Evolution 1 (November 2017)

Evolution #1

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.

CREDITS

Writers, James Asmus, Joseph Keatinge, Christopher Sebela, and Joshua Williamson; artist, Joe Infurnari; colorist, Jordan Boyd; letterer, Pat Brosseau; editors, Arielle Basich and Jon Moisan; publisher, Image Comics.

The Bunker 4 (6 November 2013)

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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.

The future stuff is vaguely interesting, but it’s all exposition. Fialkov hasn’t actually moved the story ahead–in its present action–from the previous issue. Maybe previous two. They’re all tied together, which would be awesome if he sold it to television, but in print he’s just dragging things out.

He’s also weak in his character relationships. None of these people are believable as friends. He doesn’t write them with any history.

It’s still an okay read, with nice art, but it’s crumbling only four issues in.

CREDITS

Growth; writer, Joshua Hale Fialkov; artist, Joe Infurnari; publisher, Hoarse and Buggy Productions.

The Bunker 3 (2 October 2013)

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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.

Sadly, the future stuff is the only interesting thing. Once Fialkov got the ball rolling on the series, the characters and their petty post-college interactions get boring. It’s not funny anymore, especially with Fialkov structuring each issue as a letter to a character from his or her future self.

It’s not a bad issue, but Fialkov isn’t trying to sell the concept anymore. It’s way too soon to stop selling.

CREDITS

We Did the Right Thing.; writer, Joshua Hale Fialkov; artist, Joe Infurnari; publisher, Hoarse and Buggy Productions.

The Bunker 2 (4 September 2013)

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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.

He even takes it further, bringing the three time periods (the letter, written in the future, talking about the past, being read in the present) all together for a huge emotional finale. What’s strange is how well he writes the two female characters, but not so much with the guys. They’re effective–those intense violent outbursts–but they don’t have any depth.

The protagonist of this issue, even with her future self narrating, manages to surprise with depth, but so does the other girl in the cast.

Infurnari continues to be well-suited for the art. It’s all quiet, no flash.

CREDITS

No One Knows But Me…; writer, Joshua Hale Fialkov; artist, Joe Infurnari; publisher, Hoarse and Buggy Productions.

The Bunker 1 (4 August 2013)

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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).

Joshua Hale Fialkov tends to overwrite the issue. He uses a letter (from the future) along side the cast finding said letter–and the titular bunker–throughout the issue. There’s a big revelation at the end, which is fine, but the letter does get tedious. It also means there’s no way to know where Fialkov’s going; presumably each issue won’t have a letter. Hopefully, anyway.

The dialogue’s quite good and Fialkov and Infurnari establish the characters well. There are some pop culture references I really didn’t get (“Lost” maybe), but they pass easily.

This first issue seems self-contained. It’ll be interesting to see what comes next.

CREDITS

Time Capsule; writer, Joshua Hale Fialkov; artist, Joe Infurnari; publisher, Hoarse and Buggy Productions.

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