Standstill #1 Review: A Moment in Time

What if you had the power to freeze time and “restart it” whenever you wanted? This is a question not only asked and answered by Saved By The Bell’s Zach Morris but the newest Image Comics miniseries Standstill. Unfortunately, the power to call a time out on the time stream isn’t given to readers themselves with this new comic, but rather, a charming rogue who doesn’t put his powers to use for the betterment of mankind. Does this new Image series manage to highlight the more interesting aspects of its premise or does it freeze under pressure?

To fill you further in on the premise of Standstill, the series follows Ryker Ruel, a man who is putting his new time-freezing device to good use. However, it takes more than one man to make a village as the world is beginning to become aware that all isn’t right in “Denmark.” Governments are realizing that the deaths of oligarchs, mysterious bank heists, and general tomfoolery all might have something in common as one scientist has become wise to the matter. Brainiac Colin Shaw finds himself sacrificing major parts of his life to reveal the mystery and hopefully stop it. Standstill lays out all these elements and more in its first issue.

To start, Ryker establishes the more flashy side of the premise, using the device to create some hilarious, and often grisly, displays to either net him cash and/or get some petty revenge on those around him. These scenes are serviceable though they don’t go as “hard in the paint” as they could. The opening salvo is a bit of humorous revenge as Ryker demonstrates his “power” on an unsuspecting hangout for bikers, displaying his confidence throughout the heated exchange. Ironically enough, Ryker and his use of the time-freezing device feels like it’s playing second fiddle to a far more interesting aspect of the series in scientist Colin Shaw.

Painted as something of a Reed Richards and Sue Storm dichotomy, Colin and his now ex-wife find themselves at an impasse, taking a direction that Marvel might never allow for the comic publisher’s “First Family”. Shaw is drowning in his work in attempting to figure out and losing his relationship in the process. Writer Lee Loughridge, on top of weaving the events and conversations within the script, also acts as the colorist of this opening issue which is a good segway into the strongest part of the premiere issue.

Artists Andrew Robinson and Lee Loughridge (on colors) deliver borderline experimental here on Standstill. Specifically, the series touts its opening salvo as having sixty “double-page spreads” which work well in terms of telling an interesting story and presenting an artistic style rarely seen in any comic book these days. Loughridge’s colors are as vibrant and/or moody as they need to be, complimenting Ryker and Shaw’s stories as the two are quite different concerning their locales. Loughridge and Robinson’s art is big and bold while eliciting a “secret agent” style that would fit right into the world of 007. 

If you’ve read my reviews in the past, you know that I’m a sucker for using the comics medium and trying something different with the layout of panels across the board. Standstill takes a unique approach in creating some scenes that leap off the page and grab the readers’ attention. The art is the star of the show here, taking a solid story and pushing it to new heights with gorgeous facial features and lush surroundings. 

Standstill introduces its world in a compelling enough fashion, establishing the premise and enticing readers to follow this espionage adventure. There are some big chinks in the armor here, mostly when it comes to the time freezes themselves, but Loughridge and Robinson have something special on their hands here and I’m anxious to see the direction that the miniseries takes with its remaining seven issues.

Published by Image Comics

On August 21, 2024

Written by Lee Loughridge

Art by Andrew Robinson

Colors by Lee Loughridge

Letters by Rob Tweedie

Cover by Andrew Robinson and Lee Loughridge