REVIEW: ‘Cyborg,’ Issue #2

Cyborg #2 is published by DC Comics, written by Morgan Hampton, art by Tom Raney and Valentine De Landro, colors by Michael Atiyeh, and letters by Rob Leigh. In the latest issue, Cyborg tries to process the fact that this new robot claims to be his father. 

The issue manages to both take a step back and one forward in the early pages. A brief flashback details Silas Stone’s last moments just before it jumps to Cyborg trying to figure out what is happening. The issue does not fully deal with the situation in the way I assumed it would. It steps away from the creepiness of the bomb dropped to instead focus on factfinding and discovery. Hampton is attempting to build up a new status quo for Cyborg, giving him a headquarters and a set of supporting cast around him. The other plotlines, notably anything involving Solace, take center stage. It isn’t clear what they are up to but that is exactly the point. 

While I initially thought Cyborg was going to run like a technological thriller based on the last page, and there are still those notions, it doesn’t have the unsettling elements needed to make it so. The mysterious corporation already establishing itself as untrustworthy is something that puts this Cyborg series in a similar bracket of genre to franchises such as Judge Dredd or Terminator. A classic scrap between heroes and villains is interrupted by the new robot friend, with a lot of mysteries being crafted, before a surprising final page sets up the next chapter.

The writing and the dialogue have some parts that just aren’t landing. Things that are clearly designed as running jokes are starting to worry me, as their execution doesn’t have the intended impact in my view. One of those is the monologue that a newsreader has in each issue. These pieces go on for far too long and don’t have the intended exciting impact that they aim for. Perhaps if it was laced alongside other pieces of exposition it could be better, but this scene is static and slows the issue down. Victor’s interactions with other characters in Cyborg #2 help to regain that life and energy, with some amusing back and forths. But there is a new element added to this issue, another piece of dialogue that chimes in, that feels cumbersome and unruly in practice. The captions are nicely written, incredibly contemplative, and are affected by this new idea.

The art is a mixed bag. It really shines when the battle between Cyborg and some of the villains begins. The chaos and the design of the characters suit the art style of Raney. The rough, thick lines and extensive detail intensify the scrappy conflict, adding noise to the issue. The new robot can be haunting, sometimes looking out of place in Cyborg. When there is a close-up of its cold, expressionless face, the lines become cleaner and more precise. However, it is the illustration of human faces that I find most disappointing and off-putting. When approaching the panel from an obscure angle, the proportions of the placement just aren’t right at all and that leads to misshapen, ugly heads. 

The colors also excel best in the fight scene, able to flourish and be livelier. I really like the subtle tones of Silas, a faint purple on the metal. In the battle, there is the green, silver, and orange of Cyborg clashes with a cool blue, while there are also striking tones for the powers and technology. The lettering can be a mess. There are moments where there are so many different variations of word balloons and SFX in one panel that the whole thing is discombobulating and confusing.

Cyborg #2 is very hard to stick with. At its core is a great story and a fantastic lead. The plot is fascinating, altering the concept of Victor’s critical father into something more intense and fitting for a science-fiction comic. And the mysteries within Solace are intriguing. But the repeated gags aren’t working and the unappealing art style makes the comic unpleasant at points. They are weighing the book down and getting in the way of the extremely likable elements.

Cyborg #2 is available where comics are sold.