Planetoid #4 Review


Its been a while, but Planetoid #4 swings back into Ken Garing’s science fiction tale of civilization vs oppression and survival against all odds. The last issue helped transform the title into a much bigger story, moving from the lone Silas to an entire town. Now, Planetoid #4 carries this on, whilst also focusing on Silas himself, on a one-man quest for redemption; what more can you ask from one title?

The official description from Image:

After a period of calm the Ono Mao strike back! How long can the newly formed settlement survive without the protection of Silas?

Its been a while since the last issue, so its good to see that Planetoid #4 doesn’t take things slow.Things kick off in full swing with various developments, showing a working civilization. Silas isn’t alone anymore, and the plot is written to reflect that.

This issue also sees the introduction of the Ono Mao, straight from the beginning. Ken Garing’s art helps keep everything coherent, as the ad-hoc nature of the robotic forms depicted so far go surprisingly well with the look of the main antagonists; you could easily assume a lot about their biology and culture without having to go into any detail or slow the plot down.

Needless to say, things don’t go down well. Whilst the plot is certainly gripping and engaging, it is mostly resolved by the end of the issue. That being said, there are major implications that are made aware that will certainly make the future issues rather tense and exciting.

As for Silas himself, this issue certainly adds a lot more depth. It’s not all likable, but that’s all part of Silas’s charm as a begrudging anti-hero of sorts. Still, the writing works with this, adding in a new elements of personal redemption for the character, whilst also still teasing his selfish side. He’s a very conflicted hero, and this is shown greatly throughout the pages of Planetoid #4.

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As is common with Planetoid, the end certainly leaves you wanting more, yet feeling thoroughly satisfied at the same time. The pacing moves well, with a lengthy enough passage of time that the world doesn’t feel bogged down in minor details, and the over all plot gets plenty of room to breath and grow. Throw in Ken Garing’s usual artistic flair for a rusty sci-fi look, and its easy to see this is a title that’s still going strong.

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