With the release of Alex De Campi’s “Grindhouse: Doors Open At Midnight” earlier this week, Bloody-Disgusting thought it time to revisit “Smoke/Ashes.”

The collection released by Dark Horse houses both of De Campi’s adventures steeped in political intrigue and governmental issues in a world gone to shit: “Smoke” and “Ashes.”

Both series follow Reporter Katie Shah and assassin Rupert Cain as they team together to combat intricate terrorist threats. The English ruling class has thrown society into shit, and Cain and Katie find themselves the targets of very powerful men.

“Ashes” tells the story of how these two unlikely heroes reunite in an adventure steeped in Cain’s past. This time a smattering of different artists bring the book to life, and each chapter feels tonally different. The visions of Cain’s haunted past are spectacular and the horrible way it’s dredged up in the present prove that Cain and Katie were far from done at the end of “Smoke.”

WRITTEN BY: Alex De Campi
ART BY: Dan McDaid, Carla Speed McNeil, Bill Sienkiewicz, Richard Pace, Colleen Doran, among others.
PUBLISHER: Dark Horse
PRICE: $29.99

“Ashes” is an incredibly expansive story. De Campi doesn’t shy away from being ambitious. Instead she fully embraces it. The result is a fantastically varied political thriller that morphs and changes over the course of the adventure.

We’re reintroduced to Katie at her bottom. She can’t keep a job, unpaid bills litter her apartment, and nothing seems to be going right. Cain on the other hand is enjoying a life of isolation. The aftermath of “Smoke” catches up with them and Katie and Cain are reunited. They are plunged into an globe spanning adventure.

The heavy political intrigue of “Smoke” is traded for a little more social commentary in “Ashes.” The nature of being a solider is explored and the dangers of information age are pushed to the forefront. Each chapter of the story illuminates a new angle on the plot and themes that come together to create one of the most multifaceted looks at terrorism, military life, and the state of modern society.

What helps to push this idea is the large cast of artists who lend their talents to “Ashes.” No one chapter feels the same as the last. Somehow, most of the artist switching works. One or two chapters feel slightly jarring in the context of the larger narrative, but for the most part the switches keep the pacing of the story from hitting a lull.

The first chapter has some of the most incredible work in entire narrative. Things open up with some moody representations of Katie’s shitty life. Chapter two was a highlight for myself. Since the work in Cain’s flashback is incredibly haunting and disturbing. The work done by Milton and Felipe Soberiro, Carla Speed McNeil, and Richard Pace in this chapter is virtually unrivaled in this gigantic book. The dark scenes on the boat create an atmosphere of cold isolation. The haunting face of the android creature Cain must face will stay with you for a long time to come.

It’s important to note that this book really belongs to Richard Pace. He does a lot of heavy lifting here. It’s impossible to tell who does what in each chapter, but his name is featured in just about every chapter of this book.

Dan McDaid’s chapter three is particularly fun and vibrant. The juxtaposition between extremely warm and cool color palettes add a lot to his very thick line work. The chapter feels like the biggest departure from the rest but works very well to create a sense of urgency.

Chapter five takes some really daring changes in the art and works them into the narrative to great effect. I was truly blown away as I was greeted with some of the final pages of the chapter. They convey the same dire tone, but evoke a completely different style. It’s absolutely marvelous.

Bill Sienkiewicz closes out the book in a completely surreal and wonderful portion that will stay with you. De Campi breaks the mold of the narrative and leaves the reader fluttering on existential ideas just long enough before ending the entire thing. It was a beautiful choice, and one that will linger with the reader.

The plot of “Ashes” may not have the same political punch that “Smoke” had but will truly resonate with the reader long after the pages have stopped turning. De Campi crafts an incredible deconstruction of the themes she presents and manages to push the narrative into completely new territory with every chapter. While the overarching plot doesn’t feel as heavy as “Smoke” it will be on your mind long after you finish the book.