Fashionably late to work by eight minutes, would punctuality have made a difference or was Carmen doomed to steer her flying bus into a wormhole regardless? There’s a lot that readers don’t know when writer, Ricardo Mo, starts Colossi off quickly. Something went wrong. That much is in the context clues of people looking up after Shuttle 34’s takeoff, and Trans-Atmos losing contact with the pilot, Carmen. The cause of their distress is a wormhole but without the money shot of the shuttle being sucked into its orbit that’s not visually certain. The wormhole looks like the warp speed spaceships go into in the movies, and Shuttle 34, indistinguishable from the other aircraft, could be one of the buses on the platform after a failed assent. That’s not what happened, but the artwork leaves room for the cause and effect to be misconstrued. The art’s not unclear but missing a step.
It’s the same with losing eyes on a handful of characters to where you start questioning if you missed a scene where they decided to turn back, or go their separate ways. This would happen on Lost, where the show would focus on the main cast and every once in a while remind you that there were other passengers on Oceanic Flight 815, but Colossi is dealing with a much smaller team to begin with. The likelihood of Mr. Loudmouth on the plane not making a peep after they left the cabin (a decision he wasn’t supportive of anyway) seems unassured, and they certainly didn’t leave the sick boy on the stretcher behind. After Zeus carries him solo for a way (a sight that takes getting used to, when stretchers usually require two people) there’s talk about getting the boy food but where is he? There’s always a plausible explanation—somebody dropped him off into the cave already—but you have to create those answers yourself. If anybody did want to wander off in Colossi, they’d have an easy time at it.
These are all easy fixes, though. Since we’re not acquainted with the passengers beforehand no time is wasted having them put their cards on the table. For the unnamed jerk (previously dubbed Mr. Loudmouth) that means no flirting with being a decent guy before descending into a twit and the cursing is make-like-a-little-kid-giggling-because-somebody-said-a-bad-word good. It’s not that the profanity is excessive but when the situation calls for a “sh*t” there’s no pussyfooting around it. Nun, old lady, or captain, none are remiss about saying what needs to be said in the language most stinging.
There’s a movie version of Colossi where Carmen would be played by Pam Grier and, while the story is futuristic, there’s a nostalgia to Alberto Muriel’s art. Should that conjure up images of watered down sci-fi there’s nothing tame about the mortality characters are faced with. Besides not knowing where they are, they’ve shrunk, surrounded by regular sized humans and the threat of wildlife featured in thumbnails. Is Shuttle 34 still safe to fly and where, who, and why has this happened? Issue two has its work cut out for it.