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.

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.

That A plot is just to get Williamson to another big cliffhanger, presumably one he’ll resolve quickly next issue and not just not offer any resolution but also use to get hostile about the idea of the reader connecting with the comic.

Nailbiter is far too removed from itself; Williamson doesn’t want to focus on his main characters because he’s bored with them. Everyone else is far more interesting. Hopefully, he’ll be able to refocus the comic on something engaging.

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.

This issue has a bunch of subplots brewing. The sheriff has trouble on a couple fronts, the titular serial killer is under more scrutiny than usual, and then the FBI guy is doing his investigating thing. And that investigating thing leads to a very unlikely stand-off with a civilian.

But Nailbiter often isn’t about being reasonable. It’s about well-written characters and good art. This issue delivers some of the former and a lot of the latter. Williamson just can’t hide he’s doing a bridging issue and spinning his wheels for time.

It’s mostly fine.

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.

However, the looser issue–it’s basically a comic relief issue in a series where there’s no real comic relief–feels somewhat self-indulgent. Like Williamson is having a second helping of chocolate cake where the frosting’s real good, but it’s not actually filling.

The cuteness aside, there’s a lot of fluff–like Bendis and the Nailbiter talking about comics–and it’s well-written fluff. It just seems like a holding pattern.

Still, not bad; nice art from Henderson throughout.

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.

It feels very distinct and separate from everything else in the series so far–even though the characters continue, the former protagonist isn’t in the issue. His story line isn’t continued or really even referenced. Instead of the serial killers in town being so important, the town becomes important. It’s a very nice issue.

Williamson’s writing of Alice is excellent, especially with her rash behavior. He has a great way of making the behavior changes flow, while still being visible and concerning.

There’s some fantastic art from Henderson this issue.

Regardless if it’s just a done-in-one or a new direction, Williamson’s definitely got lots of space with Nailbiter.