Review by Frank Plowright

At thirteen Annalise doesn’t have much of a life. Her research scientist father closets himself away with his work trying to prevent the end of the world, leaving his robotic constructions to entertain Annalise. To others, her father is known as the Vitruvian, and is considered a very dangerous man, while he believes he’s a target for a secret organisation called V.I.E.L., and will go to any lengths to keep his location from them.

Matthew Rosenberg introduces a mad world then proceeds to make it even more bonkers via a bunch of hateful self-important pricks each of whom considers the fate of the world is in their hands, therefore they’re entitled to do anything and everything. Chief among them is a philandering James Bond parody calling himself the Rook, who receives a subtle cover credit. Annalise is caught in the middle of this insanity accompanied by a robot with her father’s personality. So where she should turn? Well, she is her father’s daughter…

We’re Taking Everyone Down With Us is the world in hypertime, where everyone carries on going about their daily business unaware of a small group of the cynically insane deciding our fates with all the weapons in the world at their disposal. Perhaps the only difference to the real world is these insane people aren’t elected. Rosenberg’s tone is glib, and the fear becomes that the very capable Annalise will become what she ends up fighting.

What might otherwise transmit as very superficial is grounded by Stefano Landini delivering this world with thin-lined art serving first rate storytelling and defining a varied cast. He keeps things simple, but attractive, and ensures a recognisable reality no matter how extreme the situation becomes. He also has a fine way with a visual metaphor when needed.

Many puzzles abound as allegiances constantly shift, but readers will probably be a chapter or two ahead of Rosenberg’s major revelation even if there’s enough ridiculous action to get us to the end, all of it so over the top it’s stratospheric. The fun is had, and a continuation is promised, but the danger is that as connection with Annalise fades Rosenberg hasn’t given us anyone to care about, and without it a repeat performance will be hollow.