The Tomorrows #2

by Curt Pires, Alexis Ziritt and Adam Metcalfe

After getting introduced to a whole lot of things in the first issue, Curt Pires brings readers into a different space with The Tomorrows #2. The opening issue of the series was filled to the brim with information, world building, and plot points. At certain moments it was surprising so much could fit into one chapter. Here, the story feels a bit different, and readers will learn a bit more about this new world. Featuring a new artist on the book, The Tomorrows #2 is a well-written entry that raises a number of questions.

Set in New Rio, this second issue takes on a very different tone than the first. Initially, readers had been brought into this book through strange new technology, and a man, Maxwell Hughes set out to control everything through this new era of social media and a lack of privacy. Ending with a plan to take down the system and rally the people, there was a lot of politics and commentary to be had in issue one. Here, the story picks up with a crime scene, a member of The Tomorrows is dead, and Claudius wants retribution. The characters are the same, and there is similar language, but there is not much connective tissue between the events of the first chapter and this one. Still, the energy and storytelling by Pires is strong enough to continue forward with the second issue and see just where this may be headed.

Part of the shift in tone of the story has to do with the change in art. Alexis Ziritt has take over on pencils from Jason Copland. Both artists have a similar approach to their line work and page formatting, but there are definitely differences in the choices that Ziritt makes. The book looks grittier, possibly also a nod to the world of New Rio, a place run by no one. The anarchical state, somewhat influenced by the Favela gang is the setting for the second issue. Metcalfe’s colors continue to carry a really interesting mood through their very saturated, often glowing aesthetic. The world looks as though neon bulbs constantly light it and it creates a very interesting atmosphere.

Through Zoey’s insistence, the group set out to solve the murder and get answers. The story’s energy really pulls readers forward. Despite this being a departure from the focus in the first chapter, Pires’s scripts and the paneling from Ziritt move quite quickly. Most notably, as Claudius narrates their plan of approach, the story begins to depict the events through the art. The overlaying of the two pieces work very well together and readers will feel the tension building up moment by moment over the course of this sequence. It might not be what most expected heading into the chapter, but Pires, Ziritt and Metcalfe still turn out an enjoyable issue.

It feels as though it might still be too early to know exactly where this book is headed or what to expect next time. However, Pires has certainly presented two strong issues thus far. Hopefully next month The Tomorrows will begin to take shape.