![]() ![]() I will say that it’s a natural evolution for the character in question and so unexpected as to be surprising. Sean Phillips’ work in Follow Me Down is, for me, defined by body language-and by a piece of decades-later character design in the book’s last third which is best left read for yourself. Thus, cars and Reckless’ surf van become stifling and isolating through heavy uses of black space, while the light greens of suburbia and the city and the tans of the desert stretch out far-rendering Reckless and Rachel as both striking and lonely amidst the vastness. ![]() Rachel, the book’s co-lead, is out for revenge on a crew who’ve made the road their kingdom. Where The Ghost in You mostly took place in a corner-and-secret-filled Hollywood mansion, Follow Me Down opts for locations that are both more and less open. Follow Me Down sees the trend continue, albeit with very different spaces. ![]() I wrote a bit about the way Phillips used color to shape space in my review of The Ghost in You, the previous volume of Reckless. ![]() Rachel, the woman Reckless will be hired to find, puts her plan into action in Sean Phillips, Jacob Phillips, and Ed Brubaker’s Follow Me Down from Image Comics. ![]()
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