The Unwritten 35.5 (May 2012)

Interesting, now Carey’s using the final .5 issue to set up something else forthcoming. He introduces the reader–for the first time–to a peon in the Cabal. The protagonist this issue, Danny, is a thoroughly underwhelming English major who ends up working in the big reading room for the Cabal. Lots of the big events in the series occur, giving the reader a sense of the time passing. There are a couple major bumps–it ties directly in to the story arc Carey finished the previous issue–and it’s a fine setup. It’s a little too much of a setup, but Carey does give the…

The Unwritten 35 (May 2012)

Maybe Tom seems like an action hero because of his outfit. He’s got suspenders for some reason, looking a little like Bullitt. It’s a Tom and Pullman issue. There’s some action, but there’s mostly just Pullman messing with Tom. Pullman–and Carey–promise some great revelation, but it’s unclear how much of it Pullman is just keeping to himself. The issue doesn’t exactly raise questions about Leviathan and the nature of the universe, but it doesn’t answer any either. There’s a big change–possibly two–for the series at the end (and maybe even some little ones throughout). Carey, Gross and Perker do such a good…

The Unwritten 34.5 (April 2012)

The issue reads a little like “Wilson Taylor: Year One.” Gross and Carey give him a decent origin story, set in the trenches of World War I. Carey concentrates on the soldiers’ experience, hitting all the effective standards, but making them tie into Unwritten. Actually, the questions he raises about stories, perceptions and reality during war are really interesting ones. He probably could get a decent limited series out of the concepts. Gary Erskine’s art is good. The battlefields are either obviously frightening or Erskine just infers it. There’s a lot of refocusing but Erskine makes Taylor distinct enough to stand out.…

The Unwritten 34 (April 2012)

Perker’s finishes over Gross lead to a somewhat different look for the book. Besides Tom looking more like an action movie star than a twenty-something, there are some weird panel transitions. It’s not bad art, it just doesn’t feel like Unwritten at times. It’s a combination of an action issue and a revelation one. The leader of the Cabal’s a good Bond villain who explains everything–multiple times–and there are a lot of explosions. Carey weaves in a surprise–cheating, since the characters know about it but the reader doesn’t, but it plays well. Tom’s maturing as a character, the exposition is good, Lizzie…

The Unwritten 33.5 (March 2012)

This issue’s exceedingly good. These .5 issues really do give Carey the ability to show off his talent; even though they relate to the main series, they don’t rely upon it fully. This issue’s about a soldier stationed at a great estate in the eighteenth century. The story eventually ties into the regular Unwritten world, but for a while it’s just straight historical fiction. Carey shows the soldiers’ lives, he establishes their personalities, and then he lets his protagonist loose. And the protagonist gets himself into trouble. The resolution to the issue, which features the big tie-in, is great. Peter Gross is…

The Unwritten 33 (March 2012)

Something’s off about the art this issue. I can’t tell if it’s Gross or Perker, but something’s definitely off. Tom looks like a bland underwear model. This issue features Tom’s assault on the Cabal. Lizzie and Richie both tell him he’s going too fast, which is also advice for Carey. There’s quick montage of Tom invading the headquarters–as the Cabal prepares their counterattack (based on Pullman’s obtuse advice)–but it’s rushed. No one seems like they’re enjoying themselves, particularly not Carey. The issue gets some mileage out of Tom beating up the bad guys with magic–which Carey’s been hinting at for thirty issues–but…

The Unwritten 32.5 (February 2012)

It’s more from the adventures of young Pullman. I was wondering if it would turn out to be him and it does. Not sure if it’s supposed to be a surprise–Dean Ormston, who “finishes” (which looks like all the art), doesn’t draw the traditional Pullman. He’s a lot dirtier here. Given the story takes place around 2500 BCE, the dirt is no surprise. Carey looses Pullman on poor Gilgamesh, who goes monster hunting on the villain’s suggestion. The issue makes certain aspects of the Unwritten mythology quite literal, which is neat. Ormston does a great job with monsters. Gilgamesh narrates the issue,…

The Unwritten 32 (February 2012)

I’m perplexed. Pullman does something bad, but I can’t figure out what he’s done or why it will put Tommy and the gang in danger. What’s incredibly frustrating is Carey spends about half the issue with Pullman talking about what he’s going to do; I thought I’d understand it once he got to it… but no. Otherwise, it’s a very solid bridging issue. Carey resolves the previous cliffhanger–not in a happy way, either–and sets up for the next challenge. Lizzie and Richie spend most of the issue trying to figure out how to survive without magic, which raises some interesting questions about…

The Unwritten 31.5 (January 2012)

