In the distant future, a select few flourish in massive tree cities, high above the rest of humanity doomed to a bleak existence on the surface of Japan.
Cover by Sam KiethWritten by Chris Ryall
Illustrated & Colored by Sam Kieth
Lettered by Robbie RobbinsHorrifying radioactive, once-human creatures known as “the hollows” who’s sole purpose is to devour the souls of any unlucky resident of the Tokyo. Those who live in the great tree cities know of the dangers and never venture below, save for one man.
A scientist, Craig, is a unable to stop studying, building, or exploring. He claims it is all for the greater good of humanity, and while his work may help those in his tree city, it does nothing but take supplies from the surface dwellers and time away from his family until he meets a special young girl.
“The Hollows” is an interesting release that almost feels like an experiment in today’s comic industry. The background on this comic is a confusing one as well. Originally created to be a web comic a decade ago, it was published as a four issue miniseries at IDW. Image Comics has now re-released it as a 100 page remastered one-shot. Essentially a graphic novel, this wild sci-fi book is completed by an art style that looks purposefully fast, loose, incomplete, and untrained; there’s something completely modern and delightfully retro about the entire design of the book and its plot. “The Hollows” is a classic story of adventure, social class, and morality set within a dark future. A dark future that is based on both the typical dystopia nightmares found in myriad science fiction stories, and supernatural forces that are just as destructive as anything humanity has done to itself. These forces feel like a cultural blending of sci-fi and Japanese lore that suits this book really well. It’s like mythical cyberpunk and it is going to speak to a lot of comic book and manga readers, while testing the aesthetic tastes of many a reader.
As for the overall look, “The Hollows” is born from the same kind of spirit that has brought us some of the best independent works of the last 40+ years. With artist Sam Kieth (“The Maxx”) co-creating this book, it feels like something my dad and I would have found at a shop when I was a kid in the early 90s. Shaky, gonzo art that is equally interesting and intentional, but also determined to look as though they do not care if the final product matches what consumers want in their comics. It is fascinating to find some of these panels and pages quite beautiful, and others downright ugly, while mostly enjoying the entire ride. It takes a lot of effort, and guts, to sell a book that’s so elegantly disheveled, to borrow a term from Max Bemis. The line work of the illustrations hardly ever makes it beyond sketchbook level detailing. Character designs not only change page to page, but panel to panel. It is a sequential art nightmare. And as someone who has never been able to master continuity in their own artwork, it is really refreshing to see in a book put out by a publisher as well known as Image. Colors are muted and done with what appears to be a blend of watercolor paint and colored pencils. Whether those are the actual mediums used or not, the final product is completely successful on selling that look. Kieth knows exactly what he is going for, even at the expense of ever looking polished.
For as long as there have been stories there have been sole explorers trying to help their people through discovery. Like in many of those stories, Craig has left his home, of which there seems to be little discomfort in search of supplies. But, he hardly ever considers those struggling down below. They are hardly alive to him. It’s a classic story of someone being torn straight down the middle; wanting to stay home with their loving family, but knowing they must return to this other place. To be among its people and experience something different. Even if it isn’t better, it’s different and they want to get away and explore. Ryall’s script is tight, but so typical that it tends to read even faster because if you’ve read any sci-fi like this before you know where it’s going as you read it. And while I am sure intentions were in the right place, it does feel like a bit of white-saviorism is at play as Craig (a middle aged white man) sees himself as the sole person to fix what was done to Japan because he (spoilers) was a key role in its destruction and the creation of the hollows. Craig is married to a Japanese woman, and a few other characters are Japanese, but the characters we are meant to really follow and care about are all Caucasian. In other future-set sci-fi tales a blending of cultures and races has been a constant, and rightfully so. What doesn’t work in this story is that while a few races are shown, there is no sense of togetherness or blending; even within Craig’s family. He feels apart from them, more-so than just physically apart from them as he soars through the surface city. It is little more than a half-swing and is nothing more than to make the protagonist a white guy.
There is a lot to enjoy and admire about this project. While it deals with evergreen themes, the story still winds up feeling a bit dated. Similarly for the art, while I more than most appreciate big creative swings, there is a lot left to be desired after a top to bottom assessment. I love that it doesn’t play it safe, but there are pages that simply feel unfinished rather than stylized. All at once it is too much story, and not enough, for a single release format. This experiment is not totally successful, and being a re-release drains a lot of the fanfare out of the release, but it is still an interesting artifact that will, I’m sure, find a new audience today.
Final Verdict: 5.0, Like Craig-san, the story soars at times, but winds up hitting a few billboards along the way.
