Terminal City stops more than ends. Maybe closes is a better phrase. Motter closes the series. There’s no finality to it and there’s lots of openness–in the last pages, Motter’s still introducing next things.
It’s a capsule view of these people, important in the city, years after their glory days. Sure, events occur in Terminal City to make it bigger than a girl getting a roommate, but not much bigger. Motter keeps everything rather restrained and the issue has, even after concluding a cliffhanger (an action-packed cliffhanger) and two epilogues, a quiet finish.
I suppose one could sit down and chart out how Terminal City‘s narrative works–with nearly twenty characters, it might take a while–but that approach seems foolish. Motter and Lark are presenting a fixed experience.
And, to some degree, that quality is why I’m underwhelmed with the last page. Motter brought back something boring.
Writer, Dean Motter; artist, Michael Lark; colorist, Rick Taylor; letterer, Willie Schubert; editor, Shelly Bond; publisher, Vertigo.