Christopher Sebela, Jonathan Brandon Sawyer, Carlos Zamudio
Sorry for the delay gang, someone had a birthday this week (it was me, I berfed), and a busted modem (also me), so interneting was hard.
Last week was an odd week for me when it came to buying comics, as none of my usual pulls dropped, and the mountain of trades I have to get through are quite dated (no longer the case by the way, again, due to berf). Not wanting to leave Forbidden Planet NYC stranded on hashtag content, or drop $5 on a Marvel book, I decided to see what the indies had to offer. As luck would have it, the fine folks at Boom! Studios released Welcome Back, the first of 4 issue mini series with some slick twists I will attempt to not spoil in this review.
Welcome Back is written by Christopher Sebela, who’s work I’m not too familiar with outside of co-writing some comics with Matt Fraction and Kelly Sue Deconnick, but his High Crime series from Monkeybrain/Dark Horse is supposed to be really good. I have zero familiarity with artist Jonathan Brandon Sawyer, but man, his stuff is great. He’s a nice blend of artists like Chris Bachalo, Becky Cloonan and Sean Murphy. His line work is sharp and jagged, and fully of energy like Murphy, with his character designs and layouts very much in the graffiti and manga-influenced styles we get from Chris and Becky. And if Sawyer’s Murray in this scenario, then colorist Carlos Zamudio would be the next generation Matt Hollingsworth. The choices of colors in Welcome Back remind me a lot of Hollingsworth works on books like The Wake and Hawkeye, only not as muted. Welcome Back is easily one of the best looking books I’ve seen from a relatively new creative team in some time.
On the words side of things, I get why Sebela’s gotten a ton of praise for his indie comics. Welcome Back is wordy, but never overcrowded. It’s heavy on the dialogue and narration, but flows effortlessly, with everything coming across relatively natural sounding. Some of the stuff spoken during the action scene is a little clique and hokey, but aside from that, it’s relatively solid. My only real complaint other than that is the use of block, flat fonts for the sound effect by letter Shawn Aldridge. It really clashes with the art, and it’s weird to see that sort of thing when the narration boxes and dialgoue balloons are position correctly. But those are only some small things that I’m sure that will improve in time, and don’t take much away from the rest of the book.
Welcome Back was a surprisingly great debut that I wish I could go into more but won’t, because again, there are some great twists that work if you go in blind. That’s what I did for the most part, and I enjoyed the book all the more. If you’re looking for something fresh and different, or just tired of one of your favorite being held up by delays, I can’t recommend giving Welcome Back enough. It’s a cool melting pot of ideas with an relatable lead character, and I’m excited to see how this all plays out.