Standstill #7: A Serious Slowdown

“What wouldn’t you do if you could stop time?” was the question behind the events in Standstill’s early issues. For the character of Ryker, that question was centered around revenge. The story has since moved beyond that. However, the question of whether the series’ main characters, Colin and Ryker, have kept pace with that evolution is central to whether Standstill #7 succeeds.

Ryker is miserable in Standstill #7’s opening pages. His goal of revenge led to a superficial life of excess. His ability to stop time brings him no joy anymore. Just as he has hit rock bottom, though, Colin arrives to help his friend come back to the brink. And to warn him about the assassin who is on the way to kill him.

The series continues to shift in Standstill #7 as Ryker, firmly at rock bottom when the issue opens, is transitioned out of his role as the apparent antagonist. Ryker as seen in this issue bears no real resemblance to his presentation in the first four issues. This proves to be a mixed bag as the issue goes on. Loughridge adds considerable depth to the character, but in doing so he dramatically changes the series’ tone. The dark humor that drove so much of the early issues is nowhere to be found here. Additionally, the story’s overall pace suffers as the issue lacks a sense of urgency.

Colin and Ryker’s interaction in Standstill #7 coasts primarily from the inertia built up in Standstill #5. Loughridge depicts their friendship, specifically Colin’s efforts to rehabilitate Ryker, in a montage over several pages. There is some dialogue, but none of it adds depth to the duo’s relationship. This is a definite missed opportunity. As noted, Ryker has evolved over the past three issues. But Loughridge doesn’t pair the character’s evolution with a corresponding development in his and Colin’s long standing but vague affiliation.

Despite these criticisms, though, the time stopping technology that the larger story is based on continues to be an engaging idea. Standstill #7 does offer a sufficient cliffhanger going into the final issue, so in this respect the issue finds a measure of success.

Standstill #4’s art change from Robinson to Riegel represented a significant change in style. Riegel’s tendency away from strictly straight lines and hard angles, as well as the lighter inks on those lines creates a more organic feel to the series. This works with the characters, as has been the case with every issue since Riegel took over.

Despite that organic feel, though, the shift was a jarring one, particularly with respect to Ryker. Robinson usually drew him with wide, expressive eyes and a jawline so sharp it cut things, whereas Riegel rounded his face and body more. As the series went on, Riegel’s style more effectively fit the emotional subtext. In standstill #7 Riegel’s art is spot on. For whatever weaknesses the issue’s narrative has, Riegel gives Colin and Ryker a rounder, rougher exterior which works for the friends’ reconnection that Loughridge tries to build. Further, Riegel’s style effectively conveys Ryker’s emotional turmoil.

Most of Tweedie’s sound effects have a rough quality that is almost reminiscent of hand written or scratched. Though it doesn’t have any special identity or impact on its own, it suits Riegel’s art style.