We Can Never Go Home by Matthew Rosenberg, Patrick Kindlon, Josh Hood, Brian Level, Amanda Scurti, and Tyler Boss is undoubtedly one of the biggest indie comics success stories of 2015. Buoyed in part by coverage of a controversial costume-change sequence in #3, the book burned up the back issue market. The trade paperback debuted just before Christmas and lives up to the hype. The book focuses on two teens, Madison and Duncan. The most popular girl in school, Madison hides her superpowers from the world until her boyfriend hits her during a confrontation with Duncan. In turn, Duncan tells Madison that he can kill people with his mind. The two have brief courtship that’s cut short following a violent incident that causes them to go on the run together.
From there, We Can Never Go Home is, at turns, exciting, funny, and compelling. There’s just one problem. I feel like I’ve already read this comic before. Twice, in fact. It’s called Harbinger. Originally published by Valiant in 1992, Harbinger was created by Jim Shooter and David Lapham. Joshua Dysart revived the series in 2012. I don’t mean to suggest a one-to-one correspondence here, but tonally, We Can Never Go Home clearly owes a huge debt to the two versions of the book. Shooter’s big idea for the title was a grittier version of the X-Men, where the characters were on the run, not living in a luxurious Westchester mansion. Dysart’s version is slower-paced than Shooter’s original and really foregrounds the troubling and dysfunctional relationship between the telepathic Peter Stanchek and normal human Kris Hathaway. Rosenberg and Kindlon switch the genders of which member of the couple possess powers, but they keep the manipulation. Like both versions of Harbinger, it’s about protagonists on the run, living on the margins, and does not center the story on a big city like New York. The last comparison is the Closed Casket organization Madison and Duncan briefly become involved with, which seems like a very low rent (and probably more realistic) version of Toyo Harada’s Harbinger Foundation.
Despite the familiarity of the story, Rosenberg and Kindlon, who are relative newcomers, do manage to make Madison and Duncan compelling. The real star is Josh Hood. Hood’s been in comics for nearly 20 years and worked on Superman, Spider-Man, and Aquaman, but only sporadically. The turning point for his career seems to have been a stint at Zenescope starting in 2012. We Can Never Go Home is, whatever its other flaws, an amazing showcase for someone who has apparently been overlooked all this time. His figures are clean and gorgeous like those of an but the world around them feels gritty, run down, but not Noir-ish. Really, the only comparison that makes sense to me is Dave Gibbons. Hood’s work isn’t as formally restrained though, and his action sequences are more fluid.
In summation, We Can Never Go Home manages the neat trick of both living up to its hype and disappointing. The story isn’t quite there, but it’s visually spectacular and likely marks the arrival of a major talent.
– Joe Gualtieri