Written by Warren Ellis

Art by Declan Shalvey

Colours by Jordie Bellaire

Published by Image Comics


Injection tells the story of a group of people who were brought together by the British government to hypothesize about the future of human development. In order to accelerate said development, the team create an A.I. and release it out into the world. They are called back together by the government years later when the A.I. begins using its knowledge of mythology and superstition to wreak havoc on the world. Ostensibly, that is the story to be told in Warren Ellis’ Injection. Upon actually making it through all 240 pages of the story that has been collected so far, I found the story to be pointlessly disjointed and weighted down with unneeded filler. Whatever momentum or tension it managed to build would be immediately shattered by a pointless flashback, or some other type of aside. Did we really need all of the flashbacks? These guys have known each other for a long time and they created the A.I., that’s really all the flashback you need. The other ones could be completely gutted. After around the quintillionth flashback or scene of Robin sullenly sulking, it becomes abundantly clear that Ellis is stretching. The characters also weren’t remarkably likeable or memorable. Mostly coming off as one note caricatures. Robin sulks, Brigid is sassy, Maria is wracked with guilt (and thoughts of sandwiches), Simeon is a pointless character, and Vivek is a rich asshole with sociopathic inclinations. There’s really not much to them beyond that, despite what critics may say. By three issues in, I found them more insufferable than anything. Of course, the worst of them is Vivek Headland. I did not think it was possible for someone to write a protagonist more insufferable than the James Robinson version of Richard Swift, but Ellis has succeeded. The artwork is, to put it succinctly, awful. Granted, I have seen worse from Image Comics in recent years (flip open an issue of Saga sometime. Holy finger painting, Batman), but for something that is supposed to be some sort of high concept melding of science fiction and supernatural fiction, one would think they would spring for something better. The illustrations are flat and the colour palette is drab and unremarkable. The whole book was dull and unremarkable though, which made for something of a tedious read. It actually took me months to get through it, during which time I finished off several longer and far wordier titles. If you’re interested in Ellis’ work, I would suggest the vastly superior cyberpunk offering Transmetropolitan, a pulpy slab of cheesy sci-fi goodness featuring the stellar art of Darick Robertson and the beautiful color work of Nathan Eyring. Which is to say nothing of the more entertaining cast of characters. This one, on the other hand, is a misfire at best.

Score: 1/5


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