After all the hustle, bustle and carnage of the last few issues, Clone #17 finally pauses to take a breath and examine the new status quo that has established itself amidst all the mayhem. Luke, his wife Amelia and a whole lotta clones have been hunted and attacked but now they’re presumed dead they’ve a bit of time to gather their thoughts; or they would if Amelia wasn’t bleeding out on the floor with a gutshot.
While the last few issues of Clone have been jam-packed with shootouts, sieges, bust-ups and torture, this issue is far less explosive. In place of the physical action is conflict of a more internalised, psychological manner as characters begin to process recent events and grapple with some tough decisions that have threatened to rear their head over the past few issues. It’s slower paced but allows for characters to be fleshed out, with the development of a couple of characters going to unexpected places.
As usual, the artwork by Juan Jose Ryp is fantastic, panels are crammed with so much detail and texture that you wonder how anyone can put this out to a monthly schedule. It’s reminiscent of the work of Geof Darrow and Frank Quitely, where every space on the page is marked by their hand; even the empty spaces in this comic are lively and expressive. Most impressively though is the way that Ryp’s art manages to communicate character, be it through their poses or the looks on their faces. The expression on a character’s face when asked about their past as a child soldier says more of their pain than page after page of text could ever manage.
While this does set things up nicely for upcoming issues, Clone #17 seems a bit lightweight in comparison with the last few. Still, a weaker issue of Clone is still unlike anything else out there.
The writer of this piece was: Joe Morrison
Joe is Freelance film journalist based in Glasgow.
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