Now there’s an unexpected conclusion. It doesn’t make a lot of sense, since it suggests Ty would know what all the keys do, which he doesn’t… but it’s a cool conclusion. And, unlike some of Hill’s other approaches, is geared only for a comic book.
It’s an all-action issue and it’s a good one. Hill is never clear how safe the Locke family is in Locke & Key; the kids are in definite danger (or at least it seems).
There’s just not a lot to talk about because of all that action. There are chases, there are monsters… We find out the cop is hanging around because he’s got the hots for the mom.
And Hill understands if he’s going to do such a rushed story, with so little non-action content, there needs to be a good pay-off. But the pay-off is giant-size. It is incredible.
Shadow Play; writer, Joe Hill; artist, Gabriel Rodriguez; colorist, Jay Fotos; letterer, Robbie Robbins; editor, Chris Ryall; publisher, IDW Publishing.
There are so many new supporting characters this issue, I really hope Brubaker isn’t expecting me to remember them all. He opens the issue revealing a little of Jo’s new ground situation. She’s in the house, there are more secrets (physical indications abound), but probably none relevant to this storyline. It’s mood. Phillips’s great at mood.
Then the arc’s protagonist–Miles–heads out to see what kind of trouble he’s gotten himself into. Page after page of Phillips seventies L.A. The art more than makes up for what seems like Brubaker treading water. He’s trying to get the day out of the way so Miles and Jo can go to a cult ceremony.
At this cult ceremony, Brubaker reveals (to the characters, not the reader) some of the connections to the previous Fatale story arc.
Brubaker has a fair amount of artificiality to his plotting, but it’s a good comic.
The Devil’s Business, Chapter Two; writer, Ed Brubaker; artist and letterer, Sean Phillips; colorist, Dave Stewart; publisher, Image Comics.
Putting Clevenger back in prison proves a good choice for Jolley. He plots it to put Clev out of his comfort zone, which creates some drama on its own, then Jolley amps it up with a good soft cliffhanger.
Meanwhile, the FBI agent has some character development scenes and then her own subplot after she finds out a little about what’s happening at the prison.
Jolley doesn’t do any character development on Clevenger, which is odd since he’s the protagonist, but more effective. FBI agent Bell is a better guide through Bloodhound. She (and the reader) can be surprised. Clevenger can’t be. Not about his behavior, anyway.
The issue’s a fast read, but Jolley makes the prison plot complicated enough it doesn’t feel too fast. Kirk and Riggs do a great job on the art, even though there’s little out of the ordinary for them to visualize.
Excellently done comic.
Run the Gears; writer, Dan Jolley; penciller, Leonard Kirk; inker, Robin Riggs; colorist, Moose Baumann; letterer, Rob Leigh; editor, Ivan Cohen; publisher, DC Comics.