Carey–with plotting assistance from Gross–internally spins off Unwritten with these .5s. I’m guessing, anyway; this one is my first .5. Carey uses Wilson Taylor’s journals investigating the Cabal’s history. Michael Kaluta handles the art on the first story, regarding Pullman silencing some monks in ancient China. It’s a decent story with a good twist at the end, but it lacks any wow factor. The second story, however, has the wow. Rick Geary perfectly illustrates the tale of a newspaper cartoonist who has to face the realities of being a storyteller. It’s quietly frightening, especially the postscript. Carey again utilizes a twist. It’s…

The Unwritten 31 (January 2012)

Frankenstein’s Monster does join the gang, but he doesn’t really do anything. He’s muscle, without a lot of dialogue; it’s too bad. This issue features Tom wielding the magic, Lizzie and Richie freaking out and a lot of action. Carey and Gross and M.K. Perker (who finishes) do a great job with the changing genres. Well, not so much genres. It’s always action-oriented, but there are some calm periods with the characters regrouping. But, as an action issue, not a lot really happens. Lizzie argues with Tom about him not knowing enough about his magic, she tells Richie about it, she turns…

The Unwritten 30 (December 2011)

Carey’s resolution is unexpected. It’s sort of celebratory and life affirming (and shows he and Gross could easily spin-off titles from Unwritten) but it also has the series’s first big fight scene in a while. And it’s a comic book fight scene. While all the detours into literature (Dickens, Moby-Dick), one doesn’t often think of Unwritten as being cousin to capes and tights comics. Carey apparently felt the need to remind everyone this issue and it’s cool to see a reluctant wizard battle a Golden Age hero. It’s Marvel-style, of course, so the two heroes team up afterwards. Except it’s not to…

The Unwritten 29 (November 2011)

Carey sort of sidesteps the maximum tragedy to keep the narrative more interesting. It requires him to bring in a new character and pretend he’s been there for an issue… it’s an unfortunate oversight in an issue already riddled with problems. It’s still a good issue, of course. But the scenes are unbelievably repetitive. Tom’s dad and his girlfriend have the same conversation two or three times. Wilson’s big solution to the problem shows he doesn’t plan ahead well enough. Carey also loses all sense of time. The flashbacks might take place over a month or three days. Carey is able to…

The Unwritten 28 (October 2011)

Not a happy issue. Not one bit. Carey is forecasting an inevitable, devastating turn of events in his flashbacks. He’s really turning the screws too, as Tom’s dad meets a woman and, in an extreme Romeo and Juliet fashion, is going to have to kill her. Besides the bad guys killing all the people Tom knows, which is often done without any personal touches to the scenes, it’s all this romance (set in the Depression). The art, from Gross and Locke, is fantastic. It exudes tragedy, keeping the inevitable event in the forefront of the reading experience. There’s also some stuff with…

The Unwritten 27 (September 2011)

Carey packs this issue. Maybe not with content–there’s a lot of conversation, then some extraneous stuff in a flashback (Vince Locke nicely inks Gross for those pages)–but with atmosphere. This kind of issue endears a series to the reader and Carey’s able to do it without forcing. The issue also opens with a muted “Wire” reference, so it’s impossible not to love it. For the majority of the issue, things are quiet. Carey’s resolution to the previous issue’s cliffhanger is to focus on a different event (smaller to the character, bigger to the world) and its repercussions. The actual cliffhanger gets a…

The Unwritten 26 (August 2011)

Carey manages to be predictable and not. This issue closes off a two-parter and opens up something else… it’s not clear what yet, but definitely something. There’s a lot more action than I expect from Unwritten, maybe because it’s the regular action–guns, guys in body armor and ski masks. Gross handles it all fine. There’s no big surprise moment, no big revelation. There are hints at future revelations and some little surprises, but Carey is certainly taking his time. He does resolve something from the previous issue, which surprised me a little. I thought he would have drug out the explanation a…

The Unwritten 25 (July 2011)

Creepy business abound this issue. Well, not really. It’s implied at the end. Along with some more backstory into Tommy’s childhood, which Mike Carey has a lot of fun teasing. The issue opens with Lizzie and Savoy on a what appears to be a comical mission (and stays one until the end) before Tommy appears. Carey does a talking heads recap–successfully catching up both the reader and the characters–and Peter Gross excels at the talking heads. I forgot how good Gross does with the regular stuff. Unwritten has a lot of fantastical visual elements (not this issue but in general) and Gross…

The Mystic Hands of Dr. Strange 1 (May 2010)

This issue is an homage to Marvel’s old black and white magazines, though at the regular, modern comic size. And, with the exception of including a text story (I don’t care who wrote it, why’s it there?), the issue is a complete success. The feature story, from Kieron Gillen and Frazer Irving, is set in the late seventies and deals with contemporary social issues. It’s a “place in the world” superhero story for Dr. Strange, even though he’s not exactly a superhero. Gillen’s writing is strong and Irving draws a scary Mephisto. With it, the issue’s off to an excellent start. The…