2nd Printing Simon Gough Nintendo Homage Cover
The Last Driver #2
Writer: Sean Murphy
Artist: Sean Murphy
Cover Artists: Dustin Nguyen, Sean Murphy, Simon Gough
Colorist: Simon Gough
Letterer: D.C. Hopkins
Publisher: Image Comics
The Last Driver #2 continues to build on the dystopian world Sean Murphy introduced in the first issue, delivering another high-octane adventure with plenty of heart beneath the hood. Murphy finds a compelling balance between high-stakes car chases and quieter character moments, giving us a better understanding of what drives Clutch and the world he's determined to preserve. His artwork remains a standout, with crisp driving sequences and widescreen layouts that capture the excitement of the open road, while the subtle world-building makes this futuristic outlaw setting even more fascinating. There's still plenty left to discover about Clutch and the world around him, but two issues in, Murphy has me already hooked.
A Ghost in the Rearview
Once again, Clutch finds himself in the middle of a dangerous police chase. As he drifts and weaves through traffic, he reminisces about a mission he once undertook with his daughter, Shelby, to retrieve a McLaren F1 for Kowalski, his employer. After hot-wiring the car, the pair are interrupted by Officer Womack and his army of police robots and pods. As the pursuit intensifies, the robots suggest switching to lethal force, which Womack emphatically rejects. Unfortunately, the pods misinterpret his orders and open fire anyway, fatally shooting Shelby. With her dying breath, she makes Clutch promise to take care of her daughter, Cuda.
Back in the present, Clutch finds himself in a familiar predicament as Womack gives chase once more. Only this time, it's not Shelby who's in danger, but her daughter. Will history repeat itself, or can Clutch outmaneuver Womack and his robotic entourage, leaving them eating dust as he burns rubber toward the next safehouse?
Jump First, Brake Later
With a stunt that would make Bo and Luke Duke proud and leave Boss Hogg steaming mad, Clutch launches his Corvette off a bridge. Unfortunately, he doesn't quite stick the landing, and the car comes crashing down nose-first. Hey, on the bright side, nobody dies this time around, and Cuda escapes with nothing more than a bloody nose. I'd call that progress for ol' Clutch.
Stranded without a vehicle, Clutch and Cuda stumble upon an abandoned record store, where he rummages through a collection of 8-tracks featuring bands like Bad Religion, Bon Jovi, and Boston. He gives Cuda a brief history lesson on the format, explaining how it came after vinyl but before cassette tapes. Naturally, Boston holds a special place in his heart. His first car was a Dodge Serati Boulevard with a Boston 8-track jammed into the tape deck, making the band a permanent fixture in his memories.
Cuda can't quite understand her grandfather's affection for Boston, let alone his attachment to physical media. Why bother with all this old stuff when you can just download the music? Aside from the fact that going online would give Womack and his robotic goons a way to track them down, Clutch believes there's nothing quite like owning something tangible.
Analog Never Dies
I appreciate Sean Murphy's subtle nod to the importance of physical media. How could I not? As a collector myself, if I really love something, whether it's a video game, movie, TV show, comic book, or action figure, I want to own it outright. I want to be able to hold it in my hands and know that no expired license or streaming service purge can suddenly make it disappear. Once I own a physical copy, it's mine to keep, and nobody can take that experience away from me.
It's much the same with Clutch's love of driving. Sure, you can automate everything and leave the grunt work to robots, but isn't there something more satisfying about doing things yourself? That's what makes Clutch the Last Driver. In a world where driving has become a dying art, he's determined to keep it alive for as long as possible. The only way to stop him is to pry the steering wheel from his cold, dead hands.
Burning Rubber
Sean Murphy once again demonstrates a knack for making his driving sequences feel fluid, exhilarating, and easy to follow. His widescreen panel layouts are particularly effective at capturing the speed and chaos of Clutch's high-speed escapades, making every maneuver feel like it could go horribly wrong at any second. I know I've praised this approach before, but it continues to be one of the book's greatest strengths.
There's also plenty of subtle world-building to appreciate. We're only two issues into The Last Driver, so Murphy hasn't revealed all that much about the dystopian world Clutch inhabits. Nevertheless, the setting is already fascinating. His vision of a future where automation threatens the things people once took pride in doing themselves is compelling, and the outlaw atmosphere only adds to its appeal. It's certainly not a world I'd want to live in, but it's one I'm more than happy to explore from the safety of a comic book.
Drawn to the Fast Lane
The Last Driver #2 keeps all its treads on the tires, moving the plot along smoothly while giving us a deeper understanding of Clutch's tragic backstory. We come to better understand not only his hatred of artificial intelligence, but also why keeping physical media alive is so important to him.
You get the sense that these subjects are near and dear to Sean Murphy's heart. This is a passion project for him, and it shows. As long as we've got that Boston 8-track jammed in the tape deck, I'm still more than happy to go along for the ride.