Shrapnel: Hubris #1/#2, Last Days Of American Crime #1/#2 & After Dark #1 - Graphic Novel Review

Radical Publishing functions in the ideal of different characters perceiving the interior life with a sense of duty but outwardly affecting their intent as a bit of a beckoning call. No matter what their sense of hesitation is, their ultimate goal rests in the unlocking of this goal despite any sense of loss. "Shrapnel", in relation to its later exploits perfectly interlocks its lead with a sense of vision. "The Last Days Of American Crime", by comparison, knows enough of its genre roots to placate to a sense of knowing without losing the fact of the characters while "Afterdark" loses its way with a lack of focus permeated in a undeniable sense of the unknown.Shrapnel: Hubris (#1& 2 of 3) The loneliness of the darkness befits the lieutenant. Before overtaking the texture of Venus' gas filled revolution, she must first dictate the rules of her command. Within the floors of where her men and crew, eat and live there becomes a more subtle progression of what is eating at her. Unlike the later ideals where she is questioning most of her moves, she seem undeniably confident here, even as the cracks of her true motivations as well as her sanity come into play. Like the impending political doom of Coruscant in "Star Wars", the underlying politics plays a factor but, like Radical's other outlays, the identity in question always comes first laying the groundwork for the inevitable conflict. The diametric opposites of the green tinge drudge of the city, the dark browns of the bars and the inevitable whites inside the spaceships create a stark color tapestry inevitably different from other installments.The Last Days Of American Crime (#1 & 2 of 3) In a world where violence, money and all other vices of such will be outlawed, the inevitable storm of crime and the degradation it perceives will always come to bear. The identity of "Rory" is specifically that of question but his ideas of who truly needs to be encompassed in his world is strongly affected by the alternate wills of human nature. Shelby, the undeniable femme fatale occupies the intents of structure of pulp fiction, truly functioning on her own path with more or less her sexuality dictating the way. The colors vary in a stark almost swirling fashion that comments on the sense of confused emotions the characters are portraying. Like the violent tendencies of "True Romance" combined with its tender moments, the paradox becomes the reasons for being behind the characters and what they are truly after. As the end draws near with a Mexican cartel that simply wants Rory to die for protecting himself, the vigilante prospect dwells central in his mind. The balance becomes that these noir specifics paint a disctinct formula, which while entertaining, prey to normal intentions.After Dark (#1 of 3) The inventiveness of this introduction rests in the belief of an ultimate goal to save mankind is a tried and true revelation but the idea rests in the abaility for the characters to relate intent. While the involvement of Antoine Fuqua and Wesley Snipes adds the credibility to the progression, the expected texture is little less hard edged than one might think. The character relativity speaks to a more "Alien" based motif with the distance measured in the loneliness of the crew. Like the wastelands of "The Matrix" the wasteland element postulates to a less-hopeful environment in a world populated less with productivity and more with self doubt. While this can be integral in motivation to loftier aspects in relation to some of the other characters seen in Radical releases, the characters here seem bereft at times of will which will prevent them from later auspices.