Caroline takes a trip to a comedy club and the far reaches of space.

Eternity Girl #2 takes Caroline to a comedy show, her boss’s full voicemail box, and the far reaches of “High Space.” Here we see Caroline continue to grapple with her struggle to either exist or destroy herself as everyone around her seems to only make her feel worse. Does the issue do a good job of grounding Eternity Girl‘s emotional stakes in the center of its trippy, cosmic action?

Yes, indeed. Eternity Girl #2–as well as the series in general–is an issue deeply considered with bodies. Caroline’s trip to the comedy club where a comedienne’s entire set is devoted to her weight and how she jokes about it before other people can creates an undercurrent discomfort with one’s body that carries throughout the issue. The way in which writer Magdalene Visaggio develops Caroline’s discomfort in her body (or lack thereof) is nuanced and honest and allows the cosmic action to remain grounded in very human feelings. I appreciate how Caroline reacted to the comedienne and her friend Dani’s assumption that Caroline’s problems are similar to issues with one’s weight, emphasizing the multitude of ways people can feel uncomfortable in their bodies that differ from most people’s stereotypes or assumptions. I don’t want to give away anything, but the way in which Visaggio layers the issue’s later action on Earth on top of and intermingled with the cosmic events in High Space was very clever and stood out as a technique one can only pull off well through the medium of comics.

Executing that technique would be impossible without Sonny Liew’s pencils and inks. The overlapping and mirrored panels in the issue play with symmetry and a distinct lack thereof in ways that effectively convey the issue’s theme of body’s looking or feeling out of place. I’d also be remiss if I didn’t mention the line and ink work that clearly evokes Jack Kirby in a reverent, faithful way. From overly complicated machinery to thick, inky pools of space interrupted by bright stars, when things get cosmic in Eternity Girl, it feels like looking at Jack Kirby’s artwork with Liew’s own stylistic twist. Though they invoke Kirby, the look and feel of Eternity Girl is maintained throughout with lines that are inked to be less clean and symmetrical, more stylishly loose to fit the premise of Caroline barely being a solid life form.

Chris Chukry knocks the colors out of the park in this issue. There’s a vaguely washed-out feel to a lot of the colors, especially when it comes to Caroline’s skin and hair and a lot of the later scenes with Madam Atom. The texture added to the panels in those later scenes conveys an aged look with some of the colors bleeding just outside the lines of the panels in a way that makes the series feel like it’s been pulled out of an old bin of pulpy sci-fi. The old-meets-new feel allows Chukry to color in the Kirby-esque inks with gorgeously gradating hues across the color spectrum. There’s one page in particular that features an electric assortment of greens and yellows that cools off into violets and blues that’s particularly stunning.

Overall, Eternity Girl #2 continues the first issue’s trend of feeling completely unique while dealing with feelings and ideas a lot of people can relate to. I love that such a weird, affecting book is on shelves and can’t wait to see what’s next in the Caroline’s tragic, trippy story.

Eternity Girl #2
Is it good?
The creative team took me to space, but kept things grounded emotionally and I enjoyed every page of it.
Magdalene Visaggio’s script was affecting, nuanced, and delivered complicated story beats that layered in a risky, but effectively done way.
Sonny Liew’s line art evoked Kirby in a reverent way while still managing to feel distinctly their own.
Chris Chukry’s colors pop when they need to and feel muted and washed-out when they don’t. They fit the tone and mood expertly.
8.5
Great