In the world of live television and cut-throat ethics, can the son of a once famous but nonetheless troubled father find hope in his future? Read on to find out.
The official description from Image:
NEW YORK CITY, 1951: Mike buries his father and Ginsburg buries the lede making his sales pitch. Will TV be an East Coast or West Coast medium? And in a pile of filthy photographs Mike finds one image that is really and truly shocking.
Forgive the overly corny introduction but if you look at the basic merits of the comic you hold in your hands you’ll find that the opening question of this review is more than appropriate for the content contained therein. To the creative team’s credit the festivities found here are more human than one might expect and thanks to a clever re-introduction of our primary leads we now know a little bit more about all of their intentions and motivations.
Matt Fraction pens the script and the scribe works with a lot of elements in this slightly sadistic symphony that begs for your attention. The script bares the soul of greedy people while setting up Michael White as a primary character that might be worth following. Every time the author takes a second to focus in on someone specific he uses his literary skills to revel in their imperfections while fighting the urge to linger there too long. In short: the story is tight as the hype for this series grows.
The art by Howard Chaykin is beautiful. Love or hate the content represented by the body of work that he’s turned in during his career, it doesn’t matter, because at the end of the day even his harshest critics have to admit the level of depth and skill that this illustrator carries to each franchise he touches. In this particular release he renders a captivating world full of lush backgrounds and detailed characters that are sure to please anyone who opens this issue.
Satellite Sam #2 continues this sordid affair in excellent fashion as this title develops into something that comes highly recommended.