Incorruptible #15


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Incorruptible #15


  • Words: Mark Waid
  • Art: Marcio Takara
  • Colors: Nolan Woodard
  • Publisher: BOOM! Studios
  • Price: $3.99
  • Release Date: Feb 23, 2011

In the latest episode of Mark Waid's tale of Earth after the Plutonian, allegiances are shifting and good deeds get punished. Which is evidently what happens when your lead character is a reforming super-villain.

As we know from Irredeemable, the hero team the Paradigm—to which the Plutonian once belonged—is recruiting villains to help put the Plutonian-shattered world back together, and here they’ve come to enlist the aid of ex-villain and still fugitive Max Damage. Meanwhile, the plutocracy that’s living well while the masses suffer (gosh, not at all like the real world), led by a treacherous billionaire, wants to use Max somehow to distract the masses, and Max’s former sidekick Headcase lives up to her name. This latter proves to be bad news for one character in particular, just as he’s accomplished something miraculous for the world. In short order, there will be a betrayal and a death.

Incorruptible makes an interesting contrast in themes with its companion title. In Irredeemable, a good man turns to madness and evil and destroys everything. In Incorruptible, an evil man turns to good and yet is surrounded by madness and destruction. There’s also the different ways in which madness expresses itself. This issue it comes out in Headcase’s aforementioned betrayal and the murder she commits, where we see just how dangerously needy she is. (And that’s not even the only betrayal going on: another ally, Alma Patel, who used to be the Plutonian’s girlfriend, is secretly in league with the sinister billionaire and his cadre.) Mark Waid’s resourcefulness in coming up with new twists—and new ways to be twisted—seems to know no bounds.

The one thing left to be desired is an art style that is as appealing as the writing. It isn’t that Marcio Takara doesn’t draw well; it’s only that his style has a harsh, angular, and cartoon-like quality that makes us wish for a smoother and more polished style such as we’re accustomed to seeing in Irredeemable. Perhaps the harshness of the visuals matches the harshness of the beaten and torn world that Waid is depicting, but in a visual medium, art that pleases the eye is the complement of writing that pleases the mind.

Nevertheless, Incorruptible makes a worthy companion to Irredeemable and provides an entertaining “flip-side” to Waid’s other book. It’s to be recommended.

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