Writer/Publisher: Erik Radvon
Colorist: Ross Taylor
Letterer/Designer: Micah Myers
Publisher: Radical Visions
WHAT IS IT?
Crisis Vector is the story of Kir, a Viking-esque warrior who is sucked into a multiverse-hopping adventure after his kin, Rykardt, attempts to use him to gain access to the Crisis Vector, a mysterious yet powerful force related to time.
It feels like an action sci-fi movie straight out of the ’80s. Like Conan the Barbarian starred in Back to the Future.
WHAT’S IT ABOUT?
(Minor Spoilers)
Shortly after the death of Oldfather Wulfor, a thought-to-be-extinct species called Scourgebirds steal an amulet out of his grave. After receiving counsel from Sertara, the local mystic, and discovering that Rykardt is to blame, Kir and Aldston decide to make the voyage to the Source of the Quantum River to stop him. Sertara joins the trio, and they head that way.
There, Rykardt reveals some history: Wulfor once came to the source and utilized the Crisis Vector to gain the power to strengthen his clan.
Unfortunately for the trio, things are not quite as simple as they seem. In the heat of battle, Kir and Rykardt fall into the Source, tumbling and tossing through the multiverse. They wind up lost and confused in a world far more advanced than their own and losing Wulfor’s amulet in the process.
Now, Kir and Rykardt must work together to retrieve the amulet, find a way back home, and figure out who will wield the Crisis Vector.
WHAT WORKS?
I’m actually a really big fan of the sort of '80s feel the story captures. I’m not sure if that is entirely intentional, but it feels that way. That sort of vibe really adds an extra nice layer to the book stylistically.
I think the book handles the pace changing really well. After the settings shift dramatically, it flows into a much cooler story.
Kir feels like a cut-out character at first, but the changeup in issue #2 really lets him shine. I’m glad the opportunity was created and utilized well to really deepen who he is and what he hopes to accomplish.
I liked Rykardt’s twist up in #2. Though there are issues with it (discussed below), I like that he isn’t presented as a boilerplate villain.
The action sequences are super fun, really elevating the pace in the slower pages.
I love the way the book leans into whichever setting it handles. From Scourgebirds to Corpo-Cops, the designs are great and there’s a significant shift that makes the book far more fun.
The ending to #2 is so awesome, it really brings all the chaos together for a second and it makes me feel like I need #3.
Myers lettering on the book is some of my favorite part. From what I’ve seen in previous books, his style is always bright and dynamic, and so it fits this book's rhythm perfectly. It’s a really solid placement for him here.
WHAT DOESN’T WORK?
Two issues into a book named after it, I’m still not completely sure what the Crisis Vector is or what it does, just that everyone seems to want it?
Because of the above point, I’m super baffled by Rykardt’s motivations. I don’t know what he aims to accomplish aside from gaining power using Kir…somehow.
Rykardt experiences a pretty big moral shift in #2, but there isn’t any narrative reason shown for it. He’s just different now. I’m not sure that’s the best play considering his actions we leave on in #1 and it feels clunky.
WHY SHOULD I READ IT?
The book has a wealth of action. The fights are fun, the style is kinetic, and it feels like it’s going to be a rowdy ride from page to page.
Mostly, though, I think the book utilizes its own shifting approach in a super unique and interesting way. I like that the book changes itself up and leans all the way into it. You’re getting a fantasy story inside of a sci-fi story, and that makes it so much fun. I like that it could change up on you on a page turn. That is real comic making.
HOW DO I BUY IT?
Click one of these:
The image(s) used in this article are from a comic strip, webcomic or the cover or interior of a comic book. The copyright for this image(s) is likely owned by either the publisher of the comic, the writer(s) and/or artist(s) who produced the comic. It is believed that the use of this image(s) qualifies as fair use under the United States copyright law. The image is used in a limited fashion in an educational manner in order to illustrate the points of the author and not for the purpose of entertainment or substituting the original work. It is believed the use of this image has had no impact on the market value of the original work.
All Erik Radvon characters and the distinctive likeness(es) thereof are trademarks of and copyright Erik Radvon or their respective owners. ALL RIGHTS RESERVED