Lone And Level Sands, Okko, The Killer Vol. 2 & The Engineer: Konstrukt - Graphic Novel Review

The balance of true visionary art revolves between the implementation or integration of history as well as the unbridled coolness and creativity of a firmly planted mind. Archaia Comics, through the structure of their publishing, continues to show a diverse implementation of relative styles from the dark recesses of "The Killer" to the almost bubblegum viciousness of "The Engineer". Add to this the reverent but vigilant tendencies of "Okko" and the insistence of "Lone & Level Sands" and the talent imbued in these various titles waxes fantastic.The Lone & Level Sands Changing perceptions of ancient stories rests in the eyes of the beholder since with many ancients texts the original writing was based on the bias of the inherent writer. Ultimately without RAW video and photographic record which society now has, intents of long dead rulers and oppressors are simply left to guesswork. With "Sands" the perception is laid on the precipice of the scourge of Egypt and its Pharoah Ramses at the hands of Moses and his new god Yahweh. The story brings context using straight angles optimizing the ideals of black and white in these metaphorical stories where the grey still exists. The difference in this story revolves around Ramses' intentions where he is literally backed into a corner. Moses remains steadfast. The prophet's motivations are not one to change. Ramses, in losing his first born and by extension his grandson, creates a more contextual image from which to understand his decisions. At certain points, family takes precedence over an empire. Look at "Gladiator" which is based squarely upon that intention. The action within the story, especially the imagery, also seems to take place at arm's length suggesting an intentional perspective of the separation between state and God. The lingering bright and dark hues signifying storms and sand rightly visualize the battle of power between the separated cousins but never, in good form, takes the stand of who is right and who is wrong.Okko: Cycle Of Earth The texture personification of the wandering warrior tribe paradoxically transfixed by an occult monk sect intent of interring an army of dead warriors tends to run in counter-clockwise fashion to a very Eastern story. However by bridging the two perceptions, the narrative takes on a bit of a neo-modern intention because of the different ideals of its players. The story, which in this volume is dictated by "The Cycle Of Earth", has the warrior Okko and his band of mercenaries traveling to uncover the identities behind the Raven seal. These turn out to be a radical group of monks covered in straw hats that have uncovered ancient texts at a monastery at the Top Of The World from which magic to rise the dead lies. While the human chararacteristics especially with Mow have a dexterious nature to them, it is Nuuk, with his tones of Gollum, that makes the most emotional sacrifice. It is through his eyes, however muddled, that the action points to the base nature of what the story is about: the survival of a purer form of civilization. In terms of art, the sharp lines and shadows point to old school versions of pictographs (obviously at a more advanced level). One of the interesting additions (which gives more than a nod to "Evil Dead") is the introduction of the "Bunraku", a seemingly mechanical piece of death that is powered by the elastic venom of silkworms, a seemingly high point of the final battle.The Killer Vol. 2 The continuation of this structure works in perfect congruence with the idea of this man. Like the archetype, knowing too much or moving too quickly always has its obstacles and consequences. After the elements of the first book, our intrepid assassin is pulled in by Columbian drug dealers looking to settle his debt which always moves the wrong way. "Scarface" proves this that no matter how overwrought the tale is. Bringing people closer, even if it is just superficially, can lead in such specific visions to disaster. Unlike the first volume which revolves around the aspect of being a loner, this tome seems to battle with the aspect that misery needs company. Like the influx of Jason Bourne in the actual narrative progression of "Supremacy", it is the injury upon a lover that truly sends The Killer beyond his comfort zone. The aspect of pairing him initially with a drug dealer's godson stretches credibility but the easy bantering tends to work well though most would respond with a little more vehement. The reveal in terms of the assassination attempt on the hitman's life plays a bit convoluted but the sleek motivation of the man balances this out. The colors play between a cool blue palette and the scorching baking orange of the sun without coming too hot. Like Michael Weston in"Burn Notice", it is about always being aware of your surroundings, keeping people at bay initially without making them aware and always keeping your eye on the ball. Eventually, at times, one falters but discipline must be maintained. In this way, Vol. 2 of "The Killer" represents some truisms of life in a visceral package.The Engineer: Konstrukt In complete opposite transgression, this outlay speaks about the end of the world with a lead character who morphs through any situation with a sense of brevity which makes the through-line fun to watch. Unlike something like "The Killer" which is based in the concept of mood, "The Engineer" is about a man not in control of his journey driven by things that are beyond him. The unlikely duo of this slightly kooky anti-hero fueled by the odd bumbling comedy of his assistant robot Roland really pushes the narrative eccentric. The big crab monsters, oversized bats and moons crashing into planets causing genocide are just backdrops for  zippy one-liners which bring to mind (again) "Evil Dead" with a bit of "Hellboy". The intrinsic narrative plays a little cartoonish at times with the inclusion of an almighty power that can only be stopped by one simple device whose parts are scattered throughout the universe. However, the art of this becomes reflective of that using forced perspective and overwrought angles to imply the farcical nature of the proceedings which ultimately lends a great levity to the actual adventure inferring the story's strength.