If you’ve ever read any science fiction story, then you’ve already read RunLoveKill #1. This comic is not unique. Many times throughout the issue it becomes painfully obvious what is coming next. Many tropes are present, including the opening panels of a classical instrument being played cut with fight scenes. While this is beautifully rendered it is a cliché and does nothing, as far as I can tell, to further the story besides filling up thirteen pages.
RunLoveKill is set in the city of Prygat, which is run by an organization called The Origami. A wall is being erected around the city for its protection, but The Origami’s control of the city has characters wondering if being inside the wall is actually more dangerous.
The protagonist is Rain Oshiro and her objective is to escape the city. We are not sure exactly why she wants to leave, but some clues are given towards the end of the book that point to further mysteries regarding her “tattoos.”
Jon Tsuei and Eric Canete spin a decent sci-fi story, even if it’s nothing surprising. The characters go far in making this lackluster story enjoyable. Rain is a rough-edged renegade with a mysterious past. Her companion, Deyliad (Dey) is a heart-of-gold good guy inside The Origami who has antagonistic feelings. While the story is a decent vehicle for the characters it does them a disservice by being so generic, and it’s hard to recommend sticking around long enough to see them to their ends.
The art, however, is where the RunLoveKill truly shines. Canete’s drawings are unique – showcasing elongated bodily features with sharp edges. The lanky characters are highlighted by beautiful images focused on their limbs. The artwork feels appropriately futuristic. The large images of buildings and streets are especially well done. The grandeur of the wall is supposed to be impressive, but it would be nothing without showing what it contains. With that contrast, Canete is able illustrate how imposing the structure is and the oppressive nature of its enclosure.
If the art is gorgeous, the coloring is breathtaking. Every page is completely fleshed out. Leonardo Olea’s coloring brings the story to life more than anything in the script. The contrast of the dark industrial landscape with the bright colors of our heroine are what make the book worth perusing. And in fact, RunLoveKill may have been better serviced by being completely wordless as it was in its first few pages.
RunLoveKill does not bring anything new to the genre, but it is a stable read, and sci-fi fans may find a comforting familiarity with the story. If nothing else, the book’s a standout for its gorgeous artwork. Overall it may be worth reading, but RunLoveKill will probably be something better left until it’s released in trade.