As expected, the series comes to a solid, if unspectacular, conclusion. It seems like Brubaker front-loaded a little, filling the first issue with content and having to pad a little throughout the remainder.

There’s not really much memorable about the issue, storytelling wise–it’s never clearly stated why kids can see the ghosts, for example, while adults can’t. Especially since the kids in question are jaded teen runaways, who undoubtedly are more mature than, well, lots of the adults the leads pass by undetected.

Talbot’s the star here. He’s got some amazing panels, simultaneously horrific and charming. The issue has one big action sequence and he and Brubaker match up beautifully on it… Brubaker’s writing, at the standard thriller revelation moment, is very strong. What he doesn’t do in plotting, he makes up for in his excellent scenic writing.

It’s too bad Vertigo didn’t publish more Dead Boy mysteries.

And here’s where there’s some more connection to The Sandman series (I think, not really knowing, but they spend some time talking about people who aren’t in this book, so I assume they’re in the Sandman book).

Again, I’m not sure how Brubaker’s writing the leads. They’re so naive, even when they’re impaired, it’s hard to believe they spend a hundred years (or whatever) watching and reading detective stories. There’s a lot of sex in them–especially since one of them makes a James Bond reference at some point in the series–and Brubaker writes them asexual.

It’s kind of cute, in that same way the art’s precious, but it cuts back severely on the characters’ potentials. Having a single goal–to be detectives–and nothing going on the back burners makes them too flat. There’s no drama to them, no conflict.

Still, it’s a solid series, just not monumental.

Ah, perhaps my apprehension comes from this issue… it’s not bad at all, but it’s more focused on the backstory of a supporting cast member than it is on the two leads (who act really silly at one point, playing dress-up with wooden swords, an activity I associate much more with eight year-olds than the leads in this comic). It’s a nice showcase for Talbot’s artwork (except the ghost eyes again), since it lets him do stuff modeled after wood carvings of the Middle Ages and such, as well as the modern London scenes.

Brubaker’s working in a framework here–there are chapters, they open with text exposition–and it feels fine… but again, I’m apprehensive. I don’t want to get too enthusiastic because I know (or think–or kind of remember) it takes a hit.

But it’s shocking how well-produced Vertigo limited seres used to be.

I’ve read The Dead Boy Detectives before and I remember it not working out, but this first issue is fantastic. Brubaker brings a fairy tale slash Mark Twain feel to the story and Bryan Talbot’s art is, there’s no other word for it, precious. The two detectives–Charles and Edwin, I think–are adorable in a way no regular teen detectives ever could be… they’re ghosts. Teenage ghost detectives. I’m shock DC hasn’t turned it into a film property yet.

The case–it’s just one case, I think–hasn’t really taken off yet, though they’ve done a lot and given Talbot a lot of time to show off. My only art complaint is the eyes. The ghost eyes. It looks too emo for its own good.

But a great first issue; not a lot of limiteds have those… especially not today.

Brubaker writing so much dialect is my only complaint.