism and dystopia, it’s something more than just a revolution story.
Pires, a smart, quick witted and wonderfully philosophical writer who has penned my favorite books in recent memory, is slightly blunter here than he usually is but, still inspires a sense of surreal awe and purpose. He leans smartly into his influences, alludes to them and repurposes them in ways that few other writers do this authentically and, hints at more to come.
Sure, the immediacy with which Zoey (our main character so far) takes up a heroine role is kind of rushed but, amidst lines like “I’m death in a denim jacket” and “she’s a postmodern death machine in a bee outfit now” the script’s heavy handed reminders of the importance of freedom and heroism is easily forgivable when the dialogue and direction elsewhere pays off so well.
Copland, who is only drawing issue one, and the other artists on this issue show a careful understanding of when to reference and when to innovate, too. It’s a rich, brightly colored and explosive issue that knows when to give you room to breathe and, when to burst through a window at high speed. There’s cool, isometric-like looks at secret bases and, personal and close moments of interaction. It’s an incredible book to look at, one that looks like little else in comics today.
The Tomorrows is retro, smart, brightly colored and unrepentantly fun look at a dystopia unlike any other in comics right now. There’s some stuff that you’ve seen or heard before but, the stuff that’s new is so wonderfully inspired and smart that you can look past the bluntness with ease. I have no idea where it’s going but, a book that talks about Bowie, Warhol and has laser powered motorcycles can only be going somewhere good. Especially so, under the direction of creators that operate on a truly different level than most working now.
Art: Jason Copland
Colors: Adam Metcalfe
Lettering: Colin Bell
Bowie, Lichtenstein, Otomo, Warhol, Pires and Copland.
The Tomorrows, Curt Pires’ (POP, Mayday) new brainchild over at Dark Horse and its first issue drawn by Jason Copland (POP), wears its influences on its sleeve. It’s a good thing, too, because those influences are carefully chosen, honed and repurposed things that make this comic both interesting and, refreshing despite its occasional forays into bluntness.
Equal parts Pop culture reference, Warholian influenced art and, Akira-like action scenes The Tomorrows is a high fueled, smart look at a world without art under the rule of a Thin White Duke-esque megalomaniac.
There’s corporate greed, impartial robot-men and, a brave group of heroes called The Tomorrows who choose to fight on behalf of freedom and expression.
It’s hardly a new idea, a team of miscreants and degenerates who are, together, more than the sum of their parts taking on a largely impartial and unimaginative world that doesn’t realize the control it’s under. But, with Pires smart direction and scripting and Copland’s refreshing take on surrealism and dystopia, it’s something more than just a revolution story.
Pires, a smart, quick witted and wonderfully philosophical writer who has penned my favorite books in recent memory, is slightly blunter here than he usually is but, still inspires a sense of surreal awe and purpose. He leans smartly into his influences, alludes to them and repurposes them in ways that few other writers do this authentically and, hints at more to come.
Sure, the immediacy with which Zoey (our main character so far) takes up a heroine role is kind of rushed but, amidst lines like “I’m death in a denim jacket” and “she’s a postmodern death machine in a bee outfit now” the script’s heavy handed reminders of the importance of freedom and heroism is easily forgivable when the dialogue and direction elsewhere pays off so well.
Copland, who is only drawing issue one, and the other artists on this issue show a careful understanding of when to reference and when to innovate, too. It’s a rich, brightly colored and explosive issue that knows when to give you room to breathe and, when to burst through a window at high speed. There’s cool, isometric-like looks at secret bases and, personal and close moments of interaction. It’s an incredible book to look at, one that looks like little else in comics today.
The Tomorrows is retro, smart, brightly colored and unrepentantly fun look at a dystopia unlike any other in comics right now. There’s some stuff that you’ve seen or heard before but, the stuff that’s new is so wonderfully inspired and smart that you can look past the bluntness with ease. I have no idea where it’s going but, a book that talks about Bowie, Warhol and has laser powered motorcycles can only be going somewhere good. Especially so, under the direction of creators that operate on a truly different level than most working now.
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