When nanobot technology goes haywire, the entire nation of Australia is devastated within a few days. Australian cop Cain Duluth, working in New York at the time, loses his family and his home. A few years later, when Cain is assigned to a special department focusing on those who have used science to cheat death, he finds himself investigating the mysterious murder of a man he once knew.
In The Resurrected, writer Christian Carnouche flawlessly lays out a number of plot strings, each of which we could follow to find an exciting story. Set only a few years from now, the world has been transformed by nano technology, curing disease and possibly death itself. Mysterious corporations hold huge power, religious groups rage against technology, and Australian refugees are being hidden away from the world.
The Resurrected opens with a potted history of the invasion of Australia and the subjugation of its indigenous people, before introducing the main character, an Aboriginal Australian living in the United States. Cain’s complex relationship with his heritage is sensitively handled, as he carries symbols of his past but at the same time brushes away a discussion about who he might be. His race is clearly important, but The Resurrected never strays into stereotype. The story confidently gives us several characters of colour and different nationalities, and with female characters on equal standing to the males. Creator Christian Carnouche has spoken in the past about the importance of diversity in comics, and the unfortunate reality that too many comic book readers are frightened of anyone they perceive as different. In some ways The Resurrected is a hopeful vision of the future, where language need no longer be a barrier to communication and where race is not an issue. But it’s also a world which has its own, entirely new, biases, and where female characters still dominate in the role of victims.
A cast of well developed characters are revealed through realistic dialogue. From the recordings of his last snatched conversation with his family which Cain holds onto; the sexist asides of a senior officer; the media-aware corporate speak of a press conference: the voices here are as varied as they are believable. We also get a great potential villain, with his own motivation and possibly the best evil-billionaire name we’ve heard, laden with meaning.
Art by Crizam Zamora is unflashy, but perfectly suits this police procedural. Characters take centre stage, and are well realised and emotive. Even a single, double page spread showing Sydney after the disaster is downbeat. In a comic about future tech, with explosions and gunfights, it’s made clear that it’s the people who are important. Colours by Salvatore Aiala are equally well done, mostly subtle but with a nice lens flare effect and glowing light effect which give a cinematic feel.
We were able to read the first of The Resurrected five issue arc. Published through his own company Carnouche Productions, The Resurrected is Christian Carnouche’s debut comic. It’s an original piece of work from an extremely talented writer. There are so many questions asked here as an interesting possible future is laid out before us. There is so much potential that this story could go anywhere and do anything.
A Kickstarter is currently underway and well on its way to being fully funded. We would wholeheartedly recommend that you check out The Resurrected.
You can find out more about Carnouche Productions from their website www.carnoucheproductions.com