From Publishers Weekly
Writer/artist Chaykin's latest depiction of the rotting American Dream may be his most bitter yet, but it's also one of his most exciting. Young Tucker Foyle watched his father use nanotechnology to create Columbia, a utopian community served by biomechanical robots. Then he realized what a stifling, monomaniacal vision the place embodied, so he stomped off to explore life. Now, after serving as a clandestine wetwork operative, he returns home to find the robots corrupted, and Columbia even more vile than the rest of the world. He decides he wants to fix this society, even if that means fighting his father, gangs of robot mobsters and the U.S. government. Back in the '80s, Chaykin's American Flagg!
showed materialistic, willingly manipulated masses at the mercy of a cynical elite; however, that comic kept its tongue in its cheek, unlike City of Tomorrow
's prevalent sneer. Evidently, Americans have been fed too many lies since then to smile easily. Still, this book is full of angry wit, such as a cemetery full of interactive gravestones or the copyright symbol on a robot whore's rump. And Chaykin's art has never been more dynamic, complemented by Michelle Madsen's unusually subtle and vibrant coloring. (Feb.)
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Satiric comics creator (American Flagg,
1987) and TV scripter Chaykin mines familiar ground in this tale of a cocky, dashing hero fighting to set aright a near-future dystopia. In billionaire Eli Foyle's crime-free, Norman Rockwellesque Columbia, robotic servants are supposed to keep the peace and otherwise serve their human masters. But a viral worm has turned the robots into gangsters and hookers and transformed Foyle's paradise into a despotic police state. Renegade Navy SEAL Tucker Foyle, Eli's black-sheep son, comes home to save Columbia and reconcile with his father. En route he falls for sexy blond robot Ash Wednesday and learns the unsettling secret behind Columbia's creation. Square-jawed, wisecracking Tucker too strongly resembles previous Chaykin antiheroes from Reuben Flagg to Harry Block in American Century
(2001), who are all oversexed, overgrown boys full of swagger and charm. Chaykin's sf noir formula, heavy on macho antics and kinky sex, still works, largely because his stylish artwork, with its distinctive panel layouts and punchy graphics, is so compelling. Gordon FlaggCopyright © American Library Association. All rights reserved