SNOW­FALL Win­ter In Amer­ica

SFX - - Reviews -

Dystopian fu­tures are ten-a-penny, but Joe Har­ris and Martín Mo­razzo man­age to make the world of Snow­fall feel fresh.

It’s 2045, and the world’s ecol­ogy has crashed. It hasn’t snowed in a decade and Amer­ica is now ef­fec­tively run by the Hazel­tyne Cor­po­ra­tion. The reap­pear­ance of a weather-con­trol­ling ecoter­ror­ist known as the White Wizard, how­ever, changes ev­ery­thing. A stu­dent, An­thony Far­row, sets out to join him, but crosses path with one of Hazel­tyne’s deadly in­spec­tors...

Eco­log­i­cal themes and strong world-build­ing make Snow­fall a dis­tinc­tive, oc­ca­sion­ally ex­cit­ing se­ries, if not quite the sci-fi clas­sic you hope for. The char­ac­ter­i­sa­tion of its three leads is sketchy in places, and while it’s pleas­ing that none of them are straight good­ies or bad­dies, it’s hard to care about why the White Wizard is do­ing what he’s do­ing – he usu­ally just comes across as a bit of a crank. Joe Har­ris’s script over­loads the reader with info. And while Mo­razzo’s art is fine, with some dis­tinc­tive char­ac­ter de­sign, Kelly Fitz­patrick’s colour­ing is flat in places.

De­spite th­ese flaws, Snow­fall is dis­tinc­tive and en­gag­ing enough to stick with, a cy­ber­punk fairy­tale with frost on its mir­ror­shades. Will Salmon

Joe Har­ris and Martín Mo­razzo pre­vi­ously col­lab­o­rated on the sim­i­larly en­vi­ron­men­tally-themed Great Pa­cific.

A man in­side a chim­ney was later shot.

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