I was terrified to write this review.
Flipping through issues #1-9 of “Zero”, I could feel the personal connection behind the story that Ales Kot is weaving. With that said, there are depths here that I cannot possibly understand. But it’s the themes that most of us, if not all of us, can relate to that’ll pull the readers into the world of “Zero”, primarily rebellion and loss
WRITTEN BY: Ales Kot
ART BY: Tonci Zonjic
PUBLISHER: Image Comics
PRICE: $2.99
RELEASE: July 23, 2014
Reviewed by Nick Brehmer
For those who are just learning about this series, “Zero” tells the story of continued global conflict in the uncomfortably near future. Technology has evolved to such a level where human limitations are being erased and the perceived laws of physics are being broken. Edward Zero is an assassin working within an internationally powerful spy cell known as The Agency. He has been conditioned to be an elite strategist and killer. No attachments. No history. No emotion. Existence is a perpetual state of war – especially his own.
So much has happened. So much has changed. So much is unknown. Issue #9 focuses on the backstory of Edward’s “handler”, Roman Zizek, the man who trained Zero from childhood. In 1993, during the height of the Bosnian War, Zizek is playing both sides as an arms dealer. His lover, Marina is pregnant and the tension of the weaponry negotiations is cut by moments of tenderness between the two characters. In the world of “Zero”, such things aren’t meant to last.
Again, for those who haven’t been following the series, each issue features a different artist. In his interview with CBR News last summer, Kot explained that, “the artists inspire me to weave the stories in ways that complement their work. This can mean there are ripples being created — and these ripples then influence the larger whole. I embrace the possibility of modification.” The change in each issue reflects the various perspectives and transforming atmosphere of the progressing narrative. The artwork for Issue #9 is by Tonci Zonjic and is marked by a minimal colour palate and heavy use of shadow. There’s a five-paneled, double-page spread around the middle of the issue that shows Kot devotion to character and the significance he places on personal histories.
I caught my breaths being drawn out and my eyes widening multiple times. It’s an intense read.