Andy Diggle and Aaron Campbell’s crime/sci-fi hybrid just keeps on getting more and more interesting, as even though this issue is lighter on action, it gets much more character-focused and explores not just Weaver and his abilities a bit more, but also the various forces out to exploit him, such as the mysterious Cadre and Deacon.
Last issue ended with Weaver and Maggie being captured by the Cadre, and here, Diggle moves the story forward 3 weeks, as both of them are kept prisoner and experimented on, in an attempt to work out how their abilities work. Weaver’s experiments are pretty mild, he is made to touch a watchmaker, absorb his knowledge, and then made to assemble and disassemble a watch until he forgets how. He is able to do this 17 times before forgetting. The Cadre are not just seeing how long his power lasts for, but they are also monitoring his brain, to see which areas of it change. Maggie is not so lucky, as her ability to heal is tested by sticking her in an MRI machine and electrocuting her. These Cadre people are bad news.
Deacon is also pretty bad too, he gets Holly to track down Weaver and Maggie’s location, and she’s able to do so by honing in on Weaver’s weird wolf dreams. That wolf is really fucking with my mind almost as much as it is Weaver’s. Deacon finds out they are in Belize, so he heads there, and uses his powers to first give one guard a heart attack, and then make another so terrified that he shoots himself. It’s hardcore shit, and I’m excited to see what kind of stuff he does when he’s really in the prison.
Another interesting plot thread is that Weaver hears someone knocking on his wall in morse code, trying to talk. Is this a fellow prisoner? Or a trap? Hmmm…
This title is really moving now, it’s really nice and refreshing to see a story about metahumans told in a different way than they usually are, and Aaron Campbell’s realistic art is meshing really well with Diggle’s writing. I said it in my King’s Watch review, and I’m repeating it here, Dynamite are getting some damn good artists now, and it’s cool to see. When you’ve got Sean Phillips on covers, the interiors have a lot to live up to, and Campbell is managing that.