The Unwritten #17 – Review

by Mike Carey (writer), Peter Gross (layouts), Ryan Kelly (finishes), Chris Chuckry & Jeanne McGee (colors), and Todd Klein (letters)

The Story: Lizzie/Jane’s past is revealed and Savoy and Tom make a daring rescue effort in a special “pick-a-story” issue.

What’s Good: Is have to give props to Carey and Gross for having the balls to even attempt a “choose-your-own-adventure” issue.  The experience of reading this comic is quite unlike anything I’ve experienced reading comics, the layouts are unique, and it’s all clearly the result of an extremely labor intensive creative effort.

Format aside, the story that Carey tells here is a good one, equally divided between exploring some of the series’ early moments in greater detail while also surprisingly trucking the plot forward.   The scenes detailing Lizzie’s past do a fantastic job of illuminating events from the Unwritten’s first issues that were clouded in mystery and completely puzzling at the time.  Now, Carey clarifies them, while also showing how much sense it all makes knowing what we know now, something that’s quite pleasant when recalling how mystifying these happenings were back when we read them.

Meanwhile, the present day events deliver a satisfying feel of the gang “coming together” as character relationships are stronger than ever.  Tom and Lizzie’s relationship has never felt more meaningful, even if it ends up being solidified by a fiction, while Savoy and Tom’s banter livens it all up.  An interesting parallel between these scenes and those from a Tommy Taylor novel also give everything a heavier and more significant tone.

The Unwritten #8 – Review

by Mike Carey (writer), Peter Gross (art), Chris Chuckry & Jeanne McGee (colors), and Todd Klein (letters)

The Story: Prison Governor Chadron’s personal life and his children’s imaginative investment in Tommy Taylor are explored.

What’s Good: A couple of issues ago, I criticized Carey’s writing of Governor Chadrons chastisement of Tom Taylor as being a bit over the top.  Well, this month, Carey goes out of his way to make a fool of me and prove that there is pretty much no way to even nitpick his series, as he gives us an issue fleshing out Chadron and his children.

What ensues is the brilliance we’ve come to expect from the Unwritten.  While it isn’t overt, it’s clear that Carey is drawing heavily on Romantic ideas about the child.  As Chadron’s children get lost in Tommy Taylor themed role-play, the conflict between Chadron and his wife over their daughter’s seeming inability to separate fantasy from reality grows into a larger clash between Romanticism and the oppression of materialism and rationalism.  Simply put, Chadron wants his children to enjoy their childhood make believe, while Chadron’s wife sees it as a mental disturbance.

The Unwritten #6 – Review

by Mike Carey (writer), Peter Gross (art), Chris Chuckry & Jeanne McGee (colors), and Todd Klein (letters)

The Story: Tom Taylor is thrown in prison and Lizzie Hexam is tasked with breaking him out.

What’s Good: I’ve always enjoyed the beginning of every issue of the Unwritten, which often focuses on another text, whether a real world one (like this month’s “Song of Roland”) or a Tommy Taylor book.  It sets a certain tone and allows Peter Gross to stretch his legs and provide a different, more painted/static style to convey the different text.  More than in past, however, Carey does not just limit these shifts to an opening.  Rather, a couple of times, Carey switches to a frame or two from the “Song of Roland” or Tommy Taylor in a manner that is fluid and perfectly in synch with the events happening to the comic’s characters.  As a result, he gives a sense of this not only being a singular comic, but also a dialogue between several different texts.

I also rather liked the introduction of the decidedly satanic looking thief, Savoy.  I hope he sticks around past this arc.  While he’s definitely a character, Carey chooses to keep him realistic and relatively subdued.  He has just enough flare to provide a nice contrast with Tom, while still keeping Taylor foregrounded.

A scene with the jail warden, meanwhile, provides perhaps the best scene of the book.   Carey is able to once again show the impact of fiction, as the warden’s relationship with the Tommy Taylor books exposes the softer family man below the hardened exterior.  The sudden shift is touching and the scene also shows just how much we invest in literature, our favourite books, and the hope they provide, as well as the lengths we’ll go to protect the illusion and escapism.

On another note, I should also mention that this issue’s ending is awesome and is sure to raise eyebrows.

What’s Not So Good: This is probably Peter Gross’ weakest issue, art-wise.  That’s not to say that it’s bad, nor is it to say that he’s committed any terrible errors.  You won’t be wincing at all at anything in this book, and honestly, it’s pretty decent looking.  However, it’s just under Gross’ usual high standards.  Something about the issue just doesn’t give me quite the same sense of comfort and satisfaction as previous issues did.  I do feel that things look a little less detailed and a touch more scratchy at times, so perhaps that’s the problem.  Though maybe this is intentional, to reflect Tom’s miserable status and surroundings.

