Pretty Deadly wraps up its second arc with the series’s standard mix of action and humanism. Standard isn’t a pejorative; creators DeConnick and Rios have always taken a singular approach to genre with the comic. They refuse to firmly foot in any–this arc is a WWI story and the story of a black family in 1918(?) America–they also refuse to rely on any genre tropes, yet there’s always a familiarity with them. Pretty Deadly is an intentionally tough comic to digest. The digestion process is where DeConnick and Rios are able to affect the reader the most.
About half this issue is resolution to the arc, which suggests a single sitting read of the arc might be in order, and the other half is mostly action. Except it’s Rios’s mystical, yet very physical, action. There’s a fluidity to the movement in the mystical action–the reader has to find their own entry point and then follow the movement across the page. Lots of full page spreads here–again, it’s the last issue in the arc, so there need to be money shots. Rios fills them with glorious dread.
While DeConnick wraps up for the arc’s new characters, she does make a few hints to Deadly’s future. But as Pretty Deadly moves across time periods–it started as a Western–DeConnick opens it up more. The implications of the mystical world of the Reapers aren’t just how it relates to the present action of the arc. DeConnick and Rios are gradually introducing a much bigger world.
Pretty Deadly is simultaneously loud and quiet, thrilling and reserved. It’s an excellent comic.
Writer, Kelly Sue DeConnick; artist, Emma Rios; colorist, Jordie Bellaire; letterer, Clayton Cowles; editor, Sigrid Ellis; publisher, Image Comics.