If issue one built the stage for the series, Jack Irons Issue 2 begins to fill that stage. And it does it with aplomb. This issue is a history lesson, which is to say it is expository. It informs us of important events that have transpired in the history of humanity, while depicting how those events have shaped the current world of the comic. It’s a heady issue that does a lot of heavy lifting. And you know what? It nails it.
Issues or chapters such as this can be tricky to pull off. You run the risk of boring your reader with info dumping. And a bored reader is an unhappy one. Thankfully, Jack Irons issue 2 never bores. It does, however, often delight.
How does it accomplish this task, exactly? Well, for one, the creative team throws the reader right into the thick of things. The world has been taken over by the Four Horsemen, humanity slaughtered and nearly extinguished. However, due to our unique nature, we resist and begin rebuilding. I have a few things to say about the Horsemen and humanity’s resilience.
First, writer Cody Fernandez presents the apocalyptic harbingers in a unique fashion. Not only in terms of how they look, but also their purpose. I don’t want to spoil too much so I will only say that I fucking love the Horsemen in Jack Irons issue 2.
And concerning humanity’s resilience: this is a classic trope in space science fiction. I can’t say that it is one of my favorites, maybe because it’s been overdone. Or maybe because it’s hard to think that other more advanced species wouldn’t be as resilient. Having said all that, though, I will say I didn’t mind it much here.
In Jack Irons Issue 2 Hope and Hate Have an All Out Brawl
Maybe the reason I didn’t mind how humanity’s persistence works in this comic is because there is a somewhat fresh spin to it. The resiliency of humanity fosters their hope, which is their only true weapon against the Horsemen. That is a good thought. It might be along the lines of faith in good vs faith in evil, but it’s different. Here, hope is enough. No religion needed.
It’s this battle between hate and hope that drives the story in this chapter of the comic, and that’s a strong concept. In fact, it’s a strong enough concept to keep the story kinetic in an expository story. Of course it helps that the layouts, art design, line work, coloring, and inking are excellent. Take this page, for example:
This is How to Write Visually for the Reader
This is high quality storytelling, and a stupendous example of an easy to read page. The top tier shows a single image: Cody’s, Jack’s drinking establishment. The panel itself is square and clean. However, the art within the panel is sloping and uneven. The slope of the hill on the reader’s left side pushed the eye from the upper left caption box to the lower right. Words and pictures working together to provide a sense of movement and momentum, even when there isn’t any.
The second tier uses this trick as well, only it’s even more powerful. The captions and the dialog bubbles help our eyes march across the page, but allow us to linger on the man in the middle. He’s so big and larger than life he’s bursting from the two panels behind him. And the bottom panel is all warm colors as we see the White House go up in flames. Again, the caption boxes guide our eye perfectly.
Comics is a vast and wild medium, and people can tell stories how they want. With that, though, comes the need to teach your readers how to read the comic. Jack Irons issue 2 does that with ease from the first page to the last.
Aside from providing a visual feast for the reader, this installment also gives us more about Jack. Not a whole lot, mind you, but we do have a better sense of who he is. I still want to know more, though, which is why I backed issue 3. And I loved this fucking issue, as well as the one before.
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