This book really is a weird, unique story. I loved last issue’s crazy twist on the story- and this issue just serves to further push that craziness even further. I love the art in this book, and Warren Ellis’ stellar writing is in full effect here. This is a weird book, and I am sure that it is a more polarizing title, because it centers on a group of people (some British) and the vague explanation of the living computer entity known as the Injection. We still don’t really know WHAT the Injection is, or what it is truly capable of, but there is a lot that it can do- and apparently it is behind quite a lot of the things that our group is dealing with the world over.
I love this book’s art- Declan Shalvey and Jordie Bellaire have a great and easy style when working together that just makes this book so easy to read. Couple that with Ellis’ unique and creative way of writing a story, and you have a comic that is much unlike anything else out there. I love that the book is started to delve deeper into the otherworldly and not just psychological thriller side of things, and that we are getting to see a lot more of the cast of characters in their downtime, or in current time- who all seem a bit hesitant to “get the band back together” because of whatever they did to create the Injection and whatever that will mean for the story, and for these particular characters in the futre.
I love that we don’t actually need to see Mr. Van Der Zee in this issue, but we get Vivek doing his best impression of a Ghostbuster (but the “busting” seemed to happen before now- and in a way that kind of made me shudder) when he discovers that the ghost that comes out of the photograph that Van Der Zee said was haunting wasn’t just haunting him, she was giving him the business, and not just GHOSTLY business. To put it plainly- Vivek gets some swabs from Van Der Zee’s desk chair of “vaginal ectoplasm” which is a phrase I never, ever, EVER thought I would see, speak or write- but there you have it. Bucket list, complete.
I loved seeing Simeon in (what I assume is) the English countryside with a nice cobblestone little cottage topped with a GIGANTIC satellite dish. It was such a neat contrast of the old and new and just feels like the kind of thing that Warren Ellis would have been pretty specific in his instructions to include in this scene. I am very interested to see how this story progresses with more of the “old gang” getting back together, and what that will mean for them AND for the Injection.
I really like that there is such a heavy-handedness to the fact that this book always tries to include sandwiches in it’s story. The last issue involved soylent ham- and before that Killbride seemed to be rather fixated on getting herself a tasty and well-made sandwich. I hope that there is more to this story and the character’s fixation on meat between slices of bread, otherwise it has been a pretty odd choice for so many characters (and also plot devices) to center on sandwiches.
This book has been really fun to read, even when it touches on strange subjects, like cannibalism and getting intimate with ghosts- but I really enjoy it. The art is great, the story is compelling, and I am really hungry for more; Maybe im just ACTUALLY hungry. Could that be the whole point of this book- could Image have been secretly been bought out by Kraft or Oscar Mayer or Wonder Bread and are pushing the “Big Sandwich Agenda” on us subliminally? Or was Warren Ellis on a two-week juice cleanse when he wrote the first few installments of this book, and all he could think of was eating a giant six foot tall Dagwood sandwich like something out of a Blondie comic strip? The world may never know…