Jack discovers that Oona was in a fight with a band of Neo-Nazis the night before. We see how it all went down. Oona is now getting patched up at a veterinary’s clinic, but one Nazi is still alive and could identify Oona. Jack needs to make sure this racist doesn’t get the chance to talk. However, he has a new job coming up in Japan, and Aunt Sam is still breathing down his neck.
Analog #3 gives us a little more insight on the character of Oona while showing how devoted Jack is to her.
Oona is undoubtedly a badass and a half, as we see from her encounter with the Nazis. The fight scene is surprisingly brutal and gory too, which I appreciated of course.
The main thrust of the book is Jack trying to get to the Nazi before he can rat on Oona. It’s a tense and frenetic plot. The stakes are easy to read, the characters are likable enough so that you want to see Jack succeed, and the pacing is quick.
This plot is mostly self-contained too. The Japan job is saved for next issue, but the Nazi plot is resolved before the book closes.
David O’Sullivan continues to give the world of Analog the gritty and well-detailed aesthetic for which it calls. He handles the gore of the Nazi fight well. The world surrounding Jack is loaded with little details that further flesh out this setting. Mike Spicer’s color art is very well balanced and contrasted, with each scene using those colors to highlight specific details and important figures.
Analog #3 is another good issue of Gerry Duggan’s fledgling series. With tight pacing, compelling leads, and great artwork, this comic continues to impress with every installment. This one earns a recommendation. Give it a read.
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