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COMIC BOOK REVIEW: Invisible Republic #2 – Evade!

 
InvisibleRepublic02-Cover-e6499
InvisibleRepublic02-Cover-e6499
InvisibleRepublic02-Cover-e6499

 
Overview
 

Story by: Gabriel Hardman & Corinna Bechko
 
Art by: Gabriel Hardman
 
Colors by: Jordan Boyd
 
Cover by: Gabriel Hardman
 
Publisher:
 
FG RATING
 
 
 
 
 
4.5/ 5


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1 total rating

 


To sum it all up..

Gabriel Hardman and Corinna Bechko continue exploring a dystopian future of interstellar proportions in Invisible Republic #2. Picking up from the premier chapter, Crager Babb continues his research on the so-called hidden history of former dictator Adam McBridge through the eyes of the cousin’s (Maia Reveron’s) journal. The strongest point here is the continuing tale […]

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Posted April 29, 2015 by

 
FULL REVIEW
 
 

InvisibleRepublic02-Cover-e6499

Gabriel Hardman and Corinna Bechko continue exploring a dystopian future of interstellar proportions in Invisible Republic #2. Picking up from the premier chapter, Crager Babb continues his research on the so-called hidden history of former dictator Adam McBridge through the eyes of the cousin’s (Maia Reveron’s) journal. The strongest point here is the continuing tale of the forces that molded and would change the psyche of the would-be strongman. We can relate the thinking of the classical empiricists, particularly in the molds of John Locke and Jean Jacques Rousseau’s role of nature and society, respectively, to the formation(s) of an individual’s behavior and mindset, particularly when he/she leads the society/nation/state.

If the first issue gives us a couple of clues regarding the Big Brother’s roots of despotic proportions, then the second chapter illuminates more on how he adapts quickly to the new surroundings in order to get the objectives done, even to the point of making his hands dirty to achieve the ends. Niccolo Machiavelli would surely be proud with this one! Hardman and Bechko are applying some important tenets of both radical and political ideologies that would surely ruffle some capitalists and conservatives’ tails around. Radical ideologies like Marxism, progressivism and socialism and political philosophies of fascism and totalitarianism are definitely polarizing with one another, but the dark reality is, these unholy thoughts can be glanced upon in a totally dysfunctional society that showcase the microcosm of clashing realities and ideologies that ultimately betray the spirits of utilitarianism and individual rights. The illustrations explicit and even implicit the alienation of the majority or hoi polloi class to the basic services and education in contrast to the jockeying of the few of whatever resources the colonies barely possess. Moreover, state control like monitoring the citizens and the ever-presence of the police force suggests the incapability of the human race to mature into more liberal and democratic paradigms more than ever.

The two stories mesh well and even compliment with one another that the common ground of survival, manipulation and desperation are rolled in one cohesive, well-paced and balanced storytelling that this new series should be taken seriously. Circumstances and changes play the role here for the protagonists, the refugees and the reporter, have to engage the existing unwritten rules of the socio-economic and political game of red tape, bureaucracy and corruption within the ranks, and the inadequacy and incompetency in the administration and its departments, particularly in a scene where Babb had to maneuver his ways in getting his materials and the opportunist-mindset the teller preyed upon the desperate customers, and the cousins as well.

In order to prevent the monotony of dullness in a critique to the continuing struggle of the contrast socio-economic futuristic classes, a couple of tensions and suspense are applied to ensure the drive of the story remains moving and engagingly interesting. This is particularly apparent in the two cliffhangers that stared in the first chapter which I think set the pattern for this on-going independent series.

As I mentioned above, Hardman’s artistic schema remains one of the two strongest suits that consistently shift effortlessly whenever the present situation demands to revert to past/origin mode and vice-versa. Bright (though still gloom) colors indicate the cousins’ trials of obtaining hope of getting out their current social caste while evading the Big Brother’s surveillance until the cliffhanging moment. Dark counterparts are more so the grim and stark reminders of the follies of embracing change which is the dire consequences of political and socio-economic instability innately inherent after the takeover.

As always, the language applied is yet in 21st century context, with no innovative terms so far (perhaps the surnames I assume). Probably, we are treated in the present-ism in the façade of the futuristic take of struggle, survival, chances and fate themselves. Once again, the creative team remains consistent in their brand of storytelling, and the plots involved are also becoming engaging. A great read!


Paul Ramos

 


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