By Jonathan Edwards

At first I didn't want to review this one. However, it probably wasn't for the reason you'd initially think. I liked the first issue of Generation Gone well enough that I kind of wanted to keep my reading of the book casual. That way, I could take my time with each issue and not have to immediately jump into the critical thinking. Of course, that would've also likely meant I'd quickly fall behind in my reading of it (I'm already behind on a number of books I'm already reading casually). And since there really wasn't all that much else coming out this week that I felt the desire to review, I decided I might as well just go ahead and do Generation Gone #2. And, you know what? I'm glad I did. Because, now I'm interested in talking about this one.

By Jonathan Edwards

My last experience with Ales Kot's work was dropping his series Wolf after issue #7. And, that's actually kind of funny to me. Because, that was the book that got me going back into my local comic shop for the first time in a few years. I had picked up the first issue the day it came out after I saw it advertised in an email from Comixology (which at that point I had only really used to get a few free comics). It was a decompressed and oblique read, but it was still interesting enough for me to want to come back for the next installment. Unfortunately, the more I read of it, the more Kot seemed to prioritize showing disparate elements of the world he'd created over tying together the plot threads he continued to introduce and leave hanging. And when some connections were finally made, it was too little, too late, and not satisfying. So like I said, I eventually dropped it. But at that point, I was already reading a few other books I'd found and decided to pick up as well when coming into the shop for Wolf. So like it or not, Ales Kot played a catalytic part in my relationship with comics. Without him, I very well might not be writing this review right now, and perhaps that's the biggest reason I wanted to look at Generation Gone.