At this point, Kristensen and Perker have fully embraced the bit. Every scene, even if it eventually ties to another scene, is a bit. There’s a Santa bit, there’s a Joan Crawford bit, there’s a Satan’s nice kid bit. It’s all a bunch of bits strung together. The regular cast members no longer have anything to do in Todd.

Is it bad, but I’m sort of hoping for another break from the series. The creators need to reorganize, rethink. Perker tries something of a new art style this issue. It’s interesting, but there’s no point for it. The issue opens–after the lengthy new cast introductions–and seems like it might be a Christmas thing. It’s not.

As for those opening introductions. Kristensen is now using them–instead of the actual issue proper–to tell parts of the story.

Todd has pretty much run out of its accrued good will.

C 

CREDITS

Writers, M.K. Perker and Ken Kristensen; artist, Perker; colorist, Sedat Gosterikli; letterer, Pat Brosseau; publisher, Image Comics.

Todd doesn’t jump the shark with this issue; instead, Kristensen and Perker sort of hop the boat. They send Todd to Hell–literally–and he has to take Charon’s boat across the River Styx.

So, the creators aren’t exactly being exclusive–River Styx knowledge isn’t particularly high, but it’s smart. It’s a smart reference, it’s a smart turn of events. Similarly, there’s an opening reference to Jonah Hill. They just as ably make a solid pop culture reference.

Then there’s the story, which they split between Satan (in the prologue), Todd and his father and then Todd’s mother. Except the last two don’t really relate–it’s not, for instance, Todd trying to rescue his kidnapped mother.

Because Perker and Kristensen come up with something much better.

This issue has a lot of good laughs. Even better, the creators never go for the easiest joke; they always aim for higher ones.

CREDITS

Writers, M.K. Perker and Ken Kristensen; artist, Perker; colorist, Sedat Gosterikli; letterer, Pat Brosseau; publisher, Image Comics.

Perker and Kristensen continue to embrace the insanity. The Charlie Rose subplot gets much bigger this time around–it probably takes up half the issue, which never exactly feels bloated, just really full. There are two major subplots–Todd pretending to be Sandy, the mom going off to get her boobs done–and a handful of little ones.

It’s hard to imagine where Kristensen is going to go with all these threads or whether he’ll be able to wrap them up. Or if they even need to be wrapped up. Kristensen and Perker have brought things together so far–even Tom Wolfe pops in for a few panels here–but it’s unclear if Todd needs such attention to detail.

It’s a comedy and things can get lost in a comedy.

The issue’s only misstep is the assassin after Charlie Rose. Kristensen underwrites him, relying on the art to cover him.

CREDITS

Writers, M.K. Perker and Ken Kristensen; artist, Perker; colorist, Sedat Gosterikli; letterer, Pat Brosseau; publisher, Image Comics.

Todd is back and, wow, how he’s back. Having a successful limited series turn into an ongoing has apparently emboldened Perker and Kristensen. They don’t just continue their existing story, they take it up a bunch of notches.

There’s a lot about higher American culture–Charlie Rose, Tom Wolfe, PBS–but there’s also a bunch of digs at comic book culture. They brazenly go after Marvel. It’s all for fun… in a way, but the digs into Marvel readers? Those are serious. As is the absurdity of Marvel trying to hire Tom Wolfe to write a Wolverine comic.

That plot is just one of a few. There’s also the nut job cop trying to hire black officers, which is amazing stuff, and Todd’s new “sister” and how she fits into the family.

Not to mention the awesome opening set to It Was a Very Good Year. Perker and Kristensen rock.

CREDITS

Writers, M.K. Perker and Ken Kristensen; artist, Perker; colorist, Sedat Gosterikli; letterer, Pat Brosseau; publisher, Image Comics.