I, Zombie #6 – Review

By: Chris Roberson (writer), Michael Allred (art), Laura Allred (colors) & Todd Klein (letters)

The Story: Now that we know where zombies, vampires & ghosts come from, what about were-terriers?

What’s Good: Roberson has a pretty complex story to tell and has to deal with the challenge of establishing all of the expansive groundwork for this series without allowing the reader to get bored, because issue #6 is still explaining to the reader “what is going on”.  He does a very good job of continuing exposition in this issue while also telling a touching tale of how Scott (the zombie’s boyfriend) became a were-terrier.  Let’s just say that you’ll never look at roadkill quite the same way again!

But, there is more to his story than that.  It also tells a touching story of how Scott was orphaned at a very young age and was taken in by his grandfather who just happened to be a golden age cartoon voice actor.  Of course, Scott loves this (becoming a comic geek) and has a hard time rationalizing that to his grandfather, this is just a “job” and that he sees as representative of his failure to be a “real actor”.  Clearly Roberson was making parallels to many golden age comic artists who didn’t have any sort of passion for comic books…they just needed a job and they could draw, so they did the work.  As he grows, Scott (predictably) grows away from his grandfather but everything comes full circle in a way that is appropriate for this funny series while also slightly touching.

iZombie #4 – Review

by Chris Roberson (writer), Mike Allred (art), Laura Allred (colors), and Todd Klein (letters)

The Story: Gwen gets to know Amon, who explains the existence of monsters, while Horatio fights Claire the vampire.

What’s Good: After three issues of relaxed storytelling, it’s nice to see iZombie really lay down some big ideas.  Readers impatient with the slow pace should be somewhat appeased this month, as the book is given something of a new, or at least unexpected, direction and a great deal of information.

The core of it concerns the existence of monsters in this world and Roberson’s explanation is surprisingly intellectual and yet completely logical.  He brings forth the idea of the soul, but argues that every person has an oversoul and an undersoul.  How this ties into the various monsters who inhabit iZombie is very well put together and it’s great to see Roberson doing some world-building, crafting a kind of mythos that can be drawn upon in future.

The mummy Amon’s back-story is also explored a little bit as he takes Gwen on a tour through his memories, while introducing the above ideas.  I like Amon as a character; he adds a suave, mature voice to the comic that’s a good fit.  He’s a fun character and I look forward to seeing more of him.

Art-wise, this is another solid outing by Mike Allred.  I especially enjoyed his creative paneling, as Amon  inserts himself into his own memories while the page reflects the fact that he and Gwen have gone on mental walkabout.

iZombie #2 – Review

by Chris Roberson (writer), Mike Allred (art), Laura Allred (colors), and Todd Klein (letters)

The Story: Gwen closes in on the murderer while one of the vampire paintballers gets a little too murderous.

What’s Good: This is a big improvement from last month’s issue that assuages most of my concerns regarding this series.  One of the key reasons for this shift is that unlike last month, which was all set-up, there actually is a definable plot.  The murder mystery provides for some intrigue, particularly in its introduction of a shadowy character who seems to be the killer (and possibly a mummy).  Things are already looking to be more complicated than they seem.

Gwen’s poking about into the victim’s life also gives Roberson a chance to better show how her “powers” work, or rather, how annoying they can be.  He does a great job of integrating the victim’s mind into Gwen’s thought processes.  While clearly not a sentient being, the victim’s “voice” often informs, or interrupts, Gwen’s own internal narration.  At times, it even attempts to finish her sentences and Gwen has to seemingly restrain herself from speaking the words out loud.  It’s a creative way of showing the victim’s intrusion into Gwen’s mind and it’s good fun.

Speaking of Gwen, she’s more likable than she was last month.  Her narration seems less forced, with Roberson clearly less concerned with making her seem as cool as possible.  What results is a more natural feel to the character that better suits a strong protagonist.  She also has a conversation with the victim’s child that hits the right notes, juxtaposing the child’s innocence with Gwen’s awkwardness.  Supporting characters Ellie and Scott also have strong, and surprisingly serious, outings as Roberson touches upon the heavy burdens that both bear due to their “conditions.”  Roberson also continues to impress me with the comedy he injects into the most minor characters; Scott’s work friends are just as fun as Gwen’s.

iZombie #1 – Review

by Chris Roberson (writer), Mike Allred (art), Laura Allred (colors), and Todd Klein (letters)

The Story: We’re introduced to the varied, and mostly monstrous, cast of iZombie.

What’s Good: It seems that for many people, the main attraction for this title is the art provided by the Allreds.  Well, rest assured that they most definitely deliver, even in an issue like this one that is fairly understated, without any pyrotechnics and little to no impressive displays of the supernatural.  The world Allred illustrates is a bizarre mixture of horror, indie quirk, and retro pulp that somehow works out.  More importantly, all of the characters look very distinct and well defined.

For example, Gwen, the main character, is made instantly likable due to her awesome character design.  On the other hand, Ellie, her ghostly girlfriend, stands out due to her vintage appearance; Allred makes her seem like a character from a 70s publication.  While the character work is excellent, Allred also brings in some really fun layouts towards the end of the issue that make for some poignancy that Roberson’s script may not have carried otherwise.