I’m also not sold on the introduction of the new “Inside Man” narrator.  While it is logical to add a colorful, self-aware narrator who directly acknowledges the reader to a comic so concerned with text and the metatextual, the presence does nonetheless jar at times.  It also removes some of the sense of foreboding and mystery that has defined the book thus far.  Perhaps this too is intentional, reflecting a shift in the series’ tone, in which case these are just growing pains.

Conclusion: Didn’t like the art as much as usual, but it’s still a great book.

Grade: B+

-Alex Evans

The Unwritten #5 – Review

by Mike Carey (writer), Peter Gross (art), Chris Chuckry (colors), and Todd Klein (letters)

The Story: We go back in time, witnessing Rudyard Kipling’s encounters with the shadowy, villainous group hounding Tom Taylor.

What’s Good: Well-researched and a clear labor of love, this issue is really quite the achievement on Carey’s part. This is in no small part thanks to the entire issue’s being heavily narrated by Kipling, himself.  Carey carves out a distinctive and engaging voice that really colors the entire book. This is no small feat, given that Carey is working with a real historical figure. Thus, Carey not only has to deliver a believable voice, but also a believable Kipling. Kipling’s voice sounds like one might imagine it, and it is distinctly human, never bland and not once expository. The voice adds color, emotion, and humanity, with the narration being used to add to the story’s impact, not merely telling rather than showing.

Revisionist history stories are always difficult to execute and are often a big pill to swallow, but Carey manages to pull it off, telling a story that gives off the feel of the era it describes while making the presence of real historical figures fun and intriguing, as opposed to head-scratchingly illogical or unbelievable.  Carey, in other words, successfully applies his wacky, physical, pseudo-magical manifestations of the power of writing to actual writers, legitimizing his world, and all its phenomena, by injecting it into human history.  What’s better is that we also finally get some much needed, though still hazy, background info regarding Taylor’s mysterious Illumaniti foes.

Peter Gross meanwhile puts out what may be the best looking issue of the Unwritten thus far, and that’s saying a lot. Gross manages to give the book a definite “old-timey” European feel, going a bit heavier on the shading, or at least the linework, and a lot lighter on the inks. The comic, though still recognizably “Unwritten,” looks nothing like any issue thus far. The sheer amount of creativity that went into this issue also cannot be understated. The panel layouts are at times completely bonkers, images often metaphorical or abstract to go along with the abstract paneling. Gross also makes endlessly creative use with the gutters and borders surrounding the panels. Ultimately, the comic feels like a free, dynamic swirl more than anything else.

What’s Not So Good: Well, the obvious point is that it’s a sudden, jarring departure from Tom Taylor’s adventures and the cliffhanger ending of last month. This issue is all backstory and history. It’s very good, but be aware.

Also, I really enjoyed Carey’s re-reading of Kipling’s Just So Stories into a metaphor for Kipling’s struggles with the Illuminati. It would’ve been the best part of the issue for me, were it not for Carey’s need to spoil it by heavy handedly explaining  just what the metaphor meant and how to read it. It would’ve been far better if we were free to interpret the meaning for ourselves, rather than have it hammered home directly.  Kipling’s whale story became simplified, losing a lot of its impact when it was explained at length on the next page. It felt like a rare misstep on Carey’s part.

Conclusion: As long as you go in knowing that this is a break from Taylor, this is yet another mind-blowing good issue of the most intelligent book on the stands.

Grade: A-

-Alex Evans

Unwritten #4 – Review

By Mike Carey (Writer), Peter Gross (Art), and Chris Chuckry & Jeanne McGee (Colors)

Some Thoughts Before The Review: Each issue of Unwritten has been intelligent and thought-provoking in a way that few comics are. Here’s to hoping that the trend continues…

The Story: Tom Taylor gains access to his father’s room while Pullman goes on a relatively calm, collected killing spree…

What’s Good: If you like horror movies, then Unwritten #4 is going to be a real treat for you. From the gruesome Tommy Taylor opening to the slasher movie gore, it cleverly comments on (and plays into/with) genre conventions in so many ways that I couldn’t help but have a big stupid grin on my face the whole time I was reading it. But that’s not all that’s good about Unwritten #4. What really makes the issue something special is how all the gore and clever dialogue works in service of a mystery that keeps getting more compelling as the series gets older.

As far as the technical stuff goes, the latest Unwritten basically stays the course. Is that a bad thing? Absolutely not! Peter Gross’ artwork effectively captures the horror flick vibe that runs through the entire issue. From the slick panel work to the lightning bolt framing that’s used, nearly everything looks great. As for the writing, Mike Carey’s work is as intelligent as ever. It’s clear that he “gets” horror and the line between a good genre convention and a bad one.

