Master thief Conrad is trying to get back his ex wife Audrey, who worries about their son Augustus. Then, another woman appears…
Nailbiter #10 is a prime example of great slow burn storytelling, allowing for more radical elements to fuse with the pre-existing scope of the series. Never quite stepped in the supernatural or suburban horror, it draws a fine line between both genres as you’ll find out.
The death of the best gridlocker on the Fuse is still a mystery, and bureaucracy is making the investigation even harder for the Police.
This issue pulls no punches in terms of a shake up: characters die, relationships end and those left will never be the same again. Make no mistake readers this is a cull, but how else can a tree grow?
Not many things can mix fart jokes with crime thriller but Deadly Class #10 takes a pop at it anyway. Marcus tries to get his personal life in order and at the same time, settle a score with an old enemy.
The start of the issue is wrought with angst as Agent Zero and Sophie confront a group of trained killers. What ensues is a brief moment of doubt on Sophie’s part ,a high octane action sequence and some the best colouring available in comics.
Capt. Pollux’s ship has been on the planet for one year, but he got there only two days ago. This is the huge mystery that Drifter asks us to deal with.
Starlight, the best gridlocker on the Fuse, is dead – and her untimely demise might be linked to drugs. Or to at least ten other things.
“We are dragged back to Marcus’ attempt to bring down his nemesis, while at the same time, deciding which girl he wants to give his awkward teenage love to, oh and there’s a bit where they go to a rock concert. I mean, of course there’s a bit where they go to a concert. That’s what people did in the 80s; they plotted murder, then they went to a concert and moshed. Ask your mum.”
Kot’s references range from the more immediate to the very obscure referencing Klaus Kinski, Kurt Schwitter’s Merzbeau , Rumi and Hindu philosophy. Zero #11 taps more into the film almost visually referencing David Cronenberg in terms of the body horror or perhaps Ridley Scott in terms of the Alien homage experienced within the first few pages