The Seasons is Rick Remender’s next Giant Generator project, and much like all of his creator-owned work, it’s taking big swings. Paying homage to The Adventures of Tintin, Hayao Miyazaki’s films, Winsor McCay, and Jeff Smith’s Bone, the first issue promises a different kind of comic book reading experience. Does it meet Remender’s lofty description? Backed by artist Paul Azaceta’s art, I think it does.
The Seasons is a compelling read that takes a bit of patience to admire truly. It opens with a special newspaper report of a city vanishing overnight. We then see the carnage of a foreign-looking city over a series of panels, all captioned from the newspaper article. As we see death and destruction, we eventually witness a traveling circus packing up and heading out. The cheery clown, who also graces the cover, tells a barking starved dog it has been a pleasure, and even the dog seems confused. It’s an opening that is compelling with a dark mystery worth unpacking.
From there, the issue opens on a credits page featuring the four sisters with names for each season. Much like the rest of this issue, we’re given hints at a larger story as if to assure us more is coming, but readers should know that most of these sisters are a mystery in the issue.
From there, we meet Spring, riding a Vespa down a rather treacherously steep cobblestone street. As a goldfish in its bowl teeters on the back of the Vespa, she’s creating chaos in people’s lives, narrowly missing them or making them spill their drinks. She’s chasing after a letter, and much of this issue focuses on her returning it. Many narrow attempts at grabbing it are had, all with incredibly endearing and comical visual situations for her to endure.
I love the panel with the white conveying the steepness.
Credit: Image
That’s where Azaceta’s art truly shines, with interesting layouts and angles on Spring, who is attempting to grab the letter only to falter over and over. At one point, she falls through hanging laundry, saved by some pajamas, only for the clip holding it to the line to slip and Spring tumbling into a trash can. It’s slapstick straight out of Mr. Magoo, and Azaceta makes every moment compelling to read.
Running 39 or so pages long, it’s not until page 27 that Spring encounters the central conflict of the series: The traveling circus. That seems a bit long, and while I was impatiently waiting for the conflict to enter the story, I have to admit reading Spring’s endeavor to capture the envelope was entirely delightful. I was entertained, even if I was pondering, “But what is this about anyway?”
By the end of the issue, Azaceta and Remender make it clear what the central conflict is and the mystery surrounding Spring’s sister. Something is afoot, and it feels fascist in nature. The circus, meanwhile, is nefarious, even though it’s bright and positive-looking. You’ll be hooked by the end, I’m sure of it.
The Seasons is a bold and creative debut that masterfully blends whimsy with intrigue, offering a unique visual and narrative experience. While its slow pacing and lingering mysteries may test readers’ patience, especially in the day’s age of instant gratification, the charm of its protagonist and the rich artistry of Paul Azaceta make it a captivating read. You’ll be hooked on its mysterious and nefarious undercurrents by the end. It’s early, but this is already a visually stunning, whimsical, and darkly compelling adventure.
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