One of the new titles that I’ve been enjoying lately is Rocket Girl, which is written by Brandon Montclare and illustrated by Amy Reeder. Last year’s Kickstarter campaign to fund the first issue was such an overwhelming success that Image Comics decided to publish the book. Rocket Girl #5 just came out, wrapping up the first story arc, while leaving plenty of unanswered questions hanging in the air, no doubt causing many readers besides myself very much anticipating the next installment of the series.
Rocket Girl is the story of Dayoung Johansson, a 15 year old who travels back in time from 2013 to 1986 to change history. The 2013 that Dayoung comes from is not “our” present / future, though, but a world where the titanic corporation Quintum Mechanics has made tremendous technological breakthroughs, creating a world where glistening high tech skyscrapers, robots, and personal jet packs are commonplace. In other words, it is a vision of tomorrow very much in keeping with the idealistic future envisioned in the pulp sci-fi novels & movies of the mid-20th Century.
Dayoung, though, is not content. A member of the New York Teen Police Department, she sees the tremendous political and economic power being wielded unopposed by Quintum Mechanics. And then an anonymous informant known only as “Joshua” informs her that Quintum came to power by sending technology back through time to the founders of the company in 1986. Convinced that “crimes against time” have been committed, Dayoung sneaks into Quintum headquarters and utilizes their time travel tech to go back 27 years into the past and avert what she regards as the perversion of history.
Brandon Montclare poses some intriguing questions in his scripts. I constantly find myself wondering if Dayoung Johansson’s mission is justified. Unlike so many other science fiction stories involving traveling in time to alter history, the 2013 seen in Rocket Girl is not some sort of dystopian or post-apocalyptic nightmare. So far we have mostly just seen the members of the NYTPD and Quintum Mechanics, which makes it difficult to get a feel for what sort of life the average citizen has in Dayoung’s 2013. But it doesn’t seem all that different from the “real” 2013. Actually, it seems a bit more pleasant, with cool technology. And you don’t seem to hear anyone talking about global warming, pollution or crime.
Yes, Quintum Mechanics appears to be a shadowy, amoral corporate entity with too much influence. But what happens if Dayoung succeeds in undoing the apparent alterations to the time stream? Rather than a world where Quintum is manipulating events from behind the scenes, we would have “our” 21th Century where the Koch Brothers and their like are pulling the strings of power. It is not going to be a “better” world, just a different one with similar flaws and corruptions.
There is also the implication that the board of directors of Quintum actually want Dayoung Johansson to travel back to 1986, that her attempt to alter the past is a crucial part of the corporation’s rise to power. Montclare is definitely playing around with the notion of temporal paradoxes here. It’s mind-bending stuff. We even see people from 1986 meeting Dayoung for what is, from their perspective, the first time, and then 27 years later running into her again, where she doesn’t know them because, in her personal time line, she hasn’t yet traveled back in time.
And that got me thinking… I would not be at all surprised if the mysterious informant “Joshua” turns out to be the 2013 incarnation of someone we have already been introduced to in 1986. It would certainly be interesting if “Joshua” was revealed to be Annie, the idealistic pink-haired Quintum Mechanics scientist who quickly befriends Dayoung upon her arrival in 1986. Because people do most certainly change over a quarter century, and the Annie of 2013 would not doubt have a very different view of the world than her younger self.
Dayoung Johansson is a well-written character. She is very much a teenager, impulsive and headstrong, full of a simplistic idealism about how she thinks the world ought to be, disdainful of anyone over 30. I can look at Dayoung and recognize aspects of the sort of person I used to be when I was in high school. Yeah, if you had given me a jet pack and a time machine when I was 15, I would probably have made a mess of the timelines in some sort of ill-considered attempt to “fix” history.
The artwork by Amy Reeder is fantastic. As I’ve written before, I’ve been a fan of her work since I first saw it on Madame Xanadu several years back. Reeder continually gets better as time goes by. I was impressed by the Halloween Eve special she did in 2012, her first collaboration with Montclare (although they knew each other from when he was her assistant editor at Vertigo). Reeder is now creating even more impressive work on Rocket Girl.
One of the most striking things about Reeder’s work is her stunning layouts. She utilizes some very unconventional, dramatic storytelling techniques. They are especially effective in the action sequences where Dayoung is kicking ass or rocketing around, zig-zagging all over the place. Reeder definitely imbues her still images with a genuine sense of dynamic action.
Reeder is also especially skilled at rendering her settings. I already knew from her work on Madame Xanadu that she excelled at depicting historical setting in lavish detail. Here in Rocket Girl she both imagines a futuristic 2013 full of bright, streamlined technology, and she recreates the gritty urban sprawl of New York City in the mid-1980s.
Rocket Girl is briefly going on hiatus, with issue #6, the opening chapter of the second story arc, scheduled to come out in September. If you missed the first five issues, I recommend picking up the trade paperback which is due out next month. It’s an intriguing, thought-provoking, fun read with incredible artwork.