![]() It was the eight issues back-to-back that really let me see the nuances of the mystery unfolding, and to watch as the book’s visual identity helped foster that suspense and tension. I read the TPB of Chip Zdarsky and Jacob Phillips’ tale of our titular fixer/investigator, and I found the collective experience utterly compelling. It took a lot of death and dying to remind us of that, but it’s been more than worth it for such a powerful and lasting affirmation.įinal Thought: Just ’cause you see it coming doesn’t mean it won’t rip you in two. That the true art is making something of value with the world, and not just a painting/portrait/song/etc. Rather, a sense that things go on, and they may only get worse, but they’re still ours to wander through regardless. To demonstrate that the “show, don’t tell” approach doesn’t always work, and that something as simple as “life is worth living over most things” or “art is dumb compared to actually connecting with others” are worth screaming as loudly and shrilly as possible.Īnd so that’s mostly how we end this book: not with some sense of completion (mostly), or that giant moment we’ve all been waiting for. In a book where seasons actually come alive to kill folks, maybe we need these big, over-the-top gestures to make us see some things. But then, maybe that’s been the whole point. Was it a little hokey and slightly gimmicky (you’ll see why)? Yeah, and it also drove home just how sort of obvious and deliberate this book’s been - especially in this finale - in exploring grief and those bigger messages about letting go. Even Piekos’ lettering this issue had more chances to show off some of the physical world, Bates’ personality, and the lore of this story universe.īut the biggest accomplishment is that actual ending, with Bates meeting someone else to forge a partnership that pushed the book’s emotional strength to the next echelon. ![]() The personal nature of the Winter monster Cabrol and Jackson’s design was terrifying but also somehow whimsical, and that one-two punch was lethally effective. It’s the framing of the story, and how we see it from Bates’ perspective and from that of his colleagues, which fostered some tension and structure. There’s so many important reasons in which this finale worked so perfectly when even the other issues were just mostly great. (It’s like Pokemon Snap if it were hugely poignant and also everything tried to murder you.) After some mostly impactful moments of Bates trying to capture these pics in the name of his dead wife, struggling with her absence and the scant joy he received from this assignment, we’ve reached the end: Winter.Īs far as sticking the landing, the creative team did it - and then some. The book - from Dan Watters, Sebastian Cabrol, Nate Piekos, and Dan Jackson - follows Andrew Bates as he attempted to photograph the living personifications of the seasons. Which is a little funny because, until now, I’ve only mostly enjoyed The Seasons Have Teeth. It doesn’t happen all the time, but sometimes a story pulls the wind from your body and leaves you stuck in a moment.
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