Imagine an American Indian Wolverine in Japan with the ability to have conversations with an undead corpse. That’s Top Cow’s Pilot Season issue of Ripclaw. Before you and get all hot and bothered, let me tell you that I’m not ripping on the issue – I’m just explaining the basic premise. Hell, even writer Jason Aaron said as much in an SDCC interview with the Wordballoon podcast. The main difference between Wolverine and Ripclaw is that the latter can do things a highly valued international licensing property can’t do. Wolvie gets away with a lot, but Ripclaw makes Logan’s violent exploits look like a wimpy carousel ride next to his giant steel roller coaster of murder.

And then there’s that freaky undead guy with the disembodied head that’s talking to Robert Bearclaw a.k.a. Ripclaw. Without spoiling too much, this undead guy is the driving force behind the issue’s action. Ripclaw travels to Japan and proceeds to immediately wreck havoc on the stronghold of the Yamamoto crime family. Family itself is a central theme to this pilot issue, as the current head of the Yamamoto family does all he can to protect the heir to his bloody throne. Many lives are sacrificed to carry the honor of the family name. Aaron plays a nice bait and switch with this concept.

There are copious physical obstacles for the hero. The Yamamoto fortress uses the concept of Buddhist Naraka as its innovation upon the Game of Death style kung fu levels. Naraka is comparable to the western notion of Hell in that it’s a place of punishment for bad karma. To advance his way to the Yamamoto boss, Ripclaw must pass through these themed realms. Doused in fire, ice, and blood, Robert Bearclaw sternly shoves through, using an elevator as his surreal transport to each obstacle.

Jorge Lucas pencils and inks the issue, exceeding especially well at the gorier scenes. His line work has a sort of Scott Kolins meets Todd McFarlane quality that’s energetic, understated, and stylized. It works especially well in the more fantastic settings, and makes the familiar settings appear hectic. The colors by Studio F are awesome, bright patches extremely well controlled and shaded. Colors can often tear down a book, but these build it up very well. The letters are strong and clear thanks to the work of Troy Peteri. However, because the art itself is so stylized in a quasi-animated way, I would have actually preferred a less cartoony font for the text. Something a bit more formal or elegant may have brought out the eerie tone when contrasted with the artwork. But that’s not to say the letters aren’t wonderful – it’s just a stylistic suggestion on my part.

I don’t know too much about the Pilot Season concept beyond the fact that readers will vote for the series they want to see become an ongoing. The other issues will have to be pretty damn good to beat out Ripclaw. I know I haven’t read them, but I don’t need to read them to know they have their competition cut out for them. This is an extremely strong first issue that sets up a long line of stories continuing in this vein. It has its own distinct feel even before the first half of the story is complete. I wish – I WISH! – I could go into how the last page sets up the future of this title, but I won’t. It’s not a surprise per se, but it’s a reveal that will satisfy readership and pique interest. Fans of Wolverine, George Romero films, Kill Bill, and Bruce Lee should definitely check this book out.