The future holds no guarantees; the past does not have all the answers.
Unless you dig deep enough.
Slain at the altar of intolerance.
This is England.
Indeed it is. That’s quite the arresting first page: cog-enhanced speech balloons over black and white tiles, increasingly splattered with blood. The question is: whose?
I’ve known Yomi Aveni for over three years now – we greet each other annually at the Lakes International Comic Art Festival – and he is many things: gregarious, engaging, always grinning, always laughing; witty, generous, persistent, ever so dapper and devilishly handsome. One of the things Yomi isn’t is obvious. Ayeni and Brotherson have honed that first page’s script so spectacularly well, for its precision plays with our preconceptions of victimhood and Victorian England at the height of its empire. Its words will continue to resonate throughout these three chapters.
Anyway, Steampunk ahoy!
I promise you plenty of socio-politics, costumes to cosplay, and delicate, even dainty watercolours whose initial, decorous beauty will give way to bludgeoning violence. I’ve seen plenty of split lips and livid purple bruises in my time, but few artists I’ve encountered can recreate the wateriness of a punch-induced eye-haemorrhage like Jennie Gyllblad.