In the future, young people are developing superpowers. These people, known as Variants, are being outlawed and taken in by a brutal police force. This bleak future on the verge of imploding is the world “Heart Attack” begins to explore in its first issue. Spoiler Free Review
Written by Shawn KittelsenCover by Dan Mora
Illustrated by Eric Zawadzki
Colored by Michael Garland
Lettered by Pat BrosseauWhen street artist Nona Shaker is detained by the Variant Crimes Unit (VCU)under charges for illegal graffiti, she is just the latest in a growing list of these super powered people that are going missing. With her arrest, she quickly becomes a public face for these increasingly oppressed people.
A group known as the Freebodies, led by a man named Sefton Smith are the ones leading the charge for equal Variant rights and while he has poised himself a pseudo-celebrity and entrepreneur, his heart seems to be in the right place, using this organization to do the right thing; even if he is a bit smarmy.
Stories like this will always be popular, especially within the trappings of fantasy and science fiction. It is common knowledge that hard to swallow truths have always found themselves being expressed through these genres as a way of getting these ideas and stories to the masses in a medium that all kinds of people can stumble upon. With the political climate the way is here in the U.S., and around the world, stories of equal rights and oppression are as prevalent and relevant as ever. They will always be welcome by me and others, but they have an uphill struggle to be well told, original, and interesting. All while being enjoyable and allowing for the underlying theme to come through in a way that isn’t white noise to those who already agree and preachy to those whose mind may need subtle changing.
While I can appreciate the story Kittelsen and Zawadzki are looking to tell, it is incredibly derivative right out of the gate. It pulls from countless other superhero and sci-fi stories, but doesn’t do anything new with any of it. It also doesn’t help that not one of the characters is likable, relatable, or memorable. It could be argued that new generations are in need of these types of narratives and while that is absolutely true, you better be able to bring something new to the table because long time readers are still part of the audience.
If it seems like I am being harsh towards this first issue, I can say that this is not a bad comic, it’s just that I can see the potential for it to be so much more than it is right now. Especially finding a home at a publisher like Image Comics, it feels like it should be able to push some boundaries, because it can and should. While there is a chance it could grow in coming issues, right now there is nothing leading me believe it will outgrow its current restraints.
Kittelsen’s (Mortal Kombat X) script is nicely paced and for each page having no less than five or six panels, each filled with dialogue or exposition, that is an achievement in its own right. It moves, and I wouldn’t say its boring, but there is just nothing new here. it is far too similar to many stories of persecuted minorities, especially the super powered kind, that exist in myriad comics, most notably countless “X-Men” issues. At best, this series could serve as a gateway to better stories that already exist.
Anyone that has ever felt disenfranchised will relate to this and that’s really all this has going for it. There is no subtext at all. Replace the Variants with people of color, homosexuals, transgendered people, etc, and it is abundantly clear what the point of this is. Its lack of subtlety and inability to stand apart from its inspirations are the two biggest dings against this premiere issue. I respect Kittelsen’s intentions with this book immensely, let’s hope it continues to grow.
The art by Eric Zawadzki (The Dregs) is on the softer side. His characters are cartoonish characatures of real people set within a dark, right-wing future U.S. It’s an odd juxtaposition of styles that feels a little bi-polar in what it is ultimately conveying. A similar look has been done in other dystopian books like IDW’s version of “Judge Dredd,” but while the dark humor of a series like that can fit with an animated look, it doesn’t quite work here. That said, I do like his work throughout the entire issue, it just looks like it belongs in a different comic. The same goes for Michael Garland’s (Moon Knight) color work. It’s bright, bubblegum sci-fi, and while his palettes are gorgeous it’s too much of a fun look for a dark book. He is an excellent inker and colorist and his talent is on display. He is the standout of this book.
If Shawn Kittelsen had more work under his belt this would probably be a more realized vision. His lack of experience is evident and with time we could expect some great work from him. The art team is incredibly talented, but the imbalance of both depressing dystopia and pop-punk aesthetic just doesn’t gel. Without the levity of cynical humor in something like “Tank Girl” this falls flat straight through. Not the worst thing on shelves, but easily forgettable and that is a creative sin that is hard to overlook.
Final Verdict: 5.0 – – The intentions and ideas are bigger than the final issue in “Heart Attack” #1.
