“Comeback”. “Sheltered”. We read ’em. Brisson wrote ’em. Image published ’em. And it was good. And while this first issue of a four-part miniseries feels very different from those titles, “The Field” is still a lively read with a lot going on.
Written by Ed Brisson
Illustrated by Simon RoyA man wakes in a field wearing nothing but his underwear. He’s got no idea who he is or how he got there. His only connection to the outside world a cell phone on which he receives mysterious texts warning him of impending danger. Danger like Christian, an ex-bible sales-man in the middle of crime spree fueled by Christian Rock, dirty sex, meth, murder and keeping this underwear clad, nameless and pastless man close by his side.
From the get-go, it’s hard to view our man-in-a-field-in-his-underwear as the star of the show; Christian blares in before our guy can so much as receive a text. Simon Roy’s characterizations reinforce this emphasis: where our unnamed guy is waifish and terror-stricken, and incredulous of everything that’s going on, Christian is all smiles and smoke, oddly charismatic despite everything we learn about his personality. It’s a strong dichotomy, and one that contributes more and more tension to the story as the events stack up. What on earth could our guy have that this unusual individual wants?
In the dialogue that ensues, Brisson underlines all the weird contradictions in Christian’s nature; he doesn’t swear, and loves Christian rock, but he’ll clock a guy in the face for no reason and… well, do much worse besides. His arsenal of non-swears is admirable (“finger farting” probably being my favourite), and all the while, it seems he’s desperate for some kind of gratitude from our unnamed guy. Between his odd mix of mannerisms and unlikely turns of phrase, he’s clearly a complex being, and both Roy and Brisson do a solid job getting across this guy’s weirdness so early in the comic.
Things go down the rabbit hole from there, with a couple of disparate plot elements raising some questions before a climactic scene at a diner. Here, whatever expectations we had about Christian are trumped in a big way as we learn just how dire our unnamed guy’s situation is. It would be a hard scene to take, only Simon Roy’s cartoonish style gets at the camp of it all, lending an over-the-top finish to the events and encouraging us to ask big questions about the nature of what we’re seeing. The scene hits even harder when contrasted with the desolate sequences that bookend the issue; Roy does a great whispering field of grain.
The little things ring true, too. Movements that shouldn’t scan, like Christian quickly drawing a circle in the air with his finger, come across vividly. Scene-setting details – like an untouched stack of pancakes – turn up at the most ironic of moments. And even though she only has a few lines, the waitress’s personality comes across strongly in her expressions, painting a picture of one complex relationship.
All the while, Simon Gough’s colours add drama, particularly in the way the light comes across. The streetlight glare during the opening dialogue feels just right, glinting off Christian’s glasses in a foreboding way. And coming on the heels of so much action, the faint glow of headlights through a field of wheat makes for a particularly impressive final page.
It’s rather brisk, and far from snuggly, but just like its ex-salesman star, “The Field” seems to know where it’s going. It’ll definitely be worth a second look; I imagine we still have plenty to learn about this mother-loving filth-sucker and the poor guy he’s brought along for the ride.
Final Verdict: 8.0 – Buy
