Publisher: BHP Comics
Writer: Dave Cook
Artist: Craig Paton
Release Date: 30th October 2019 (PRE-ORDER HERE)
It’s incredibly difficult to review a comic this good.
It should be easy. I mean, this is a 5/5 comic – and you should never start a review by saying that.
We’ve been lucky enough to be along for the ride since the beginning with Killtopia, interviewing creator Dave Cook (CLICK HERE) and reviewing issue #1 as: “Quite possibly the best post-apocalyptic mega-robot ultra-violent social commentary that’s ever made your eyes bleed at its unholy CMYK beauty. Reading like Spider Jerusalem wiping his arse with a copy of the Hunger Games whilst pleasuring himself to a complete 2000AD back catalogue, it’s funny, brutal, sweary and bloody (Bloody) good stuff.”
The problem, such as it is, is to not sound gushing or unctuous. So, I’m going to pick what holes I can first.
There is a lot going on in this, the second issue, so much so that it can prove tricky to keep track of the narrative. There’s also a lot of new characters introduced along the way. However, distinct voices and clear characterisation mean it’s never a chore, and though it requires concentration, that’s not a negative. It is a comic you’ll want to pace yourself with, if only because it is so very good (there I go again, can’t help myself).
A couple of times, the razor-sharp pencilling can lose momentum – but I am talking literally two panels in the entire issue. Generally, it’s acutely observed and furiously detailed, with some brilliant spreads (the sewer sequence especially) and tremendous humour.
So, yes, I am a fan. In this second issue, we start to get more in to the nitty-gritty of the world of Killtopia, with much more focus on the developing the antagonists (as well as teasing what’s coming in Issue #3), filling out the likes of cover star King Kaiju, Saito and, of course, superstar wrecker Stiletto.
There’s nothing mawkish in the tragedies – as always, it’s a sharp-edged social commentary as much anything else – and likewise genuine laugh-out loud moments (Saito’s KFC-style Bucket o’ Coke makes me snort, as it were, every time) keep the balance and momentum.
In this issue, we get the same fickle public and insta-fabulous media, but with more of an edge. Equally, we see a more human side to Stiletto and a more in-depth understanding of self-aware mech Cr5sh – but again, not all is quite as it seems. And something decidedly sinister seems to be happening with a group of geisha-like fembots, with shades of Pris and Xhora never far away. Again, the references are there but subtle enough to never intrude on your enjoyment, like a well-laid Easter egg.
More generally, it’s slightly different in tone and pace to issue 1 – it’s definitely more measured with its storytelling – but it’s still a postapocalyptapalooza of glorious irreverence and murder-mechs.
So yeah, go get yourself a copy of the most irreverent homage to anime, gaming, post-apoc punk, ultraviolence, and classic British sci-fi comics from Warren Ellis to John Wagner you’ll find this side of Grant Morrison’s left nut.