Bloodshot: Reborn #16
“…I drew down and fired straight at it. Capped off two hundred rounds in the minigun, full pack. Nothing… Nothing on Earth could’ve lived. Not at that range…”
— Sergeant Mac Eliot, Predator, 1987
Bloodshot: Reborn #10 through #13 (“The Analog Man”) was Mad Max on steroids; Bloodshot: Reborn #14 through #16 (“Bloodshot Island”) is Predator mixed with Terminator and sprinkled with awesome!
Without error, series writer Jeff Lemire has consistently delivered superb action coupled with suspense and plot twists along the way. While the series itself has be very well conceived and executed from the very beginning, issues #10 and beyond have arguably been a second phase for this series that provide everything readers and fans could want and more. Specifically, “Bloodshot Island” has introduced multiple new characters, each with their own unique characteristics, qualities, and backstories. The enemy is most formidable, menacing, and ruthless, but with deep historical ties to Bloodshot that gives each interaction much greater depth and significance. Lemire has created a action packed story, however, it is in no way a one dimensional story. The action is secondary to the primary story which is character driven and with purpose.
Artistically, Mico Suayan is in a class completely by himself. While he is renown for his high quality cover art (some good examples for reference are Bleeding Monk #0, Unity #5, and Unity #10) which are generally created with Copic markers, his interior pages for his work on Bloodshot: Reborn #14 through #16 have demonstrated Suayan’s mastery of the traditional hatch and cross hatch with precise detail, mostly with the use of Micron ink pens. Additionally, Suayan used Copic markers when creating Deathmate, the antagonist of this story, which creates a smooth blending of greytones that allows for a character with a liquid metallic texture that appears (rightly so) completely inorganic and opposed to nature. This is an effective move as it creates a visual contrast between the organic and inorganic elements of the story that in more ways than one, makes Deathmate appear more terrifying.
Colorist David Baron does a fantastic job in creating directional lighting and gunfire effects. While he chose to employ a strong color saturation for the jungle on page #11, most of the issue he used more faded colors as the story begins at onset of dusk and ends in the dark of night. This is important to note, as Barron’s colors share consistency with the timeline of this story from start to finish, with colors appropriate to day, dusk, and night.
“Bloodshot Island” is an explosive action thriller brought to life by a phenomenal creative team. The story is very well written, and the artwork is better than 99% of what is available anywhere in comic books today! With this story arc ending next issue with issue #17, it is nearly impossible not to look forward to Bloodshot USA this fall.