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‘The Tomorrows’ #1 pays heavy homage to dystopian pop culture

‘The Tomorrows’ #1 pays heavy homage to dystopian pop culture


The Tomorrows #1

Written by Curt Pires

Illustrated by Jason Copland

Coloured by Adam Metcalfe

Lettered by Colin Bell

Published by Dark Horse Comics

The Tomorrows follows a slew of titles that attack the current state of the technologically hypnotized society that we live in now. It is great to see an influx of books that tackle a very timely subject matter existing in both the present time, such as Material, or even the future, with The Surface and this very title. No matter the locale, the influences, or the timeframe of said books, analyzing and deconstructing how control and consumption is exhibited through the mass individuals of the world can be uniquely tackled through the visual medium of comic books.

Art is illegal and the conglomerate corporation Atlas Inc. holds an oppressive technological control on the citizens of this world; such are the ways of the world of The Tomorrows. Our story begins with Zoey Holloway, an artist whom is being tracked by the human-faced robots of Atlas Inc. for illegally producing a painting. Before these Doctor Octopus wannabe robots can detain her, a laser sword wielding hooded individual comes in to save the day. After this mysterious man disposes of the robots, Zoey, through a mix of terror and bewilderment asks who he is. The man answers her question in the most calm and cool way possible: “I am Toshiro Mifune having sex with Toshiro Mifune. I am death in a denim jacket. I am your best friend.” His name is Claudius and he belongs to an underground resistance group called The Tomorrows.

tomorrows2Curt Pires’s script for the first issue is fairly grandiose. The influences and homages are a bit too spot on, with definite nods to the world feeling like a cross between Akira and Blade Runner. These pop culture incorporations continue through the likes of The Tomorrow’s super computer being called ‘Warhol.’ It is clear that The Tomorrows resistance group have acknowledged the influence that these certain pop culture entities have on not only them, but also society as a whole. The Tomorrows wish to free the people from their understanding of reality into a less controlled state of living.

Jason Copland’s art is very rough and slight on detail creating a very surreal and cold feel to the futuristic environments. Adam Metcalfe’s colours really shine and amplify the impact of Copland’s illustrations by spreading out a neon sheen throughout; the glowing greens, pinks, and blues especially stand out.

A lot happens within the pages of the first issue of The Tomorrows, bouncing between moments of exposition to meditative contemplations on the state of reality. Zoey is the pinnacle point to these realizations about the true understandings of the world she lives in, placing her within the trust of the resistance against the maniacal, over-the-top, evil intentions of Atlas Inc. leader Maxwell Hughes. Only time will tell as chaos ensues over the last few pages whether society can overcome their hypnotized selves.