Today on the site, Greg Hunter reviews Tracy Auch's Necrophilic Landscape.
Tracy Auch’s necrophilic landscape is a combat zone, the site of a schism between adults and children. The story’s kids, dissidents behind “the blight of child crime,” have started using vessels in the shape of adult bodies to infiltrate the adult world. Lucas Barrette, an ace detective, responds in kind; he opts to be divided at the waist before he enters a child stronghold. Barrette’s body is split into autonomous halves and placed atop pairs of prosthetic legs, so that he better resembles (twice over) the vessels of the child criminal element. Barrette’s head tops one of the new entities, and his genitals top the other. This process marks the end of the comic’s prologue; it’s a memorable start to a demanding, singular story.
Tracy Auch has created work under a few different names (e.g. her contribution, as “Hennessy,” to Austin English’s Tusen Hjärtan Stark #2), though The Necrophilic Landscape may be her most visible piece of cartooning, given the growing profile of its publisher, 2DCloud. Even so, a couple of years removed from the comic’s release, there’s not much writing on Landscape, which could be a function of Auch’s opting out of typical brand-building or of Landscape as a challenging work.
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