SPOILERS AHEAD!
Initial Thoughts
Few things are as powerful as the connection between a daughter and child. In Crowbound #1, writer Jeff Lemire and artist Dustin Nguyen blend that emotional core with dystopian elements and supernatural twists. Lemire’s story gives off “Kill Bill” vibes, as a fed-up, angry mother seeks revenge and, with the help of a ghost, may get a second chance at saving her daughter and at life. This adds an element of the afterlife and spirituality, creating a sense of wonder that gives us hope in a hopeless world. As much as we don't like to admit it, these stories are relatable because we can all relate to them right now, and we don't have to wait 100 years for it.
This first issue of Lemire’s new series was par for the course. It builds great excitement and leaves us wanting more, even if the characters don't. Nguyen's world-building is minimalistic; still, so much comes through in what isn't there. In an industry that overdoes dystopian future novels, the way Lemire and Nguyen approach Crowbound gives this story a breath of fresh air. It will be interesting to see where exactly the next chapter of this story goes: Do we spend some time in this limbo that our main character is stuck in, or do we start with the immediate chase for her daughter?
A Dystopian World Worth Building
The first issue of Crowbound built the world and laid the story's foundation. The dialogue and story structure were all over the place, but it never felt jarring. This world feels so different, and we are meant to enter it discombobulated. By the final few pages, we know exactly where we are. While dystopian stories are a dime a dozen, this one feels a little different. Something feels very personal about this story, and even though the world seems hopeless, a mother-daughter relationship can feel like the only important thing. These elements immediately tell us what kind of story this is going to be, and I think Lemire did a fantastic job of that.
We learn of a few characters, but two in particular, The Eater and The Factory, caught my eye. While they seem to be inanimate objects, they are treated like everything but. The Factory and the Eater seem to work together to enslave those alive in this timeline. Rose’s resurrection may not just save her daughter, but also save the world from those two entities. They already loom large in this story, and the author uses few words to make that happen. That fits the theme of this book: less is more, and so far it is paying off.
Quiet, Quiet, LOUD
The third act was the meat of the story in Crowbound #1. So much happened, and the pacing picked up exponentially from the first two acts. That was on purpose, though, because we, as readers, are supposed to feel the same anxiety Rose feels. The only thing that matters to her in this miserable world is gone, and she feels powerless. It makes us feel invested in Rose, and we want her to get her daughter, Ava, back right away. We obviously knew that was going to happen, but the tension built in this first issue is already paying off.
The cliffhanger at the end, where Rose ends up in limbo with what might be her grandmother-- contextual clues from Rose’s narration-- leaves us in a state of shock, at least for me. The entire story might become a generational family story, but there is still so much to tell that it could go anywhere. I don't think we spend too much time in this purgatory, and we see Rose get back on track to save her daughter. However, I can almost guarantee there will be a catch with her resurrection. The success of the story will hinge on how well Lemire can continue to thread this emotional beat throughout the rest of the series.
Less is More
The sketch drawing and watercolor coloring from artist Dustin Nguyen create a world that feels lifeless and drab, one of hopelessness and endlessness. The only color comes from the blood on Rose’s throat and on those standing in front of her and Ava. It reminded me a lot of the red coat from Schindler’s List. It is visually striking, and it is meant to stick with us throughout the series. I don't know if this will be a common thread throughout the series like it was in the movie, but if it binds the entire story together, it can have a really powerful storytelling effect.
The watercolor, neutral colors are so essential to the story. The standard has been set for the art moving forward: anything important will be showcased and highlighted in just the right places. Though minimal, it adds visual impact and offers a nice change of pace for a dystopian story. A common theme in these sorts of stories is to do as much as possible and create the most over-the-top character designs the artist can imagine. In Crowbound, the art style is the antithesis of that school of thought. For this story, the adage is correct: less is more.
Final Verdict
Crowbound #1 quickly became one of the most compelling and riveting stories, which is par for the course for writer Jeff Lemire and artist Dustin Nguyen, with just a tone issue. Rose and Ava Lee live in a dystopian future where all humans work for a single entity, The Factory, out of fear of The Eater. The story feels small, even as the world-building suggests there is so much more to explore, giving us plenty to ponder for a month until the next issue arrives. With there seemingly being a dystopian story out every week, this one, at least for now, looks different and like a breath of fresh air.