An ultracool Mars private eye works a case of robocide in this sci-fi prequel.
Destroying a robot, or botsie, on Mars is akin to murder and consequently a felony. When Jard Calder, a botstringer who runs botsies for prostitution, loses several of them to robocide, he hires Denver Moon. Someone has pulled only a part or two from each botsie and stolen its chip as well. With help from Smith, an artificial intelligence installed in Denver’s gun, the detective surmises the murder weapon is a mining tool. As Denver injected Smith with a copy of her grandfather’s memories, the AI often treats her like a beloved granddaughter and is protective of her. And she may need protection when her search for a murder suspect leads her to Blevin’s Mine, where someone from Denver’s past is invested in seeking revenge against her. Fighting to stay alive soon takes precedence over the case before she ultimately ends up in Mars City’s precarious lower levels. This is where Denver unravels the mystery, though the motive for robocide is not as straightforward as she may have anticipated. This graphic novel by the team of Hammond and Viola (Denver Moon: The Minds of Mars, 2018, etc.) is a collection of three comic-book issues. It’s an adaptation of the authors’ short story, which is included at the volume’s end, along with a gallery and concept art. Though the fast-paced narrative is brief, it proficiently displays Denver’s laudable qualities. She’s coolly apathetic, suggesting Jard find another investigator if he’s unhappy with her efforts, and composed even when certain she’s in danger. Smith is a stellar companion, convinced that, despite being an AI, it loves Denver. Furthermore, the classic Smith & Wesson revolver’s “cannon mode” transforms it into a more powerful weapon. The dialogue is often brief but witty. Denver, for example, promises to buy Smith a new battery if they survive men out for her blood. The short story’s descriptive prose is akin to the novel’s illustrations: A shot from Smith “sliced through” people, “scattering their lifeless bodies across the floor.” Lovett’s (Boomer and Friends!, 2017, etc.) exemplary artwork makes the white-haired Japanese heroine look both formidable and chic. Panels are likewise vibrant, from the shadowy, blue-tinged lower levels to Denver’s monochromatic perspective in sharp black and white.
The skilled, perpetually poised detective shines brightly in this series, be it a novel, comic book, or any other format.