Freakangels vol. 5
The previous volume left off on a great cliffhanger with Freakangel Luke getting up and complaining to the group’s medical specialist about how his head was killing him. This was after he had been shot in the chest with a shotgun and then in his head to make sure that he was dead. If you’re new to this series, then don’t worry — he deserved it. This volume kicks off with a bravura sequence of Luke explaining everything, with a giant hole in his head. It could’ve been expository overkill, but not only is it punctuated with some fascinating insights about the abilities of the title characters it’s also peppered with moments of hilarity which pre-emptively deflate any pretentiousness on the part of the writer, the ubiquitous Warren Ellis.
From there, the cast continues to puzzle out the mysteries and limits of the Freakangels package, while preparing themselves for… something. Mark, the exiled and now returned member of their group, was apparently seeding Whitechapel with pawns that he could control so he could take over the encampment because something big was coming for him. It’s an interesting development since it gives the series a new focus, even if it’s promptly put on hold while the kids find new ways to play with their mental toys.
The best part about this volume, though, was how Ellis turned the book’s direction around in a believable way. At the end of vol. 4, we were faced with the prospect of the group breaking up as everyone seemed to be pulling in their own direction as a result of the multiple threats and betrayals in their midst. Here, with the nature of the “upgrade” they’re faced with, Ellis finds something bigger for the clan to dedicate themselves to and subsequently rally around that.
If I have a complaint (aside from the fact that the big threat is announced then put on hold), it’s that we’ve seen so little of the world outside of Whitechapel over the course of these five volumes. I have no idea how far or how long Ellis is going to continue this story for, but with characters whose powers resonate on a global level, it feels like he’s not tapping into the book’s full potential yet. Still, this collection is another strong entry in the series. Artist Paul Duffield also deserves lots of credit for giving us such expressive characters and landscapes (ruined city, psychedelic, and otherwise) that make following their monologues a fun rather than a chore. So again, if you’re not reading this then you’re missing out on Ellis’ most substantial and satisfying post-“Transmetropolitan,” post-“Planetary” work and a good comic in general.