Ian Edginton, Francesco Trifogli,
We click over into October, the leaves are turning, the evening dusk falls more swiftly every night, and we also come to the first wave of this promised autumnal bounty of new titles from DC’s Vertigo imprint that we blogged about some while back. I was quite pleased when DC announced this raft of upcoming Vertigo releases – with the departure of Karen Berger and moving one of the imprint’s most well known (and longest running) characters, John Constantine, to the main DC universe (mostly I’ve not been impressed with that), there was some genuine concern among readers that the much-respected imprint, known for nurturing some of the more unusual works to come out of a mainstream publisher, was about to be done away with, and this new range helped scotch those worries. And the fact that one of the new series was written by one of 2000 AD’s regular (and best) scribes, Ian Edginton, also had me pretty happy.
It’s some (as yet undisclosed) number of years after the end of the world. Or, as the story puts it:
“Calling it the end of the world was a conceit. The world kept on ticking just fine, it was humanity that took the hit. Seven months from top of the food chain to endangered species.”
We open Hinterkind with a bloody scene, a crackling radio pleading for a response, but none will come as the people lie dead around it, blood staining the floors. We see only the aftermath, not the deaths, the attacker unseen save for a pair of enormous hands moving a chair by a body… And then we cut to what looks like a scene from the African veld, a zebra munching on grasses looks up alarmed, sensing danger – too late as the young girl, Prosper, who most simply call ‘P’, looses an arrow. As she and her companion Angus step out of concealment to claim their hunting trophy the perspective pulls back and we realise the lush vegetation ends in a concrete wall… Further back to realise this wall is pretty high… Then a page turn brings us to a gorgeous double-page spread of New York after the fall, the skyscrapers of Manhattan decked out and roofed in verdant greenery, reclaimed by nature, now the hunting ground of these youngsters.
It’s a beautiful moment and showcases Trifogli’s art wonderfully, a few scenes and pages effectively telling us much of what we need to know about this world P and Angus are surviving in. Of course it also brings to mind post-apocalyptic movies which have similarly shown our great cities deserted of people and reclaimed by plants and animals (think 12 Monkeys and the big cat hunting the city streets, or the rather mixed I Am Legend). Further ‘wow’ moments follow though – an aerial view of something most of us are familiar with, even if we’ve never been there, glimpsed a thousand times on television and film, Central Park. Except instead of the oasis of green in a massively built-up city now it is an island of remaining civilisation, a small village and farmland, surrounded by the now overgrown greenery of the city, an inversion of how it is today. Again it is a beautiful piece of artwork, lush and almost charming in an idyllic rural manner, until you remind yourself this isn’t a countryside retreat, this is all that is left of humanity in a city that once was home to millions…
As the kids return to their village with the spoils of the hunt events are being set in motion. The people of the village are the ones who were trying to reach the murdered victims on the radio on the opening page. Their doctor, Asa, P’s grandfather, determines to hike upstate to try and find out what happened. Given they have no idea of the state of the world beyond Manhattan now and that the few other holdouts they had contact with have gone dark his friends oppose this, but he is determined. It’s the right thing to try and help, he explains, plus it is in their best interests to learn why these other spots of humanity have gone silent.
Meanwhile P learns something about Angus, a new development he has kept secret and which may drive him out of their small enclave. And any trip outside is full of dangers, with humans now likely to be hunted by other big predators, just like their far distant primitive ancestors were. But there are even more dangerous and disturbing things than tigers freed from zoos or collections roaming the land now… And on that point I will say no more as I don’t want to spoil it (suffice to say the duo deliver something disturbing and intriguing and horrific).
I thought this was a splendid first issue, Edginton and Trifolgi, partaking of both that long-running post-apocalypse strand of science fiction that has endured for pretty much as long as the genre has, as well as often having a distinctly fairy tale feel and look to some of it. Although I say fairy tale here in the nature of the older fairy tales, before they were cleaned up and sanitised for young children’s picture books – this is more like the original tales those derived from, with wonders but also hidden horrors and dark threats. This first issue is extra-sized which allowed for a little more room to introduce characters and set-up, which benefits the series hugely. Edginton and Trifogli make use of this to do a beautifully worked out introduction to this world, using skill and economy, the right few words with the right few pictures, rather than any huge info-dump exposition that some may have resorted to, relying on their skill and the reader’s own imagination to build that devastated world in their mind. Terrific stuff – I’ll certainly be picking up the rest of this series. Fingers crossed the other upcoming Vertigo titles this autumn impress as much as Hinterkind.