Skulldigger + Skeleton Boy

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RATING:
Skulldigger + Skeleton Boy
Skulldigger + Skeleton Boy review
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  • North American Publisher / ISBN: Dark Horse - 978-1-50671-033-4
  • Release date: 2021
  • UPC: 9781506710334
  • Contains adult content?: yes
  • Does this pass the Bechdel test?: yes
  • Positive minority portrayal?: yes
  • CATEGORIES: Period drama, Superhero

There’s a clever twisting of Bruce Wayne witnessing the murder of his parents in the opening to Skulldigger + Skeleton Boy, and it sets the tone for what becomes a dark and disturbing dissection of the superhero rationale. Just as in Bruce Wayne’s case there is no-one to save his parents, but here a young boy sees Skulldigger murder their killer, not looking away when advised to do so.

Skulldigger considers this a sign of strength, abducts the boy from the orphanage where he’s been placed and begins a brutal training regime. Also involved are the half-demon villain Grimjim, dedicated Detective Reyes who’s unwilling to turn a blind eye to Skulldigger’s murders, and Tex Reed, once the superhero Crimson Fist, who announces his candidacy for Mayor of Spiral City.

More than anything else, Jeff Lemire pitches this as a discussion about vigilante justice, and while it’s not emphasised in what’s essentially a disturbing pulp romp, there are parallels to our own world, and the balance between human rights and protection. Anger also features, and it’s what raises Skulldigger + Skeleton Boy above standard vigilante pastiche, a gradual revelation being that toxic rage has affected most of the cast.

Artist Tonči Zonjić has plenty of experience with a similarly brutal and unforgiving character as the primary artist on the Lobster Johnson stories. He draws this differently, although equally well, here having the viewpoint moved in closer because for all his violence Skulldigger isn’t such an emotionless character and his expressions need to be seen. This is also a period piece, the present day being the 1990s, but looking back to the 1970s. It doesn’t need the period mood, though, so the drawing is good, but generic.

Lemire provides a conclusion without it being definitive, never moving beyond the 1990s setting, so it works in the short term, but leaves a door open for a sequel. There’s very little light to Skulldigger + Skeleton Boy, with Frank Miller a seeming influence on the pulp feel. It delivers a brutal and gloomy experience, but a satisfying one.

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