Comic Review: Oliver #3

Oliver #3

Image Comics

Writer: Gary Whitta

Artist: Darick Robertson

Oliver is a 12-part adaptation of the classic 1839 novel by Charles Dickens, but with a post-apocalyptic edge. Oliver Twist has seen numerous retellings over its nearly 200-year lifespan, but there’s none quite like this. Writer Gary Whitta has even described his version as one that would “make Dickens turn in his grave.” This story follows Oliver, an orphan imbued with mysterious superhuman abilities, who finds himself hunted by a totalitarian government.

While the series’ first two issues are burdened with having to establish a new dystopian world and its lore, this installment is given no such restraints. As a result, issue #3 flies by, showcasing terrific art by Darick Robertson.

Having been sold out by one of their own, Oliver and his family find themselves ambushed by the government’s brutal militia. In what is basically one long action sequence set on the grim streets of London, Whitta, and Robertson further demonstrate their no-holds-barred approach to the beloved tale.

While it may not share the same plot as its source material, Oliver adapts its main themes of social class, poverty, and the harsh effects of industrialism to great effect. In this issue specifically, we have the faceless soldiers of the government demonstrating their dominion over the impoverished lower class. While the original novel highlighted the contrast between the haves and the have-nots, this version makes the gap abundantly clear.

The most interesting difference between this adaptation and the original novel is Oliver himself. Dickens chose to portray him as a passive character, whose life is constantly dictated by those around him. But despite being confronted by tragedy and corruption, he never loses his pure, idealistic nature. In this version, Oliver is flawed and emotional, but assertive. When confronted with the government’s soldiers, Oliver makes no hesitation to defend his home, giving the reader the best insight into his superhuman abilities yet.

As mentioned earlier, Robertson’s art takes center stage. This issue takes place during a harsh thunderstorm, with each raindrop drawn and colored with painstaking detail. The action is choreographed beautifully, making it a joy to read.

While this series has done an impressive job of standing on its own, it will be intriguing to see how it will align with its source material, if at all. This is a question that will likely only be answered once all 12 issues are collected. For now, just enjoy the ride.