If one were to stumble upon “Copperhead” #1, knowing nothing about the comic, one would be in for a pleasant surprise. The book is simply one of the most underrated and engaging Image titles of the last decade. The cover succeeds in piquing the interest of a potential reader. The way the main character and her alien partner are portrayed in a stark, desert planet, examining the skeletal remains of a murder victim clues us in that the story is a Space Western with Police procedural and Buddy Cop elements.
Written by Jay FaerberCover by
Illustrated by Scott Godlewski
Colored by Ron Riley
Lettered by Thomas MauerWelcome to Copperhead, a grimy mining town on the edge of a backwater planet. Single mom Clara Bronson is the new sheriff, and on her first day she’ll have to contend with a resentful deputy, a shady mining tycoon, and a family of alien hillbillies. And did we mention the massacre? Writer JAY FAERBER and the art team of SCOTT GODLEWSKI & RON RILEY bring you this gritty 24th Century Western with an extra-long first issue.
“Copperhead” #1’s first page does a fine job of introducing the reader to the story’s unusual setting and enigmatic main character. Panel one depicts a mag-lev train speeding through a harsh, desert landscape reminiscent of the old west. The alien life form in the foreground further reinforces the fact that we are not on earth. In addition, the narration blocks contain a letter our protagonist is writing to an unnamed character (implied to be the father of her sleeping son). This is an effective storytelling technique that provides structure, subtle exposition and enables the reader to relate to the heroine.
Our protagonist’s correspondence is interrupted by an annoying fellow traveler who makes advances at her. When an artificial human attempts to come to the rescue, a scuffle ensues, forcing our so far unnamed protagonist to take decisive action. Upon arrival at the train station, both men are thrown off the train by the lady. A clever subversion of the damsel in distress trope. This is our introduction to Clara Bronson: mother, badass and the new sheriff of Copperhead.
Clara and her son, Zeke, are received by Budroxifinicus (AKA Boo), the Deputy Sheriff. Boo harbors an initial dislike for Clara after being stepped over for the role of Copperhead’s new sheriff.
Upon arrival at the station, Clara is confronted with a situation that requires her immediate attention. She dons her uniform and together with Boo, they set off to defuse a domestic squabble among the town’s most dysfunctional family, the Sewells. Unfortunately, Mama Sewell gets into a fight with Clara resulting in her immediate arrest. This fight was executed in an exciting way by artist Scott Godlewski. The comic up to this moment was rendered in a conventional panel layout as the reader gets familiar with the cast. This action sequence is an excellent showcase for Godlweski’s affinity for dynamic layouts, interesting camera angles and occasional use of motion lines.
Benjamin Hickory, a corrupt businessman who employs artificial humans to protect his interests, meets Clara at the station. He attempts to ingratiate himself with her but gets hostility from the new sheriff. Later, when Clara and Zeke arrive at their new home, they share a nice scene that offers a glimpse at her maternal side — stern yet fair. As they settle in, Clara is needed at a crime scene. Before she leaves, she tells Zeke not to leave the house. Soon as Clara’s gone, Zeke makes friends with a strange girl named Annie who’s searching for her dog. Disobeying his mom’s wishes, the two venture into the badlands as nighttime approaches.
The ending to “Copperhead” #1 is very well executed. Clara and Boo return to the Sewell residence and discover that the entire family except Mama Sewell has been gruesomely murdered. The reader is left to ponder who was the perpetrator and why? Meanwhile, Zeke and Annie, all alone in the badlands, stumble upon a heavily armed and sinister-looking artificial human. This cliffhanger leaves us clamoring to find out what happens in the next issue.
The best thing about this comic is that it showcases the work of two talented creators firing on all cylinders. The premise is interesting, the characters are well-written and multi-dimensional and the artwork enhances the script without overwhelming it. Even the coloring is excellent. The oranges and yellows of the desert landscape, the green skin tones of the Sewells, the purples of the late afternoon and the cool night time blues bring life to Godlewski’s pencils. Highly recommended for readers looking for non-superhero fare.
