There are many impressive things about this final issue of The Spire, but I think the most impressive has to be how Spurrier and Stokely pace the whole thing. It’s got a quick reveal to solve a mystery, but then spins into this third act for the entire series. Not to mention a simultaneously tragic and awesome moment for one of its most endearing characters.
Hero fartslam indeed.
While Shå solves The Spire’s mystery internally, there’s also the external (to the Spire) battle raging. Or preparing to rage. Spurrier and Stokely toggle quickly between the plot threads, agitating the reader and the characters. Everything is urgent, everything is important.
There are lots of revelations this issue. Probably half a dozen, maybe a few more, but Spurrier has the reader (and the characters) ready to digest them while in motion. There are no pause points; he never has to go overtly expository. The Spire is sci-fi fantasy noir, using the best narrative devices of each genre.
It’s also the best kind of depressing–symmetrical in its tragedy. Spurrier and Stokely make it move so fast, it haunts the reader without ever having to shock the reader.
The Spire is outstanding. Spurrier and Stokely. Hero fartslam.
CREDITS
Writer, Simon Spurrier; artist, Jeff Stokely; colorist, André May; letterer, Steve Wands; editors, Cameron Chittock and Eric Harburn; publisher, Boom! Studios.
The Spire is racing. Or maybe it isn’t. Maybe it was always headed to this place, where Spurrier rushes everything. Every subplot, every character, the cliffhanger resolution, the mid-issue reveals, everything is rushed. When it gets the final panel and Shå says “it all ends tonight,” Spurrier and Stokely are out of breath. It’s an exhausting read.
This issue of The Spire is a weird read. It takes place outside the city, with Shå in disguise and acting as a bodyguard. A forbidden, unknown bodyguard, but bodyguard nonetheless. There’s a lot about the religious fanatics, setting them up as villains–with the awkward shortcut of comparing them to Christian fundamentalist bigots. But while Spurrier’s setting all that stuff up in the wasteland, he’s also keeping some wheels of intrigue running in the city.
Politics, romance, danger, The Spire.
It’s a bridging issue. It’s a decent bridging issue because Stokely’s art is awesome, but it’s still a bridging issue. What does Spurrier do besides humanize the protagonist a bit? He hints at more dread down the line. So what?
The Spire continues to impress, though this issue shows the first time Spurrier lets the size of the comic get ahead of him. The lead, Shå, shows up on the fourth page or so–some beautiful double page spreads from Stokley here–but she’s just leading the reader through procedural stuff. Stokley’s composition is so strong, it overpowers the character stuff with she and her royal girlfriend bickering. The Spire is a big book, big story.
The Spire continues to go quite well. Some of Stokely’s art seems a little loose–the setting has a lot of design elements and Stokely takes great care with them. Then he’ll rush through a dialogue scene when it comes to the characters’ faces. The panel sizing is great, the composition is great, it’s just loose with the people.
The Spire is an interesting mix of fantasy, sci-fi and cop story. The protagonist is a captain of the city guard (the Spire itself is a city state in the middle of nowhere–think Mega-City One only in a steampunk-ish future) who’s cavorting with the new ruler’s little sister. The captain is also a woman.