|SHERLOCK HOLMES: THE VANISHING MAN No. 2, June 2018|
Foremost of these difficulties would appear to be as an unintentional result of the publication’s drab, disconcertingly stained overall appearance. Ellie Wright’s choice of colours outwardly does a very good job of portraying the dirty, squalid brown-grey world “of the original stories.” But in using this oft-times monotone palette to capture such an ‘accurate atmosphere’ throughout the comic, the freelance colourist unfortunately also unwittingly seems to additionally drain the life out of the twenty-two page periodical’s action sequences as well. Most notably, a potentially pulse-pounding foot chase over poultry-packed garden walls, through busy maid-filled kitchens and up tight winding staircases, which ultimately results in Doctor Watson unsuccessfully trying to stop a fleeing villain from charging away on a two-horse driven van.
This sense of listlessness even extends as far as a horrifically macabre-looking scene set within Channel Row Police Station, where Inspector Lestrade discovers the tongue-lolling corpse of Sergeant Bailey in the cell block after two supposed members of Special Branch visited to interview the detective’s latest prisoner. Ordinarily, such a ghastly murder would debatably prove a genuine ‘stand-out’ moment within a narrative, yet in this case, because Julius Ohta’s competently pencilled artwork ‘blends in’ with the rest of the mahogany-tinted storyboard, it only fleetingly catches the audience’s eye before their attention is jarred back to the conclusion of Holmes' aforementioned pursuit; “I think that the gentleman standing in the same spot he was when we arrived is most assuredly watching this house. Hi! You there! Stop! Come, Watson! There’s no time to waste!”
‘First published on the "Dawn of Comics" website.'
|Writers: Leah Moore & John Reppion, and Illustrator: Julius Ohta|