Pope tries so much different stuff with this issue–he's got one scene in here where he seems to be homaging Charles Schulz. Everything he tries is successful; some of it is more wildly successful than the rest, but it all works.
He has his cast set. He has lovers, John and Daisy; he's serious about them, she's not. He has potential lovers, Kim and Eloy–she won't compromise and he needs to decide whether or not he's going to compromise his artwork. Very little thing but Pope makes it hugely consequential, even as he skims over the future society details.
Then there's Strel, who gets a bunch of pages again since her husband is back. The backstory is both confusing and not–Pope has a great way of getting in the exposition.
He's also doing things with narration–flipping flopping who gets first and third–and ambitious panel pacing for scenes.
It's brilliant stuff.
A
CREDITS
Writer and artist, Paul Pope; colorist, Lee Loughridge; letterer, John Workman; editors, Mariah Huehner and Shelly Bond; publisher, Vertigo.
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