Fly #2


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Fly #2


  • Words: Raven Gregory
  • Art: Eric J.
  • Colors: Michael Garcia
  • Publisher: Zenescope Entertainment
  • Price: $2.99
  • Release Date: Jul 27, 2011

If a drug could temporarily give you the power of flight, would you take it? You don't have super strength or super speed, just flight. Would you get addicted? In Fly, that very question is asked, and it combines the real world of drug abuse with the fictional world of superpowers. Is it a potent combination?

Fly #1 garnered a fair amount of press for, admittedly, being the only Zenescope title with any sort of true story or emotional base, and not just pin-up model women fighting evil (and looking sexy while doing it). On the cover, the "pin-up model woman" is the apparent force of evil, but as issue two leads us to believe, she's more of a victim; damaged goods that were treated poorly and withdrew into the world of drug usage for a literal and figurative high.

Much like the first issue, the book jumps back in time to show the origins of the characters, and contrast their seemingly idyllic past with their combative present. This issue also has a sidebar with another character, bringing some much needed action into the plot, but also raising more questions than it answers. As a whole, the book is still very much in the "origins" part of the plot, so it can be forgiven for not answering questions or getting to the actual plot of the series this early. The writing isn't amazing, and one telegraphed scene in the sky is almost groan-worthy, but the emotions and actions feel real and, like drugs, the first taste is a gateway to the harder stuff coming down the road. If it's anything that improves on these first issues, you should be addicted.

One of the disconnects the book has is from the cover to the content. It's unlikely that many of the target audience will complain about Eric Basaldua doing a sexy cover, Amanda Conner working her magic on a woman when you can only see half of her, and Ale Garza throwing a little comedy in with the cheesecake. In the Eric Basaldua covers, he sexualizes the female lead; understanding that the character may be using sex as power in the modern day story works with it, but when you see her troubled past in this issue, it just feels slightly dirty.

With regards for the actual interior art, Eric J.'s all of the place; some of it is to the book's benefit, other times its detriment. Scenes in the present are more gritty and realistic; scenes in the past are brighter and more optimistic. This is a powerful storytelling technique. When things get mixed, such as a drunken father storming into his teenage daughter's room, the art style becomes mixed as well; negative elements are drawn negatively. The literal wide-eyed optimism that the past offers in spades shows up sporadically in the modern timeline, and throws things off, and the lack of pupils is disconcerting throughout the book. It's a style choice, but it rings close to comic shorthand for blind or hypnotized or using superpowers, and throws the reader off.

Fly has been an interesting experiment, a cathartic one, and it shows. What's looking to be a love story mixed with drug use is looking to be a decent alternative to the standard superhero and supermodel fare.

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