The creators of The Doomsday Clock, Geoff Johns and Gary Frank, reunite for their Image Comics series, Geiger, which shows life after the end of the world.
Yes Doomsday Clock followed an omnipotent nuclear man in Doctor Manhattan as he traversed the reality of the DC Universe, Geoff Johns and Gary Frank’s follow-up comic series, Geiger, shows a much darker and more ingrained side to the explosive potential of the Atomic Age. The sold-out series marks Image Comics’ debut from the creative team and delves into a harsher and more violent world that maintains its sense of post-apocalyptic grandeur in a compelling opening issue in which Johns and Frank get the Doomsday Clock team up, including colorist Brad Anderson and marker Rob Leigh, for action.
As the world grapples with nuclear armageddon, an unassuming family moves in to take refuge in a fallout bunker in Nevada. Years and years later, a mysterious figure roams the open wasteland with many nicknames and nicknames given to him by scavengers, such as Meltdown Man and Joe Glow. And as competing factions move to survive the chaos left behind by the total collapse of modern civilization, this mysterious man, once the family man Tariq Geiger, may be humanity’s last hope of rebuilding or a figure that the total annihilation that began will end. When the bombs fell so many years ago
Johns hits the emotional notes early on, with the final moments before the apocalypse showing the heartbreaking cost and motivations of Geiger before actually heading out onto the wasteland. Johns isn’t working within the familiar framework of established superheroes and decades of pre-existing comic book history here, though he’s constantly crafting his own mythology, largely surrounding his new protagonist. And while Geiger himself may have certain remarkable superhuman sensibilities towards him, Johns is so determined to infuse his story with fantastical fairytale tropes as the full scope of this post-apocalyptic world is gradually revealed to the reader in the face of an emotional core that focuses in family.
Frank and Anderson, his longtime colorist collaborator, bring a tanned look to the end of the world, keeping this particular depiction of the apocalypse relatively clean and uncluttered on their panels. Those more used to the greatness of art team superheroes will likely be impressed by the shocking action pieces in the book and a first-person perspective sequence that shows just how horribly and eerily epic the apocalypse can be. The artwork is attractive so far, with Frank’s pencils and inks combined with Anderson’s warm choice of color palette, but, with the rumors of elevated radioactivity leading to the creation of all sorts of nasty monsters in the Old world ruins, this welcoming gaze is sure to turn into pure terror in the very near future.
At this point in their careers, Johns, Frank, and the rest of the creative team know how to harness each other’s strengths, even beyond the confines of the DC Universe, and this remains a showcase for a creative team at the height of their powers. . After more than a year of being kidnapped in the face of contagion, a story involving a man living alone in the ruins of the old world certainly hits very differently than it would have been a newcomer. Doomsday Clock. And with the creative team just hinting at what’s inside the wild world they just unveiled, Geiger It is shaping up to become a sweeping epic that stands as one of the creative team’s most personal stories to date.
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