THE RESURRECTED #1
Writer/Creator: Christian Carnouche
Artist: Crizam Zamora
Colours: Salvatore Aiala
Letters: Cardinal Rae
Editor: Erica Schultz
The Resurrected is one of those gripping, genre-bending pieces that you can’t explain with any grace or succinctness.
It’s a dystopian drama. A techno-noir detective story. It’s about rebellion, love, and power. A tale of death, undeath, and the consequences of technology.
Media of any sort with an Australian Aboriginal protagonist is very difficult to find. Since Cleverman reached our screens, and has since been adapted into comics, these missing stories are beginning to find their way through. The Resurrected begins with a short lesson in Australian history, and with a matter-of-factness, depicts the transition of the Aboriginal peoples from their pre-colonial peace, all the way up to modern ‘civilising’ influences, eluding to the tragedy of the stolen generation.
This reflection on Australia doesn’t end there, rocketing us forward to 2032, where our protagonist is in a fabulously ‘50s-futuristic police car. His wife is speaking to him via video chat from Sydney, where she works in a research facility. A power couple, law enforcement and science. Civic duty in their blood. But Australia’s tragic past isn’t yet finished, and Cain Duluth watches as his home is swiftly decimated by a plague of nanobots. An unforeseen tragedy, a casualty of progress.
We now come to the present time for The Resurrected, 2037. Australia was rendered uninhabitable in the fallout of the attack that took Duluth’s family. He stayed on as a police officer on Nova Lucis, a bastion of the United Nations just outside of New York, where the population speak an oddly Canadian mix of English and French. He’s slowly becoming friends with his new partner, the Japanese-American detective Akimi Ozaki. The pair have just found a body, a ‘rezzed’ they can’t I.D.
Things are tense – despite the resurrection serum being illegal everywhere, people aren’t staying dead like they should. Drexler Nanotech, the company responsible for the serum, is trying to restore its reputation. Duluth doesn’t know it yet, but Xander Calypse has ambitions far beyond getting rid of the sniffles. Even if Duluth didn’t view the company as being responsible for his personal losses, he’s having to face the consequences of technological irresponsibility every day as part of the Special Division for the Resurrected. He watches the recording of his final phone call. Falls asleep and has a nightmare. Or is it a memory?
The colouring and art style suit the dramatic, future-noir characters and subject matter. The interiors and architecture, like the bubble-shaped cars, reminiscent of old imaginings of the future, folded into mainstream consciousness by animations like The Jetsons and the designs from early Star Trek. The cover is a fantastic mixture of neon, angular lights with dark silhouettes. The use of colour throughout the book gives mood and atmosphere to each setting: the SDR headquarters are an austere white. The bar as aggressively yellow, a forced cheeriness supported by traditional trappings of alcohol and a pool table. The glorious, gradient sunset that Duluth barely sees behind his screen.
As first chapters do, this issue leaves us with more questions than answers. How did a man recorded dead in 2032 end up – freshly dead – in another country, five years later? Who is the hooded woman? What does Xander Calypse have planned?