Y'know what makes a good book? A marriage of art and words, each complimenting each other through a story that grabs hold of the reader and doesn't let go. And this Renato Jones issue didn't let shit go until the letters page.
Kaare Andrews is a unique talent; he has an ability to set scenes to elicit the maximum reaction from readers, which is on full display within the first couple pages. The story starts out with Cameron, the woman Renato liberated from the first issue, dealing with the difficulties of living in suburbia, and then BOOM! Naked sushi!
Andrews then introduces us to this issue's bastard de jour, a cell phone magnate who screws with people's phones, essentially rendering them useless when the new models come out, forcing the consumers to pay up. I love how Andrews can address topical issues (the constant churning out of slightly newer technology that folks will pay out the nose for), and spin it in a satirically delightful way.
We then get to see an intermingling of Renato having a delicious three-way (not nearly as graphic as one would think - Andrews is a master of subtlety when he needs to be) with a sequence at the cell phone factory. The factory is under the gun to meet the deadline for the newest phone, and employees are being forced to stay and work with chains and threats, some even committing suicide.
Seeing the titular character outsmart the tech billionaire is incredibly satisfying, with strange and frenetic action sequences framing the scenario. And then, we start the roll down the rollercoaster hill to reach the climax of this book, all thanks to a dangly nude Wicked Awesome. It's a magnificent use of saturation and blank space on Andrews' part, and the fact that he made this book longer than the others to accommodate that negative space was a really thoughtful thing to do.
And of course, the shocking ending announces that this was Season One, and yes Virginia, there will be a Renato Jones Season Two.
I'm gonna take a quick aside to keep complimenting Kaare Andrews on not just the story he told, how he wrote great dialogue, assembled an organic narrative, managed to handle topical stories without seeming heavy-handed, and in general wrote better than legions of other writer-artists, but also on his own artistic sentiments: the faux ads are all as funny as they are stylistic. The plane flying off the plane juxtaposed with news reports is beautiful. And the mirroring of cover 1 with cover 5 gave me a squeal.
Renato Jones: the One% has lived up to the sky-high expectations that were lofted on it pre-release. It's smart, stylish, and ****ing beautiful. The only qualm I have is that I want more RIGHT MEOW - That last page splash made me swear way too loud. I can't wait to get more of this $hit.