Scott Snyder & Sean Murphy’s The Wake opens up in an interesting direction in issue #7. For the most part, we’ve seen the story unfold through very specific eyes. First, through Dr. Lee Archer in the present day, and then through the Leeward, the plucky punk rebel seeking to find the truth about what happened two hundred years ago that left the world in its dystopian state. Now, in issue #7, we see the effect of the new world order on a grander scale.
Having been arrested by The Arm (the military end of the new government), Leeward is now serving the dictatorship. I give Snyder credit for his version of slavery in the new world. Centuries ago, slaves were shackled to giant oars to help wooden ships row through the sea. Now, without any real electric power or gasoline, Leeward is shackled to an oar along with other slaves, and they work to drive a government ship, which is essentially an old cruise ship.
Leeward is planning an escape, one that’s interrupted by Marlow, a murdering, psychopathic leader of The Arm. Just as things look done for our heroine, there’s an attack by a gigantic, monstrous version of the humanoid creatures who own the oceans. The cruise ship is sunk, and Leeward escapes only with the help of her trusty dolphin Dash. In the end, the giant creature swallows Leeward, but don’t worry, pirates are driving it. Confused? It makes perfect sense once you’ve read it.
I like that Snyder has opened up the scope of The Wake. Seeing how the centuries-old flood and battles with the creatures have affected humanity helps to give The Wake the epic feel it deserves. As usual, Snyder’s pacing is stellar, and the action is balanced well with the development of the story. There’s a lot going on here, and a lot unanswered. Snyder has put a huge weight on himself to wrap The Wake up in just three issues. If he does it, this could be one of the best mini-series of 2014. If not, it’ll be a convoluted mess. I have faith in Snyder, so I vote for the former.
Murphy knocks the art out of the park yet again. I could describe his eye for detail, wholly original penciling style, and knack for creating complex action within a small space, but that isn’t the real gift here. What makes the most impact is that Murphy’s work is completely unique. Nothing is like it; nothing even comes close to imitating it. As professional as it is, there is grimy vibe to what he does, a broken, violent desperation that creates this dystopian future perfectly. It’s wonderful to look at, page after page.
(4.5 Story, 4.5 Art)
