A recording from millennia ago has far-reaching consequences for Tim-21 and justifies the machines’ destructive mission. The end feels closer than ever before on “Descender.” As per usual, our review will contain spoilers.
Written by Jeff Lemire
Illustrated by Dustin Nguyen
Lettered by Steve Wands“OLD WORLDS,” Part Two The origins of the Harvesters are finally revealed as we jump back thousands of years to see the dawn of the robotkind and the the secrets of the Ancient Robot and how it connects to Tim-21 in the present. Secrets that have been building since issue one are finally revealed in this shocking new story arc. Each issue in this arc will feature “Little Descender” variant covers by DUSTIN NGUYEN in his “Little Robot” style.
What came first: machine or man? In ‘Old Worlds’ 2 of 2, that question grows decidedly more complicated. The tale of two Ostrakonian astronauts from 4000 years ago continues as a Harvester brings them to a manufactured planet. We’re given our first direct connection to the title of the series with the introduction of “The Descenders,” or those from which all life comes. After 28 issues, it’s refreshing to receive some concrete answers that reinvigorate the series.
This two-part arc again takes time away from Tim-21 and the gang and circles millennia back in time to the conflict that started it all. ‘Old Worlds’ is a story within a story. Master Professor Osris narrates from pale orange caption boxes, an audio journal to his son that Tim-21 and crew are listening to 4000 years later. Osris is cut from the same cloth as Jin Quon and his view on machines as mankind’s servants is the fatal mistake that reverberates on until present day. Machines truly have the moral high ground now. It’s a compelling arc that serves to reframe the conflict and renew “Descender” with greater purpose and thematic resonance as it heads toward a climax.
Nguyen’s watercolor illustrations have always made “Descender” stand out amongst the other sci-fi fare. It’s delicate and gauzy, lending a sense of fragility to the universe in each panel. Though watercolors are the perfect fit for scenes of nature and everything organic, “Descender” is mostly composed of artificial spaces, vast indoor areas, metal machines, and other inorganic materials. Somehow, Nguyen makes it work with every issue. The black void of space bleeds out into violet-blues and pinks. The purpled shadow of a giant sentinel unleashes white-hot energy beams. The watercolor sci-fi aesthetic is so thoroughly baked into the comic’s DNA by now but Nguyen still manages to impress with new character designs and stunning vistas.
Osris and Kelik’s first voyage onto the machine world is depicted with more water than color. A minimalist dash of pink and blue gives the faintest of color to the celestial machine city, a place that feels coldly sterile and pure. Everything is in its proper place for complete optimization and efficiency. The same can be said of the Descenders, a circulatory system tangle of tubes enclosed in a quasi-human shaped translucent skin. In these design choices, the art reinforces Lemire’s primary themes. It’s the order of machines contrasted with the chaos of people. It’s the purity of the machine planet versus the dirtiness of Ostrakon. And ultimately, it’s the clarity of ideas, humility, and purpose against the hubris and purposelessness of humanity.
One full-page spread revealing Osris’s first creation carries a heavy thematic load, perhaps encapsulating what “Descender” is truly about. Osris is cloaked in darkness, an empty shadow like the black vacuum of space. He looks upon his stunning humanoid creation, gleaming blue-white, innocent in its nascent state. Here we have the reckless nature of human invention, and the apocalyptic consequences of that insatiable curiosity are soon to follow. This scene is also reflective of Jin Quon’s creation of Tim-21, a repeat of history and the doom that follows when you fail to learn from it.
Since “Descender” feels like its rapidly approaching a natural end point, it seems like the right time to discuss its future. In January, Jeff Lemire stated “Descender” is indeed coming to the end of his originally planned run on this site.. Instead of ending it, however, the series will shift in a new direction. And whether this new direction will result in a new title — much like how Lemire has expanded the “Black Hammer” universe into multiple series — remains to be seen. One also has to wonder whether this decision is connected with Sony’s development of a “Descender” movie. Expect further announcements on the series in the near future.
Final Verdict: 8.0 – Answers to long-running mysteries inject “Descender” with new energy and higher stakes. Nguyen’s watercolor sci-fi art remains a highlight while smartly tying in with the series’ greater themes.
