We have to shoot Ramirez 2. Act 2

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You really only have to rely on the family. If the in-extremis arrival of his father removes a splinter from Jacques Ramirez’s foot, it also brings up distant and painful memories. On the other hand, no time to open up and hear from the rest of the clan. Besides half of the Arizona cops and the FBI, the men of Hector Rodriguez, the boss of the Paso del Rio cartel, are getting dangerously close. Embarked with Dakota Smith and Chelsea Tyler, two equally fleeing robbers, he spins through the desert, his Vacuumizer 2000 still well wedged under his arm.

For the reader, two years have passed since the first act the improbable adventures of the employee of the month at Robotop. For the protagonists of this mind-blowing genre-limiting thriller, the situation is different and all this only lasted for a moment. Indeed, after a short prologue revealing some elements of his hero’s past, Nicolas Petrimaux once again picks up his story right where he left off. Shootings and chases galore, one-liners well felt, not to mention several incredible scenes of pure action in cinemascope, plus the inevitable nods to the genre’s corpus, all that’s missing is a soundtrack worthy of the name to complete the show (in fact, not even, this one exists, a QR code is provided to download it; it is not beautiful life?). In summary, hang on to your suspenders: moments of bravery follow one another at an infernal tempo, with the wide open spaces of the American West as a playground.

Even if he allows himself one or two daring at the level of the scenario, Nicolas Petrimaux lets himself be carried away a lot by the visual flow of his narration. There is nothing to reproach it with, as it is effective on this point. The layout explodes on all sides, the framing has nothing to envy to blockbusters, both Hollywood and Hong Kong, even spaghetti, the designer offers a solid and particularly enjoyable graphic result. No, it is more the substance of the plot that marks the pace, despite various twists it remains quite simplistic in the length. Also less impactful, except for the main character, the characters in attendance are limited to stereotypes, certainly expected given the context, but above all invariably frozen in forced postures. Nothing serious, the series is above all an excellent pastiche and a deep tribute to an era and its representation in popular culture.

There are intimate or poetic comics and there are the big “boom in your face” albums, We must shoot Ramirez clearly belongs to the second category. Two hundred pages full of energy and humor, endowed with an epic breath of life.

Through A. Perroud

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