It’s a rather good issue of Nailbiter. I’m beginning to think the problem with Williamson’s writing isn’t too many ideas (or a lack of them on the fast issues), but a pacing one. On Nailbiter, his two issues would work better as one than two. The cliffhanger aside. Or maybe muted.
This issue has the resolution to the school bus kidnapping and then a cliffhanger setting up the series for a big change. Depending on how Williamson handles it. But it’s a really good cliffhanger; Williamson leads up to it intellectually, not through forced events. He thinks his way through Nailbiter, which is what makes the book work in general.
It’s a more than silly concept, handled very realistically in terms of visual tone and character interactions, and the balance succeeds because of Williamson’s writing.
Yay, Nailbiter.
Unfortunately, Henderson is really pressed for time here. He often skips drawing faces.
It’s a rather good issue of Nailbiter. I’m beginning to think the problem with Williamson’s writing isn’t too many ideas (or a lack of them on the fast issues), but a pacing one. On Nailbiter, his two issues would work better as one than two. The cliffhanger aside. Or maybe muted.
Somehow, Williamson can turn an exciting cliffhanger resolution into a boring comic. I mean, it’s interesting. Even if Henderson doesn’t get as much good to draw as usual because there’s the cliffhanger resolution and then another scene in the same location. Then it’s a bunch of interiors–the sheriff’s house, where Williamson works on his B plot involving the local preacher, and the school bus, the issue’s ostensible A plot.
Williamson and Henderson deliver a lot more in the mood of the issue than anything else. Between Williamson’s eerie town history and Henderson’s eerier art, Nailbiter succeeds in creating a wondrous setting. It also ends up hurting the reading experience because Williamson’s writing often feels like it doesn’t take full advantage of that setting.
Williamson does a Powers homage, with Brian Michael Bendis guest starring as himself. I think the Warren Ellis Powers issue is number seven too (yep, thanks Google). Bendis is in town researching a book and Williamson uses him as the protagonist. It’s a way to delay a return to norm for the comic–only the epilogue has the FBI agent back in lead–and also for Williamson to have some fun.
All of a sudden, Nailbiter is something different. Williamson changes protagonists and gives the issue a narrator in Alice, the teenager (or slightly older) possible future serial killer. She teams up with the sheriff to track down some crazy woman.