What’s Not So Good: This really isn’t a true problem, but I’m starting to miss the news clips, blogs, and commentaries that were sprinkled throughout the first few issues of Unwritten. Mike Carey handled them spectacularly and it made Unwritten really feel like nothing else on my pull list. One other thing worth mentioning is that a few panels just look a bit “off.” Either characters look a bit odd or the action comes across in a way that seems a bit unnatural (the scene with Pullman punching through glass comes to mind).

Conclusion: One of my favorite series having fun with my favorite genre?! Oh yeah, Unwritten #4 is good. Very Good.

Grade: A-

-Kyle Posluszny

The Unwritten #3 – Review

by Mike Carey (writer), Peter Gross (artist), Chris Chuckry & Jeanne McGee (colors), and Todd Klein (letters)

The Story: Tom Taylor begins to explore his memories and unlock the secrets of his father’s villa, which also happens to be the location of Frankenstein‘s conception.

What’s Good: Though it’s by no means a comedy book, I did find that dialogue-wise, Carey turns up the humor in this issue.  Taylor has said the odd line in past issues, but this month I really think he’s put in his best deadpan performance yet.  In fact, both Tom and Lizzie are starting to sound like protagonists out of a Brian K. Vaughan comic, and that’s never a bad thing.  What I didn’t expect, however, was for scythe-wielding bad-guy Pullman to make me laugh, but he managed to do just that.

I also really enjoyed the intertextuality this month, paralleling Frankenstein to the comic itself; the idea of Tom Taylor as a possible parallel to Victor’s monster is intriguing and Peter Gross’ rendition of Shelley’s novel at the beginning of the issue does perfect justice to the Gothic masterpiece.  It provided a great framing structure to this issue.

Again, metafiction plays a heavy part this month as a writer’s workshop of horror authors debate the nature of their genre. What ensues is humourous and accurate of the sort of scuffling that goes on in genre fiction and horror fans will no doubt have a blast. It’s great fun and Carey is clearly poking at some of his fellow writers.

Finally, it’s great to see Carey really rounding out the personality of his characters for another month.  After reading this issue, Lizzie only intrigues me all the more, while Tom’s memories only make him feel all the more human. With every passing issue, we feel a little closer to the characters just as we feel a little closer to the mystery. It’s still all cast in shadows, but we learn just enough to tantalize us for next month.  At the very least, a murderous Pullma guarantees action next month.

Meanwhile, I swear that Gross’ art is getting better with every issue.  I enjoyed it even more this month, as Gross seems to go for a “simpler is better” approach without ever feeling rushed, sloppy, or lacking.

What’s Not So Good: A minor quibble is Lizzie’s manner of dress.  I’m starting to wonder if she’s going to become a sufferer of “shrinking clothes” syndrome.  It’s all the more jarring due to the conservative dress of all of the other characters, as well as Lizzie’s own personality/character, which doesn’t exactly say “sex bomb.”  I’m not sure what Gross is after here.

Impatient readers may also be a bit frustrated that nothing is revealed this month in Tom’s explorations of the villa.  Even the sought-after maid isn’t questioned yet.  Pages of unintelligible, “overheard” dialogue return once more, this time from Tom’s dad. Although it’ll make sense once we find out the truth, it’s still a bit irritating at the moment, especially given that Carey has already done this to us before.

Conclusion: Carey and Gross go three for three in the best new series of 2009.

Grade: B+

-Alex Evans

The Unwritten #2 – Review

by Mike Carey (writer), Peter Gross (art), Chris Chuckry & Jeanne McGee (colors), and Todd Klein (letters)

The Story: Tom Taylor begins his search for the truth, visiting his Dad’s lover and heading to Switzerland.

What’s Good: Around five pages in, I said to myself out loud, “goddamn, this comic is so good.”  It was a muttered statement and it wasn’t really brought on by any particularly shocking moment, but more of my reaction to this comic as a whole.  It really is a great book and is probably the smartest thing sitting on your comic shop’s new release racks.

In this issue, Carey continues to flex his literary knowledge, but does so in a manner that manages to amuse rather than intimidate (Alan Moore, I’m looking at you).  Tommy’s random facts regarding literary geography and history are still good fun, and certainly educational.

Perhaps more importantly, the Unwritten once again effectively demonstrates its postmodern, deconstructionist stance.  There is an absolutely fascinating scene regarding the nature of “truth” that simply MUST be read.  It’s an incredibly cool sequence backed up by critical ideas that effectively blur the line between the real world England of Tom Taylor and the magical fantasy dungeons of the Tommy Taylor subtext.  Much as Tom/Tommy are interrelated, the fantasy elements, like this scene, find themselves embedded in the “real world,” yet also carry a distinct presence.  It’s hard to explain.  I suppose I’m saying that I feel as though the fantasy and “real” elements of this comic feel like separate presences that are related to one another.

