I talked about this in Tomio’s Want List awhile ago. I read it soon after, but I’m just now getting the time to talk about it now and decided to reread it, remembering I rather enjoyed it the first time around. I would point to this issue as being a prime example of how to put together a first issue of a new series. The stage is infected, set and blown up.
The basic gist is that our apparent (initial) cast are getting on a plane and heading to an island for various reasons, be it occupational or recreational (or other) purposes. Just before, we see that the destination may be the venue for a zombie predicament. The sale here for me is based on the writing team of Palmiotti and Gray. If you followed the above link, I mention my almost-mantra of avoidance of zombie related media, so if it wasn’t for their involvement (not to mention sweet covers by Darwyn Cooke and Amanda Conner) I wouldn’t be here based on synopsis and concept alone. This writing duo represents a level of quality that allows for readers to take a chance on something not usually found in their longbox; the type of creators who as their own catalog diversifies, so does my library. The kind of creators that can make a Western one of most consistent titles in comics over the last few years.
The issue uses Lostian (or what people now would identify as such) airport scenes to introduce us and connect its players, scenes that also felt very throw-back mystery, like being introduced to the voyagers about to take a trip down the Nile or boarding the Orient Express. Indeed, both mystery and horror have a tradition on infringing on vacations and holidays alike. The story introduces us to players in the form of the passengers and does so through very believable and organic dialogue. A pain-in-the-ass customer in a line, a pilot’s comments about an attractive girl, another lady’s not net-PC crusader– real -reaction to that comment, and two employees already having the scoop on potential problem customers. There’s guy-talk, girl-talk, shop-talk, people talk, and the very best foils for horror or adventure is a basis in reality to topple, reexamine, or satirize. There are people here we all know. There are those whom who we already are more inclined to want to see survive whatever Palmiotti and Gray have in store for us them, and those we want to see knocked off first.I don’t know how I feel about the cast, but that’s just the half of it–that’s the mystery. I want to know how I feel, knowing fully that when I find out, it might be too late.
I alluded to mystery, and with the zombie element in play, horror is what would come to mind for most, but what I found most interesting is that even though there is this sense of and awareness of pacing and timing that make for and are (especially) essential for successful ventures in both of those genres, The Last Resort feels more like disaster/adventure films, aged and preserved for 30 years. While we are dealing with what is an adult sensibility in terms of dialogue and instances of the risque, I cannot shake-off the feeling that underlining the contemporary storytelling moxie-preceding it-one may find that the words are backed by a gaze that reflect the experience and love of Juvenile adventure. That’s with a capitol ‘J’, and it is with those eyes that I think we see what we eventually all work are way back forward to– the telling of stories that as a reader truly evoke a feeling that they are the type the tellers themselves would want to read or watch. These are the types of stories that I think aren’t at all forgotten—are never forgotten- but for some reason walked away from. Gray and Palmiotti take it us back, where they, where we, strayed from. The truth is I’m wired to dismiss zombie stories. It has developed into a rather active dislike as I’m confronted with living through a period of resurgence in that sub-genre of horror in all mediums, but what I see in The Last Resort is an adventure that happens to have zombies in it (though admittedly, seemingly as a significant plot point). We are introduced to people, not just names, and that this is a ‘human’ story is the pervasive element. Already, we have a sense of relationship with our travelers– we recognize these strangers. This circumstance didn’t stop the title from introducing itself in a manner most would fashion classic horror/zombie style, but it is the strength of the pages afterward that bestows the opening scenes with an ominous quality. For myself, it was an additive in hindsight, a delayed reaction-mine perhaps set for people like myself. I had forgotten about zombies, and when I did recall them, I didn’t have any more time to think or simply observe. I was involved, in the mix, and nothing preconceived mattered anymore, only what happened next.
I kind of want to see the movie. I really want to see the next issue.
