After five issues of excellent storytelling, “Copperhead” #6 is tasked with revealing additional layers to the characters as well as setting up conflicts that will be explored in the current story arc.
Written by Jay FaerberCover by Scott Godlewski
Illustrated by Scott Godlewski
Colored by Ron Riley
Lettered by Thomas MauerIt’s payday at the copper mine, which means Sheriff Clara Bronson is in for a particularly rowdy Friday night. Plus, Boo is offered an intriguing partnership.
The covers in this series are a masterclass in efficient storytelling. Artist Scott Godlweski did a fine job in prior issues by simply depicting the main characters in dangerous situations and settings, often brandishing a weapon. This is a tried and true method of piquing the reader’s interest and has worked brilliantly in the past.
This particular issue’s cover image differs significantly from prior entries. The first thing you notice is that there are no weapons and none of the principal characters are shown in a perilous scenario. Instead, Sheriff Bronson is seated at a bar nursing a drink among a group of seemingly obnoxious male patrons, a clear indication that there will be a slight tonal shift in this chapter’s storytelling. Additionally, this issue won’t be a police procedural, nor will the more action-packed elements be the focal point. Instead, this will be a character-focused installment that delves into Clara’s social life.
“Copperhead” #6 has my favorite opening sequence in the series so far. The story begins in media res as Clara and Boo engage in a high speed chase in the desert. Godlweski’s art style makes use of techniques seen frequently in past chapters. The use of foreground elements, interesting camera placement and motion lines on the background desert landscape adds a sense of visceral motion and excitement to this set piece. The outcome of this sequence is a crash that leaves Sheriff Branson’s wellbeing in doubt. The use of single panels alternating between Boo and the dust-filled wreckage helped create a sense of suspense about Clara’s fate. When she emerges from the dust with minor injuries in the last panel, this leaves a wonderful sense of relief in the reader and provides a suitable conclusion to the sequence.
After such a spectacular opening, writer Jay Faerber wisely chooses to mainly focus on the characters. The pairing of individuals with vastly different personalities is a great way of revealing backstory and motivation. For instance, after Zeke sneaks off to find Ishmael, we discover that Ishmael has been banned from the badlands as a result of the events of previous issues. Furthermore, we’re left to wonder why he chooses not to live in town. ( a mystery we can’t wait to get answers to)
Meanwhile, after increasingly hostile encounters with the Sheriff, Mr. Hickory attempts to enlist Boo in his quest to get rid of Clara. This plot point makes us wonder if Boo is capable of such disloyalty. This opportunity is made even more intriguing considering that from issue one, his desire for the position has been perfectly set up. Thus a tantalizing sense of dramatic irony is created as Clara remains oblivious to this scheme.
Additionally, two new characters are introduced when Clara goes out for a drink. Thaddeus, a local teacher, asks her out on a date while Madame Vega introduces herself as the owner of the bar. The former serves as a potential love interest for our protagonist while the latter has a seemingly sinister air about her. It will be interesting to see what her role will be in future installments. Finally, Clara arrests a troublemaker who turns out to be the brother of a notorious gang leader. The cliffhanger teases a tense showdown between Clara and his gang in “Copperhead” #7.
“Copperhead” #6 continues the cinematic approach to the artwork established in the previous story arc. The Space Western aesthetic is perfectly captured by combining futuristic gadgets and alien settings with classically designed homes and costumes. I enjoyed the change in attire given to Clara in this issue. Ever since she arrived, she’s been dressed in her black and white Sheriff’s uniform, constantly settling disputes. However, when in the bar, she’s dressed for the first time in her own clothes. The green and brown colors made her seem different, more relaxed — like a great weight had been lifted off her shoulders. This humanized her substantially. Furthermore, when she shows a romantic interest in the school teacher, it makes her more relatable and interesting since we only ever saw two sides to her before (mother and policewoman).
This character-focused issue was a delight to read and felt like the calm before the storm. The slightly slower pacing succeeded in making us care even more for the principal cast so that when things ramp up in the next issues, we’ll feel more invested in a favorable outcome for the good guys.
