The first issue of the new series from Black Mask Studios, “We Can Never Go Home”, written by Matthew Rosenberg and illustrated by Patrick Kindlon, places two characters in an impossible situation that is sure to provide fresh new territory to explore as the book continues. Set in 1989 in small town America, the story centers on two unlikely friends. Duncan, a lovable outsider somewhere between John Bender and Lloyd Dobler, occupies a low rung of the social strata at his high school. Madison is a well-liked student at the same high school, popular and pretty, but she has a secret. She’s Diane Court, or maybe Claire Standish–with superpowers. Bonding quickly over danger and secrets, the pair soon find themselves facing big mistakes and high stakes.
Written by Matthew Rosenberg
Illustrated by Patrick KindlonA well worn mixtape, a stolen convertible, a duffel bag full of cash, a fully loaded .45, and super-powers. Seventeen and on the run is the only way to see America right. Teenage outcast Duncan and popular girl Madison share a secret – they can do things other people can’t. But their abilities take them down a dangerous path. After a deadly accident they are left with no choice: leave home and never come back. We Can Never Go Home is a new chance to fall in love with the doomed misfits who need to run away to find themselves.
This is the story of two high school students who find themselves on the run, with the odds set firmly against them. This issue begins with Madison accidentally revealing her super powers, which include enhanced strength, super tough skin, and glowing eyes (she doesn’t know why they glow, they just do, okay?), to Duncan and her jock boyfriend, who quickly becomes her ex. After discovering Madison’s well-guarded secret, Duncan becomes fascinated by her. As the two become closer over the course of the issue, it becomes clear that they relate to each other, and have more in common than they realized. The escalation of their friendship culminates in the event that will serve as the inciting incident for the rest of the series. Coming to Duncan’s assistance, Madison makes a mistake, one so big that it means, “We Can Never Go Home.”
Rosenberg’s pithy prose is a pitch-perfect match for that adolescent bravado that permeates youth culture. Realistic and conversational, the dialogue suits the setting and tone of the book. Taking time to build and develop characters, the first issue focuses on relationships; relationships between characters and their environment, their circumstances and each other. Rosenberg allows readers a chance to get invested in these teenaged misfits. At times channeling John Hughes, at times Tom Perotta; and in moments, even Stan Lee, Rosenberg has created a unique, identifiable voice for this series that stands out.
“We Can Never Go Home” #1 serves as a refreshing reminder that super powers do not equal superheroes. Duncan for example believes that he can will people die, just using his mind. Rosenberg doesn’t tell the audience if this is actually the case, but leaves this claim an open-ended possibility. Whether this is a true ability of Duncan’s, or just an elaborate coping mechanism he has developed to deal with the death of his mother, a claim like this is full of storytelling possibility. Similarly, Madison outright says she has no interest in being a hero. Instead she does her best to keep her powers a secret and blend in. Her heroics near the end of this issue could have dire consequences, and place the protagonists firmly in a moral gray area.
Kindlon’s work in this issue references pop artists from Andy Warhol to Roy Lichtenstein. Focusing on characters’ emotion and intent, he illustrates their interactions with a hint of melodrama that makes every episode feel slightly larger than life. The artwork of “We Can Never Go Home” #1 is a bit of a throwback, in a good way. Seemingly informed by conventions and traditions of vintage sequential storytelling, it reflects a reverence for the medium, just as the story’s subject matter itself does. Combining retro illustration and classic comic aesthetics, Kindlon creates a look for this series that is both familiar and innovative. The talents of the team come together especially well in a memorable 25-panel page near the beginning of this issue. Rosenberg’s dialogue crackles with humor and introduces us to the characters swiftly and clearly. Kindlon’s drawings are filled with emotion, and act convincingly. Their work fuses to create a very unique and enjoyable scene, a real highlight in this issue.
Continued belowKindlon creates panels that could seem at home in romance comics from a bygone era; however, the highly saturated color palette used in this book modernizes them. Backed with full-hued solids, the heavily-inked characters become less “True Stories” and more MTV. Colorist Amanda Scurti uses vibrant tones that reflect the those of the book’s place in time. Highly pigmented, and I believe, intentionally garish, the colors of this book reflect the styles and trends of the era in which it is set. In night scenes, Scurti leans on an analogous palette of moody reds and meaty purples, creating an unexpected tension. Daytime interiors take on a look not dissimilar from Miami Vice or Saved By the Bell promotional material, filled with day-glo tints. Her work for this title is interesting, and clearly crafted with intention.
Throughout the issue you can almost hear Duncan’s mixtape providing a soundtrack; the energy and ostentatiousness of the era tumbling over themselves as the spindles turn, mixing up emotions and making trouble; the driving beat of cheerful disdain, and the hint of vulnerability as you come to the bridge. It is a song we all know, about figuring out who you are and where you stand. We turn up the volume when the possibilities seem overwhelming, and sing along to remind ourselves that someone out there understands. Like songs recorded from the radio, the pieces of this book are recognizable, but Kindlon and Rosenberg have assembled those pieces to create something full of intention and charged with new meaning. They’ve handed us a cassette with the words ‘growing up’ scrawled in sharpie across its label. “We Can Never Go Home” #1 is a familiar tune, we can hum along by the second chorus, it’s comforting and nostalgic in that way. However, the story never tired or weighed down by convention. It’s all your favorite songs assembled in one place, carefully considered and meticulously arranged to give you an entirely new way of experiencing them.
Final Verdict: 8.0 – Like Bonnie and Clyde meets The Breakfast Club with super powers. Come along for the ride.
