After four underwhelming issues, it began to look like this series was losing its mojo. One sympathises with the book’s creators. It can’t be easy juggling multiple projects, long delays between instalments and the departure of the primary artist. Such challenges are bound to have an effect on the storytelling and thus adversely influence the reader’s experience of the book. That being said, “Copperhead” #15 and 16 were better than the two preceding chapters.
Written by Jay FaerberCover by Scott Godlewski
Illustrated by Drew Moss
Colored by Ron Riley
Lettered by Thomas MauerThe search for Sheriff Clara Bronson begins and as the secrets of Clara Bronson’s past are revealed, the new Copperhead sheriff tries to find his footing.
From the very first page of “Copperhead” #15, it’s apparent that there has been a great deal of improvement in the artwork. While nowhere near as good as Scott Godlweski’s output, Drew Moss has gotten better at drawing faces. Most of the cast, particularly Clara, are rendered in familiar ways. He has captured Clara’s no-nonsense sneer and more frequently uses close ups, often in single panels, to reveal emotion.
The way he illustrates fight scenes is more consistent with the template established by Godlewski. The use of motion lines is very effective, even in the driving scenes. Additionally, sound effects are used to enhance the suspense of visceral brawls. For instance, a sequence in which Clara and Annabeth race towards a sword ends with a single panel that uses the word ‘Slice”, negative space, and blood stains to tease the outcome of this tense moment.
There are, however, some artistic choices that simply don’t work. While Moss excels at drawing the desserts of Jasper, his take on the town is too urban and not consistent with the American frontier type setting seen in the initial issues. Additionally, the proportions of some of the characters are all over the place. Boo is a towering figure but he’s been drawn much smaller since he became mayor. Mrs. Sewell looks unrecognisable from her previous incarnation.
When it comes to the writing, “Copperhead” #15 is certainly weaker than #16. The former was primarily a set up chapter as it lays out the conflict between Clara and Clay. A subplot with Boo and Ford sees the pair team up in order to find sheriff Bronson. Eventually, Ford is made interim sheriff while Thaddeus, Clara’s one time date, last seen several issues ago, serves as his deputy. Ford proves himself to be a worthy sheriff when he uses DNA found at the crime scene to determine that Clara was taken by two assailants. His most memorable moment was saved to the very end when he delivered the bomb shell revelation that Clara is not Zeke’s mother.
“Copperhead” #16 felt tonally consistent with the book’s initial story arcs. One suspects that Jay Faerber felt free of all the set up and exposition that bogged down the last few chapters. This chapter wastes no time in showing Clara’s defiance towards her captors. Clay, determined to get his son back, leaves Annabeth to guard Clara while he’s away. In his absence, Clara uses this opportunity to finally provide some much needed backstory on Zeke’s true parentage. This is probably the longest flashback sequence we’ve seen in the “Copperhead” series so far. Whenever this device is used, we only get brief glimpses of a character’s past but this time, we learn that Zeke is actually Clara’s twin sister’s son.
While the flashback provided a nice change of setting as well as an interesting contrast with how Clara was in her younger years, it had a few shortcomings. The exposition, while vital to our understanding of motivation, relied a great deal on the characters’ telling rather than showing. Clara and her sister, Fiona, talk but their conversation does not feel organic. They reveal vital plot points that read as if they were put there simply for the reader’s benefit. This flaw in execution hinders the narrative slightly.
A subplot that involves Thaddeus using an unruly student’s family member as an informant was, frankly, contrived and a little silly. The most shocking moment, however, came with the sudden death of a beloved cast member. This leads to a tense confrontation between Ishmael and Clay that will be resolved in the next instalment. On the plus side, artist Drew Moss showed even more improvement on this issue. Colorist Ron Riley did an excellent job of bringing the pencils to life. His use of red to show Clara’s bloodstained face was good and his night times blues were well superb.
