Hinterkind #5 – Review

By: Ian Edginton (story), Francesco Trifogli (art), Cris Peter (colors)

The Story: When trying to escape a self-destructing facility, just follow your nose.

The Review: I know what you’re all thinking: how could I have possibly have delayed in reviewing what has been the most exciting series currently produced by Vertigo?  Kidding aside, I do apologize for the lateness, but I sincerely believed that I had already Dropped this title.  Talk about your Freudian slips.  It doesn’t take a shrink to conclude that I was convinced I had stopped reading Hinterkind probably because I subconsciously wanted to stop reading it.

I don’t meant to suggest that Edginton’s writing has been bad, necessarily—just uninspired.  In reading Hinterkind, I never feel like I’m reading an original work so much as a mish-mish of elements poached from other works.  Now, this in itself is not a problem, so long as the writer can keep things clean and unified.  Saga, for example, never has a problem with cohesion because no matter how many characters Brian K. Vaughan throws in, no matter their personal arcs, they all revolve around the nucleus of Alana and Marko’s illicit relationship.  There’s no such common ground for anyone in Hinterkind.