Nightwing scribe Kyle Higgins moves from one cowl to another, teaming up with Alec Siegel and Rod Reis for this new creator owned series that combines the sensibilities of “Powers” and “Watchmen” with 60’s Chicago flair.
Written by Kyle Higgins and Alec Siegel
Illustrated by Rod ReisWelcome to the “Chicago Organized Workers League” — the world’s first Super-Hero Labor Union! While C.O.W.L. once stood as a beacon of hope against an epidemic of organized crime and an unbeatable “brotherhood” of Super-Villains, the union now faces its fiercest foe yet — a disillusioned public. In targeting the last of the great villains, C.O.W.L. attempts to prove its value to the world and to each other, while staving off villainy from both outside and inside its offices.
For the first issue of a new series, “C.O.W.L.” feels impressively well developed, with a world rich in character and history. Perhaps this is due to the fact the concept has existed in the mind of writer Kyle Higgins for nearly a decade. In his letter to the reader featured in the issue’s backmatter, the creator traces the series’ beginnings all the way back to his time in film school, wherein an early prototype of the the book served as the subject of a short film. With a far more substantial background than most series have at this point in their lifespan, “C.O.W.L.” sets out to differentiate itself from the vast number of stories clamoring for your attention.
For the most part, it does that job well. Set in 1960’s Chicago, “C.O.W.L.” is the story of the cities titular unionized super hero force, and the effects such an entity has had on the city. Like “Watchmen,” the book takes a look at an alternate history in which super humans and and costumed vigilantes have drastically shifted the sociopolitical landscape. The team goes as far as to provide a map of this alternate Chicago, detailing the cities six sections and various subsectors for each. Combining this level of detail with engaging crime drama and Cold War sensibilities, “C.O.W.L.” strikes a very clear and engrossing tone.
However, the world that these artists have created is at times too wide, too soon. The issue opens with a group of superheroes in pursuit of a villain called Skylancer. We see the heroes tracking the fleeing villain, communicating his position in a coordinated effort. However, even with each character’s color-coded word balloons, it takes some time in distinguishing who is who, and even what exactly is happening over the course of the chase. Higgins and Siegel throw a large number of characters at the reader, who, at least initially, are just generic hero archetypes.
Part of this problem stems from Rod Reis’ art. By no means is that to say Reis’ art is poor or subpar. On the contrary, the artist’s vaguely ethereal style brings to mind the work of artists like Phil Noto. In many of the book’s smaller scenes, the conversations in Geoffrey Warner’s office, the on-TV news clips, the close ups on character faces — all of these are terrifically realized. However, the more action oriented scenes, especially the ones that require wide shots, can feel slightly muddled or disorienting. Those pages are still very good looking, with imaginative layouts and energetic action, just somewhat hard to follow on the first read through.
Thanfully, after the action dies down, the characters are given a bit of room to breath, and we get a glimpse of their strength and personality. The large cast offers up a number of characters that instantly grab the reader’s attention. The book’s lead, Geoffrey Warner, an ex-vigilante turned celebrity turned director of C.O.W.L., feels like a mashup of Bruce Wayne and Nick Fury. The larger than life figure commands his army of heroes with authority, although he appears to be more feared than respected. We see this through the interactions of three of the issue’s prominent figures; Karl, a.k.a. the anti-kinetic powered Eclipse, his nonpowered partner Grant, and John Pierce, member of the C.O.W.L. Investigations division. These three character’s are the closest the book has to central protagonists at this point, and through them we learn much about the world. Each character exhibits a unique personality that complements the other two well, making for a diverse and interesting group. Other characters, such as the strong heroine Radia, looks to play a major role thanks to a perceived love triangle between herself, a fellow teammate, and Geoffrey Warner.
Continued belowWhile “C.O.W.L.” focuses on this particular group of characters now, dozens more are introduced on the periphery. In this way the book is reminiscent of “Astro City.” “C.O.W.L.” has the potential to shift focus on a moments notice, an exciting possibility from a story-telling and world-building perspective.
“C.O.W.L.” feels unique amongst the large number of books currently published at Image. While it may not have the star power of top tier books like “Saga,” “Southern Bastards,” or “Deadly Class,” it makes up for this with a well developed world and compelling character dynamics. “C.O.W.L.” wears its influences on its sleeve, but isn’t beholden to preconceived notions. With a strong vision, engaging characters, and a great high concept, “C.O.W.L.” has all the makings of a great, long-running series.
Final Verdict: 7.5 – Buy. “C.O.W.L.” still has a lot to prove, but the work and imagination evident in this one issue suggests the potential for great things to come.