Carey also continues to effectively blend literary forms, mixing the comic with the prose of the Tom Taylor novels, while also including an ingenious page of “Tommy Taylor” internet search results. This technique only enhances what is coming to be an incredibly interesting dynamic in the comic: Tommy Taylor as Messiah and general religious figure.  I can’t wait to see how this develops.

Ultimately, the end result is an incredibly smart comic that creates an ever engaging mystery that reveals an increasing number of hints both of its character’s past and future. Certainly, this issue provides a mystery that deepens, and grows all the more interesting for it.  All the while, the book’s villains grow to be even more ominous and downright threatening.

Peter Gross continues to shine on the art.  In fact, I actually feel that his work has gotten better in this issue, feeling more refined, polished and perhaps a bit more “modern” as well.  I also can’t get enough of Chuckry & McGee’s dark work on the colours.

What’s Not So Good: I tried to think of something, but I just can’t what’s there to complain about.

Conclusion: Solid plot progression in an issue that yet again promises great things to come.  This is a smart, enjoyable mystery that literature buffs, philosophy geeks, and Sandman/Lucifer/Books of Magic fans need to get in on. This is quite possibly the best non-superhero comic out there right now. If you’re not reading this, you better have a really good reason. And no, an empty wallet is not an excuse!

Grade: A-

-Alex Evans

The Unwritten #1 – Review

by Mike Carey (writer), Peter Gross (pencils and inks), Chris Chuckry (colors), and Todd Klein (letters)

The Story: Tom Taylor lives a life of semi-celebrity as the inspiration for Tommy Taylor, the star of a Harry Potter-esque series of books penned by his vanished father.  As his identity becomes questioned, his life begins to fall apart; as does the line between the fictional and “real” worlds.

The Good: This comic has a premise like no other and this issue dives headlong into its winning concept, while nonetheless leaving us knowing full well that there is a LOT more to be revealed.  In that sense, this is a great first issue; it uses its premise to its fullest potential, while also hinting at limitless potential.  This comic is a literary affair, calling into question the juxtaposition of reality and fiction, as well as issues of authenticity and historicism; it’s complex stuff, yet very accessible. In this respect, I feel that the Unwritten fills a certain void in Vertigo’s line-up that was once filled by books like Sandman, Books of Magic, Swamp Thing, or even Carey’s last series, Lucifer.  These series were all of a more academic nature, the sort that you might find alongside Watchmen on a liberal-minded English professor’s course syllabus.  The Unwritten clearly falls into this position and looks to continue its honored thematic lineage. This is an incredibly smart comic that academics, students, and general literature buffs should not pass on, as it’s a concept that lends itself well to deconstructive or post-modern theory and a wide array of critical readings in general.

But of course, that wouldn’t be the case if it wasn’t well written.  Thankfully, Carey returns in prime shape.  The writing is incredibly diverse in style and succeeds in everything it applies itself to. The dialogue feels fluid, dynamic, and alive. Nothing feels at all wooden, and where Carey applies his wit, the dialogue only becomes more enjoyable.  All the characters come across as being unique and engaging. Moreover their conversations feel both real and distinct.

However, on a formal and technical level, where Carey’s writing is most awe-inspiring is where he’s able to seemingly leap between prose forms.  He balances comic-book word bubbles with television news reports, a full page internet news blog, paragraph excerpts from a Tommy Taylor novel, and at one point, an original poem. This is just such an astonishing technical feat that I can only marvel at. How one man can balance so many voices and so many mediums in the space of one comic book issue, I cannot begin to guess.

Of course, this diversity is only made possible through the art of Peter Gross.  The first thing that strikes me is just how varied and creative Gross’s panel layouts are here.  Never static, never repetitive, Gross never once follows a set formula to establish itself.  The paneling is abstract and alive, and when Carey decides to write a news blog or read from a Taylor novel, Gross follows suit, adjusting his layouts dramatically.

His actual art is solid stuff and does well to make itself just distinct enough to avoid “the typical Vertigo comic” look.  What I especially enjoyed was how Gross completely changed his style whenever depicting a scene from a Tommy Taylor novel.  Suddenly, the art becomes less realistic and more whimsical, with more abstract paneling.  It’s as though a different artist stepped in.

The Not So Good: This is an amazing book and there’s really nothing lackluster here at all.  If I really, really tried to find something to whine about, I suppose three or four of the smaller panels looked a little rushed.

Conclusion: A concept like no other, solid artwork, and writing that is intelligent idea-wise and impressive in technical execution, this is a comic not to be missed and this is a perfect first issue.  It is just astonishingly good.  Vertigo potentially has a big hit on its hands here.  It’s also only $1.00 for this double-sized issue, so you really have absolutely no excuse not to give it a shot.  One issue in and for me, this is already the best new series of 2009. Buy this book!

Grade: A

-Alex Evans