Protector is a miniseries entrenched within the ideals of folklore and myth. It is something that constantly converses with our ideals and practices while pointing its hand within our modern sensibilities. In truth, this book doesn’t so much give answers as it trusts that the reader is capable of finding them. The narrative is constantly in flux with two characters: First Knife and Mari. It’s great to control how the story has been creating a brave new world, yet it doesn’t bog us down with the totality of the world.
Artyom Trakhanov has one of the most unique art styles in the industry. His manga-like style properly blends the whole worlds together and really offers some gritty visuals that exploit the apocalyptic nature of the Protector’s world. This is propelled further by the wondrous Eastern color palette that Jason Wordie delivers through this book. There is a magnificently European comics sensibility that really resonates with the style of this book’s execution.
Even more of a unique spin is the lettering choices through Hassan Otsmane-Elhaou. He continues to proceed with how the entirety of the book switches in its style. There are these genuinely cool flourishes that properly help in setting the style of speech. More so, it’s always offering things like hand-lettered sets or refined computational lettering.
Protector is one of the most inventive comics on the shelves in how it blends things. For most sci-fi series, it is foundational to avoid the indigenous nature of people. But it is constantly imbuing the storytelling sensibilities of a fable into the world, and personally I’m more a fan of that than anything. This series is quickly becoming one of the favorite sci-fi books because it allows for the notion of belief in a new future. Yes, it’s not hopeful, but it is one that has survived. Let’s hope we survive ours now.
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