The world of Little Bird is one of wonder, despair, desperation, but ultimately can lead to triumph. One might compare it to a generational saga. A child thrust into a world of war and life of futility must grow up and become more than a denizen of helplessness. The wildly imaginative and bold mind of Darcy Van Poelgeest and artwork crafted like a ballet of twisting boldness from Ian Bertram comes a story set in this world.
Precious Metal, published by Image Comics, is a prequel and a saga of its own.
Taking place thirty-five years before the events of Little Bird, humans appear to be anything but. The second issue flows like a wild psychedelic path with an unknown destination. Imagine falling but twisting wildly through a waterfall of vibrant colors, yet with the graininess and dampness like dirty mist impeding your path, wondering when, or if you land, landing into the arms of relief or further into the clutches of fear.
The second chapter continues the tale from the first, where protagonist, Max, is thrust into situations which are undesirable yet undeniably essential to unravel the mystery of learning his identity and his past. It would seem the religious zealots known as The Disciples of Twelve who are in power in Little Bird seem to have gained a powerful cult following and stronghold in the current story. Their quest for a child who has a gifted augmentation and abilities seem to be pivotal for their goal of conquest in the name of religious devotion. Max pursues the cult through wastelands and lands of bizarre structure. There is a panel which sums up the chapter perfectly, when he thinks to himself:
“With each step downward, the air cooled, and the stench of decomposing Earth grew stronger… A slow, ceremonial descent into madness.”
Madness, a world twisted by the mechanical and bio-organic modifications humans have made to survive.
Readers are given clues, as Max meets with someone whom he may have had a relationship with, and a child who was hidden from him. This seems to be revisited laster as Max descends into the depths to rescue this child, there are glimpses into his past, a younger version trying to remember but is pulled back into the madness of reality.
A fight ensues, a daring escape made, only to be presented with an explosive defeat.
Precious Metal #2, titled “The Dead Bird’s Song may provide a link to the last words of a dying world or perhaps a song of whimsical belief of a world so forgone there may be no chance at salvation.
Two issues into the series, with the third installment slated for release on August 14th, Poelgeest and Bertram continue to craft a wildly colorful comic which one might think is full of life, but the story is very much set in the same world of despair and hopelessness. Along with Poelgeest and Bertram, Matt Collingsworth on colors and letters by the talents Hassan Otsmane-Elhaou who is also on letters in the recently released C.O.W.L. 1964 series. Peach Momoko contributes an absolutely beautiful variant cover.
Bertram, by the way, did the 1:100 ration variant on Transformers #1.
To be bluntly honest, this isn’t a comic I normally would pick up. That being said, having been given the opportunity to read and review, I find myself compelled to seek the answer to “what happens next” question by continuing the story. It’s rare to be pulled into a colorful splash of chaos and wonder. The series reminds me of Echolands which came out a few years ago. A wild world of wonder and war, colorful lands but with the gritty backdrop of decay and hopelessness of the downtrodden. Like Little Bird, the series feels unique. Yes, there have been similar series with such wild graphics and stories. Each one is unique and novel in their own way. Just as Little Bird was an award-winning hit for these reasons, Precious Metal stands out on its own as another glimpse into the minds of Poelgeest and Bertram.
