Things start to get hot and heavy between Deckard and Rachael back at the hotel. But first…
I picked this issue up because I had just seen Blade Runner, and I was curious about how the graphic novel adaptation of Philip K. Dick’s (arguably) most popular book translated into this medium. Conceptually, I love this. Transcribing books to a more visually appealing medium makes them much easier to engage. If you haven’t been following this series, it is literally a word-for-word reprinting of Dick’s text set over the art of Tony Parker.
So, you know the writing’s pretty solid.
This is one of the slower sections of the story, a sort of quiet, in-between issue where the characters reflect on what has already happened, and look ahead to what’s coming. It is clear that these are unhappy people leading unhappy lives, and your heart can’t help but bleed for them. Whether its Rachael’s struggle with her own reason for being, or Deckard trying to keep a grip on his life as this case threatens to consume it, you can’t help but look at these characters standing on a great metaphorical precipice.
Why the low rating, then? Well, you’ll notice I haven’t made it to the art yet. I know this isn’t a Big Two book, so maybe it’s unreasonable to expect the quality of the art to be at that level. But even putting that aside, Tony Parker’s art in this issue is sub-par by just about anyone’s standards. People are awkwardly proportioned at times, facial features are skewed; there’s one particular shot of Rachael where her nose is visibly off center that was very distracting. I couldn’t tell Deckard apart from Baty on the 13th page, and it wasn’t until I realized what Blond was doing with the colors I even realized they were different people. There are other examples, but I feel like it’s best to avoid beating a dead horse.
It’s rare that art can sour a story so much for me, but Parker needs to step up his game if he wants people to return for the remaining five chapters. Otherwise, you may just want to read the novel.