A Voice In The Dark #3 (Image): The artistry of Larime
Taylor is growing stronger and stronger, and the cover alone is a good visual representation
of his ability to challenge our straight, white, privileged, cisgen,
heteronormative (as I exhaust my quota of yupster terminology for the day)
assumptions about leads, female leads, off-type female leads, and what that all
means culturally in the modern fiction landscape, perhaps even blurring the
line between literary fiction and genre fiction, but alas, that’s a whole
separate debate, and one rambling run-on sentence in, I’m already digressing
off topic and using far too many commas. Pause. Breath. Restart. For example, visually,
Taylor’s penchant for realistic body types rather than the fetish finish of
superhero style art only bolsters these thematic excursions.
A Voice In The Dark has a lot to offer as a work of fiction
infused with some relevant social hooks, and can appeal to a wide swath of
audiences. There’s the coming-of-age bildungsroman that could attract the
attention of YA readers, bits of what the aborted Minx line at DC was trying to
accomplish with works like Brian Wood and Ryan Kelly’s The New York Four,
there’s the dark procedural and psychological aspects present for crime
aficionados (like me) who had to study
all those John Douglas books, and there’s the way it deals with modern social
mores. It’s a glimpse into the complex worldview of disaffected millennials,
wherein the paradigm seems to be in a state of perpetual shift. As I heard one
lecturer recently quip, Baby Boomers resist change, Gen X embraces change, but
Gen Y demands change.
Zoey is the emotional anchor for all of this. She’s just a
college kid, but she’s also a killer. Her newfound job as a radio call-in host
is something that she hopes will keep her dark desires in check, as she lives
somewhat vicariously through the dark musings of her callers. Zoey is already an
interesting character construct because of her conflicted psyche. She knows
that what she’s capable of doing is wrong, she’s conscious of her actions, and
she exhibits some remorse over them, yet she still feels compelled to act out
these fantasies and carry them out again. I remember Martin Scorsese discussing
his mobsters, all the way from Mean Streets to Goodfellas, and saying that for
these individuals, the sin is not in the actual commission of the sin, the real
sin is ultimately in acknowledging all of the wrongdoing, but then still
wanting to do it all over again anyway. That’s the sin. This is the situation
Zoey finds herself in, one that I’ve got to believe would make a fantastic HBO
series, as the scramble continues to have “the next Walking Dead” style
phenomenon translate to television.
That dichotomy in Zoey’s personality is present even in the
naming convention of this arc. With the first two issues gone by (which were
originally the result of a successful Kickstarter Campaign), issue three kicks
off the “new” material with the five-part arc entitled “The Killing Game.” We
suspect that this game isn’t just about the predatory nature of the killer
stalking its prey, but it’s also one Zoey’s actually playing with herself. This
duality is also present in the very title of the book when you think about it.
A Voice In The Dark. The dual meaning is the combination of the fact that Zoey
herself can be a force for good in this odd community, she’s the voice in the
dark on the radio, one that others can latch onto for help, but it can also refer to the
voice compelling her to do bad things, pulling at her from the abyss. I like
that level of nuance from Taylor’s writing.
On one hand, Zoey’s running diary entries are an easy
expositional tool that allows for voiceover narration pointed directly at the
audience. If I was going to point a standard critical assault at Taylor, I
could say that I’d like to see that type of character development come more
naturally through interactions with other characters and whatever adversity is
thrown her way. But, the diary entries are actually written so well, that we
hardly recognize it as the tool it is. I think some critics (myself included)
might also be tempted to say that Taylor emphasizes his foreground figures and
renders them in a strong fashion, but that his backgrounds are relatively
simplistic. It’s probably easy to think that these representational outlines in
the background don’t feel as thoroughly cared for, but I sort of like that hard
distinction between the fore and aft, it makes the objects pop like 3D, with a
gray scale differential offsetting the parts we’re supposed to be focusing on.
Buying that this town is the serial murder capital of the
world does require some suspension of disbelief, but Larime Taylor seems to reward that act of faith with other writing strengths. “Slaughter Scholar” alone is
probably one of my new favorite terms, and there’s a subdued wry sense of
confessional humor running throughout. “I’m feeling really bad about
fantasy-strangling her now” is downright Whedon-esque, and definitely made me chuckle. I also really liked the
simplicity of Zoey responding with “…okay” as she digests the plethora of new broadcast
guidelines laid out by her boss Jill. It’s the “…” that precedes the “okay”
which makes all the difference. That’s such a smart pause, indicating that
she’s working to process how she’ll continue. That level of detail might be
inconsequential to most, but it’s the kind of thing I like to pick up on.
It’s also interesting that her new anonymity for “work” also
now gives Zoey great additional cover for her other activities. In addition to
her boss, her therapist is now even adamant about protecting her identity. So,
we have boss, therapist, friends, and Detective Uncle all working to shield her
from the light of day, proving that integrity is really about doing what’s
right when nobody else is looking. This is Zoey's test. The psychological aspects of this book are
so well written that they’re either from good research, good training and
experience in the field, or first hand knowledge. At the end, there’s a pretty
dope Ben Templesmith pin-up and a “Poor Luna” sequence that I won’t spoil
further. I’m willing to bet that this is the best new comic you’re not reading
yet. Grade A.
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