It is both troubling and telling that the author seems to equate simple convolution with depth, and if that's his philosophy in general, don't be surprised if the Wasteland plot keeps meandering towards an inevitable, predictable conclusion. It just goes to show that drawing elegantly and distinctly can be as challenging as a more complex, ambitious style. The art does not lend distinct looks and personalities to the characters, so even though they are different in appearance, they do not feel particularly distinct. The characters, while recognizably different, are mostly differentiated by hairdos, beards, and clothing. The art has improved, and has more depth and shading, but can still get a bit muddy. That's the problem with shows like LOST, which keep building and building, but in the end, don't deliver the conclusion they promised.Īnd that's the feeling I'm starting to get about Wasteland in general: a lot of ideas flying around, a lot of backstory, but it isn't coalescing into anything, it's just a lot of discrete thoughts tied together through a story that, while nominally an adventure, spends a lot of time in exposition dialogue between a wide range of disappearing/reappearing characters. No one wants to read 300 pages of building mystery only to find out that the murder was committed by someone who wasn't introduced until the last chapter. Remember authors: the payoff has to be bigger than the work that goes into it. It does create some character for the zombie/ghouls, but it's so unwieldy and poorly-executed that it's hardly worth the trouble. It doesn't produce any extra meaning, there's nothing subtle about it, and it reveals no further insight. Johnston's little spelling experiment does not make his work deep or interesting, because it adds nothing to the work. Replacing letters and deleting punctuation does not make you into Umberto Eco (despite what Cormac McCarthy might think). A dyslexic ESL student's paper is not a work of brilliance because it takes two hours to decipher it. Let's clarify something: despite what many people seem to think, just because something is difficult to read does not mean it is any good. " saying they shoudn't have to work to understand a comic (Mother Sun knows what they'd do with an Eco novel)" Eventually, youll need to make a decision on what to do with October. But then, in the letters section of the next issue, as he replies to some complaints about this failed experiment, we get this gem: Let October-11 go and recommend they sneak out of Colorado Springs using a refugee outfit. Bad vernacular is like watching a Hollywood starlet chew their way through Shakespeare: both painful and nonsensical.īut, on the list of literary crimes, replacing 's' with 'z', 'i' with 'eeee', and deleting all the spaces between words, while certainly annoying, is hardly worthy of condemnation, especially since he only toys with it briefly. Good vernacular can be a great way to make a character or world feel unique. To write a vernacular is a careful balancing act between readability and unique feel. Johnston is hardly the first author to try to write 'in dialect', but it's an experiment that rarely turns out well. It was not clear, easy to read, or evocative. I just found it to be awkward and stilted. Some found it to be interesting and unusual, others found it completely unreadable. He chooses to depict their speech as a near-human vernacular, which was received variously by readers. A few issues into this run, the author decided to write something from the point-of-view of the monstrous zombie/ghoul creatures of his post-apocalyptic world, in an attempt to paint them as more than simple villains. That's why he's so precious, as the last great achievement of Cochise and someone Tourmaline, his protector, will defend to the death.This story is promising, but the execution continues to disappoint, and it's becoming clearer why. And he has remained sane - proof the process can work. They could not adapt to their new reality. It's actually a human child's mind inside a robotic shell, the result of an experiment with downloading human consciousnesses into synth brains.
OCTOBER 11 WASTELAND 3 FULL
The thing is, October-11 isn't a full synth. He then hid inside the museum, among the exhibits, trying to figure out what to do. He was nearly shot in the streets of Colorado Springs, if Wolfe's brutish ways didn't cause a rift between him and the Marshals. Originally intended for a child's body and provided with a child's voice, October-11 wound up in a full-sized synthetic body as she and Tourmaline fled from Gary "NaCl" Wolfe's posse into Colorado. Wolfe's Hunt October-11 (referred to as an Animatronic in dialogue) is a character in Wasteland 3.Ī young synth from Arizona, October-11 was activated by Tourmaline.
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